@c -*-texinfo-*-
-@node Tutorial, , , Top
+@c TODO: LilyPond LilyPond LilyPond
+
+@node Tutorial
@chapter Tutorial
+@html
+<!--- @@WEB-TITLE@@=Tutorial --->
+@end html
+
@menu
-* Introduction:: Introduction
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* end of tutorial:: The end
+* First steps:: Music language of LilyPond
+* Cheat sheet::
+* Running LilyPond:: Printing music
+* The first real tune:: The first real tune
+* Lyrics and chords:: Lyrics and chords
+* More movements :: Joining separate pieces of music
+* A piano excerpt:: Piano music
+* Fine tuning a piece::
+* An orchestral score:: Conductor's score and individual parts
+* Other ways to run LilyPond:: Other ways to run LilyPond
+* Integrating text and music:: Integrating text and music
+* End of tutorial:: The end
@end menu
-@node Introduction, , , Tutorial
-@section Introduction
+Operating lilypond is done through text files: to print a piece of
+music, you enter the music in a file. When you run lilypond, that
+file is read, and after some computations, the program produces a file
+containing the sheet music that you can print or view.
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-document is a gentle introduction to that language, which is called
-Lilypond, an acronym of Music Definition Language.
+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
+complex examples.
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}. It is recommended that you
-experiment with writing Lilypond input yourself, to get a feel for
-how LilyPond behaves.
+@c title?
-@node The first tune, , , Tutorial
-@section The first tune
+@node First steps
+@section First steps
+@c @node Music language of LilyPond
+@c @section Music language of LilyPond
-To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
+In this section, we show how to make small, very simple pieces of
+music in LilyPond. If you have not seen LilyPond input files before,
+this section is for you. The contents of this section are summarized
+in the Cheat Sheet (See @ref{Cheat sheet}).
-@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
-\include "paper16.ly"
-\score {
- \notes
- \relative c'' \sequential{
- \time 3/4;
- \key g \major;
+You get a simple note by typing its note name, from @code{a} through
+@code{g}. So if you enter
+@quotation
+@example
+c d e f g a b
+@end example
+@end quotation
+then the result looks like this:
+@quotation
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { c d e f g a b }
+@end lilypond
+@end quotation
+@separate
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
+We continue showing LilyPond input like we did previously: first a
+snippet of input, then the resulting output.
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|.";
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
- }
-}
+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:
+
+@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]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+%\property Staff.Clef = \turnOff
+\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
+@example
+a a a2 a
+@end example
-Enter it (or copy it, the filename is @file{menuet.ly}), compile it
-with LilyPond and view the output. Details of this procedure may vary
-from system to system. To create the output, one would issue the
-command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
-the job of running LilyPond and @TeX{}, handling of titles and
-adjusting of page margins.
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a a a2 a }
+s16_" "
+@end lilypond
+@end quotation
+@separate
-If all goes well, the file @file{menuet.dvi} will be created.
-To view this output, issue the command `@code{xdvi menuet}'.
+A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
+(@texiflat{}) by adding ``@code{es}'':
-Now that we are familiar with the procedure of producing output, we
-will analyse the input, line by line.
-@ignore
-Let's try to redo this
+@quotation
@example
+cis1 ees fisis aeses
+@end example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { cis1 ees fisis aeses }
+s16_" "
+@end lilypond
+@end quotation
+@separate
-
-@end example
-The percent sign, `@code{%}', introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by `@code{%@{}' and `@code{%@}}'
-@end ignore
-@multitable @columnfractions .60 .39
-@item
-@noindent
-@c @example urg: no tt font
-@c @exdent % lines preceded by a percent are comments.
-@exdent @code{% lines preceded by a percent are comments.}
-@c @end example
-@tab
-The percent sign, `@code{%}', introduces a line comment. If you
-want to make larger comments, you can use block comments. These
-are delimited by `@code{%@{}' and `@code{%@}}'
-@end multitable
-@example
+Add a dot ``@code{.}'' after the duration to get a dotted note:
+@quotation
+@example
+a2. a4 a8. a16
+@end example
- \input "paper16.ly"
-
-@end example
-By default, LilyPond will use definitions for a 20
-point@footnote{A point is the standard measure of length for
-printing. One point is 1/72.27 inch.} high staff. We want smaller
-output (16 point staff height), so we must import the settings for
-that size, which is done.
-@example
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature \set #'transparent = ##t
+%\property Staff.Clef = \turnOff
+\transpose c'' { a2. a4 a8. a16 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
- \score @{
-
-@end example
- A lilypond file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
-@example
+The meter (or time signature) can be set with the @code{\time} command:
- \notes
-
-@end example
- This makes LilyPond ready for accepting notes.
-@example
+@quotation
+@example
+\time 3/4
+\time 6/8
+\time 4/4
+@end example
- \relative c''
-
-@end example
- As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
-`@code{,}'). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
+@c a clef here may lead to confusion
+@lilypond[fragment]
+\property Staff.Clef \set #'transparent = ##t
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+@end quotation
+@separate
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.
-@example
+The clef can be set using the ``@code{\clef}'' command:
- \sequential @{
-
-@end example
- What follows is sequential music, i.e.,
-notes that are to be played and printed after each other.
-@example
+@c what is more common name treble or violin?
+@c in Dutch, its violin.
+@quotation
+@example
+\clef violin
+\clef bass
+\clef alto
+\clef tenor
+@end example
- \time 3/4;
-
-@end example
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.
-@example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
+@end lilypond
+@end quotation
+@separate
- \key g \major;
-
-@end example
- This command changes the current key to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions.
-@example
+From these commands and notes, a piece of music can be formed. A piece
+of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
+LilyPond then knows that music follows (and not lyrics, for example):
- \repeat "volta" 2
-
-@end example
- This command tells LilyPond that the following piece of music must
-be played twice; @code{"volta"} means that volta brackets should be used
-for alternatives---if there were any.
-@example
+@quotation
+@example
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+@}
+@end example
+@end quotation
+@separate
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same.
-@example
+At this point, the piece of music is ready to be printed. This is done
+by combining the music with a printing command.
- d4
-
-@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note).
-@example
+The printing command is the so-called ``@code{\paper}'' block. You
+will see later that the \paper block is necessary to customize all
+kinds of printing specifics. The music and the \paper block are
+combined by enclosing them in ``@code{\score @{ ... @}}''. This is
+what a full LilyPond source file looks like:
- a b
-
-@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, e.g. @code{a4 b4})
-@example
+@quotation
+@example
+\score @{
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
+ \paper @{ @}
+@}
+@end example
- d4 g, g |
-
-@end example
- Three more notes. The `@code{|}' character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
+@lilypond
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { linewidth = 60 * \staffspace }
+}
+@end lilypond
+@end quotation
+@separate
- So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
-@example
- c8 d e fis
-
-@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
-@example
+We continue with the introduction of the remaining musical constructs.
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
- The next line shows how to make a slur:
-the beginning and ending note of the slur is marked with an opening and
-closing parenthesis respectively. In the line shown above, this is
-done for two slurs. Slur markers (parentheses) are put between
-the notes.
-@example
+@c maybe legend here?
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around the notes you want beamed.
-@example
+Normal rests are entered just like notes with the name ``@code{r}'':
- g2. |
-
-@end example
-A duration with augmentation dot is notated
-with the duration number followed by a period.
-@example
+@quotation
+@example
+r2 r4 r8 r16
+@end example
- @}
-
-@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
-@example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
+@end lilypond
+@end quotation
+@separate
- cis'4 b8 cis a4 |
-
-@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
-the second one without.
-@example
+@c Tim wants to move this quotes example just before the: quotes-don't-work
+@c score, but we'd need to remove quotes from the other two (key and
+@c tie) examples...
- a8-. b-. cis-. d-. e-. fis-.
-
-@end example
-You can enter articulation signs either in a verbose form using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the character for the articulation to use, e.g. `@code{-.}' for
-staccato as shown above.
-@example
+@c better to have this just before the `octaves are bad' snipped
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a ``low quote'' @code{,}
+(a comma). The central C is @code{c'}:
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename `@code{r}'. You can also enter
-an invisible rest by using the special notename `@code{s}'.
-@example
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
- d2.-\fermata
-
-@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command `@code{\fermata}' is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an @emph{identifier}.
-@example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
- @}
-
-@end example
-
-Here the music ends.
-@example
+A tie is created by entering a tilde ``@code{~}'' between the notes to
+be tied. A tie between two notes means that the second note must not be
+played separately, but just makes the first note sound longer:
- \paper @{
- linewidth = 14.0\cm;
- @}
-
-@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 6 inches).
-@example
+@quotation
+@lilypond[fragment,verbatim]
+g'4 ~ g' a'2 ~ a'4
+@end lilypond
+@end quotation
+@separate
- @}
-
-@end example
-The last brace ends the @code{\score} block.
+The key signature is set with the command ``@code{\key}'':
+@quotation
+@example
+\key d \major
+g'1
+\key c \minor
+g'
+@end example
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Therefore Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
-
-@node Lyrics and chords, , , Tutorial
-@section Lyrics and chords
+@lilypond[fragment]
+\property Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
-In this section we show how to typeset a song of unknown
-origin.@footnote{The author would welcome information about the origin
-of this song.}.
-@example
-\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8;
- \key c \minor;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-@}
+@c bit on the long/complex/scary taste
+@c cheating a bit: two lines makes for a friendlier look
+This example shows notes, ties, octave marks, and rests in action.
+Don't worry about all the quotes.
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
+@quotation
+@example
+\score @{
+ \notes @{
+ \time 4/4
+ \clef violin
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ @}
+ \paper @{ @}
@}
+@end example
-accompaniment =\chords @{
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min @}
+@lilypond
+\score {
+ \notes {
+ \time 4/4
+ \clef violin
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ }
+ \paper { linewidth = 50*\staffspace }
+}
+@end lilypond
+@end quotation
-\score @{
- \simultaneous @{
-% \accompaniment
- \context ChordNames \accompaniment
+@c accidentals...
+There are some interesting points to note in this example. Firstly,
+accidentals (sharps and flats) don't have to be marked explicitly: you
+just enter the note name, and LilyPond determines whether or not to
+print an accidental. Secondly, bar lines and beams are drawn
+automatically. Thirdly, LilyPond calculates line breaks for you; it
+doesn't matter where you make new lines in the source file.
- \addlyrics
- \context Staff = mel @{
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
-@}
-@end example
+The example also indicates that a piece of music written in a high
+register needs lots of quotes. This makes the input less readable,
+and is therefore also a potential source of errors.
+@separate
-The result would look this@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
+The solution is to use ``relative octave'' mode. In practice, most
+music is entered using this mode.
-@center @strong{The river is flowing}
-@center Traditional
+To use relative mode, add @code{\relative} before the piece of music.
+You must also give a note from which relative starts, in this case
+@code{c''}.
-@lilypond[center]
-\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8;
- \key c \minor;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-}
+@c In relative octave mode, quotes are used to mark large jumps in the
+@c melody. Without any quotes or commas, the interval between a note and
+@c its predecessor is assumed to be a fourth or less. Quotes and commas
+@c add octaves in up and down direction.
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
+If you type no octaviation quotes, relative mode chooses the note that
+is closest to the previous one, which is often just the one you need.
+@c don't use commas or quotes in this sentence
+For example: @code{c f} goes up; @code{c g} goes down:
-accompaniment =\chords {
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
+@quotation
+@example
+\relative c'' @{
+ c f c g c
+@}
+@end example
-\score {
- \simultaneous {
-% \accompaniment
- \context ChordNames \accompaniment
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
+}
+@end lilypond
+@end quotation
+@separate
+
+@c needed better, maybe even redundant explanation
+@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
+@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
+You can make a large interval by adding octaviation quotes. Note that
+quotes or commas do not determine the absolute height of a note;
+the height of a note is relative to the previous one.
+@c don't use commas or quotes in this sentence
+For example: @code{c f,} goes down; @code{f, f} are both the same;
+@code{c c'} are the same; and @code{c g'} goes up:
+
+@quotation
+@example
+\relative c'' @{
+ c f, f c' c g' c,
+@}
+@end example
- \addlyrics
- \context Staff = mel {
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- }
- \context Lyrics \text
- }
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
}
@end lilypond
+@end quotation
+@separate
-Again, we will dissect the file line by line.
-@example
+A slur is drawn across many notes, and indicates bound articulation
+(legato). The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
- \header @{
-
-@end example
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is included in the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@example
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+d4( )c16( cis d e c cis d )e( )d4
+@end lilypond
+@end quotation
+@separate
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign `@code{=}'. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
-@example
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
- \include "paper16.ly"
-
-@end example
-Smaller size for inclusion in a book.
-@example
+@c lousy example
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@end lilypond
+@end quotation
+@separate
+
+Beams are drawn automatically, but if you don't like the choices, you
+can enter beams by hand. Surround the notes to be grouped with @code{[}
+and @code{]}:
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+[a8 ais] [d es r d]
+@end lilypond
+@end quotation
+@separate
+
+To print more than one staff, each piece of music that makes up a staff
+is marked by adding @code{\context Staff} before it. These
+@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
+demonstrated here:
+
+@quotation
+@lilypond[fragment,verbatim]
+<
+ \context Staff = staffA { \clef violin c'' }
+ \context Staff = staffB { \clef bass c }
+>
+@end lilypond
+@end quotation
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one, a
-@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
+In this example, @code{staffA} and @code{staffB} are names that are
+given to the staves. For now, it doesn't matter what names you give, as
+long as each staff has a unique name.
-@example
- \partial 8;
-@end example
+@separate
-The piece starts with an anacrusis of one eighth.
+We can typeset a melody with two staves now:
+
+@quotation
+@lilypond[verbatim]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef violin
+ \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
+@end lilypond
+@end quotation
+
+Notice that the time signature is specified in one melody staff only
+(the top staff), but is printed on both. LilyPond knows that the time
+signature should be the same for all staves.
+
+@separate
+
+Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+@quotation
+@lilypond[verbatim,relative 1]
+c-. c-- c->
+@end lilypond
+@end quotation
+@separate
+
+Dynamic signs are made by adding the markings to the note:
+@quotation
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
+@end quotation
+@separate
+
+Crescendi are started with the commands @code{\<} and @code{\>}. The
+command @code{\!} finishes a crescendo on the following note.
+@quotation
+@lilypond[verbatim,relative 1]
+c2\< \!c2-\ff \>c2 \!c2
+@end lilypond
+@end quotation
+@separate
+
+Chords can be made by surrounding notes with @code{<} and @code{>}:
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 <c e g> <c f a>
+@end lilypond
+@end quotation
+@separate
+
+@ignore
+@c te diepzinnig?
+@c hmm, te losjes, iig
+In general, @code{ < @var{stuff} > } is used when @var{stuff} all
+happens at the same time, like in chords, or (like in the two-staff
+example above) in a bunch of stacked staves.
+@end ignore
+
+Of course, you can combine beams and ties with chords. Notice that
+beam and tie markings must be placed outside the chord markers:
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+@end lilypond
+@end quotation
+
+When you want to combine chords with slurs and dynamics, technical
+detail crops up: you have type these commands next to the notes, which
+means that they have to be inside the @code{< >}:
+
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@end lilypond
+@end quotation
+@separate
+
+There is one golden rule that you should keep in mind when writing
+LilyPond input:
+@quotation
+@strong{DO NOT START A PIECE WITH A CHORD}
+@end quotation
+Of course, it is a allowed, but the result might not be what you expect:
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes <c'2 e'2> }
+@end lilypond
+@end quotation
+@separate
+
+Of course, it is possible to typeset pieces that start with a chord,
+but you must make explicit that the notes of chord are to be put on
+the same staff, in the same voice. This is done by specifying
+@code{\context Staff} for the notes:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes \context Voice <c'2 e'2> }
+@end lilypond
+@end quotation
+@separate
+
+
+
+
+@ignore
+[TODO add some more here
+
+* lyrics, chords (?)
+
+* \header
+
+* identifiers?
+
+]
+@end ignore
+
+This is the end of the simple tutorial. You know the basic ingredients
+of a music file, so this is the right moment to try your at hand at
+doing it yourself: try to type some simple examples, and experiment a
+little.
+
+When you're comfortable with the basics, then you might want to read the
+rest of this chapter. It also a manual in tutorial-style, but it is much
+more in-depth. It will also be very intimidating if you're not familiar
+with the basics. It deals with some of the more advanced features of
+LilyPond. Topics include lyrics, chords, orchestral scores and parts,
+fine tuning output, polyphonic music, and integrating text and music.
+
+
+@c refer to this section
+@node Cheat sheet
+@section Cheat sheet
+
+
+@c need texinfo-4.0a or later for this
+
+
+@c both Tim and my father came independently with a request for a
+@c `legend' like this.
+
+@c what should be in it?
+
+
+
+@quotation
+@multitable @columnfractions .20 .20 .40
+
+
+@item @code{1 2 8 16}
+@tab durations
+@tab
+@lilypond[fragment, relative 1]
+c1 c2 c8 c16
+@end lilypond
+
+@item @code{. ..}
+@tab augmentation dots
+@tab
+@lilypond[fragment, relative 1]
+c4. c4..
+@end lilypond
+
+@item @code{c d e f g a b }
+@tab scale
+@tab
+@lilypond[fragment, relative 1]
+c d e f g a b
+@end lilypond
+
+@item @code{es is}
+@tab flat/sharp
+@tab
+@lilypond[fragment, relative 2]
+bes4 cis4
+@end lilypond
+
+@item @code{-. -^ ->}
+@tab articulations (1)
+@tab
+@lilypond[fragment, relative 2]
+c-. c-^ c->
+@end lilypond
+
+
+@item @code{-\trill -\fermata}
+@tab articulations (2)
+@tab
+@lilypond[fragment, relative 2]
+c-\trill c-\fermata
+@end lilypond
+
+
+@item @code{\time 3/4 \time 6/8 \time 4/4 }
+@tab time signature
+@tab
+@lilypond[fragment]
+\property Staff.Clef \set #'transparent = ##t
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+
+
+@item @code{\clef treble \clef bass }
+@tab clefs
+@tab
+@lilypond[fragment]
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef treble
+s4_" "
+\clef bass
+s4_" "
+@end lilypond
+
+
+@item @code{\sfz \mf }
+@tab dynamics
+@tab
+@lilypond[fragment,relative 1]
+c\sfz c\mf
+@end lilypond
+
+@item @code{[ ]}
+@tab beam
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+[a8 b]
+@end lilypond
+
+@item @code{~}
+@tab tie
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+d ~ d
+@end lilypond
+
+@item @code{( )}
+@tab slur
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c( d )e
+@end lilypond
+@item @code{'}
+@tab raise octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a a'
+@end lilypond
+
+@item @code{,}
+@tab lower octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c c,
+@end lilypond
+
+@item @code{< >}
+@tab chord
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+\context Voice { <a c> }
+@end lilypond
+
+@item @code{\< \!}
+@tab crescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a\< a \!a
+@end lilypond
+
+@item @code{\> \!}
+@tab decrescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a\> a \!a
+@end lilypond
+
+@end multitable
+@end quotation
+
+
+
+@node Running LilyPond
+@section Running LilyPond
+
+In the last section, we explained what kind of things you could enter
+in a lilypond file. In this section we explain how to run LilyPond,
+and how view or print the output. If you have not used LilyPond
+before, want to test your setup of LilyPond, or try to run an example
+file yourself, then read this section. The instructions that follow
+are for running LilyPond on Unix-like systems. Some additional
+instructions for running LilyPond on Windows are given at the end of
+this section.
+
+You begin with opening a terminal window, and start up a text editor.
+For example, open an xterm and execute @code{joe}. In your text editor,
+enter the following input, and save the file as @file{test.ly}:
+
+@quotation
@example
- \key c \minor;
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
@end example
-The key is C minor: we have three flats.
+@end quotation
+
+@cindex ly2dvi
+
+@c now this is weird, running ly2dvi to run LilyPond
+@c (therefore name change proposal)
+
+LilyPond is the program that computes the sheet music. All other
+things, such as adding titles, page breaking and other page layout,
+are done by a small wrapper program called
+@code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
+then adds the titling and page layout instructions. To process
+@file{test.ly} with ly2dvi, proceed as follows:
+
+@quotation
+@example
+ly2dvi -P test.ly
+@end example
+@end quotation
+
+You will see the following on your screen:
+
+@quotation
+@example
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
+@end example
+@end quotation
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
+You can view the PS file using the program ghostview. If a version of
+ghostview is installed on your system, one of these commands will
+produce a window with some music notation on your screen:
+@c eeek
+@quotation
+@example
+ gv test.ps
+ ghostview test.ps
+ ggv test.ps
+ kghostview test.ps
+@end example
+@end quotation
+If you are satisfied with the looks of the music displayed on your
+screen, you can print the PS file by clicking File/Print inside
+ghostview.
+
+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. Execute @code{xdvi test.dvi}
+to view the DVI file.
+
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
+
+@c volgende alinea schrappen?
+
+If you can't get the examples to print, then you should look into
+installing and configuring ghostscript. Refer to GhostScript's website
+at @uref{http://www.ghostscript.com}.
+
+@cindex GhostScript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+
+@unnumberedsubsec Windows users
+Windows users start the terminal by clicking on the LilyPond or Cygwin
+icon. Notepad is sufficient for editing the LilyPond file. Viewing
+the PS file can be done with:
+@quotation
+@example
+@code{gsview32 test.ps}
+@end example
+@end quotation
+You can also print from the command line by executing:
+@quotation
+@example
+@code{gsview32 /s test.ps}
+@end example
+@end quotation
+
+
+@node The first real tune
+@section The first real tune
+
+
+The rest of this tutorial will demonstrate how to use Lilypond by
+presenting examples of input along with resulting output. We will use
+English terms for notation. In case you are not familiar with those,
+you may consult the glossary that is distributed with LilyPond.
+
+The examples discussed are included in the distribution, in the
+subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
+they are relative to the top directory of the source package. }
+
+To demonstrate what LilyPond input looks like, we start off with a
+full-fledged, yet simple example. It is a convoluted version
+of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
+is included in the distribution as @file{minuet.ly}.
+@cindex Bach, Johann Sebastian
+
+@lilypond[verbatim]
+% all text after a percent sign is a comment
+% and is ignored by LilyPond
+\include "paper16.ly"
+\score {
+ \notes
+ \relative c'' \sequential {
+ \time 3/4
+ \key g \major
+
+ \repeat "volta" 2 {
+ d4 g,8 a b c d4 g, g |
+ e'4 c8 d e fis g4 g, g |
+ c4 d8( )c b a( )b4 c8 b a g |
+ a4 [b8 a] [g fis] g2. |
+ }
+
+ b'4 g8 a b g
+ a4 d,8 e fis d |
+ g4 e8 fis g d cis4 b8 cis a4 |
+ a8-. b-. cis-. d-. e-. fis-.
+ g4 fis e |
+ fis a, r8 cis8
+ d2.-\fermata
+ \bar "|."
+ }
+ \paper {
+ % standard settings are too big and wide for a book
+ indent = 1.0 \cm
+ linewidth = 15.0 \cm
+ }
+}
+@end lilypond
+We will analyse the input, line by line.
+@separate
+@example
+ % all text after a percent sign is a comment
+ % and is ignored by LilyPond
+@end example
+Percent signs introduce comments: everything after a percent sign is
+ignored. You can use this If you want to write down mental notes to
+yourself in a file, then you can enter preceded with a @code{%} sign.
+These lines are called comments. If you have long winded mental notes,
+you can make comments that span several lines by enclosing text in
+@code{%@{} and @code{%@}}.
+@cindex comment
+@cindex block comment
+@cindex line comment
+@separate
@example
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \include "paper16.ly"
-@end example
+@end example
+@cindex @code{\include}
+@cindex point, printer's
+@cindex staff size, setting
+@cindex font size, setting
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
+(16 point staff height), so we must import the settings for that size,
+which is done here.
+@separate
@example
- @}
+ \score @{
@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.
+Music is printed by combining a piece of music with directions for
+outputting it. This combination is formed in the @code{\score} block.
+@separate
@example
- text = \lyrics @{
+ \notes
@end example
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}.
+Prepare LilyPond for accepting notes.
+@cindex octaves, choosing
+@cindex pitch
+@separate
@example
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
-@}
+ \relative c''
-@end example
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering `@code{__}', and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
+@end example
+@cindex relative
+@c removed duplicate introduction to octave marks /MB
+@c Shorten even more?
+
+@c As we will see, each note is described by its note name, duration,
+@c octave and possibly a chromatic alteration. In this setup, the octave
+@c is indicated by using high quotes (@code{'}) and ``lowered quotes''
+@c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
+@c octave higher is @code{c''}. One and two octaves below the central C is
+@c denoted by @code{c} and @code{c,} respectively.
+
+Even though a piece of music often spans a range of several octaves,
+often melodies move in small intervals. Such melodies can be entered
+easily using @code{\relative}. In this ``relative octave mode'',
+octaves of notes without quotes are chosen such that a note is as
+close as possible (graphically, on the staff) to the preceding note.
+If you add a high-quote an extra octave is added. A lowered quote (a
+comma) will subtract an extra octave.
+
+Absolute starting pitch for this relative mode is given as the
+argument to @code{\relative}. In this case it is the @code{c''}, one
+octave above central C.
+
+@separate
@example
- accompaniment =\chords @{
+ \sequential @{
@end example
-We'll put chords over the music. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
+What follows is sequential music, i.e.,
+@cindex sequential music
+notes that are to be played and printed after each other.
+@separate
@example
- r8
+ \time 3/4
-@end example
-There is no accompaniment during the anacrusis.
+@end example
+@cindex time signature, setting
+@cindex @code{\time}
+The @code{\time} command sets (or changes) the time signature of the
+current piece: a 3/4 sign is printed. This setting is also used to
+generate bar lines at the right spots.
+@separate
@example
- c2:3- f:3-.7
+ \key g \major
-@end example
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.
+@end example
+@cindex key signature, setting
+@cindex @code{\key}
+Set (or change) the current key signature to G-major. Although in this
+example, the @code{\key} command happened to be entered after the
+@code{\time} command, in the output the time signature will be printed
+after the key signature; LilyPond knows about music typesetting
+conventions.
+@separate
@example
- d:min es4 c8:min r8
+ \repeat "volta" 2
@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
+The following piece of music is played twice. The first argument
+indicates the type of repeat. In this case, @code{"volta"} means that
+prima volta/secunda volta brackets are used for the alternative
+endings---if there were any.
+
+A special notation for repeats allows you to get correct repeats in
+MIDI output. However, some extra trickery is needed to get this
+working, See @ref{Repeats and MIDI}.
+@separate
@example
- c2:min f:min7 g:7^3.5 c:min @}
+ @{
@end example
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh. The brace ends the sequential music.
+The subject of the repeat is again sequential music. Since
+@code{\sequential} is such a common construct, a shorthand is provided:
+just leave off @code{\sequential}, and the result is the same.
+@separate
@example
- \score @{
- \simultaneous @{
+ d4 g,8
@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.
+Two notes. The first note is a quarter note with relative pitch
+@code{d}. The relative music was started with a @code{c''}, so the real
+pitch of this note is @code{d''}. The duration of a note is designated
+by a number; the @code{4} here represents a quarter note.
+
+The second note is an eight note with relative pitch @code{g,}. The
+pitch is taken relative to the previous @code{d''}, making this
+note have real pitch @code{g'}. The @code{8} represents an eight note.
+@separate
@example
- %\accompaniment
+ a b
@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff.
+Two more notes, with pitch @code{a} and @code{b}. Because their
+duration is the same as the @code{g,8}, there is no need to enter the
+duration, but you may enter it anyway, i.e., @code{a8 b8}
+@separate
@example
- \context ChordNames \accompaniment
+ d4 g, g |
+@end example
+@cindex bar check
+@cindex @code{|}
+@cindex errors, finding
+Three more notes. The @code{|} character is a ``bar check''. LilyPond
+will verify that bar checks are found at the start of a measure. This can
+help you track down typing errors.
+
+@cindex alteration, chromatic
+@cindex chromatic alteration
+@separate
+@example
+
+ c8 d e fis
+
@end example
-Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation contexts'.
+So far, no notes were chromatically altered. Here is the first one
+that is: @code{fis}. LilyPond uses Dutch note names, and ``Fis'' is
+the name for ``F sharp''. There is no sharp sign in the output. The
+program keeps track of key signatures, and will only print accidentals
+if they are needed. If you can not get used to Dutch names, then
+there also are names available in several other languages.
-By default, LilyPond will create a Staff context for you. If you
-removed the @code{%} sign in the previous line, you would see that
-mechanism in action.
-We don't want default contexts here, because we want chord names, not
-note heads. An interpretation context can also created upon explicit
-request. The keyword for such a request is @code{\context}. It takes
-two arguments. The first is the name of an interpretation context.
-The name is a string, it can be quoted with double quotes). The
-second argument is the music that should be interpreted in this
-context. For the previous line, we could have written @code{\context
-Staff \accompaniment}, and get the same effect.
+For groups of eighth notes and shorter, LilyPond can determine how the
+notes should form a beam. In this case, the 4 eights are automatically
+printed as a beam.
+@separate
@example
- \addlyrics
+ c4 d8( )c b a( )b4 c8 b a g |
@end example
-The lyrics need to be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)
+The beginning and ending notes of a slur are marked with parentheses,
+@code{(} and @code{)} for start and end respectively. The line above
+indicates two slurs. These slur markers (parentheses) are entered
+between the slurred notes.
+@separate
@example
- \context Staff = mel @{
+ a4 [b8 a] [g fis]
@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove the comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.
+Automatic beaming can be overridden by inserting beam marks, @code{[}
+and @code{]}. These beam markers (brackets) are put around the notes
+you want beamed.
+@separate
@example
- \property Staff.noAutoBeaming = ##t
+ g2. |
-@end example
-An interpretation context has variables that tune its behaviour. One
-of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
-true) LilyPond will not try to put automatic beaming on the current
-staff.
+@end example
+@cindex augmentation dot
+@cindex dotted note
+A period adds a dot to the note.
+@separate
@example
- \property Staff.automaticMelismata = ##t
+ @}
@end example
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up the Staff context to signal slurs while
-@code{\addlyrics} is processed.
+The end of the sequential music to be repeated. LilyPond will typeset a
+repeat bar.
+@separate
@example
- \melody
- @}
+ cis'4 b8 cis a4 |
@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
+Accidentals are printed whenever necessary: the first C sharp of the bar
+will be printed with an accidental, the second one without.
+@separate
@example
- \context Lyrics \text
+ a8-. b-. cis-. d-. e-. fis-.
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.
+@end example
+@cindex articulation
+Staccato signs are entered as a dash and a period. Some other
+articulations may also be entered in this short form.
+@separate
@example
- @}
+ fis a, r8 cis8
@end example
-This ends @code{\simultaneous}.
+
+Rests are denoted by the special note name @code{r}.
+@separate
@example
- \midi @{ \tempo 4=72;@}
+ d2.-\fermata
@end example
-This makes the music go to a MIDI file. MIDI is great for
-checking music you enter. You listen to the MIDI file: if you hear
-something unexpected, it's probably a typing error. @code{\midi} is an
-`output definition', a declaration that specifies how to output music
-analogous to @code{\paper @{ @}}. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set
-to 72 beats per minute.
+All articulations have a verbose form, like @code{\fermata}. The
+command @code{\fermata} is not part of the core of the language, but it
+is a shorthand for a more complicated description of a fermata symbol.
+@code{\fermata} names that description and is therefore called an
+identifier.
+@cindex identifier
+@cindex @code{\fermata}
+@separate
+@example
+ \bar "|."
+ @}
+@end example
+Here the music ends. LilyPond does not automatically typeset an end
+bar, we must explicitly request one, using @code{"|."}.
+
+@separate
@example
- \paper @{ linewidth = 10.0\cm; @}
+ \paper @{
+ % standard settings are too big and wide for a book
+ indent = 1.0\cm
+ linewidth = 15.0\cm
+ @}
@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines.
+The @code{\paper} block specifies how entered music should be converted
+to notation output. Most of the details of the conversion (font sizes,
+dimensions, etc.) have been taken care of, but to fit the output in this
+document, it has to be narrower. We do this by setting the line width
+to 14 centimeters (approximately 5.5 inches).
+@separate
@example
@}
@end example
-End the score block.
+The last brace ends the @code{\score} block.
-@node Piano music, , , Tutorial
-@section Piano music
-Our third subject is a piece of piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740.
-@lilypond[verbatim]
-\version "1.3.60";
-\include "paper16.ly";
+@node Lyrics and chords
+@section Lyrics and chords
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
-}
+In this section we show how to typeset a song. This file is
+included as @file{flowing.ly}.
+
+@example
+\header @{
+ title = "The river is flowing"
+ composer = "Traditional"
+@}
+\include "paper16.ly"
+melody = \notes \relative c' @{
+ \partial 8
+ \key c \minor
+ g8 |
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|."
+@}
+
+text = \lyrics @{
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri -- ver is flo -- wing down to the sea.
+@}
+
+accompaniment =\chords @{
+ r8
+ c2:3- f:3-.7 d:min es4 c8:min r8
+ c2:min f:min7 g:7^3.5 c:min @}
+
+\score @{
+ \simultaneous @{
+ %\accompaniment
+ \context ChordNames \accompaniment
+
+ \addlyrics
+ \context Staff = mel @{
+ \property Staff.autoBeaming = ##f
+ \property Staff.automaticMelismata = ##t
+ \melody
+ @}
+ \context Lyrics \text
+ @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
+@}
+@end example
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemDown
- \grace {
- \property Grace.Stem \push #'direction = #-1
- [f,16 g] }
- f8 e e2
- } >
- \stemBoth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
-hoomPah = \notes \transpose c' {
- c8 \translator Staff = top \stemDown
- c'8 \translator Staff = bottom \stemUp }
+The result would look this.@footnote{The titling and font size shown
+may differ, since the titling in this document is not generated by
+@code{ly2dvi}.}
+
+@center @strong{The river is flowing}
+@center Traditional
-hoomPahHoomPah = { [\hoomPah \hoomPah] }
+@lilypond[center]
+\header {
+ title = "The river is flowing"
+ composer = "Traditional"
+}
+\include "paper16.ly"
+melody = \notes \relative c' {
+ \partial 8
+ \key c \minor
+ g8 |
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|."
+}
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \repeat unfold 4 {\hoomPahHoomPah}
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
+text = \lyrics {
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri -- ver is flo -- wing down to the sea.
}
+accompaniment =\chords {
+ r8
+ c2:3- f:3-.7 d:min es4 c8:min r8
+ c2:min f:min7 g:7^3.5 c:min }
+
\score {
- \context PianoStaff \notes <
- \context Staff = top < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = bottom < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
+ \simultaneous {
+ %\accompaniment
+ \context ChordNames \accompaniment
+
+ \addlyrics
+ \context Staff = mel {
+ \property Staff.autoBeaming = ##f
+ \property Staff.automaticMelismata = ##t
+ \melody
+ }
+ \context Lyrics \text
+ }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
@end lilypond
-If it looks like incomprehensible gibberish to you@dots{} Then you are
-right. The author has doctored this example to have as many quirks in
-one system as possible.
-@example
-\version "1.3.61";
-@end example
-Lilypond and the Lilypond language is still under development, therefore
-it is useful to indicate the Lilypond version of the file. Lilypond
-will check the version number and warn you when the syntax has
-changed. Also, the @code{convert-ly} program will be able to
-update most of the syntax changes automatically.
-@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example, you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one Voice context.
+Again, we will dissect the file line by line.
+@separate
@example
-<c4-\f g' c>
-@end example
-@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
-@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
-chord. @code{\f} places a forte symbol under the chord.
-[FIXME]
+ \header @{
+
+@end example
+@cindex @code{\header}
+Information about the music you are about to typeset goes into a
+@code{\header} block. The information in this block is not used by
+LilyPond, but it is passed into the output. @file{ly2dvi} uses this
+information to print titles above the music.
+@separate
@example
- \property Voice.verticalDirection = \down
-@end example
-@code{verticalDirection} is a property of the voice context. It
-controls the directions of stems, articulations marks and other
-symbols.
-If @code{verticalDirection} is set to @code{\down}
-(identifier for the integer -1) the stems go down,
-@code{\up} (identifier for the integer 1) makes the stems go up.
+ title = "The river is flowing"
+ composer = "Traditional (?)"
+@end example
+@cindex assignments
+@cindex identifier assignment
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value.
+@separate
@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
+ \include "paper16.ly"
+
+@end example
+Smaller size for inclusion in a book.
+@separate
@example
-s1 s2. r4
-@end example
-@code{s} is a `spacer' rest. It does not print anything, but it does
-have the duration of a rest.
-@example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.
-@example
-\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemUp} is an identifier reference. It is shorthand for
-@code{\property Voice.verticalDirection = \up}. If possible, you
-should use predefined identifiers like these for setting properties.
-Your input will be less dependent upon the implementation of LilyPond.
-@example
-\grace <e8( g> < )d4 f> <c2 e>
-@end example
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@example
-\times 2/3
+
+ melody = \notes \relative c' @{
+
@end example
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the
-second argument is multiplied by the first argument. Triplets make
-notes occupy 2/3 of their notated duration, so in this case the
-fraction is 2/3.
+The structure of the file will be the same as the previous one, a
+@code{\score} block with music in it. To keep things readable, we will
+give names to the different parts of music, and use the names to
+construct the music within the score block.
+
+@separate
@example
-@{ <d8 \< f> <e g> <f a> @}
+ \partial 8
@end example
-The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord (the @code{d}), a crescendo is started
-with @code{\<}.
+
+@cindex @code{\partial}
+@cindex anacrusis
+The piece starts with an anacrusis of one eighth.
+@separate
+@example
+ \key c \minor
+@end example
+The key is C minor: we have three flats.
+
+@separate
@example
-<
+
+ c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
+ c4 c8 d [es () d] c4 | d4 es8 d c4.
+ \bar "|."
+
@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems:
+
+@cindex manual beaming
+@cindex automatic beaming, turning off
+We use explicit beaming. Since this is a song, we turn automatic
+beams off, and use explicit beaming where needed.
+@separate
@example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
+
+ @}
+
@end example
-The crescendo is ended at the half note by the escaped exclamation
-mark `@code{\!}'.
+This ends the definition of @code{melody}.
+
+@separate
@example
-\context Voice = oboeTwo @{
-\stemDown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice.
+
+ text = \lyrics @{
+
+@end example
+@cindex lyrics
+@cindex identifier assignment
+@cindex syllables, entering
+Another identifier assignment. This one is for the lyrics.
+Lyrics are formed by syllables that have duration, and not by
+notes. To make LilyPond parse words as syllables, switch it into
+lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
+is a shorthand for @code{\sequential @{}.
+@separate
@example
-\grace @{
-@end example
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here we fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri- ver is flo- __ wing down to the sea.
+@}
+
+@end example
+@cindex extenders, lyric
+@cindex hyphens, lyric
+The syllables themselves are separated by spaces. You can get syllable
+extenders by entering @code{__}, and centered hyphens with
+@code{-}@code{-}. We don't enter durations for the syllables. They
+are aligned with the melody later.
+@separate
@example
-\property Grace.verticalDirection = \down
-[f,16 g] @}
- [FIXME]
-@end example
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
+ accompaniment =\chords @{
+
+@end example
+@cindex chords
+@cindex mode, chords
+We'll put chords over the music. To enter them, there is a special mode
+analogous to @code{\lyrics} and @code{\notes} mode, where you can give
+the names of the chords you want, instead of listing the notes
+comprising the chord.
+@separate
@example
- f8 e e2
-@} >
+ r8
+
@end example
-This ends the two-part section.
+There is no accompaniment during the anacrusis.
+@separate
@example
-\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@code{\stemBoth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use identifiers:
+ c2:3-
+
+@end example
+
+@cindex tonic
+@cindex chord modifier
+@cindex modifier, chord
+This is a c minor chord, lasting half a note. Chord are entered by
+entering the tonic. Then notes can be changed. In this case, a small third
+is used. The cod for this is @code{3-}.
+
+@separate
+@example
+f:3-.7
+@end example
+Similarly, @code{7} modifies (adds) a seventh, which is small by
+default to create the @code{f a c es} chord. Multiple modifiers must be
+separated by dots.
+@separate
@example
-hoomPah = \notes \transpose c' @{
-@end example
-Transposing can be done with @code{\transpose}. It takes two
-arguments; the first specifies what central C should be transposed to.
-The second is the to-be-transposed music. As you can see, in this
-case, the transposition is a no-op. Central C is transposed to
-central C.
-The purpose of this no-op is circumventing relative mode. Relative
-mode can not be used in conjunction with transposition, so relative
-mode will leave the contents of @code{\hoomPah} alone. We can use it
-without having to worry about getting the motive in a wrong
-octave@footnote{@code{hoomPah = \relative @dots{}} would be more
-intuitive to use, but that would not let me plug @code{\transpose}
-:-).}.
+ d:min es4 c8:min r8
+
+@end example
+Some modifiers have predefined names, e.g. @code{min} is the same as
+@code{3-}, so @code{d-min} is a minor @code{d} chord.
+@separate
@example
-c8 \translator Staff = top \stemDown
-@end example
-We assume that the first note will be put in the lower staff. After
-that note we switch to the upper staff with @code{\translator}. To be
-precise, this @code{\translator} entry switches the current voice to a
-@code{Staff} named @code{top}. So we have to name the upper staff
-`@code{top}'. Stem directions are set to avoid interfering with the
-oboe voices.
+
+ c2:min f:min7 g:7^3.5 c:min @}
+
+@end example
+@cindex named modifier
+
+A named modifier @code{min} and a normal modifier @code{7} do not have
+to be separated by a dot. Tones from a chord are removed with chord
+subtractions. Subtractions are started with a caret, and they are
+also separated by dots. In this example, @code{g:7^3.5} produces a
+minor seventh. The brace ends the sequential music.
+@separate
@example
-c'8 \translator Staff = bottom \stemUp @}
+
+ \score @{
+ \simultaneous @{
+
@end example
-Then a note is put on the upper staff, and we switch again. We have
-to name the lower staff `@code{bottom}'.
+We assemble the music in the @code{\score} block. Melody, lyrics and
+accompaniment have to sound at the same time, so they should be
+@code{\simultaneous}.
+@cindex @code{\simultaneous}
+@separate
@example
-hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
-@end example
-Put two of these fragments in sequence, and beam them.@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\repeat unfold 4 @{\hoomPahHoomPah @}
+
+ %\accompaniment
+
@end example
-Entering the bass part is easy: the hoomPahHoomPah variable is
-repeated four times; @code{unfold} means that all four repetitions
-should be written out.
+Chord mode generates notes grouped in @code{\simultaneous} music. If
+you remove the comment sign, you can see the chords in normal
+notation: they will be printed as note heads on a separate
+staff. To print them as chords names, they have to be interpreted as
+being chords, not notes. This is done with the following command:
+@separate
@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+
+ \context ChordNames \accompaniment
+
+@end example
+@cindex context
+@cindex interpretation context
+@cindex notation context
+
+
+Normally, the notes that you enter are transformed into note heads.
+Note heads alone make no sense, they need surrounding information: a key
+signature, a clef, staff lines, etc. They need @emph{context}. In
+LilyPond, these symbols are created by objects called `interpretation
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist during a run of LilyPond.
+
+When LilyPond interprets music, it will create a Staff context. If
+the @code{%} sign in the previous line were removed, you could see
+that mechanism in action.
+
+We don't want that default here, because we want chord names. The
+command above explicitly creates an interpretation context of
+@code{ChordNames} type to interpret the music @code{\accompaniment}.
+@separate
+@example
+
+ \addlyrics
+
+@end example
+@cindex @code{\addlyrics}
+@cindex lyrics and melody, combining
+@cindex combining lyrics and melody
+
+The lyrics should be aligned with the melody. This is done by
+combining both with @code{\addlyrics}. @code{\addlyrics} takes two
+pieces of music (usually a melody and lyrics, in that order) and
+aligns the syllables of the second piece under the notes of the
+first piece.
+@separate
+@example
+
+ \context Staff = mel @{
+
+@end example
+
+We place the melody on a staff called @code{mel}. We give it a name to
+differentiate it from the one that would contain note heads for the
+chords, if you would remove the comment before the ``note heads''
+version of the accompaniment. By giving this staff a name, it is
+forced to be different.
+@separate
+@example
+
+ \property Staff.autoBeaming = ##f
+
+@end example
+@cindex \property
+@cindex context variables
+@cindex setting context variables
+An interpretation context has variables, called properties, that tune
+its behavior. One of the variables is @code{autoBeaming}. Setting
+this @code{Staff}'s property to @code{##f}, which is the boolean value
+@var{false}, turns the automatic beaming mechanism off for the current
+staff.
+
+@ignore
+@cindex GUILE
+@cindex Scheme
+@cindex accessing Scheme
+@cindex evaluating Scheme
+@cindex LISP
+
+LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
+language from the LISP family. You can learn more about Scheme at
+@uref{http://www.scheme.org}. It is used to represent data throughout
+the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
+code following the hash-sign is evaluated as Scheme. The boolean value
+@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
+@code{##t}.
+
+If Scheme scares you, don't worry. You don't need to know Scheme to
+create beautiful sheet music.
+@end ignore
+
+
+@separate
+@example
+
+ \property Staff.automaticMelismata = ##t
+
+@end example
+@cindex automaticMelismata
+@cindex melismata
+@cindex @code{\addlyrics} and slurs
+Similarly, we don't want to print a syllable when there is
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
+@separate
+@example
+
+ \melody
+ @}
+
+@end example
+Finally, we put the melody on the current staff. Note that the
+@code{\property} directives and @code{\melody} are grouped in sequential
+music, so the property settings are done before the melody is
+processed.
+@separate
+@example
+
+ \context Lyrics \text
+
+@end example
+The second argument of @code{\addlyrics} is the text. The text also
+should not land on a Staff, but on a interpretation context for
+syllables, extenders, hyphens etc. This context is called
+Lyrics.
+@separate
+@example
+
+ \midi @{ \tempo 4=72@}
+
@end example
-After skipping some lines, we see @code{~}. This mark makes ties.
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and recording digital instruments. So a MIDI file is like a
+tape recording of an instrument. The @code{\midi} block makes the
+music go to a MIDI file, so you can listen to the music you entered. It
+is great for checking the music. Whenever you hear something weird, you
+probably hear a typing error.
+
+Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
+also specifies an output method. You can specify the tempo using the
+@code{\tempo} command, in this case the tempo of quarter notes is set to
+72 beats per minute.
+@separate
+@example
+
+ \paper @{ linewidth = 10.0\cm @}
+
+@end example
+We also want notation output. The linewidth is short so the piece
+will be set in two lines.
+
+@node More movements
+@section More movements
+
+[FIXME: merge here with, or move this to: Other ways to run LilyPond]
+
+You probably ran @file{ly2dvi} on the last example, and ended up with a
+viewable @file{.dvi} file. However, between there are a few steps of
+which LilyPond is only one. To enhance your understanding of what's
+happening under the hood when you run @code{ly2dvi}, we explain what
+programs are run.
+
+@code{ly2dvi} is a program that calls a number of programs in sequence.
+The first thing it does, is running LilyPond on the input file. After
+some calculations, a @file{.tex} is produced. The contents
+of this file are very low-level instructions.
+
+For example, consider the following file (@file{miniatures.ly})
+
+@example
+\version "1.5.60"
+\header @{
+ title = "Two miniatures"
+ tagline = "small is beautiful"
+@}
+
+#(set! point-and-click line-column-location)
+
+\paper @{ linewidth = -1.0 @}
+
+\score @{
+ \notes @{ c'4 d'4 @}
+ \header @{
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
+ \header @{
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
+@end example
+
+The titling in this manual was not generated by ly2dvi, so we can't
+exactly show what it would look like, but the result should resemble this:
+
+@center @strong{Two miniatures}
+@flushright
+Opus 1.
+@end flushright
+@flushleft
+@var{Up}
+@end flushleft
+@lilypond
+ \score {
+ \notes { c'4 d'4 }
+ \paper { linewidth = -1.0 }
+ }
+@end lilypond
+@flushright
+Opus 2.
+@end flushright
+@flushleft
+@var{Down}
+@end flushleft
+@lilypond
+ \score {
+ \notes { d'4 c'4 }
+ \paper { linewidth = -1.0 }
+ }
+@end lilypond
+
+This file is produced by ly2dvi in a few stages, with the help of text
+formatting tools. LilyPond produces two output files,
+@file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
+only graphical music notation. @file{ly2dvi} looks at what output
+LilyPond produces, and adds page layout and titling to those files. The
+result is a DVI file called @file{miniatures.dvi}.
+
+Next, now we'll look at the example line by line to explain new things.
+
+@separate
+@example
+\version "1.4.0"
+@end example
+Lilypond and its language are still under development, and occasionally,
+details of the syntax are changed. This fragment indicates for which
+version the input file was written. When you compile this file, the
+version number will be checked, and you will get a warning when the file
+is too old.
+
+This version number is also used by the @code{convert-ly} program (See
+@ref{convert-ly}), which is used to update the file to the latest lily
+version.
+
+@separate
+@example
+ \header @{
+ title = "Two miniatures" @}
+@end example
+This sets the titling information for the entire file.
+@separate
+@example
+ tagline = "small is beautiful"
+@end example
+A signature line is printed at the bottom of the last page.
+ This signature is produced from the @code{tagline} field of
+@code{\header}. Many people find the default "Lily was here,
+@var{version number}" too droll. If that is the case, assign
+something else to @code{tagline}, as shown above.
+@separate
+@example
+ #(set! point-and-click line-column-location)
+@end example
+
+This piece of Scheme code sets the Scheme variable
+@code{point-and-click} to the value @var{line-column-location} (which
+itself is a Scheme procedure).
+
+Editing input files can be complicated if you're working with
+large files: if you're digitizing existing music, you have to
+synchronize the .ly file, the sheet music on your lap and the sheet
+music on the screen. The point-and-click mechanism makes it easy to
+find the origin of an error in the LY file: when you view the file with
+Xdvi and click on a note, your editor will jump to the spot where that
+note was entered. For more information, see @ref{Point and click}.
+
+@separate
+@example
+ \paper @{
+@end example
+
+The @code{\score} blocks that follow in the file don't have
+@code{\paper} sections, so the settings of this block are substituted: A
+paper block at top level, i.e. not in a @code{\score} block sets the
+default page layout.
+
+@separate
+@example
+ linewidth = -1.0 @}
+@end example
+
+
+
+The variable @code{linewidth} normally sets the length of the systems on
+the page. However, a negative value has a special meaning. If
+@code{linewidth} is less than 0, no line breaks are inserted into the
+score, and the spacing is set to natural length: a short phrase takes up
+little space, a longer phrase more space.
+
+@separate
+@example
+ \score @{
+ \notes @{ c'4 d'4 @}
+@end example
+
+In previous examples, notes were specified in relative octaves,
+i.e. each note was put in the octave that is closest to its
+predecessor. Besides relative, there is also absolute octave
+specification, which you get when you don't specify @code{\relative}. In
+this input mode, the central C is denoted by @code{c'}. Going down, you
+get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
+@code{c'''} etc.
+
+When you're copying music from existing sheet music, relative octaves
+are probably the easiest to use: it's less typing work and errors are
+easily spotted. However, if you write LilyPond input directly, either by
+hand (i.e. composing) or by computer, absolute octaves may be easier to use.
+
+
+@separate
+@example
+ \header @{
+@end example
+
+The @code{\header} is normally at the top of the file, where it sets
+values for the rest of the file. If you want to typeset different pieces
+from one file (for example, if there are multiple movements, or if
+you're making an exercise book), you can put different @code{\score}
+blocks into the input file. ly2dvi will assemble all LilyPond output
+files into a big document. The contents of \header blocks specified
+within each score, are used for the titling of each movement.
+@separate
+@example
+ opus = "Opus 1."
+ piece = "Up" @}
+@end example
+For example, the Opus number is put at the right, and the piece string
+will be at the left.
+
+
+
+@node A piano excerpt
+@section A piano excerpt
+
+Our fourth subject is a piece of piano music. The fragment in the
+input file is a piano reduction of the G major Sinfonia by Giovanni
+Battista Sammartini. It was composed around 1740. It's in the source
+package under the name @file{sammartini.ly}.
+
+@lilypondfile[verbatim]{sammartini.ly}
+
+As you can see, this example features multiple voices on one staff. To
+make room for those voices, their notes have to be stemmed in opposite
+directions.
+
+LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
+with some other commonly used formatting instructions, but to explain how
+it works, we wrote our own here. Of course, you should use predefined
+identifiers like these if possible: then you will be affected less by
+the implementation changes we occasionally make.
+
+@separate
+@example
+viola = \notes \relative c' \context Voice = viola @{
+@end example
+In this example, you can see multiple parts on a staff. Each part is
+associated with one notation context. This notation context handles
+stems and dynamics (among others). The type name of this context is
+@code{Voice}. For each part we have to make sure that there is
+precisely one @code{Voice} context, so we give it a unique name
+(`@code{viola}').
+
+@separate
+@example
+<c4-\arpeggio g' c>
+@end example
+The delimiters @code{<} and @code{>} are shorthands for
+@code{\simultaneous @{} and @code{@}}. The expression enclosed in
+@code{<} and @code{>} is a chord.
+
+@cindex arpeggio
+
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
+the chord.
+
+@separate
+@example
+ \voiceTwo
+@end example
+
+We want the viola to have stems down, and have all the other
+characteristics of a second voice. This is enforced using the
+@code{\voiceTwo} command: it inserts instructions that makes stem,
+ties, slurs, etc. go down.
+
+
+
+@separate
+@example
+ g'8. b,16
+@end example
+Relative octaves work a little differently with chords. The starting
+point for the note following a chord is the first note of the chord. So
+the @code{g} gets an octave up quote: it is a fifth above the starting
+note of the previous chord (the central C).
+
+@separate
+@example
+s1 s2. r4
+@end example
+@code{s} is a spacer rest. It does not print anything, but it does have
+the duration of a rest. It is useful for filling up voices that
+temporarily don't play. In this case, the viola doesn't come until one
+and a half measure later.
+
+@separate
+@example
+oboes = \notes \relative c'' \context Voice = oboe @{
+@end example
+Now comes a part for two oboes. They play homophonically, so we
+print the notes as one voice that makes chords. Again, we insure that
+these notes are indeed processed by precisely one context with
+@code{\context}.
+@separate
+@example
+\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
+@end example
+
+The oboes should have stems up, so they should have stems up, to keep
+them from interfering with the staff-jumping bass figure.
+
+@separate
+@example
+\grace <e8( g> < d4 )f> <c2 e>
+@end example
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+@code{\grace} introduces grace notes. It takes one argument, in this
+case a chord. A slur is introduced starting from the @code{\grace}
+ending on the following chord.
+
+@separate
+@example
+\times 2/3
+@end example
+@cindex tuplet
+@cindex triplets
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy 2/3
+of their notated duration, so in this case the fraction is 2/3.
+@separate
+@example
+@{ <d8 f> <e g> <f a> @}
+@end example
+The piece of music to be `tripletted' is sequential music containing
+three chords.
+
+@separate
+@example
+<
+@end example
+At this point, the homophonic music splits into two rhythmically
+different parts. We can't use a sequence of chords to enter this, so
+we make a `chord' of sequences to do it. We start with the upper
+voice, which continues with upward stems:
+@separate
+@example
+ @{ \times 2/3 @{ a8 g c @} c2 @}
+@end example
+
+@separate
+@example
+\\
+@end example
+The easiest way to enter multiple voices is demonstrated
+here. Separate the components of the voice (single notes or entire
+sequences) with @code{\\} in a simultaneous music expression. The
+@code{\\} separators split first voice, second voice, third voice, and
+so on.
+
+As far as relative mode is concerned, the previous note is the
+@code{c'''2} of the upper voice, so we have to go an octave down for
+the @code{f}.
+@separate
+@example
+
+ f,8 e e2
+@} >
+@end example
+This ends the two-part section.
+@separate
+@example
+\stemBoth
+\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+@end example
+@cindex trill
+@cindex stemBoth
+
+@code{\stemBoth} ends the forced stem directions. From here, stems are
+positioned as if it were single part music.
+
+The bass has a little hoom-pah melody to demonstrate parts switching
+between staves. Since it is repetitive, we use repeats:
+@separate
+@example
+hoomPah = \repeat unfold 8
+@end example
+@cindex unfolded @code{\repeat}
+The unfolded repeat prints the notes in its argument as if they were
+written out in full eight times.
+@separate
+@example
+\notes \transpose c' @{
+@end example
+@cindex transposing
+@cindex relative mode and transposing
+
+Transposing can be done with @code{\transpose}, which takes two arguments.
+The first specifies what central C should be transposed to. The second
+is the to-be-transposed music. As you can see, in this case, the
+transposition has no effect, as central C stays at central C.
+
+The purpose of this no-op is to protect it from being interpreted as
+relative notes. Relative mode can not be used together with
+transposition, so @code{\relative} will leave the contents of
+@code{\hoomPah} alone. We can use it without having to worry about
+getting the motive in a wrong octave.
+@separate
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\translator}
+
+@example
+ \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
+the lower one. If you set stem directions explicitly (using the
+identifiers @code{\stemUp} and @code{\stemDown}.
+
+@separate
+@example
+bassvoices = \notes \relative c' @{
+c4 g8. b,16
+\autochange Staff \hoomPah \context Voice
+@end example
+
+@separate
+@example
+ \translator Staff = down
+@end example
+@cindex staff switch
+@cindex cross staff voice
+We want the remaining part of this melody on the lower staff, so we do a
+manual staff switch here.
+
+
+@separate
+@example
+\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+@end example
+@cindex tie
+@cindex @code{~}
+After skipping some lines, we see @code{~}. This mark makes ties. Note
+that ties and slurs are different things. A tie can only connect two
+note heads of the same pitch, whereas a slur can connect many chords
+with one curve.
+
+@separate
@example
\context PianoStaff
@end example
-For piano music, a special context is needed to get cross staff
-beaming right. It is called @code{PianoStaff}.
+ A special context is needed to get cross staff beaming right. This
+context is called @code{PianoStaff}.
+@separate
@example
-\context Staff = bottom < \time 2/2; \clef bass;
+\context Staff = bottom < \time 2/2 \clef bass
@end example
The bottom staff must have a different clef.
+@separate
@example
-indent = 0.0;
+indent = 0.0
@end example
To make some more room on the line, the first (in this case the only)
line is not indented. The line still looks very cramped, but that is due
-to the format of this tutorial.
+to the page layout of this document.
+
+
+@ignore
+[TODO:
+
+* font-size, multi-stanza.
-This example shows a lot of features, but the organisation isn't
-perfect. For example, it would be less confusing to use a chord
-containing sequential music than a sequence of chords for the oboe
+* Simple part combining in a Hymn
+@end ignore
+
+
+@node Fine tuning a piece
+@section Fine tuning a piece
+
+In this section, we show some ways to fine tune the final output of a
+piece. We do so using a single measure of a moderately complex piano
+piece: a Brahms intermezzo (opus 119, no. 1).
+@cindex Brahms, Johannes
+
+The code for the untuned example shows us some new things.
+
+@lilypondfile[verbatim]{brahms-original.ly}
+
+
+@cindex dynamics
+@cindex loudness
+@cindex forte
+@cindex crescendo
+@cindex @code{\<}
+@cindex @code{\!}
+
+The crescendo is ended at the half note by the escaped exclamation
+mark @code{\!}.
+
+Hairpin dynamics can be indicated using @code{\>} to start a
+decrescendo, and @code{\!} to end one. The crescendo is started using
+@code{\<} and also ended using @code{\!}. Absolute dynamics can be
+entered using @code{\p}, @code{\mf}, etc. All these commands apply to
+the complete chord where they are entered, but for syntactical
+reasons, they must be attached to one of the notes of the chord.
+
+@cindex fingering instructions
+
+Fingering indications are entered simply using @code{-@var{N}}, where
+@var{N} is a digit.
+
+Now that we have the basic piece of music entered, we want to fine
+tune it, so we get something that resembles the original printed
+edition by Schott/Universal Edition:
+
+@lilypondfile{brahms-tweaked.ly}
+
+@cindex tuning grob behavior
+
+The basic process that we follow is that we override defaults in the
+printing system. We do this by setting variables in so-called grobs.
+Printed symbols are internally represented by Graphical Objects
+(Grobs). Each grob is described by a bunch of settings. These setting
+determine the fonts, offsets, sub-routines to be called on the grob,
+etc. The initial values of these settings are set in the Scheme file
+@file{scm/grob-description.scm}.
+
+@cindex slur attachments
+
+We start with the slur: the slur in the upper part, running from the F
+sharp to the A, runs from stem to stem in the printed edition, while
+ours starts from the note head at the left. The following property
+setting forces all slurs to run from stem to stem (and not from or to
+note head)
+
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+
+More precisely, this command extends the definition of the @code{Slur}
+object in the current @code{Voice}. The variable @code{attachment} is
+set to the pair of symbols @code{'(stem . stem)}.
+
+Although this is useful information, it is not very helpful: the
+lilypond backend supports approximately 240 variables like
+@code{attachment}, each with their own meaning and own type
+(eg. number, symbol, list, etc). Besides slur, LilyPond has 80
+different types of Grobs, that may be created in 14 different context
+types besides Voice.
+
+@cindex internal documentation
+@cindex finding grobs
+@cindex grob descriptiosn
+
+The interesting information is how you can figure out which properties
+to tune for your own scores. To discover this, you must have a copy of
+the internals document. This is a set of HTML pages, which should be
+included if you run a binary distribution@footnote{You can also
+compile them by executing @code{make -C Documentation/user/
+out/lilypond-internals.html} in the source package.}. This document is
+also available on the web: go to the lilypond website, click
+``Documentation: other'' on the side bar, click
+``lilypond-internals'', under information for users.
+
+You might want to bookmark either the HTML files on disk, or the one
+on the web. One word of caution is in place here: the internals
+documentation is generated from the definitions that lily uses. For
+that reason, it is strongly tied to the version of LilyPond that you
+use. Before you proceed, please make sure that you are using the
+documentation that corresponds to the LilyPond version that you use.
+
+Suppose that you wanted to tune the behavior of the slur. The first
+step is to get some general info on slurs in lilypond. Turn to the
+index, and look up slur. The section on slurs says
+@quotation
+The grob for this object is @internalsref{Slur}, generally in
+@internalsref{Voice} context.
+@end quotation
+
+So the grob for this object is called @code{Slur}, and slurs are
+created in the @code{Voice} context. If you are reading this tutorial
+in the HTML version, then you can simply click Slur, otherwise, you
+must look it up the internal documentation: click ``grob overview'' ,
+and select ``slur'' (the list is alphabetical.)
+
+Now you get a list of all the properties that the slur object
+supports, along with their default values. Among the properties we
+find the @code{attachment} property, leading to
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+
+If you ran the previous example, you have unknowingly already used
+this kind of command. The @file{ly/property-init.ly} contains the
+definition of @code{\stemUp}
+@example
+ stemUp = \property Voice.Stem \set #'direction = #1
+@end example
+
+
+We also want to move around the fingering `3'. In the printed edition
+it is not above the stem, but a little lower, slightly left of the
+stem. From the user manual, we find that the associated grob is called
+@code{Fingering}, but how do we know if we should use @code{Voice} or
+@code{Staff}. In many cases, @code{Voice} is a safe bet, but you can
+also deduce this information from the internals documentation: if you
+visit the documentation of @code{Fingering}, you will notice
+@example
+Fingering grobs are created by: Fingering_engraver
+@end example
+
+
+
+Clicking @code{Fingering_engraver} will show you the documentation of
+the module responsible for interpreting the fingering instructions and
+translating them to a @code{Fingering} grob. Such a module is called
+an @emph{engraver}. The documentation of the @code{Fingering_engraver}
+says,
+@example
+Fingering_engraver is part of contexts: Voice and TabVoice
+@end example
+so tuning the settings for Fingering should be done using either
+@example
+ \property Voice.Fingering \set @dots{}
+@end example
+or
+@example
+ \property TabVoice.Fingering \set @dots{}
+@end example
+
+Since the @code{TabVoice} is only used for tab notation, we see that
+the first guess @code{Voice} was indeed correct.
+
+@cindex setting grob properties
+@cindex @code{extra-offset}
+
+For shifting the fingering, we use the grob property
+@code{extra-offset}. The following command manually adds an offset to
+the object. We move 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
+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.
+
+@cindex reverting grob properties
+@cindex undoing grob properties
+
+We only want to offset a single grob, so after the F-sharp, we must
+undo the setting. The technical term is to revert the grob property.
+@example
+ \property Voice.Fingering \revert #'extra-offset
+@end example
+
+@cindex property types
+@cindex translator properties
+@cindex grob properties
+@cindex music properties
+
+
+There is three different types of variables in LilyPond, something
+which is confusing at first (and for some, it stays like that).
+Variables such as @code{extra-offset} and @code{attachment} are called
+grob properties. They are something different from the translator
+properties, like @code{autoBeaming} and
+@code{automaticMelismata}. Finally, music expressions are internally
+also stored using properties, so-called music properties. You will
+encounter the latter type if you run Scheme functions on music using
+@code{\apply}.
+
+The second fingering instruction should be moved up a little, to avoid
+a collision with the slur. This could be achieved with
+@code{extra-offset}, but in this case, a simpler mechanism also
+works. We insert an empty text between the 5 and the note. The empty
+text pushes the fingering instruction away:
+@example
+ a^" "^#'(finger "5")
+@end example
+
+Lilypond tries to put fingering instructions closer to the notes as
+text instructions. To insert an empty text (@code{^" "}) between the
+finger and the note, we have disguised the fingering instruction as a
+text: @code{(finger "5")}.
+
+Normally, one would specify dynamics in a single voice, and start and
+end dynamics (such as @b{f} and @b{p}) will be aligned with
+hairpins. In this case, we want the decrescendo to be in a different
+place from the piano sign. We achieve this by putting the dynamic
+markings in different voices. The crescendo should be above the upper
+staff. This can be forced by the precooked command
+@example
+ \dynamicsUp
+@end example
+
+However, if you do that, the decrescendo will be too close to the
+upper voice, and collide with the stems. Looking at the manual for
+dynamics, we notice that ``Vertical positioning of these symbols is
+handled by the @internalsref{DynamicLineSpanner} grob.''. If we turn
+to the documentation of @code{DynamicLineSpanner}, we find that the
+@code{DynamicLineSpanner} supports several so-called
+`interfaces'. This grob not only puts dynamic objects next to the
+staff (@code{side-position-interface}), but it also groups dynamic
+objects (@code{axis-group-interface}), is considered a dynamic sign
+itself (@code{dynamic-interface}) and is a grob: it has the
+@code{grob-interface}, with all the variables that come with it.
+
+For the moment, we are interested in the side positioning:
+@quotation
+ side-position-interface
+
+ Position a victim object (this one) next to other objects (the
+ support). In this case, the direction signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+Between the grob and its support (in this case: the notes in the voice
+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
+@end example
+
+This command is almost like the command for setting slur attachments,
+but subtly different in its details. Grob properties can be
+manipulated with two commands: @code{\override} extends the grob
+variables with a setting, and @code{\revert} releases this
+setting. This has a certain theoretical appeal: the operations are
+simple and symmetric. For practical use, it can be cumbersome. Both
+commands act like parentheses: you should carefully balance the use of
+@code{\override} and @code{\revert}. The @code{\set} command is more
+friendly: it first does a @code{\revert} followed by @code{\override}.
+
+Finally, Brahms uses music notation is a slightly unorthodox way. Ties
+usually happen only within one voice. In this piece, the composer
+gladly produces ties that jump voices. We deal with this by faking
+these ties: whenever we need such a tie, we insert a notehead in a
+different voice, and blank the stem. This is done in the following
+snippet of code.
+
+@example
+ \property Voice.Stem \set #'transparent = ##t
+ d'
+ \property Voice.Stem \revert #'transparent
+@end example
+
+Finally, the last tie is forced up using @code{\tieUp}.
+
+
+@node An orchestral score
+@section An orchestral score
+
+@menu
+* The full score::
+* Extracting an individual part::
+@end menu
+
+
+Our last two examples show a way to setup the music for an orchestral
+score. When typesetting a piece for several instruments, you'll want to
+create a conductor's full score, alongside several individual parts.
+
+LilyPond is well suited for this task. We will declare the music for
+each instrument individually, giving the music of each instrument its
+own name. These pieces of music are then combined in different
+@code{\score} blocks to produce different combinations of the score.
+
+This orchestral score example consists of three input files. In the
+first file, @file{os-music.ly}, we define the music for all instruments.
+This file will be used both for producing the score and the separate
parts.
-[TODO: demonstrate Hara-Kiri with scores and part extraction.]
+If you were to run LilyPond on this file, no printable output would be
+produced.
+
+@example
+% os-music.ly
+\header @{
+ title = "Zo, goed lieverd?"
+ subtitle = "How's, this babe?"
+ composer = "JCN"
+ opus = "1"
+ piece = "Laid back"
+@}
+global = @{
+ \time 2/4
+ \skip 2*4 \bar "|."
+@}
+Key = \notes \key as \major
+flautoI = \notes\relative c'' @{
+ f8 g f g f g f g
+ bes as bes as bes as bes as
+@}
+flautoII = \notes\relative c'' @{
+ as8 bes as bes R1 d4 ~ d
+@}
+tromboI = \notes\relative c'' @{
+ c4. c8 c8 c4. es4 r as, r
+@}
+tromboII = \notes\relative c'' @{
+ as4. as8 as8 as4. R1*1/2 as4 es'
+@}
+timpani = \notes\relative c, @{
+ \times 2/3 @{ f4 f f @}
+ \times 4/5 @{ as8 as as as as @}
+ R1
+@}
+corno = \notes\relative c' @{
+ bes4 d f, bes d f, bes d
+@}
+@end example
+
+We will not go through the input line by line, but only indicate and
+explain the new elements.
+
+
+@separate
+@example
+global = @{
+ \time 2/4
+ \skip 2*4 \bar "|.";
+@}
+@end example
+
+Declare setting to be used globally. The @code{\skip} command produces
+no output, but moves forward in time: in this case, the duration of a
+half note (@code{2}), and that four times (@code{*4}). This brings us
+to the end of the piece, and we can set the end bar.
+
+@separate
+@example
+Key = \notes \key as \major
+@end example
+Declare the key signature of the piece and assign it to the identifier
+@var{Key}. Later on, we'll use @code{\Key} for all staves except those
+for transposing instruments.
-@node end of tutorial, , , Tutorial
-@section The end
+@node The full score
+@subsection The full score
+
+
+The second file, @file{os-score.ly} reads the definitions of the first
+(@file{os-music.ly}), and defines the @code{\score} block for the full
+conductor's score.
+
+
+@example
+% os-score.ly
+\include "os-music.ly"
+\include "paper13.ly"
+
+#(set! point-and-click line-column-location)
+#(define text-flat '((font-relative-size . -2)
+ (music "accidentals--1")))
+
+\score @{
+ <
+ \global
+ \property Score.BarNumber \override #'padding = #3
+ \context StaffGroup = woodwind <
+ \context Staff = flauti <
+ \property Staff.midiInstrument = #"flute"
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
+ \Key
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
+ >
+ >
+ \context StaffGroup = timpani <
+ \context Staff = timpani <
+ \property Staff.midiInstrument = #"timpani"
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \property Staff.instr = #"Timp."
+ \clef bass
+ \Key
+ \timpani
+ >
+ >
+ \context StaffGroup = brass <
+ \context Staff = trombe <
+ \property Staff.midiInstrument = #"trumpet"
+ \property Staff.instrument = #`(lines "2 Trombe" "(C)")
+ \property Staff.instr = #`(lines "Tbe." "(C)")
+ \Key
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
+ >
+ \context Staff = corni <
+ \property Staff.midiInstrument = #"french horn"
+ \property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
+ \property Staff.instr = #`(lines "Cor."
+ (columns "(E" ,text-flat ")"))
+ \property Staff.transposing = #3
+ \notes \key bes \major
+ \context Voice=one \corno
+ >
+ >
+ >
+ \paper @{
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+ textheight = 90 * \staffspace
+ \translator@{
+ \HaraKiriStaffContext
+ @}
+ @}
+ \midi @{
+ \tempo 4 = 75
+ @}
+@}
+@end example
+
+@center @strong{Zo, goed lieverd?}
+@sp 1
+@center How's, this babe?
+@flushright
+Opus 1.
+@end flushright
+@flushleft
+@sc{Laid back}
+@end flushleft
+
+@lilypondfile{os-score.ly}
+
+@separate
+@example
+\include "os-music.ly"
+@end example
+First, we need to include the music definitions we made in
+@file{os-music.ly}.
+
+@separate
+@example
+#(set! point-and-click line-column-location)
+@end example
+In a large orchestral score like this you're bound to make some small
+mistakes, so we enable point and click (See @ref{Point and click})
+editing.
+
+@separate
+@example
+#(define text-flat '((font-relative-size . -2)
+ (music "accidentals--1")))
+@end example
+
+When naming the tuning of the french horn, we'll need a piece of text
+with a flat sign. LilyPond has a mechanism for font selection and
+kerning called Scheme markup text (See @ref{Text markup}). The flat
+sign is taken from the music font, and its name is @code{accidentals--1}
+(The natural sign is called @code{accidentals-0}). The default font is
+too big for text, so we select a relative size of @code{-2}.
+
+@separate
+@example
+ <
+ \global
+@end example
+Of course, all staves are simultaneous and use the same global settings.
+
+@separate
+@example
+ \property Score.BarNumber \override #'padding = #3
+@end example
+LilyPond prints bar numbers at the start of each line, but
+unfortunately, they end up a bit too close to the staff in this
+example. A bar number internally is a Grob called @var{BarNumber}.
+BarNumber Grobs can be manipulated through their
+@var{side-position-interface}. One of the properties of a
+@var{side-position-interface} that can be tweaked is the
+@var{padding}: the amount of extra space that is put between this Grob
+and other Grobs. We set the padding to three staff spaces.
+
+You can find information on all these kind of properties in LilyPond's
+automatically generated documentation in
+@ifnottex
+@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
+@end ifnottex
+@iftex
+the online documentation.
+@end iftex
+
+@separate
+@example
+ \context StaffGroup = woodwind <
+ \context Staff = flauti <
+@end example
+A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
+hold one or more @code{Staff}'s, and will print a big bracket at the
+left of the score. Start a new staff group for the woodwind section
+(just the flutes in this case). Immediately after that, we start the
+staff for the two flutes, that also play simultaneously.
+
+@separate
+@example
+ \property Staff.midiInstrument = #"flute"
+@end example
+Specify the instrument for MIDI output (see @ref{MIDI instrument
+names}).
+
+@separate
+@example
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
+@end example
+And define the instrument names to be printed in the margin,
+@code{instrument} for the first line of the score, @code{instr} for the
+rest of the score.
+
+@separate
+@example
+ \Key
+@end example
+The flutes play in the default key.
+
+@separate
+@example
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
+@end example
+Last come the actual flute parts. Remember that we're still in
+simultaneous mode. We name both voices differently, so that LilyPond
+will actually create two Voice contexts. The flute parts are simple, so
+we specify manually which voice is which: @code{\voiceOne} forces the
+direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
+directions down.
+
+@separate
+@example
+ >
+ >
+@end example
+Close the flutes staff and woodwind staff group.
+
+@separate
+@example
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+@end example
+The timpani staff only shows a new piece of scheme markup, it sets two
+lines of text.
+
+@separate
+@example
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
+@end example
+You have seen the notation contexts Staff and Voice, but here's a new
+one: Thread. One or more Threads can be part of a Voice. The Thread
+takes care of note heads and rests, the Voice combine note heads onto a
+stem.
+
+For the trumpets we use the automatic part combiner (see @ref{Automatic
+part combining}) to combine the two simultaneous trumpet parts onto the
+trumpet staff. Each trumpet gets its own Thread context, which must be
+named @code{one} and @code{two}). The part combiner makes these two
+threads share a Voice when they're similar, and splits the threads up
+when they're different.
+
+@separate
+@example
+ \property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
+@end example
+The french horn has the most complex scheme markup name, made up of two
+lines of text. The second line has three elements (columns), the @code{(E},
+the flat sign @code{text-flat} that we defined before and a final @code{")"}.
+Note that we use a backquote instead of an ordinary quote at the
+beginning of the Scheme expression to be able to access the
+@code{text-flat} identifier, `unquoting' it with a @code{,}.
+
+@separate
+@example
+ \property Staff.transposing = #3
+@end example
+The french horn is to be tuned in E-flat, so we tell the MIDI backend to
+transpose this staff by three steps.
+
+Note how we can choose different tuning for entering, printing and
+playing, using @code{\transpose} and the MIDI Staff property
+@var{transposing}.
+
+@separate
+@example
+ \notes \key bes \major
+@end example
+Therefore, it has a different key.
+
+@separate
+@example
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+@end example
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
+
+@separate
+
+Usually, LilyPond's predefined setup of notation contexts (Thread,
+Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
+want a different type of Staff context.
+
+@example
+ \translator@{
+ \HaraKiriStaffContext
+ @}
+@end example
+
+In orchestral scores, it often happens that one instrument has only
+rests during one line of the score. The @code{HaraKiriStaffContext} can
+be used as a regular @code{StaffContext} drop-in and will take care of
+the automatic removing of empty staves.
+
+@node Extracting an individual part
+@subsection Extracting an individual part
+
+The third file, @file{os-flute-2.ly} also reads the definitions of the
+first (@file{os-music.ly}), and defines the @code{\score} block for the
+second flute part.
+
+@example
+\include "os-music.ly"
+\include "paper16.ly"
+
+\score @{
+ \context Staff <
+ \property Score.skipBars = ##t
+ \property Staff.midiInstrument = #"flute"
+ \global
+ \Key
+ \flautoII
+ >
+ \header @{
+ instrument = "Flauto II"
+ @}
+ \paper @{
+ linewidth = 80 * \staffspace
+ textheight = 200 * \staffspace
+ @}
+ \midi @{
+ \tempo 4 = 75
+ @}
+@}
+@end example
+
+@center @strong{Zo, goed lieverd?}
+@sp 1
+@center How's, this babe?
+@center @emph{Flauto II}
+@flushright
+Opus 1.
+@end flushright
+@flushleft
+@sc{Laid back}
+@end flushleft
+@lilypondfile{os-flute-2.ly}
+
+
+Because we separated the music definitions from the @code{\score}
+instantiations, we can easily define a second score with the music of
+the second flute. This then is the part for the second flute player.
+Of course, we make separate parts for all individual instruments.
+
+@separate
+@example
+ \flautoII
+@end example
+In this individual part the second flute has a whole staff for itself,
+so we don't want to force stem or tie directions.
+
+@separate
+@example
+ \header @{
+ instrument = "Flauto II"
+ @}
+@end example
+The @code{\header} definitions were also read from @file{os-music.ly},
+but we need to set the instrument for this particular score.
+
+@separate
+@example
+ \property Score.skipBars = ##t
+@end example
+In the conductor's full score, all bars with rests are printed, but for
+the individual parts, we want to contract pieces of consecutive empty
+bars. LilyPond will do this if Score's @var{skipBars} property to
+true.
+
+
+@node Other ways to run LilyPond
+@section Other ways to run LilyPond
+
+Until now, you have been using @file{ly2dvi} to invoke LilyPond.
+There are three other routes. Firstly, there is a script called
+@code{lilypond-book}, that allows you to freely mix LilyPond input with
+Texinfo or \LaTeX input. For example, this manual was written using
+@code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
+
+
+Secondly, you can generate PostScript directly. This is useful if you
+can not or do not want to run @TeX{} on your system. To obtain direct
+PostScript output, invoke LilyPond as follows:
+@cindex PostScript output
+@example
+lilypond -f ps test.ly
+@end example
+You have to set some environment variables to view or print this output.
+More information can be found in @ref{Invoking LilyPond}. Since the
+direct Postscript generation has some problems, it is recommended
+to use @file{ly2dvi}.
+
+
+Thirdly, if you want to do special things with your output, you can run
+invoke LilyPond directly:
+@example
+lilypond test.ly
+@end example
+to produce plain @TeX{} output. Note that La@TeX{} will not work on the
+resulting @file{test.tex}. You must run plain @TeX{} on it.
+
+@cindex @TeX{}
+
+
+
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+Sometimes, you might want to use music examples in a text that you are
+writing. For example, if you are writing a musicological treatise, a
+songbook, or (like us) the LilyPond manual. You can make such texts by
+hand, simply by importing a PostScript figure into your wordprocessor.
+However, there is a also an automated procedure:
+
+If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
+script called @code{lilypond-book} will extract the music fragments, run
+LilyPond on them, and put back the resulting notation. lilypond-book is
+described fully in @ref{lilypond-book}, but here we show a small
+example. Since the example also contains explanatory text, we won't
+comment on the contents.
+
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+\begin@{lilypond@}
+ \score @{ \notes \relative c' @{
+ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
+ @} @}
+\end@{lilypond@}
+Notice that the music line length matches the margin settings of the
+document.
+
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
+
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+
+In the example you see here, a number of things happened: a
+\verb+\score+ block was added, and the line width was set to natural
+length. You can specify many more options using \LaTeX style options
+in brackets:
+
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ c'4 f bes es
+\end@{lilypond@}
+
+\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
+the default music size, \texttt@{fragment@} adds a score block,
+\texttt@{relative@} uses relative mode for the fragment, and
+\texttt@{intertext@} specifies what to print between the
+\texttt@{verbatim@} code and the music.
+
+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@}
+
+The \texttt@{printfilename@} option adds the file name to the output.
+
+\end@{document@}
+@end example
+
+Under Unix, you can view the results as follows.
+@example
+$ cd input/tutorial
+$ lilypond-book --outdir=out/ lilbook.tex
+lilypond-book (GNU LilyPond) 1.3.146
+Reading `input/tutorial/lilbook.tex'
+Reading `input/tutorial/sammartini.ly'
+@var{lots of stuff deleted}
+Writing `out/lilbook.latex'
+$ cd out
+$ latex lilbook.latex
+@var{lots of stuff deleted}
+$ xdvi lilbook
+@end example
+
+Notice the @code{outdir} option to lilypond-book. Running lilypond-book
+and running latex creates a lot of temporary files, and you wouldn't want
+those to clutter up your working directory. Hence, we have them created
+in a separate subdirectory.
+
+The result more or less looks like this:
+
+@separate
+
+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
+ } }
+@end lilypond
+Notice that the music line length matches the margin settings of the
+document.
+
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
+
+@lilypond
+ c'4
+@end lilypond
+
+In the example you see here, a number of things happened: a
+@code{\score} block was added, and the line width was set to natural
+length. You can specify many more options using La@TeX{} style options
+in brackets:
+
+@lilypond[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]
+ c'4 f bes es
+@end lilypond
+
+@code{verbatim} also shows the LilyPond code, @code{11pt} selects
+the default music size, @code{fragment} adds a score block,
+@code{relative} uses relative mode for the fragment, and
+@code{intertext} specifies what to print between the
+@code{verbatim} code and the music.
+
+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}
+
+The @code{printfilename} option adds the file name to the output.
+@node End of tutorial
+@section End of tutorial
That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
+files, or you can read the reference manual. You can find more example
+files in @file{input} and @file{input/test}. You can also look at some
+real music. The website @uref{http://www.mutopiaproject.org} has many
+examples of real music typeset by LilyPond.
+
+
+
+@ignore
+
+[TODO
+
+this should be on mutopia website.
+
+]
+
+
+@c waar deze info? is uiteindelijk wel handig, schat ik.
+[TODO: cut blabla]
+
+If you have a big music project, or just a lot of LilyPond input files,
+all generated output from LilyPond, @TeX{} and metafont will clutter
+your working directory. LilyPond comes with a one-size-fits-all
+pre-cooked makefile that helps you manage producing output. It will
+produce all output in the directory @file{out} , generate and track
+dependencies. Also, it helps in preparing your submission to @ref{Mutopia
+project}.
+
+@file{make/ly.make}
+@example
+mkdir my-project
+cd my-project
+cp /usr/share/lilypond/make/ly.make GNUmakefile
+cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
+make minuet
+[..]
+Generated out/minuet.ps for target minuet.
+@end example
+
+Type @samp{make help} to see possible targets.
+
+[TODO]
+@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
+
+
+
+
+
+[TODO: rewrite completely.]
+
+@menu
+* Songs with additional verses::
+@end menu
+
+@end ignore
+
projects / lilypond.git / blobdiff