version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
- @lilypond[verbatim,quote,ragged-right]
+ @lilypond[verbatim,quote]
or
- @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+ @lilypond[verbatim,quote,relative=2]
Don't use any other relative=X commands (make it a non-fragment
example), and don't use fragment without relative=2.
@menu
* Compiling a file::
* Simple notation::
-* Working on text files::
-* How to read the manual::
+* Working on input files::
+* How to read the manual::
@end menu
@node Compiling a file
@subsection Compiling a file
-The first example demonstrates how to start working with LilyPond.
-To create sheet music, we write a text file that specifies the
+@qq{Compiling} is the term used for processing an input file
+in LilyPond format to produce a file which can be printed and
+(optionally) a MIDI file which can be played. LilyPond input
+files are simple text files. The first example
+shows what a simple input file looks like.
+
+To create sheet music, we write an input file that specifies the
notation. For example, if we write:
@example
the result looks like this:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
@end lilypond
-@warning{Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input. The braces
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @strong{@{ curly braces @}}. The braces
should also be surrounded by a space unless they are at the
beginning or end of a line to avoid ambiguities. The braces may
be omitted in some examples in this manual, but don't forget them
examples in the manual, see @ref{How to read the manual}.}
@cindex case sensitive
-In addition, LilyPond input is @strong{case sensitive}. @code{
-@{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
-error message.
+In addition, LilyPond input is @strong{case sensitive}.
+@w{@code{@{ c d e @}}} is valid input; @w{@code{@{ C D E @}}} will
+produce an error message.
@smallspace
@subsubheading MacOS X
-If you double click @code{LilyPond.app}, it will open with an
+If you double click @command{LilyPond.app}, it will open with an
example file. Save it, for example, to @file{test.ly} on your
-Desktop, and then process it with the menu command @code{Compile >
-Typeset File}. The resulting PDF file will be displayed on your
-screen.
+Desktop, and then process it with the menu command
+@w{@code{Compile > Typeset File}}. The resulting PDF file will be
+displayed on your screen.
For future use of LilyPond, you should begin by selecting @q{New}
or @q{Open}. You must save your file before typesetting it. If
what LilyPond has done to the file. If any errors occur, please
examine this file.
-@subsubheading Unix
+@subsubheading UNIX
Create a text file called @file{test.ly} and enter:
@example
lilypond test.ly
-GNU LilyPond 2.12.0
+GNU LilyPond @version{}
Processing `test.ly'
Parsing...
Interpreting music...
next example, we have only specified four pitches, but LilyPond
has added a clef, time signature, and rhythms.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
c' e' g' e'
}
elementary piece of music, a @notation{scale}, in which every note
is within just one staff space of the previous note.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' { % set the starting point to middle C
c d e f
g a b c
closest D to the previous note. We can create melodies which have
larger intervals, still using only @code{\relative} mode:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
d f a g
c b f d
middle C.
By adding (or removing) quotes @code{'} or commas @code{,} from
-the @code{\relative c' @{} command, we can change the starting
+the @w{@code{\relative c' @{}} command, we can change the starting
octave:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' { % one octave above middle C
e c a c
}
works in practice. Starting from a B, which is on the middle line
in a treble clef, you can reach a C, D and E within 3 staff spaces
going up, and an A, G and F within 3 staff spaces going down. So
-if the note following a B is a C, D or F it will be assumed to be
+if the note following a B is a C, D or E it will be assumed to be
above the B, and an A, G or F will be assumed to be below.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
b c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
apostrophe) to the note name. We can lower the octave by adding a
comma @code{,} to the note name.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a, c' f,
g g'' a,, f'
To change a note by two (or more!) octaves, we use multiple
@code{''} or @code{,,} -- but be careful that you use two single
quotes @code{''} and not one double quote @code{"}@tie{}! The
-initial value in @code{\relative c'} may also be modified like
+initial value in @w{@code{\relative c'}} may also be modified like
this.
@c " - keeps quotes in order for context-sensitive editor -td
for the next note. The duration of the first note defaults to a
quarter.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a1
a2 a4 a8 a
duration number. The duration of a dotted note must be stated
explicitly (i.e., with a number).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a a4. a8
a8. a16 a a8. a8 a4.
Music Glossary: @rglos{rest}.
A @notation{rest} is entered just like a note with the name
-@code{r}:
+@code{r}@tie{}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
The @notation{time signature} can be set with the @code{\time}
command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\time 3/4
a4 a a
The @notation{clef} can be set using the @code{\clef} command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
\clef treble
c1
Here is a small example showing all these elements together:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c, {
\time 3/4
\clef bass
@ruser{Time signature}, @ruser{Clef}.
-@node Working on text files
-@subsection Working on text files
+@node Working on input files
+@subsection Working on input files
LilyPond input files are similar to source files in many common
programming languages. They are case sensitive, and white-space
is generally ignored. Expressions are formed with curly braces
-@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
-%@}}.
+@{ @}, and comments are denoted with @code{%} or
+@w{@code{%@{ ... %@}}}.
If the previous sentences sound like nonsense, don't worry! We'll
explain what all these terms mean:
@cindex case sensitive
@item
@strong{Case sensitive}:
-it matters whether you enter a letter in lower case (e.g. @code{a,
-b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
-lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
-will produce an error message.
+it matters whether you enter a letter in lower case (e.g.
+@w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}).
+Notes are lower case: @w{@code{@{ c d e @}}} is valid input;
+@w{@code{@{ C D E @}}} will produce an error message.
@item
@strong{Whitespace insensitive}:
it does not matter how many spaces (or new lines) you add.
-@code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
-@tie{} @tie{} d e @}} and:
+@w{@code{@{ c d e @}}} means the same thing as
+@w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} and:
@example
@{ c d
ambiguities.
A LilyPond command followed by a simple expression in braces (such
-as @code{\relative @{ @}}) also counts as a single music
+as @w{@code{\relative @{ @}}}) also counts as a single music
expression.
@cindex comments
is ignored while parsing, so it has no effect on the printed
output. There are two types of comments. The percent symbol
@code{%} introduces a line comment; anything after @code{%} on
-that line is ignored. A block comment marks a whole section of
-music input as a comment. Anything that is enclosed in @code{%@{}
-and @code{%@}} is ignored. However, block comments do not @q{nest}.
-This means that you cannot place a block comment inside another
-block comment. If you try, the first @code{%@}} will terminate
-@emph{both} block comments. The following
-fragment shows possible uses for comments:
+that line is ignored. By convention, a line comment is placed
+@emph{above} the code it refers to.
+
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
+
+A block comment marks a whole section of music input as a comment.
+Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
+However, block comments do not @q{nest}. This means that you
+cannot place a block comment inside another block comment. If you
+try, the first @code{%@}} will terminate @emph{both} block
+comments. The following fragment shows possible uses for
+comments:
@example
% notes for twinkle twinkle follow
are ignored, since they are in a
block comment.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@subsection How to read the manual
LilyPond input must be surrounded by @{ @} marks or a
-@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
-files}. For the rest of this manual, most examples will omit
-this. To replicate the examples, you may copy and paste the
-displayed input but you @strong{must} add the @code{\relative c''
-@{ @}} like this:
+@w{@code{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
+input files}. For the rest of this manual, most examples will
+omit this. To replicate the examples, you may copy and paste the
+displayed input, but you @strong{must} add the
+@w{@code{\relative c'' @{ @}}} like this:
@example
\relative c'' @{
Why omit the braces? Most examples in this manual can be inserted
into the middle of a longer piece of music. For these examples,
-it does not make sense to add @code{\relative c'' @{ @}} -- you
-should not place a @code{\relative} inside another
-@code{\relative}! If we included @code{\relative c'' @{ @}}
+it does not make sense to add @w{@code{\relative c'' @{ @}}} --
+you should not place a @code{\relative} inside another
+@code{\relative}! If we included @w{@code{\relative c'' @{ @}}}
around every example, you would not be able to copy a small
documentation example and paste it inside a longer piece of your
own. Most people want to add material to an existing piece, so we
this image:
@c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
\relative c'' {
c-\markup { \bold \huge { Click here. } }
}
@seealso
-
There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}. But it might be
+@ref{Suggestions for writing LilyPond input files}. But it might be
best to read through the rest of the tutorial first.
like German and Dutch. To use other names for
@notation{accidentals}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ees fisis, aeses
@end lilypond
The @notation{key signature} is set with the command @code{\key}
followed by a pitch and @code{\major} or @code{\minor}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
a1
\key c \minor
confusion to newcomers, so let us explain it in more detail.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural} or
+layout. The alteration (@notation{flat}, @notation{natural sign} or
@notation{sharp}) of a note is part of the pitch, and is therefore
musical content. Whether an accidental (a @emph{printed} flat,
natural or sharp sign) is printed in front of the corresponding
In this example:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
d cis fis
@end lilypond
No note has a printed accidental, but you must still add
@code{is} and type @code{cis} and @code{fis} in the input file.
-The code @code{e} does not mean @qq{print a black dot just below
+The code @code{e} does not mean @qq{print a black dot just on
the first line of the staff.} Rather, it means @qq{there is a
note with pitch E-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key aes \major
e
@end lilypond
A @notation{tie} is created by appending a tilde @code{~} to the
first note being tied.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
g4~ g c2~
c4 ~ c8 a8 ~ a2
@end lilypond
starting note and ending note are marked with @code{(} and
@code{)} respectively.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
@cindex phrasing slurs
@subheading Phrasing slurs
-Music Glossary: @rglos{phrasing}, @rglos{legato}.
+Music Glossary: @rglos{slur}, @rglos{phrasing}.
Slurs to indicate longer @notation{phrasing} can be entered with
-@code{\(} and @code{\)}. You can have both @notation{legato}
-slurs and phrasing slurs at the same time, but you cannot have
-simultaneous legato slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}. You can have both @notation{slurs}
+and phrasing slurs at the same time, but you cannot have
+simultaneous slurs or simultaneous phrasing slurs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
indicate the @notation{articulation} of notes, and can be used on
larger groups of notes. Slurs and ties can be nested.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
articulations on the same note. However, in most cases it is best
to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
@notation{Dynamic} signs are made by adding the markings (with a
backslash) to the note:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c\ff c\mf c\p c\pp
@end lilypond
example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
Text may be added to your scores:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^"espr" a_"legato"
@end lilypond
Extra formatting may be added with the @code{\markup} command:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^\markup{ \bold espr}
a1_\markup{
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
@cindex beams, by hand
All @notation{beams} are drawn automatically:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8 ais d ees r d c16 b a8
@end lilypond
-@noindent
If you do not like the automatic beams, they may be overridden
-manually. Mark the first note to be beamed with @code{[} and the
-last one with @code{]}.
+manually. To correct just an occasional beam mark the first note
+to be beamed with @code{[} and the last one with @code{]}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8[ ais] d[ ees r d] a b
@end lilypond
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+to turn off automatic beaming and @code{\autoBeamOn} to turn it
+on again.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+
@seealso
Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@code{\partial}. It is followed by a duration: @code{\partial 4}
is a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\partial 8
f8 c2 d
@end lilypond
Triplets make notes occupy 2/3 of their notated duration, so a
@notation{triplet} has 2/3 as its fraction
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
\times 2/3 { f,8 g16[ a g a] }
although they can also be created by prefixing a music expression
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2 \grace { a32[ b] } c2
c2 \appoggiatura b16 c2
c2 \acciaccatura b16 c2
than one voice on the same staff.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Staff groups::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4
@end lilypond
expression}. Here we have created a compound music expression
with two notes:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ a4 g4 }
@end lilypond
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ { a4 g } f g }
@end lilypond
following example, three sequences (all containing two separate
notes) are combined simultaneously:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
{ a4 g }
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
-@c FIXME: number of backslashes?! works in html but not pdf.
@warning{each note is relative to the previous note in
the input, not relative to the @code{c''} in the initial
-@code{\\relative} command.}
+@code{@bs{}relative} command.}
@subheading Simultaneous music expressions: single staff
To determine the number of staves in a piece, LilyPond looks at
-the first expression. If it is a single note, there is one staff;
-if there is a simultaneous expression, there is more than one
-staff.
+the beginning of the first expression. If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 <<c e>>
<< { e f } { c <<b d>> } >>
@code{Staff} elements are then combined in parallel with @code{<<}
and @code{>>}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble c }
Time signatures entered in one staff affects all other staves by
default. On the other hand, the key signature of one staff does
-@emph{not} affect other staves. This different default behaviour
+@emph{not} affect other staves. This different default behavior
is because scores with transposing instruments are more common
than polyrhythmic scores.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble \key d \major \time 3/4 c }
Here is a small example:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\new PianoStaff <<
\new Staff { \time 2/4 c4 e g g, }
}
@end lilypond
-Other staff groupings are introduced with
-@code{\new GrandStaff,} suitable for orchestral
-scores, and @code{\new ChoirStaff,} suitable for
-vocal scores. These staff groups each form another
-type of context, one that generates the brace at the
-left end of every system and also controls the extent
-of barlines.
+Other staff groupings are introduced with @code{\new GrandStaff},
+suitable for orchestral scores, and @w{@code{\new ChoirStaff}},
+suitable for vocal scores. These staff groups each form another
+type of context, one that generates the brace at the left end of
+every system and also controls the extent of bar lines.
@seealso
-Notation Reference: @ruser{Piano music},
+Notation Reference: @ruser{Keyboard instruments},
@ruser{Displaying staves}.
Music Glossary: @rglos{chord}.
-@notation{Chords} can be made by surrounding pitches with single
-angle brackets. Note that all the notes in a chord must have the
-same duration, and that duration is placed after the closing
-bracket.
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets. However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets. Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>4 <c f a>2
@end lilypond
Think of chords as almost equivalent to single notes:
almost everything you can attach to a single note can be attached
-to a chord, and everything must go @emph{outside} the angle
-brackets. For example, you can combine markings like beams and
+to a chord, and everything must go @emph{outside} the angle
+brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
bottom voice has them down.
Entering such parts is done by entering each voice as a sequence
-(with @code{@{...@}}) and combining these simultaneously,
-separating the voices with @code{\\}
+(with @w{@code{@{...@}}}) and combining these simultaneously,
+separating the voices with @code{\\}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 }
same example with a spacer rest (@code{s}) instead of a normal
rest (@code{r}),
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 }
@noindent
Again, these expressions can be nested arbitrarily.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
This section introduces vocal music and simple song sheets.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
Music Glossary: @rglos{lyrics}.
Here is the start of the melody to a nursery
-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key g \major
\time 6/8
with the @code{\addlyrics} keyword. Lyrics are entered by
separating each syllable with a space.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
@end lilypond
Note the curly brackets delimiting both the music and the lyrics,
-and the double angle brackets @code{<< ... >>} around the whole
-piece to show that the music and lyrics are to occur at the same
-time.
+and the double angle brackets @w{@code{<< ... >>}} around the
+whole piece to show that the music and lyrics are to occur at the
+same time.
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
@cindex hyphens
@cindex underscore
-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}. Let's extend it:
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}. Let's extend it:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c b a d4 b8 g4.
}
\addlyrics {
@end lilypond
We see the extra lyrics do not align properly with the notes. The
-word @q{shine} should be sung on two notes, not one. This is
-called a @notation{melisma}, a single syllable sung to more than
-one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them (see
-@ref{Ties and slurs}):
+word @notation{shine} should be sung on two notes, not one. This
+is called a @notation{melisma}, a single syllable sung to more
+than one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them, for
+details, see @ref{Ties and slurs}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c( b) a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine as bright as day;
}
->>
+>>
@end lilypond
-Here we have also used manual beaming (the square brackets @code{[
-]} ) to generate the beaming which is customarily used with lyrics
-(see @ref{Automatic and manual beams}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b]) a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
As an alternative to using slurs, the melismata may be indicated
-in just the lyrics by using an underscore, @code{_}, for each
-note that should be included in the melisma:
+in just the lyrics by using an underscore @code{_} for each note
+that should be included in the melisma:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c[ b] a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine _ as bright as day;
}
->>
+>>
@end lilypond
If a syllable extends over several notes or a single very long
note an @notation{extender line} is usually drawn from the
syllable extending under all the notes for that syllable. It is
entered as two underscores @code{__}. Here is an example from the
-first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+first three bars of @notation{Dido's Lament}, from Purcell's
+@notation{Dido and Æneas}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
\time 3/2
- g2 a bes bes( a)
+ g2 a bes bes( a)
b c4.( bes8 a4. g8 fis4.) g8 fis1
}
\addlyrics {
- When I am laid,
+ When I am laid,
am laid __ in earth,
}
>>
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
+ d4 g4 g a8( b) g4 g4
b8( c) d4 d e4 c2
}
\addlyrics {
- A -- way in a __ man -- ger,
+ A -- way in a __ man -- ger,
no __ crib for a bed, __
}
>>
Some lyrics, especially those in Italian, require the opposite:
setting more than one syllable to a single note. This is
achieved by linking the syllables together with a single
-underscore @code{_} (with no spaces), or enclosing them in
-quotes. Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
\key c \major
\time 6/8
- c4.~ c8 d b c([ d)] b c d b c
+ c4.~ c8 d b c([ d]) b c d b c
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
The simple approach using @code{\addlyrics} can be used for
placing lyrics under more than one staff. Here is an
-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
-@lilypond[verbatim,quote,ragged-right]
+@c TODO \partial has not been previously explained
+@c Change example or add explanation earlier
+
+@lilypond[verbatim,quote]
<<
{
\time 6/8
}
\relative c'' {
\key f \major
- c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
\relative c' {
\key f \major
- r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
introduction to the rest of the manual.
@menu
-* Organizing pieces with variables::
-* Version number::
-* Adding titles::
-* Absolute note names::
-* After the tutorial::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
later by placing a backslash in front of the name
(@code{\namedMusic}, just like a normal LilyPond command).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
violin = \new Staff { \relative c'' {
a4 b c b
}}
of another variable, giving a way of shortening the input if a
section of music is repeated many times.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
tripletA = \times 2/3 { c,8 e g }
barA = { \tripletA \tripletA \tripletA \tripletA }
was used to write the file:
@example
-\version "2.11.23"
+\version @w{"@version{}"}
@end example
@noindent
underneath the @ref{Version number}.
@example
-\version "2.11.23"
+\version @w{"@version{}"}
\header @{
title = "Symphony"
composer = "Me"
@code{g,} will always mean the note on the bottom staff of the
bass clef.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c' b g, g,
Here is a four-octave scale:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c, d, e, f,
As you can see, writing a melody in the treble clef involves a lot
of quote @code{'} marks. Consider this fragment from Mozart:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\key a \major
\time 6/8
of errors. With @code{\relative}, the previous example is much
easier to read and type:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key a \major
\time 6/8
+
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