@c -*-texinfo-*-
-@c TODO: LilyPond Lilypond lilypond
-
+@c TODO: LilyPond LilyPond LilyPond
@node Tutorial
@chapter Tutorial
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a textual @emph{language}.
-This chapter is a gentle introduction to that language.
-
-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.
-@cindex examples, tutorial
-
-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. In binary installations you should look in your doc section,
-eg, @code{/usr/share/doc/lilypond1.3/examples/input/tutorial}
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
+@html
+<!--- @@WEB-TITLE@@=Tutorial --->
+@end html
@menu
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
+* 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 ::
+* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
-* An orchestral score::
-* Other ways to run LilyPond::
-* Integrating text and music::
-* end of tutorial:: The end
+* 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
+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.
-@node Running LilyPond
-@section Running LilyPond
+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.
-Before we dive into describing the input language of LilyPond, we first
-show you through the procedure for getting notes on your screen and out
-of your printer.
-The first step is creating an input file. Using your favorite
-text-editor, create @file{test.ly} containing
+@c title?
-@ignore
+@node First steps
+@section First steps
-NOTE: if you're reading this, ie, the Texinfo source itself, test.ly
-should of course contain:
+@c @node Music language of LilyPond
+@c @section Music language of LilyPond
- \score{
- \notes { c'4 e' g' }
- }
+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}).
-@end ignore
+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
+
+We continue showing LilyPond input like we did previously: first a
+snippet of input, then the resulting output.
+
+The length of a note is specified by adding a number, ``@code{1}'' for a
+whole note, ``@code{2}'' for a half note, and so on:
+@quotation
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+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
-@unnumberedsubsec Unix
-@cindex Unix, Running lilypond on
-@cindex ly2dvi
+@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
-On unix, you invoke ly2dvi to compile your lilypond source file (you can
-omit the @code{.ly}):
+A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
+(@texiflat{}) by adding ``@code{es}'':
+@quotation
@example
-ly2dvi -P test
+cis1 ees fisis aeses
@end example
-You will see the following on your screen:
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { cis1 ees fisis aeses }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+Add a dot ``@code{.}'' after the duration to get a dotted note:
+@quotation
@example
-GNU LilyPond 1.3.145
-Now processing: `/home/fred/ly/test.ly'
-Parsing...
-Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
+a2. a4 a8. a16
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\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
+
+The meter (or time signature) can be set with the @code{\time} command:
-Analyzing test.tex...
-Running LaTeX...
-Running dvips...
-PS output to test.ps...
-DVI output to test.dvi...
+@quotation
+@example
+\time 3/4
+\time 6/8
+\time 4/4
+@end example
+
+@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
+
+The clef can be set using the ``@code{\clef}'' command:
+
+@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
+
+@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
+
+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):
+
+@quotation
+@example
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+@}
@end example
+@end quotation
+@separate
-The results of the ly2dvi run are a ``DeVice Independent'' file
-(@file{test.dvi}) and a PostScript file (@file{test.ps}).
+At this point, the piece of music is ready to be printed. This is done
+by combining the music with a printing command.
-@cindex DVI file
+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:
-@cindex Viewing music
-@cindex xdvi
-@cindex .dvi
+@quotation
+@example
+\score @{
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
+ \paper @{ @}
+@}
+@end example
+
+@lilypond
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { linewidth = 60 * \staffspace }
+}
+@end lilypond
+@end quotation
+@separate
+
+
+We continue with the introduction of the remaining musical constructs.
+
+@c maybe legend here?
-To view the @code{test.dvi} output, run Xdvi (you may omit the
-@code{.dvi}):
+Normal rests are entered just like notes with the name ``@code{r}'':
+@quotation
@example
-xdvi test
+r2 r4 r8 r16
@end example
-@c FIXME: should we say anything on xdvi-gs interaction?
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+@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...
+
+@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'}:
+
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
+
+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:
+
+@quotation
+@lilypond[fragment,verbatim]
+g'4 ~ g' a'2 ~ a'4
+@end lilypond
+@end quotation
+@separate
+
+The key signature is set with the command ``@code{\key}'':
+@quotation
+@example
+\key d \major
+g'1
+\key c \minor
+g'
+@end example
+
+@lilypond[fragment]
+\property Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
+
+
+@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.
+
+@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
-You should see the following in a window next to some buttons.
@lilypond
\score {
- \notes { c'4 e' g' }
-}
+ \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
-When you're satisfied with the result, you can print the
-PostScript file:
+@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.
+
+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 solution is to use ``relative octave'' mode. In practice, most
+music is entered using this mode.
+
+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''}.
+
+@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.
+
+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:
+
+@quotation
@example
-lpr test.ps
+\relative c'' @{
+ c f c g c
+@}
@end example
-If this does not make your printer produce a page of music, 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
-@cindex .ps
+@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:
-@unnumberedsubsec Windows
+@quotation
+@example
+\relative c'' @{
+ c f, f c' c g' c,
+@}
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@end quotation
+@separate
+
+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:
+
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+d4( )c16( cis d e c cis d )e( )d4
+@end lilypond
+@end quotation
+@separate
+
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
+
+@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
+
+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.
+
+@separate
+
+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?
-On windows, you open a LilyPond shell, and then you invoke ly2dvi
-compile your lilypond source file, just like on Unix:
+@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
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
+@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
+ly2dvi -P test.ly
@end example
+@end quotation
You will see the following on your screen:
-@c FIXME: leave this out, just refer to unix section?
-@c FIXME: commands run in dos shell: we can't redirect output
+@quotation
@example
-GNU LilyPond 1.3.150
-Now processing: `/home/tim/ly/test.ly'
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
-
-This is TeX, Version 3.14159 (MiKTeX 2)
-LaTeX2e <2000/06/01>
-Babel <v3.6Z> and hyphenation patterns for english, french, german, ngerman, du
-mylang, nohyphenation, loaded.
-
-(test.latex (C:\cygwin\usr\windows\MiKTeX\tex\latex\base\article.cls
-Document Class: article 2000/05/19 v1.4b Standard LaTeX document class
-(C:\cygwin\usr\windows\MiKTeX\tex\latex\base\size10.clo))
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\geometry.sty
-(C:\cygwin\usr\windows\MiKTeX\tex\latex\graphics\keyval.sty))
-(C:\cygwin\usr\windows\MiKTeX\tex\latex\base\inputenc.sty
-(C:\cygwin\usr\windows\MiKTeX\tex\latex\base\latin1.def))
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\titledefs.tex)
-No file test.aux.
-(test.tex
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\lilyponddefs.tex
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\lilypond-latex.tex
-LaTeX definitions)
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\feta20.tex)
-(C:\cygwin\usr\lilypond-1.3.150.jcn2\share\lilypond\tex\lily-ps-defs.tex)
-[footer empty]))
-Overfull \hbox (15.0pt too wide) in paragraph at lines 20--24
-[] $[]$
-
-Overfull \vbox (0.7539pt too high) has occurred while \output is active
-[1] (test.aux) )
-(see the transcript file for additional information)
-Output written on test.dvi (1 page, 4292 bytes).
-Transcript written on test.log.
-This is dvips(k) 5.86 Copyright 1999 Radical Eye Software (www.radicaleye.com)
-' TeX output 2001.04.25:0015' -> test.ps
-<texc.pro><special.pro>. [1]
-Running LilyPond...
-Analyzing test.tex...
-PS output to test.ps...
-DVI output to test.dvi...
-@end example
-
-To view the @code{test.dvi} output, run Yap
-
-@example
-yap test
-@end example
-
-You should see the following in a window
-@lilypond
-\score {
- \notes { c'4 e' g' }
-}
-@end lilypond
+ @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.
-@c FIXME: talk about newer Yap versions, proper gs installation?
-When you're satisfied with the result, you can print from within Yap
-(File/Print). Note that Yap may not display embedded PostScript symbols
-such as beams and slurs. Don't worry, they'll be printed anyway.
+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.
-You can also print the PostScript file directly from the
-command line using GSview:
+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
-gsview32 /s test.ps
+@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
-@node The first tune
-@section The first 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
@lilypond[verbatim]
% all text after a percent sign is a comment
-% and is ignored by Lilypond
+% and is ignored by LilyPond
\include "paper16.ly"
\score {
\notes
\bar "|."
}
\paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm
+ % standard settings are too big and wide for a book
+ indent = 1.0 \cm
+ linewidth = 15.0 \cm
}
}
@end lilypond
@separate
@example
% all text after a percent sign is a comment
- % and is ignored by Lilypond
+ % and is ignored by LilyPond
@end example
-The percent sign, @code{%}, introduces a line comment. You can also
-comment out a block of several lines, by enclosing them in
+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
@end example
@cindex @code{\include}
@cindex point, printer's
-@cindex staff size setting
-By default, LilyPond will typeset the music in a size such that each
-staff is 20 point@footnote{A point is the standard measure of length for
-printing; one point is 1/72.27 inch.} high. We want smaller
-output (16 point staff height), so we must import the settings for that
-size, which is done here.
+@cindex staff size, setting
+@cindex font size, setting
+
+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
@end example
@cindex relative
-As we will see, each note is described by its note name, duration,
-octave and possibly a chromatic alteration. In this setup, the octave
-is indicated by using high 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.
-
-Even though a piece of music often spans a range of several octaves, it
-mostly moves in small intervals. LilyPond has a special entry mode to
-save typing in this situation. 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.
-
-Because the first note has no predecessor,
-you have to give the (absolute) pitch of the note to start with.
+@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
@end example
@cindex time signature, setting
@cindex @code{\time}
-Set (or change) the time signature of the current piece: a 3/4 sign is
-printed. The time signature setting is also used to generate bar lines
-at the right spots.
+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
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
@end example
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{a4 b4}
+duration, but you may enter it anyway, i.e., @code{a8 b8}
@separate
@example
c8 d e fis
@end example
-So far, no notes were chromatically altered. Here is the first one that
-is: @code{fis}. Lilypond by default uses Dutch@footnote{Note names are
-available in several languages, but we find the Dutch names quite
-convenient.} 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.
+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.
+
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
@end example
@cindex augmentation dot
-@cindex dot
-A period adds an augmentation dot to the note.
+@cindex dotted note
+A period adds a dot to the note.
@separate
@example
@end example
@cindex articulation
-You can enter articulation signs either in a verbose form or 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.
+Staccato signs are entered as a dash and a period. Some other
+articulations may also be entered in this short form.
@separate
@example
@end example
-Rests are denoted by the special notename @code{r}.
+Rests are denoted by the special note name @code{r}.
@separate
@example
\bar "|."
@}
@end example
-Here the music ends. LilyPond does not automatically typeset and end
-bar, we must explicitely request one, using @code{"|."}.
+Here the music ends. LilyPond does not automatically typeset an end
+bar, we must explicitly request one, using @code{"|."}.
@separate
@example
\paper @{
- linewidth = 14.0\cm
+ % standard settings are too big and wide for a book
+ indent = 1.0\cm
+ linewidth = 15.0\cm
@}
@end example
\addlyrics
\context Staff = mel @{
- \property Staff.noAutoBeaming = ##t
+ \property Staff.autoBeaming = ##f
\property Staff.automaticMelismata = ##t
\melody
@}
\addlyrics
\context Staff = mel {
- \property Staff.noAutoBeaming = ##t
+ \property Staff.autoBeaming = ##f
\property Staff.automaticMelismata = ##t
\melody
}
@cindex assignments
@cindex identifier assignment
the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. Lexically, both the variable name and the
-assigned value are strings. The values have to be quoted here, because
-they contain spaces, the variable names could also be put within quotes
-but it is not necessary.
+variable is set to a value.
@separate
@example
@separate
@example
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
ri- ver is flo- __ wing down to the sea.
@}
@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 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.
+@code{-}@code{-}. We don't enter durations for the syllables. They
+are aligned with the melody later.
@separate
@example
@separate
@example
- c2:3- f:3-.7
+ c2:3-
@end example
@cindex tonic
@cindex chord modifier
@cindex modifier, chord
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad. Since a minor triad is wanted, @code{3-} is added to modify the
-third to be small. @code{7} modifies (adds) a seventh, which is small by
+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
d:min es4 c8:min r8
@end example
-
-Some modifiers have predefined names, eg. @code{min} is the same as
+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
(`notation context') and for generating sound (`performance
context'). These objects only exist during a run of LilyPond.
-By default, LilyPond will create a Staff context for you. If you would
-remove the @code{%} sign in the previous line, you would see that
-mechanism in action.
+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
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, and looks
-silly.
+first piece.
@separate
@example
@end example
-The second argument of @code{\addlyrics} is the melody. We instantiate
-a @code{Staff} context explicitly: should you choose 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
-staff different from the accompaniment. This is accomplished by giving
-the melody and accompaniment staffs different names.
+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.noAutoBeaming = ##t
+ \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 behaviour. One of the variables is @code{noAutoBeaming}. Setting
-this Staff's property to @code{##t}, which is the boolean value @var{true},
-turns the automatic beaming mechanism off for the current staff.
+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
If Scheme scares you, don't worry. You don't need to know Scheme to
create beautiful sheet music.
-
+@end ignore
@separate
@end example
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 causes makes the
+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.
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{miniatures.ly})
+For example, consider the following file (@file{miniatures.ly})
@example
-\version "1.3.124"
-\header @{ title = "Two miniatures" @}
+\version "1.5.60"
+\header @{
+ title = "Two miniatures"
+ tagline = "small is beautiful"
+@}
#(set! point-and-click line-column-location)
@end example
The titling in this manual was not generated by ly2dvi, so we can't
-exactly show it would look, but the result should resemble this:
+exactly show what it would look like, but the result should resemble this:
@center @strong{Two miniatures}
@flushright
@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}. They both look like this:
-
-@example
- ...
- \placebox@{-5 \outputscale @}%
- @{ 8.7229 \outputscale @}%
- @{\magfontWXGEomMMBo\char90 @}%
-
- \placebox@{-4 \outputscale @}%
- @{ 81.0647 \outputscale @}%
- ...
-@end example
-
-@file{ly2dvi} looks at what output LilyPond produces, and generates a
-file called @file{ly2dvi.out.tex}. This file contains formatting
-instructions for the title and page layout. A fragment might look like
-
-@example
-
- \def\lilypondopus@{Opus 1.@}
- \def\lilypondpiece@{Up@}
- \def\mustmakelilypondtitle@{@}
- \input miniatures.tex
- \def\lilypondtitle@{Two miniatures@}
-
-@end example
-
-@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
-built on top of @TeX{}. It's very popular in the academic world. If LaTeX
-is successful, this will produce a @file{.dvi} file, containing both the
-titling and the actual music. @code{ly2dvi} completes its task by
-deleting the two temporary files, leaving only @file{miniatures.dvi}.
+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 "1.3.124"
+\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
is too old.
This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it to update the file to the latest lily
+@ref{convert-ly}), which is used to update the file to the latest lily
version.
@separate
@example
- \header @{ title = "Two miniatures" @}
+ \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)
@code{point-and-click} to the value @var{line-column-location} (which
itself is a Scheme procedure).
-Editing input files can be quite complicated if you're working with
+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
+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}.
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
+paper block at top level, i.e. not in a @code{\score} block sets the
default page layout.
@separate
@end example
In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
+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
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, either by hand
-(ie. composing) or by computer, absolute octaves are probably less work.
+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
@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}.
-
-@lilypond[verbatim]
-\include "paper16.ly"
-
-stemDown = \property Voice.Stem \override #'direction = #-1
-stemUp = \property Voice.Stem \override #'direction = #1
-stemBoth = \property Voice.Stem \revert #'direction
+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}.
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f-\arpeggio g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
-}
-
-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 \override #'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 = \repeat unfold 8 \notes
- \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \autochange Staff \hoomPah
- \translator Staff = down
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
-}
-
-\score {
- \context PianoStaff \notes <
- \context Staff = up < \time 2/2
- \viola
- \oboes
- >
- \context Staff = down < \time 2/2 \clef bass
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0
- linewidth = 15.0 \cm }
-}
-@end lilypond
-
-If this looks like incomprehensible gibberish to you, you are right.
-This example has been doctored to have as many quirks as possible.
+@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.
-Printed symbols are internally represented by so-called Graphical
-Objects (more colloquially: Grobs). These statements concern the
-grob called `Stem'. 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}.
-
-@separate
-@example
- stemDown = \property Voice.Stem \override #'direction = #-1
-@end example
-
-Set a proprerty for all Stem grobs in the current Voice:
-@code{direction} is set to @code{-1}, which encodes down. The setting
-remains in effect until it is reverted.
-
-@separate
-@example
- \property Voice.Stem \revert #'direction
-@end example
-
-Revert the to the previous setting. The effect of precisely one
-@code{\stemDown} or @code{\stemUp} is neutralised.
-
-
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
@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
+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 an unique name
+precisely one @code{Voice} context, so we give it a unique name
(`@code{viola}').
@separate
@example
-<c4-\f-\arpeggio g' c>
+<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 dynamics
-@cindex loudness
-@cindex forte
@cindex arpeggio
-@code{\f} places a forte symbol under the chord. The forte applies to
-the whole chord, but the syntax requires that commands like forte and
-arpeggio are attached to a note, so here we attach them to the first
-note.
-
@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
the chord.
@separate
@example
- \stemDown
+ \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
@code{\context}.
@separate
@example
-\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemUp} is a reference to the @code{\property \override} command
-defined above.
+\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>
+\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.
+case a chord. A slur is introduced starting from the @code{\grace}
+ending on the following chord.
-@ignore
-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}.
-@end ignore
@separate
@example
\times 2/3
of their notated duration, so in this case the fraction is 2/3.
@separate
@example
-@{ <d8 \< f> <e g> <f a> @}
+@{ <d8 f> <e g> <f a> @}
@end example
The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord, a crescendo is started with
-@code{\<}. To be precise, the crescendo start is syntactically attached
-to the preceding note, the @code{d}.
-
-@cindex dynamics
-@cindex crescendo
-@cindex @code{\<}
+three chords.
@separate
@example
voice, which continues with upward stems:
@separate
@example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
+ @{ \times 2/3 @{ a8 g c @} c2 @}
@end example
-@cindex @code{\!}
-
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
@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.
-@separate
-@example
-\grace @{
+@example
+\\
@end example
-@cindex Grace context
-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.
-
-@separate
-@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
-@end example
-
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+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
@separate
@example
- f8 e e2
+ f,8 e e2
@} >
@end example
This ends the two-part section.
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 repeats:
+between staves. Since it is repetitive, we use repeats:
@separate
@example
hoomPah = \repeat unfold 8
@cindex transposing
@cindex relative mode and transposing
-Transposing can be done with @code{\transpose}. It takes two arguments
-the first specifies what central C should be transposed to. The second
+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 circumventing relative mode. 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.
+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
+\autochange Staff \hoomPah \context Voice
@end example
-@cindex staff switch, automatic
-@cindex cross staff voice, automatic
-@cindex @code{\autochange}
-Voices can switch between staffs. The easiest way to get this, is to use
-@code{\autochange}. This command looks at the pitch of each note, and if
-necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
@separate
@example
\translator Staff = down
@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
This file will be used both for producing the score and the separate
parts.
-If you were to run lilypond on this file, no printable output would be
+If you were to run LilyPond on this file, no printable output would be
produced.
@example
Key = \notes \key as \major
@end example
Declare the key signature of the piece and assign it to the identifier
-@var{Key}. Lateron, we'll use @code{\Key} for all staffs except those
+@var{Key}. Later on, we'll use @code{\Key} for all staves except those
for transposing instruments.
@node The full score
indent = 15 * \staffspace
linewidth = 60 * \staffspace
textheight = 90 * \staffspace
- \translator@{
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
\translator@{
\HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
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 sharp sign is called @code{accidentals-+1}). The default font is
+(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
<
\global
@end example
-Of course, all staffs are simultaneous and use the same global settings.
+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 all this kind of information in LilyPond's automatically
-generated documentation in
+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
\context StaffGroup = woodwind <
\context Staff = flauti <
@end example
-A new notation context: the StaffGroup. StaffGroup can hold one or more
-Staffs, 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.
+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
(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 two elements (columns), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
+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
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 proprerty
+playing, using @code{\transpose} and the MIDI Staff property
@var{transposing}.
@separate
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 staffs.
+the automatic removing of empty staves.
@node Extracting an individual part
@subsection Extracting an individual part
Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
+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.
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 in @ref{lilypond-book}.
+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
@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}.
+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:
+invoke LilyPond directly:
@example
lilypond test.ly
@end example
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
+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
+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.
c'4 f bes es
\end@{lilypond@}
-\texttt@{verbatim@} also shows the lilypond code, \texttt@{11pt@} selects
+\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
$ cd input/tutorial
$ lilypond-book --outdir=out/ lilbook.tex
lilypond-book (GNU LilyPond) 1.3.146
-Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
-Reading
-`/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
+Reading `input/tutorial/lilbook.tex'
+Reading `input/tutorial/sammartini.ly'
@var{lots of stuff deleted}
Writing `out/lilbook.latex'
$ cd out
@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
+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.
c'4 f bes es
@end lilypond
-@code{verbatim} also shows the lilypond code, @code{11pt} selects
+@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
@lilypondfile[printfilename]{sammartini.ly}
The @code{printfilename} option adds the file name to the output.
-@node end of tutorial
-@section The end
+@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. You can find more example
files in @file{input} and @file{input/test}. You can also look at some
-real music. Have a look at the @uref{Mutopia project,
-http://www.mutopiaproject.org}.
+real music. The website @uref{http://www.mutopiaproject.org} has many
+examples of real music typeset by LilyPond.
projects / lilypond.git / blobdiff