-@c -*-texinfo-*-
+ @c -*-texinfo-*-
-@c TODO: LilyPond LilyPond LilyPond
+@c TODO:
+@c * LilyPond Lilypond lilypond (sometimes: the program)
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
* End of tutorial:: The end
@end menu
-Operating lilypond is done through text files: to print a piece of
+Operating lilypond is done through text files: To print a piece of
music, you enter the music in a file. When you run lilypond (normally
using the program @code{ly2dvi}) on that file, the program produces
another file which contains sheet music that you can print or view.
This tutorial starts with a small introduction to the LilyPond music
language. After this first contact, we will show you how to run
LilyPond to produce printed output; you should then be able to create
-your first sheets of music. The tutorial continues with more and more
+your first sheets of music. The tutorial continues with more and more
complex examples.
+
@node First steps
@section First steps
-We start off by showing how very simple music is entered in
-LilyPond: you get a note simply by typing its note name, from
-@code{a} through @code{g}. So if you enter
-@quotation
+We start off by showing how very simple music is entered in LilyPond:
+you get a note simply by typing its @htmlref{note name}, from @samp{a}
+through @samp{g}. So if you enter
+
@example
c d e f g a b
@end example
-@end quotation
+
+@noindent
then the result looks like this:
-@quotation
-@lilypond[fragment]
+
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\transpose c'' { c d e f g a b }
@end lilypond
-@end quotation
-@separate
-We will continue with this format: first we show a snippet of input,
+We will continue with this format: First we show a snippet of input,
then the resulting output.
-The length of a note is specified by adding a number, ``@code{1}'' for a
-whole note, ``@code{2}'' for a half note, and so on:
+The length of a note is specified by adding a number, @samp{1} for a
+@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
-@quotation
@example
a1 a2 a4 a16 a32
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
-%\property Staff.Clef = \turnOff
-\transpose c'' { a1 a2 a4 a16 a32 }
-s16_" "
+\transpose c'' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-@end quotation
-@separate
-If you don't specify a duration, the previous one is used:
-@quotation
+If you don't specify a @rglos{duration}, the previous one is used:
+
@example
a4 a a2 a
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-%\property Staff.Clef = \turnOff
-\transpose c'' { a a a2 a }
-s16_" "
+\transpose c'' { a a a2 a s16_" " }
@end lilypond
-@end quotation
-@separate
-A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
-(@texiflat{}) by adding ``@code{es}''. As you would expect, a
-double-sharp or double-flat is made by adding ``@code{isis}'' or
-``@code{eses}'':
+A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
+@rglos{flat} (@texiflat{}) by adding @samp{es}. As you would expect,
+a @rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}:
-@quotation
@example
cis1 ees fisis aeses
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\transpose c'' { cis1 ees fisis aeses }
-s16_" "
+\transpose c'' { cis1 ees fisis aeses s16_" " }
@end lilypond
-@end quotation
-@separate
-Add a dot ``@code{.}'' after the duration to get a dotted note:
-@quotation
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
+
@example
a2. a4 a8. a16
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature \set #'transparent = ##t
-%\property Staff.Clef = \turnOff
-\transpose c'' { a2. a4 a8. a16 }
-s16_" "
+\transpose c'' { a2. a4 a8. a16 s16_" " }
@end lilypond
-@end quotation
-@separate
-The meter (or time signature) can be set with the @code{\time} command:
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command:
-@quotation
@example
\time 3/4
\time 6/8
@end example
@c a clef here may lead to confusion
-@lilypond[fragment]
+@lilypond
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
\time 4/4
s16_" "
@end lilypond
-@end quotation
-@separate
-The clef can be set using the ``@code{\clef}'' command:
+The @rglos{clef} can be set using the @code{\clef} command:
@c what is more common name treble or violin?
@c in Dutch, its violin.
@c in English its definitely treble.
-@quotation
@example
\clef treble
\clef bass
\clef tenor
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\clef violin
s4_" "
\clef bass
\clef tenor
s16_" "
@end lilypond
-@end quotation
-@separate
-@c From these commands and notes, a piece of music can be formed. A piece
-@c of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
-@c rephrased:
When you enter these commands in a file, you must to enclose them in
-``@code{\notes @{ .. @}}''. This lets LilyPond know that music (and
-not lyrics, for example) follows:
+@code{\notes @{@dots{}@}}. This lets LilyPond know that music (and
+not @rglos{lyrics}, for example) follows:
-@quotation
@example
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
@end example
-@end quotation
-@separate
Now the piece of music is almost ready to be printed. The final step is to
combine the music with a printing command.
-The printing command is the so-called ``@code{\paper}'' block. Later on
+The printing command is the so-called @code{\paper} block. Later on
you will see that the @code{\paper} block is used to customize
printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in ``@code{\score @{ ... @}}''. This is what a full
+enclosing them in @code{\score @{ ... @}}. This is what a full
LilyPond source file looks like:
-@quotation
@example
\score @{
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
\paper @{ @}
@}
@end example
-@lilypond
+@lilypond[noindent]
\score {
\notes {
\time 3/4
c2 e4 g2.
f4 e d c2.
}
- \paper { linewidth = 60 * \staffspace }
+ \paper {
+ linewidth = 55 * \staffspace
+ }
}
@end lilypond
-@end quotation
-@separate
@node Running LilyPond
The DVI file (@file{test.dvi}) contains the same sheet music in a
different format. DVI files are more easily processed by the computer,
so viewing them usually is quicker. You can run @code{xdvi test.dvi} or
-@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse buttons
+@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse burtons
activate magnifying glasses. Unfortunately, variable symbols (such as
beams and slurs) are not displayed in the magnifying glasses.
@item @code{1 2 8 16}
@tab durations
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c1 c2 c8 c16
@item @code{. ..}
@tab augmentation dots
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
c4. c4..
@end lilypond
@item @code{c d e f g a b }
@tab scale
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
c d e f g a b
@end lilypond
@item @code{\clef treble \clef bass }
@tab clefs
@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[noquote, notime]
\clef treble
s4_" "
\clef bass
@item @code{\time 3/4 \time 4/4 }
@tab time signature
@tab
-@lilypond[fragment]
+@lilypond[noquote]
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
@item @code{r4 r8}
@tab rest
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
r4 r8
@end lilypond
-
@item @code{~}
@tab tie
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
d ~ d
@end lilypond
-
@item @code{\key es \major }
@tab key signature
@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[noquote, notime]
\clef treble
\key es \major
s4
@item @var{note}@code{'}
@tab raise octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a a'
@item @var{note}@code{,}
@tab lower octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c c,
@}
@end example
+TODO:
+@example
+
+scoreA = \score @{ \deelA @}
+scoreB = \score @{ \deelA @}
+
+% \score @{ \scoreA @}
+\score @{ \scoreB @}
+
+@end example
@separate
@example
Battista Sammartini, composed around 1740. It's in the source
package under the name @file{input/tutorial/sammartini.ly}.
-@lilypondfile[smallverbatim]{sammartini.ly}
+@lilypondfile[smallverbatim,noquote]{sammartini.ly}
As you can see, this example features multiple voices on one staff. To
make room for those voices, their notes should be stemmed in opposite
@cindex @code{\translator}
@example
- \translator Staff = down
- \stemUp
- c8
- \translator Staff = up
- \stemDown
- c'8 @}
+\translator Staff = down
+\stemUp
+c8
+\translator Staff = up
+\stemDown
+c'8 @}
@end example
Voices can switch between staves. Here you see two staff switching
commands. The first one moves to the lower staff, the second one to
it a little to the left, and 1.8 staff space downwards.
@example
\property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
-@end example
+@end example
The @code{extra-offset} is a low-level feature: it moves around
objects in the printout; the formatting engine is completely oblivious
to these offsets. The unit of these offsets are staff-spaces. The
going down), there should be more space. This space is controlled by
@code{padding}, so we increase it.
@example
- \property Voice.DynamicLineSpanner \override #'padding = #5.0
+\property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example
This command is almost like the command for setting slur attachments,
snippet of code.
@example
- \property Voice.Stem \set #'transparent = ##t
- d'
+\property Voice.Stem \set #'transparent = ##t
+d'
@end example
Blanking the stem should be done for only one object. One of the ways
to achieve that, is by setting the property before a note. Reverting
>
\context StaffGroup = brass <
\context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
+ \property Staff.midiInstrument = #"trumpet"
\property Staff.instrument = #`(lines "2 Trombe" "(C)")
\property Staff.instr = #`(lines "Tbe." "(C)")
\Key
>
\paper @{
indent = 15 * \staffspace
- linewidth = 60 * \staffspace
+ linewidth = 55 * \staffspace
textheight = 90 * \staffspace
\translator@{
\HaraKiriStaffContext
@separate
@example
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
+\property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
@end example
The french horn (``Corno'') has the most complex scheme markup name, made
up of two lines of text. The second line has three elements (columns) --
@separate
@example
indent = 15 * \staffspace
- linewidth = 60 * \staffspace
+ linewidth = 55 * \staffspace
@end example
We specify a big indent for the first line and a small linewidth for this
tutorial.
In a lilypond-book document, you can freely mix music and text. For
example:
@lilypond
- \score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
- } }
+\score {
+ \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ }
+ \paper {
+ linewidth = -1
+ }
+}
@end lilypond
Notice that the music line length matches the margin settings of the
document.
If you include large examples into the text, it may be more convenient
to put the example in a separate file:
-@lilypondfile[printfilename]{sammartini.ly}
+@lilypondfile[printfilename,noquote]{sammartini.ly}
The @code{printfilename} option adds the file name to the output.
@node End of tutorial
@ifnothtml
templates, examples and feature tests.
@end ifnothtml
-If you want to see real action lilypond then head over to
+If you want to see real action LilyPond, head over to
@uref{http://www.mutopiaproject.org}, which has many examples of
classical music typeset with LilyPond.
-
projects / lilypond.git / blobdiff