@include included/generating-output.itexi
-@c \version "2.13.36"
+@c \version "2.19.21"
@node Tutorial
@chapter Tutorial
@cindex example, first
@cindex case sensitive
+@menu
+* Producing output::
+@end menu
+
@qq{Compiling} is the term used for processing an input file in
LilyPond format to produce output file(s). Output files are
generally PDF (for printing or viewing), MIDI (for playing), and
@smallspace
-@subheading Producing output
+@node Producing output
+@unnumberedsubsubsec Producing output
@cindex PDF file
@cindex viewing music
@cindex simple notation
@cindex notation, simple
+@menu
+* Pitches::
+* Durations (rhythms)::
+* Rests::
+* Time signature::
+* Tempo marks::
+* Clef::
+* All together::
+@end menu
+
LilyPond will add some notation elements automatically. In the
next example, we have only specified four pitches, but LilyPond
has added a clef, time signature, and rhythms.
values are useful.
-@subheading Pitches
+@node Pitches
+@unnumberedsubsubsec Pitches
@cindex pitches
@cindex relative mode
@cindex relative mode, and accidentals
@funindex \relative
-@funindex relative
@funindex '
@funindex ,
@rglos{scale}, @rglos{middle C}, @rglos{octave},
@rglos{accidental}.
+LilyPond uses lower-case letters for pitches. The letters
+@code{c} through@tie{}@code{b} denote pitches in the
+@q{small octave} below @notation{middle C}. Added @code{'}
+or@tie{}@code{,} suffixes indicate higher or lower octaves.
+Here is a scale starting on @notation{middle C}, and an arpeggio:
+
+@lilypond[verbatim,quote]
+{ c' d' e' f' g' a' b' c'' g c' e' g' c'' e'' g'' c''' }
+@end lilypond
+
The easiest way to enter notes is by using @code{\relative} mode.
In this mode, the octave is chosen automatically by assuming the
following note is always to be placed closest to the previous
is within just one staff space of the previous note.
@lilypond[verbatim,quote]
-% set the starting point to middle C
-\relative c' {
- c d e f
+\relative {
+ c' d e f
g a b c
}
@end lilypond
-The initial note is @notation{middle C}. Each successive note is
+The initial note is @notation{middle C}, denoted by @code{c'}.
+Each successive note is
placed closest to the previous note -- in other words, the first
@code{c} is the closest C to middle C. This is followed by the
closest D to the previous note. We can create melodies which have
larger intervals, still using only @code{\relative} mode:
@lilypond[verbatim,quote]
-\relative c' {
- d f a g
+\relative {
+ d' f a g
c b f d
}
@end lilypond
@noindent
-It is not necessary for the first note of the melody to start on
-the note which specifies the starting pitch. In the previous
-example, the first note -- the @code{d} -- is the closest D to
-middle C.
+In the previous example, the first note -- the @code{d'} with one
+@code{'}-mark -- is the D in the octave starting from middle C
+and going up to B.
By adding (or removing) quotes @code{'} or commas @code{,} from
-the @q{@w{@code{@bs{}relative c'}}} command, we can change the
-starting octave:
+the first note, we can change the starting octave:
@lilypond[verbatim,quote]
-% one octave above middle C
-\relative c'' {
- e c a c
+\relative {
+ e'' c a c
}
@end lilypond
above the B, and an A, G or F will be assumed to be below.
@lilypond[verbatim,quote]
-\relative c'' {
- b c % c is 1 staff space up, so is the c above
+\relative {
+ b' c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
b e % e is 3 up or 4 down, so is the e above
b a % a is 6 up or 1 down, so is the a below
comma @code{,} to the note name.
@lilypond[verbatim,quote]
-\relative c'' {
- a a, c' f,
+\relative {
+ a' a, c' f,
g g'' a,, f'
}
@end lilypond
quotes @code{''} and not one double quote @code{"}@tie{}!
@c " - keeps quotes in order for context-sensitive editor -td
-@subheading Durations (rhythms)
+@node Durations (rhythms)
+@unnumberedsubsubsec Durations (rhythms)
@cindex note durations
@cindex durations
quarter note.
@lilypond[verbatim,quote]
-\relative c'' {
- a1
+\relative {
+ a'1
a2 a4 a8 a
a16 a a a a32 a a a a64 a a a a a a a a2
}
explicitly (i.e., with a number).
@lilypond[verbatim,quote]
-\relative c'' {
- a4 a a4. a8
+\relative {
+ a'4 a a4. a8
a8. a16 a a8. a8 a4.
}
@end lilypond
-
-@subheading Rests
+@node Rests
+@unnumberedsubsubsec Rests
@cindex rest
@cindex notating rests
@code{r}@tie{}:
@lilypond[verbatim,quote]
-\relative c'' {
- a4 r r2
+\relative {
+ a'4 r r2
r8 a r4 r4. r8
}
@end lilypond
-@subheading Time signature
+@node Time signature
+@unnumberedsubsubsec Time signature
@cindex time signature
@funindex \time
-@funindex time
Music Glossary: @rglos{time signature}.
command:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\time 3/4
- a4 a a
+ a'4 a a
\time 6/8
a4. a
\time 4/4
}
@end lilypond
-@subheading Tempo marks
+@node Tempo marks
+@unnumberedsubsubsec Tempo marks
@cindex tempo marks
@cindex metronome marks
@funindex \tempo
-@funindex tempo
Music Glossary: @rglos{tempo indication}, @rglos{metronome}.
set with the @code{\tempo} command:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\time 3/4
\tempo "Andante"
- a4 a a
+ a'4 a a
\time 6/8
\tempo 4. = 96
a4. a
@end lilypond
-@subheading Clef
+@node Clef
+@unnumberedsubsubsec Clef
@cindex clef
@cindex treble
@cindex bass
@funindex \clef
-@funindex clef
Music Glossary: @rglos{clef}.
The @notation{clef} can be set using the @code{\clef} command:
@lilypond[verbatim,quote]
-\relative c' {
+\relative {
\clef "treble"
- c1
+ c'1
\clef "alto"
c1
\clef "tenor"
@end lilypond
-@subheading All together
+@node All together
+@unnumberedsubsubsec All together
Here is a small example showing all these elements together:
@lilypond[verbatim,quote]
-\relative c, {
+\relative {
\clef "bass"
\time 3/4
\tempo "Andante" 4 = 120
- c2 e8 c'
+ c,2 e8 c'
g'2.
f4 e d
c4 c, r
beginning or end of a line to avoid ambiguities.
A LilyPond command followed by a simple expression in braces (such
-as @q{@w{@code{@bs{}relative c' @{ @dots{} @}}}}) also counts as a
+as @q{@w{@code{@bs{}relative @{ @dots{} @}}}}) also counts as a
single music expression.
@cindex comments
@cindex files, tips for constructing
LilyPond input must be surrounded by @code{@{ @}} marks or a
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}}, as we saw in
-@ref{Working on input files}. For the rest of this manual, most
-examples will omit this. To replicate the examples, you may copy
-and paste the displayed input, but you @strong{must} add the
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} like this:
+@q{@w{@code{@bs{}relative @{ @dots{} @}}}}, as we saw in
+@ref{Working on input files}. For the rest of this manual,
+some short examples will omit this. To replicate these examples,
+you can copy displayed input, but paste it between @code{@{}
+and @code{@}} in your input file.
@example
-\relative c'' @{
+@{
@dots{}example goes here@dots{}
@}
@end example
-Why omit the braces? Most examples in this manual can be inserted
-into the middle of a longer piece of music. For these examples,
-it does not make sense to add
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} -- you should not
-place a @code{\relative} inside another @code{\relative}! If we
-included @q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} around
-every example, you would not be able to copy a small documentation
-example and paste it inside a longer piece of your own. Most
-people want to add material to an existing piece, so we format the
-manual this way.
-
Also, remember that every LilyPond file should have a
@code{\version} statement. Because the examples in the manuals
are snippets, not files, the @code{\version} statement is omitted.
@c no verbatim here
@lilypond[quote]
-\relative c'' {
- c4-\markup { \bold \huge { Click here. } }
+\relative {
+ c''4-\markup { \bold \huge { Click here. } }
}
@end lilypond
projects / lilypond.git / blobdiff