@c -*-texinfo-*-
+@c This file is part of lilypond.tely
-@c TODO: LilyPond LilyPond LilyPond
+@c TODO:
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
+
+@c Your first LilyPond score in 10 minutes?
@node Tutorial
@chapter Tutorial
-@html
-<!--- @@WEB-TITLE@@=Tutorial --->
-@end html
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact we will show you how to produce
+printed output. Then you will be able to create and print your own
+sheets of music.
+
+@ifhtml
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+Try it on this image
+
+@lilypond[fragment,quote,raggedright,relative=2]
+c-\markup { \bold \huge { Click here. } }
+@end lilypond
+@end ifhtml
+
+By cutting and pasting the full input into a test file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for quick
+reference.
@menu
-* First steps:: Music language of LilyPond
-* Running LilyPond:: Printing music
-* More basics::
+* First steps::
+* Running LilyPond::
+* More about pitches::
+* Entering ties::
+* Automatic and manual beams::
+* Octave entry::
+* Music expressions explained::
+* More staves::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Basic rhythmical commands::
+* Commenting input files::
* Printing lyrics::
-* A melody with chords ::
-* More stanzas::
-* More movements :: Joining separate pieces of music
-* A piano excerpt:: Piano music
-* Fine tuning a piece::
-* An orchestral score:: Conductor's score and individual parts
-* Integrating text and music:: Integrating text and music
-* End of tutorial:: The end
+* A lead sheet::
+* Listening to output::
+* Adding titles::
+* Single staff polyphony::
+* Piano staves::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music::
@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 (normally
-using the program @code{ly2dvi}) on that file, the program produces
-another file which contains sheet music that you can print or view.
-
-This tutorial starts with a small introduction to the LilyPond music
-language. After this first contact, we will show you how to run
-LilyPond to produce printed output; you should then be able to create
-your first sheets of music. The tutorial continues with more and more
-complex examples.
@node First steps
@section First steps
-We start off by showing how very simple music is entered in
-LilyPond: you get a note simply by typing its note name, from
-@code{a} through @code{g}. So if you enter
-@quotation
+The first example demonstrates how to enter the most elementary piece
+of music, a scale. A note can be entered by typing its name, from
+@samp{a} through @samp{g}. So, if you enter
+
@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 will continue with this format: first we show a snippet of input,
-then the resulting output.
+@noindent
+the result looks like this
+
+@lilypond[fragment,quote,notime,relative=1]
+c d e f g a b
+@end lilypond
-The length of a note is specified by adding a number, ``@code{1}'' for a
-whole note, ``@code{2}'' for a half note, and so on:
+The duration of a note is specified by a number after the note name.
+@samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
+@samp{4} for a @rglos{quarter note} and so on
-@quotation
@example
a1 a2 a4 a16 a32
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-%\property Staff.Clef = \turnOff
-\transpose c'' { a1 a2 a4 a16 a32 }
-s16_" "
+@c FIXME: have NOTIME also remove Score.timing?
+@lilypond[fragment,quote,notime,relative=1]
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
+{ a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-@end quotation
-@separate
-If you don't specify a duration, the previous one is used:
-@quotation
+If you do not specify a @rglos{duration}, the duration last entered is
+used for the next notes. The duration of the first note in input
+defaults to a quarter
+
@example
-a4 a a2 a
+a a8 a a2 a
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-%\property Staff.Clef = \turnOff
-\transpose c'' { a a a2 a }
-s16_" "
+@lilypond[fragment,quote,notime,relative=1]
+\set Score.timing = ##f
+{ a a8 a a2 a s16_" " }
@end lilypond
-@end quotation
-@separate
-A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
-(@texiflat{}) by adding ``@code{es}''. As you would expect, a
-double-sharp or double-flat is made by adding ``@code{isis}'' or
-``@code{eses}'':
-@quotation
+Rests are entered just like notes, but with the name @samp{r}
+
+@cindex rests
@example
-cis1 ees fisis aeses
+r2 r4 r8 r16
@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\transpose c'' { cis1 ees fisis aeses }
-s16_" "
+@lilypond[fragment,quote,notime]
+\set Score.timing = ##f
+r2 r4 r8 r16 s16_" "
@end lilypond
-@end quotation
-@separate
-Add a dot ``@code{.}'' after the duration to get a dotted note:
-@quotation
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+
@example
a2. a4 a8. a16
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature \set #'transparent = ##t
-%\property Staff.Clef = \turnOff
-\transpose c'' { a2. a4 a8. a16 }
-s16_" "
+@lilypond[fragment,quote,notime,relative=1]
+\set Score.timing = ##f
+{ a2. a4 a8. a16 s16_" " }
@end lilypond
-@end quotation
-@separate
-The meter (or time signature) can be set with the @code{\time} command:
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command
-@quotation
@example
\time 3/4
\time 6/8
\time 4/4
@end example
-@c a clef here may lead to confusion
-@lilypond[fragment]
-\property Staff.Clef \set #'transparent = ##t
+@c A clef here may lead to confusion, remove it.
+@lilypond[fragment,quote]
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
\time 4/4
s16_" "
@end lilypond
-@end quotation
-@separate
-The clef can be set using the ``@code{\clef}'' command:
+The @rglos{clef} can be set using the @code{\clef} command
@c what is more common name treble or violin?
-@c in Dutch, its violin.
-@c in English its definitely treble.
-@quotation
+@c in Dutch, it is violin.
+@c in English it is definitely treble.
@example
\clef treble
\clef bass
\clef tenor
@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+@lilypond[fragment,quote,notime]
+\set Score.timing = ##f
\clef violin
s4_" "
\clef bass
\clef tenor
s16_" "
@end lilypond
-@end quotation
-@separate
-@c From these commands and notes, a piece of music can be formed. A piece
-@c of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
-@c rephrased:
-When you enter these commands in a file, you must to enclose them in
-``@code{\notes @{ .. @}}''. This lets LilyPond know that music (and
-not lyrics, for example) follows:
-@quotation
-@example
-\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
-@}
-@end example
-@end quotation
-@separate
+Remember to enclose the notes and commands in curly braces
+@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-Now the piece of music is almost ready to be printed. The final step is to
-combine the music with a printing command.
+@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
+{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+}
+@end lilypond
-The printing command is the so-called ``@code{\paper}'' block. Later on
-you will see that the @code{\paper} block is used to customize
-printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in ``@code{\score @{ ... @}}''. This is what a full
-LilyPond source file looks like:
+For more elaborate information on
@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
+@table @asis
+@item Entering pitches and durations
+see
+@ref{Pitches}, and @ref{Durations}.
+@item Clefs
+see @ref{Clef}.
+@item Rests
+see @ref{Rests}.
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@end table
@end quotation
-@separate
@node Running LilyPond
@section Running LilyPond
+@c FIXME: let's not be so casual about Emacs and VIM, but rather
+@c instruct (how) to use them; let advanced user figure-out what
+@c commands to type?
+
+@c
+@c We don't have enough space to explain either VIM
+@c or Emacs non-advanced users, and I fear that both editors will only
+@c confuse newbies. I vote for keeping the material in footnotes.
+@c
+@c --hwn
+
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 want to run an example
-file yourself, 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.
-
-Begin by opening a terminal window and starting a text editor.
-For example, you could open an xterm and execute @code{joe}. In your
-text editor, enter the following input and save the file as
-@file{test.ly}:
+in a LilyPond file. In this section we will explain what commands to
+run and how to view or print the output. If you have not used
+LilyPond before, want to test your setup, or want to run an example
+file yourself, read this section. The instructions that follow are
+for Unix-like systems. Some additional instructions for Microsoft
+Windows are given at the end of this section.
+
+Begin by opening a terminal window and starting a text editor. For
+example, you could open an xterm and execute
+@code{joe}.@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+installed already, refer to
+@c FIXME lousy reference.
+the file @file{INSTALL.txt}.} In your text editor, enter the following
+input and save the file as @file{test.ly}
-@quotation
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+@{ c'4 e' g' @}
@end example
-@end quotation
-@cindex ly2dvi
+@noindent
+To process @file{test.ly}, proceed as follows
-@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 @code{ly2dvi}, proceed as follows:
-
-@quotation
@example
-ly2dvi -P test.ly
+lilypond test.ly
@end example
-@end quotation
-You will see the following on your screen:
+@noindent
+You will see something resembling
-@quotation
@example
-GNU LilyPond 1.6.0
-Now processing: `/home/fred/ly/test.ly'
+lilypond (GNU LilyPond) 2.2.0
+Running lilypond...
+Now processing `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
- @emph{ ... more interesting stuff ... }
-PS output to `test.ps'...
+@emph{... more interesting stuff ... }
DVI output to `test.dvi'...
+PDF output to `test.pdf'...
+PS output to `test.ps'...
@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 the music on your screen looks good, you can print it by clicking
-File/Print inside ghostview.
-
-The DVI file (@file{test.dvi}) contains the same sheet music in a
-different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. You can run @code{xdvi test.dvi} or
-@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse buttons
-activate magnifying glasses. Unfortunately, variable symbols (such as
-beams and slurs) are not displayed in the magnifying glasses.
-
-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 your system does not support printing PostScript files, then you
-can install GhostScript, a PostScript emulator. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-
-@cindex GhostScript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
-@cindex PDF
-
-A final option is to use the popular PDF format. You can get a PDF
-file by running @code{ly2dvi --pdf test.ly}. With @code{--pdf}
-you will get DVI, PS and PDF files. Viewers for PS files also
-accept PDF files, but there are also many other applications for
-viewing PDF files.
-
-If you are familiar with @TeX{}, be warned: do not use other
-DVI drivers like @code{dvilj}. The @TeX{} coming out of LilyPond
-uses embedded PostScript code and will not render correctly if
-you use anything other than @code{dvips}.
-
+@noindent
+The result is the file @file{test.pdf}@footnote{For @TeX{}
+aficionados: there is also a @file{test.dvi} file. It can be viewed
+with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
+not show up in the magnifying glass. The specials also mean that the
+DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
+printing.
@cindex dvips
@cindex dvilj
@cindex DVI driver
+} which you can print or with the standard facilities of your
+operating system.@footnote{If your system does not have any tools
+installed, you can try @uref{Ghostscript,
+http://www.cs.wisc.edu/~ghost/}, a freely available package for
+viewing and printing PDF and PostScript files.}
+
+On Windows, start up a text-editor@footnote{Any simple or
+programmer-oriented editor will do, for example Notepad. Do not use a
+word processor, its formatting codes will confuse LilyPond.} and enter
-@unnumberedsubsec Windows users
-Windows users can start the terminal by clicking on the LilyPond or
-Cygwin icon. You can use any text editor (such as NotePad, Emacs or
-Vim) to edit the LilyPond file. If you install the Cygwin's
-@code{XFree86} X11 window system, @code{tetex-x11} and
-@code{ghostscript-x11} packages too, you can view the @code{dvi}
-output doing @code{xdvi test.dvi} as described above. If you have
-installed a PostScript/PDF viewer, such as @code{GSView} from
-@uref{http://www.cs.wisc.edu/~ghost}, viewing the PS file can be done
-with:
-@quotation
-@example
-@code{gsview32 test.ps}
-@end example
-@end quotation
-You can also print from the command line by executing:
-@quotation
@example
-@code{gsview32 /s test.ps}
+@{ c'4 e' g' @}
@end example
-@end quotation
+Save it on the desktop as @file{test.ly} and make sure that it is not
+called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
+the file and show the resulting PDF file.
-@strong{SUMMARY}
-To run LilyPond, input a text file, then run the command @code{ly2dvi} on
-that file. The resulting files are either DVI or PostScript, and can
-be viewed with @code{xdvi} (unix) and ghostview (unix and windows)
-respectively. The following table summarizes the constructs that were
-discussed in the previous two sections.
+@node More about pitches
+@section More about pitches
-@multitable @columnfractions .3 .3 .4
+A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
+the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+you might expect, a @rglos{double sharp} or @rglos{double flat} is
+made by adding @samp{isis} or @samp{eses}@footnote{This syntax
+derived from note naming conventions in Nordic and Germanic languages,
+like German and Dutch.}
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-
-@item @code{1 2 8 16}
-@tab durations
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c1 c2 c8 c16
-@end lilypond
+@example
+cis1 ees fisis aeses
+@end example
-@item @code{. ..}
-@tab augmentation dots
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c4. c4..
+@lilypond[fragment,quote,notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
-@item @code{c d e f g a b }
-@tab scale
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c d e f g a b
-@end lilypond
+@cindex key signature, setting
+The key signature is set with the command @code{\key}, followed by
+a pitch and @code{\major} or @code{\minor}
-@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
+@example
+\key d \major
+g1
+\key c \minor
+g
+@end example
-@item @code{\time 3/4 \time 4/4 }
-@tab time signature
-@tab
-@lilypond[fragment]
-\property Staff.Clef \set #'transparent = ##t
-\time 3/4
-s4_" "
-\time 4/4
-s16_" "
+@lilypond[fragment,quote,notime,fragment]
+\key d \major
+g'1
+\key c \minor
+g'
@end lilypond
-@end multitable
+@noindent
+Key signatures together with the pitches (including alterations) are
+used to determine when to print accidentals. This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail.
-@node More basics
-@section More basics
+LilyPond makes a sharp distinction between musical content and
+layout. The alteration (flat, natural or sharp) of a note is part of
+the pitch, and is therefore musical content. Whether an accidental (a
+flat, natural or sharp @emph{sign}) is printed in front of the
+corresponding note is a question of layout. Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
-We continue with the introduction of the remaining musical constructs.
-Normal rests are entered just like notes with the name ``@code{r}'':
-
-@quotation
-@example
-r2 r4 r8 r16
-@end example
+In this example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.Clef = \turnOff
-\property Staff.TimeSignature = \turnOff
-r2 r4 r8 r16
-s16_" "
+@lilypond[quote,notime,fragment]
+\key d \major
+d' cis' fis'
@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). Middle C is @code{c'}:
+@noindent
+no note gets an explicit accidental, but you still must enter
-@quotation
@example
-c'4 c'' c''' \clef bass c c,
+\key d \major
+d cis fis
@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; it just makes the first note sound longer:
+@noindent
+The code @samp{d} does not mean `print a black dot just below the
+staff.' Rather, it means: `a note with pitch D-natural.' In the key
+of A-flat, it does get an accidental
-@quotation
-@lilypond[fragment,verbatim]
-g'4 ~ g' a'2 ~ a'4
+@lilypond[quote,notime,fragment]
+\key as \major
+d'
@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'
+\key as \major
+d
@end example
-@lilypond[fragment]
-\property Staff.TimeSignature = \turnOff
-\key d \major
-g'1
-\key c \minor
-g'
-@end lilypond
-@end quotation
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+music can be printed according to different conventions. See
+@ref{Accidentals}, for some examples how accidentals can be printed
+according to different rules.
-@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.
+For more information on
@quotation
-@example
-\score @{
- \notes @{
- \time 4/4
- \key d \minor
- \clef violin
- 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
+@table @asis
+@item Accidentals
+see @ref{Accidentals}.
-@lilypond
-\score {
- \notes {
- \time 4/4
- \clef violin
- \key d \minor
- r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
- cis''2 r2
- }
- \paper { linewidth = 50*\staffspace }
-}
-@end lilypond
+@item Key signature
+see @ref{Key signature}.
+@end table
@end quotation
-@c accidentals...
-There are some interesting points to note in this example.
-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. Bar lines and beams are drawn automatically.
-LilyPond calculates line breaks for you; it doesn't matter where you
-make new lines in the source file. Finally, the order of time, key and
-clef changes is not relevant: lilypond will use standard notation
-conventions for ordering these items.
-
-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 also a potential source of errors.
-
-The solution is to use ``relative octave'' mode. In practice, this is
-the most convenient way to copy existing music. 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''}. If you don't
-use octavation quotes (ie don't add ' or , after a note), relative mode
-chooses the note that is closest to the previous one. Since most music
-has small intervals, you can write quite a lot in relative mode without
-using octavation quotes.
-@c don't use commas or quotes in this sentence
-For example: @code{c f} goes up; @code{c g} goes down:
+@node Entering ties
+@section Entering ties
-@quotation
-@example
-\relative c'' @{
- c f c g c
-@}
-@end example
+@cindex tie
+A tie is created by appending a tilde @samp{~} to the first note
+being tied
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\relative c'' {
- c f c g c
-}
+@lilypond[quote,notime,fragment,verbatim,relative=3]
+g4~ g a2~ a4
@end lilypond
-@end quotation
-@separate
+For more information on Ties see @ref{Ties}.
-@c needed better, maybe even redundant explanation
-@c added another example below.
-@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 larger intervals by adding octavation quotes. Note that
-quotes or commas do not determine the absolute height of a note;
-the height of a note is relative to the previous one.
-@c don't use commas or quotes in this sentence
-For example: @code{c f,} goes down; @code{f, f} are both the same;
-@code{c' c} are the same; and @code{c g'} goes up:
-@quotation
-@example
-\relative c'' @{
- c f, f c' c g' c,
-@}
-@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\relative c'' {
- c f, f c' c g' c,
-}
+@node Automatic and manual beams
+@section Automatic and manual beams
+
+@cindex beams, by hand
+Beams are drawn automatically
+
+@lilypond[quote,fragment,relative=2,verbatim]
+a8 ais d es r d
@end lilypond
-@end quotation
-@separate
+@noindent
+If you do not like where beams are put, they can be entered by
+hand. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
+
+@lilypond[quote,fragment,relative=2,verbatim]
+a8[ ais] d[ es r d]
+@end lilypond
-Here's an example of the difference between relative mode and
-``normal'' (non-relative) mode:
+For more information on beams, see @ref{Beaming}.
+
+
+Here are key signatures, accidentals and ties in action
-@quotation
@example
-\relative a @{
-\clef bass
- a d a e d c' d'
+@{
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
@}
@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\relative a {
-\clef bass
- a d a e d c' d'
-}
-@end lilypond
-@end quotation
-@separate
+@ignore
+FIXME
+ugr: removing the ignore block, leaving the comment line below
+@c TODO: use relative mode, verbatim, junk \transpose and above @example
+@end ignore
-@quotation
-@example
-\clef bass
- a d a e d c' d'
-@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\clef bass
- a d a e d c' d'
+@lilypond[fragment,quote,noindent,linewidth=50\staffspace]
+\transpose c c' {
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+}
@end lilypond
-@end quotation
-@separate
-@strong{SUMMARY}
+@cindex accidentals
-The following table summarizes the syntax learned so far in this section.
-@c Is it possible to avoid page breaks directly after the
-@c table head? /Mats
+@noindent
+There are some interesting points to note in this example. Bar lines
+and beams are drawn automatically. Line breaks are calculated
+automatically; it does not matter where the line breaks are in the
+source file. Finally, the order in which time, key and clef changes
+are entered is not relevant: in the printout, these are ordered
+according to standard notation conventions.
-@multitable @columnfractions .3 .3 .4
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-@item @code{r4 r8}
-@tab rest
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-r4 r8
-@end lilypond
+@node Octave entry
+@section Octave entry
-@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
+@c Tim wants to move this quotes example just before the: quotes-do not-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). Middle C is @code{c'}
-@item @code{\key es \major }
-@tab key signature
-@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef treble
-\key es \major
-s4
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
+
+@lilypond[quote,notime,fragment]
+c'4 c'' c''' \clef bass c c,
@end lilypond
-@item @var{note}@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'
+An example of the use of quotes is in the following Mozart fragment
+
+@lilypond[quote,raggedright,fragment,verbatim]
+\key a \major
+\time 6/8
+cis''8. d''16 cis''8 e''4 e''8
+b'8. cis''16 b'8 d''4 d''8
@end lilypond
-@item @var{note}@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,
+@noindent
+The last example shows that music in a high register needs lots of quotes.
+This makes the input less readable, and it is a source of errors. The
+solution is to use `relative octave' mode. In practice, this is the
+most convenient way to copy existing music. To use relative mode, add
+@code{\relative} before the piece of music.
+@ignore
+FIXME: move to notation manual?
+ You must also give a note
+from which relative mode starts, in this case @code{c''}.
+@end ignore
+If you do not
+use octavation quotes (i.e., do not add @code{'} or @code{,} after a
+note), relative mode chooses the note that is closest to the previous
+one. For example, @samp{c f} goes up while @samp{c g} goes down
+
+@lilypond[quote,notime,fragment,verbatim]
+\relative {
+ c' f c g c
+}
@end lilypond
-@end multitable
-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:
+Since most music has small intervals, pieces can be written almost
+without octavation quotes in relative mode. The previous example is
+entered as
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-d4( )c16( cis d e c cis d )e( )d4
+@lilypond[quote,raggedright,fragment,verbatim]
+\relative {
+ \key a \major
+ \time 6/8
+ cis''8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
@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
-@c ? --hwn
-@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
-@c chromatic thing pasted in front. (admittedly the original doesn't
-@c have a phrasing slur. The problem is that we don't want the slur
-@c and the Phrasing slur to collide. We're trying to make a good
-@c impression here.
+@c needed better, maybe even redundant explanation
+@c added another example below.
+@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.
+Larger intervals are made by adding octavation quotes.
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@lilypond[quote,notime,verbatim,fragment]
+\relative c {
+ c'' f, f c' c g' 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
+In summary, quotes or commas no longer determine the absolute height
+of a note in @code{\relative} mode. Rather, the height of a note is
+relative to the previous one, and changing the octave of a single note
+shifts all following notes an octave up or down.
-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 are then grouped inside @code{<} and @code{>}, as is
-demonstrated here:
+For more information on Relative octaves see @ref{Relative octaves},
+and @ref{Octave check}.
-@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. It doesn't matter what names you give, as long
-as each staff has a different name.
+@node Music expressions explained
+@section Music expressions explained
-@separate
-We can now typeset a melody with two staves:
+In input files, music is represent by so-called @emph{music
+expression}. We have already seen in the previous examples;
+a single note is a music expression
-@quotation
-@lilypond[verbatim,singleline]
-\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 {}
-}
+@lilypond[fragment,quote,verbatim,relative=3]
+a4
@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.
+Enclosing group of notes in braces creates a new music
+expression
-@separate
-
-Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
-@quotation
-@lilypond[verbatim,relative 1]
-c-. c-- c->
+@lilypond[fragment,quote,verbatim,relative=3]
+{ a4 g4 }
@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
+Putting a bunch of music expressions (notes) in braces, means that
+they should be played in sequence. The result again is a music
+expression, which can be grouped with other expressions sequentially.
+Here, the expression from the previous example is combined with two
+notes
-Crescendi and decrescendi 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
+@lilypond[fragment,quote,verbatim,relative=3]
+{ { a4 g } f g }
@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>
+This technique is useful for non-monophonic music. To enter music
+with more voices or more staves, we also combine expressions in
+parallel. Two voices that should play at the same time, are entered
+as a simultaneous combination of two sequences. A `simultaneous'
+music expression is formed by enclosing expressions in @code{<<} and
+@code{>>}. In the following example, three sequences (all containing
+two notes) are combined simultaneously
+
+@lilypond[fragment,quote,verbatim,relative=3]
+<<
+ { a4 g }
+ { f e }
+ { d b }
+>>
@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
+This mechanism is similar to mathematical
+formulas: a big formula is created by composing small formulas. Such
+formulas are called expressions, and their definition is recursive, so
+you can make arbitrarily complex and large expressions. For example,
-You can combine beams and ties with chords. 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
+@example
+1
-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{< >}. Don't get confused
-by the chord @code{< >} and the dynamic @code{\< \>}!
+1 + 2
+(1 + 2) * 3
-@quotation
-@example
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+((1 + 2) * 3) / (4 * 5)
@end example
-@lilypond[relative 0, fragment]
-\slurUp
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
-@end lilypond
-@end quotation
-@separate
-
-@c this example is a bit too strongly worded -- there's nothing wrong
-@c with starting a piece with a chord; you just have to be careful when
-@c you do so. I've rephrased this example below.
-@c There is one golden rule that you should keep in mind when writing
-@c LilyPond input:
-@c @quotation
-@c @strong{DO NOT START A PIECE WITH A CHORD}
-@c @end quotation
-@c Of course, it is a allowed, but the result might not be what you expect:
-
-@c rephrased "don't start with a chord"
-There is one caution when using chords: if you use a chord at the very
-beginning of the piece, LilyPond might not understand what you want:
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
-@end lilypond
-@end quotation
-@separate
+@cindex expression
+@cindex music expression
+This example shows a sequence of expressions, where each expression is
+contained in the next one. The simplest expressions are numbers and
+operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
+to group expressions.
-If you have a piece that begins with a chord, you must explicitly
-state that the notes of the chord are to be put on the same staff, in
-the same voice. This is done by specifying @code{\context Staff} or
-@code{\context Voice} for the notes:
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep@footnote{The reason for getting three staves in the
+previous example but just a single staff in the current one will be
+explained later.}
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+@lilypond[fragment,quote,verbatim,relative=2]
+{
+ c <<c e>>
+ << { e f } { c <<b d>> } >>
+}
@end lilypond
-@end quotation
-@separate
-
-@strong{SUMMARY}
-@multitable @columnfractions .3 .3 .4
+@cindex indent
+When spreading expressions over multiple lines, it is customary to use
+an indent that indicates the nesting level. Formatting music like this
+eases reading, and helps you insert the right number of closing
+braces at the end of an expression. For example,
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-
-
-@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
+@example
+\book @{
+ \score @{
+ <<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ \paper @{
+ @dots{}
+ @}
+ >>
+ @}
+@}
+@end example
+Some editors have special support for entering LilyPond, and can help
+indenting source files. See @ref{Editor support}, for more information.
-@item @code{\( \)}
-@tab phrasing slur
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c\( c() d \)e
-@end lilypond
+@node More staves
+@section More staves
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it. These
+@code{Staff} elements are then combined parallel with @code{<<} and
+@code{>>}, as demonstrated here
-@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]
+@lilypond[quote,fragment,verbatim]
+<<
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
+>>
@end lilypond
-@item @code{< \context Staff ... >}
-@tab more staffs
-@tab
-@lilypond[fragment]
-< \context Staff = SA { c'1 }
- \context Staff = SB { c'1 } >
-@end lilypond
+The command @code{\new} introduces a `notation context.' A notation
+context is an environment in which musical events (like notes or
+@code{\clef} commands) are interpreted. For simple pieces, such
+notation contexts are created implicitly. For more complex pieces, it
+is best to mark contexts explicitly. This ensures that each fragment
+gets its own stave.
-
-@item @code{-> -.}
-@tab articulations
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-> c-.
-@end lilypond
+There are several types of contexts: @code{Staff}, @code{Voice} and
+@code{Score} handle normal music notation. Other contexts are also
+@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
+printing chord names).
-@item @code{-\mf -\sfz}
-@tab dynamics
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-\mf c-\sfz
-@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
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression. In this way it resembles the minus
+sign in mathematics. The formula @math{(4+5)} is an expression, so
+@math{-(4+5)} is a bigger expression.
-@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
+We can now typeset a melody with two staves
+@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@item @code{< >}
-@tab chord
-@tab
-@lilypond[fragment, relative 1]
-\context Voice <c e>
+@lilypond[fragment,quote,verbatim,raggedright]
+<<
+ \new Staff {
+ \time 3/4
+ \clef violin
+ \relative {
+ e''2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2. }
+ }
+ \new Staff {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+>>
@end lilypond
-@end multitable
+For more information on context see the description in
+@ref{Interpretation contexts}.
-Now 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 typing some
-simple examples, and experiment a little.
-When you're comfortable with the basics, you might want to read
-the rest of this chapter. It continues in tutorial-style, but it
-is much more in-depth, dealing with more advanced topics such as
-lyrics, chords, orchestral scores and parts, fine tuning of output,
-polyphonic music, and integrating text and music.
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
+@cindex articulation
+@cindex accents
+@cindex staccato
+Common accents can be added to a note using a dash (@samp{-}) and a
+single character
+@lilypond[fragment,quote,verbatim,relative=2]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
+@cindex fingering
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed
-In this section we shall explain how to typeset the following
-fragment of The Free Software Song:
-
-@lilypond[singleline]
-\score { \notes { \addlyrics
- \notes \relative c' {
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
- \context Lyrics \lyrics {
- Join us now __ and
- share the soft -- ware; }
-}
-\paper { linewidth = -1. }
-}
+@lilypond[fragment,quote,verbatim,relative=2]
+c-3 e-5 b-2 a-1
@end lilypond
-@cindex lyric mode
-@cindex @code{\lyrics}
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
+@lilypond[fragment,quote,verbatim,relative=2]
+c\ff c\mf
+@end lilypond
-To print lyrics, you must enter them and then instruct lilypond to
-print the lyrics.
-You can enter lyrics in a special input mode of LilyPond. This mode is
-called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
-The purpose of this mode is that you can enter lyrics as plain text,
-punctuation, and accents without any hassle.
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
-Syllables are entered like notes, but with pitches replaced by text. For
-example, @code{Twin- kle twin- kle} enters four syllables. Note that
-the hyphen has no special meaning for lyrics, and does not introduce
-special symbols.
+Crescendi and decrescendi are started with the commands @code{\<} and
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+crescendo, or the command @code{\!} can be used
-Spaces can be introduced into a lyric either by using quotes:
-@code{"He could" not} or by using an underscore without quotes:
-@code{He_could not}. All unquoted underscores are converted to
-spaces.
+@lilypond[fragment,quote,verbatim,relative=2]
+c2\< c2\ff\> c2 c2\!
+@end lilypond
-These are the lyrics for the free software song:
-@example
- \lyrics @{
- Join us now __ and
- share the soft -- ware; @}
-@end example
-As you can see, extender lines are entered as @code{__}. This will
-create an extender, which is a line that extends over the entire
-duration of the lyric. This line will run all the way to the start
-of the next lyric, so you may want to shorten it by using a blank
-lyric (using @code{_}).
+@cindex slur
+A slur is a curve drawn across many notes, and indicates legato
+articulation. The starting note and ending note are marked with
+@samp{(} and @samp{)}, respectively
-You can use ordinary hyphens at the end of a syllable, i.e.
-@example
- soft- ware
-@end example
-but then the hyphen will be attached to the end of the first syllable.
-
-If you want them centered between syllables you can use the special
-`@code{-}@code{-}' lyric as a separate word between syllables. The
-hyphen will have variable length depending on the space between
-the syllables and it will be centered between the syllables.
-
-Normally the notes that you enter are transformed into note heads.
-Note heads alone make no sense, so they need surrounding information: a
-key signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts exist for generating notation
-(`notation context') and for generating sound (`performance
-context'). These objects only exist while LilyPond is executing.
-
-When LilyPond interprets music, it will create a Staff context.
-We don't want that default here, because we want lyric. The
-command
-@example
- \context Lyrics
-@end example
-explicitly creates an interpretation context of
-@code{Lyrics} type to interpret the song text that we entered.
+@lilypond[fragment,quote,fragment,relative=2,verbatim]
+d4( c16)( cis d e c cis d e)( d4)
+@end lilypond
-The melody of the song doesn't offer anything new:
-@example
- \notes \relative c' @{
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
-@end example
+@cindex slurs versus ties
+A slur looks like a tie, but it has a different meaning. A tie simply
+makes the first note sound longer, and can only be used on pairs of
+notes with the same pitch. Slurs indicate the articulations of notes,
+and can be used on larger groups of notes. Slurs and ties are also
+nested in practice
-Both can be combined with the @code{\addlyrics}:
-@example
-\addlyrics
- \notes \relative c' @dots{}
- \context Lyrics \lyrics @dots{}
-@end example
+@lilypond[quote,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
-The lyrics are also music expressions, similar to notes. Each syllable
-of the lyrics is put under a note of the melody.
-The complete file is listed here:
-
-@example
-\score @{ \notes @{ \addlyrics
- \notes \relative c' @{
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
- \context Lyrics \lyrics @{
- Join us now __ and
- share the soft -- ware; @}
-@}
-\paper @{ linewidth = -1. @}
-@}
-@end example
+@cindex phrasing slurs
+Slurs to indicate phrasing can be entered with @code{\(} and
+@code{\)}, so you can have both legato slurs and phrasing slurs at the
+same time.
+@lilypond[quote,fragment,relative=2,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@end lilypond
-@node A melody with chords
-@section A melody with chords
+For more information on
-In this section we show how to typeset a melody with chord
-accompaniment. This file is included as @file{input/tutorial/flowing.ly}.
+@quotation
+@table @asis
+@item Fingering
+see @ref{Fingering instructions}.
+@item Articulations
+see @ref{Articulations}.
+@item Slurs
+see @ref{Slurs}.
+@item Phrasing slurs
+see @ref{Phrasing slurs}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
+@end quotation
-@example
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8
- \key c \minor
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-@}
-accompaniment =\chords @{
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min @}
+@node Combining notes into chords
+@section Combining notes into chords
-\score @{
- \simultaneous @{
- %\accompaniment
- \context ChordNames \accompaniment
- \context Staff = mel @{
- \melody
- @}
-
- @}
- \midi @{ \tempo 4=72 @}
- \paper @{ linewidth = 10.0\cm @}
-@}
-@end example
+@cindex chords
+Chords can be made by surrounding pitches with angle brackets.
+Angle brackets are the symbols @samp{<} and @samp{>}.
+@lilypond[quote,relative=1,fragment,verbatim]
+r4 <c e g>4 <c f a>8
+@end lilypond
-The result would look this.
-@lilypond[center]
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8
- \key c \minor
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-}
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
-accompaniment =\chords {
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
-
-\score {
- \simultaneous {
- %\accompaniment
- \context ChordNames \accompaniment
-
- \context Staff = mel {
- \property Staff.autoBeaming = ##f
- \melody
- }
- }
- \midi { \tempo 4=72 }
- \paper { linewidth = 10.0\cm }
-}
+@lilypond[quote,relative=1,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
@end lilypond
-We will dissect this file line by line.
+@example
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+@end example
-@separate
-@example
+@lilypond[quote,relative=1,fragment]
+\slurUp
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+@end lilypond
- \include "paper16.ly"
-
-@end example
-Smaller size (suitable for inclusion in a book).
-@separate
-@example
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one: a
-@code{\score} block with music in it. To keep things readable, we will
-give different names to the different parts of music, and use the names
-to construct the music within the score block.
-@separate
-@example
- \partial 8
-@end example
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis (or ``pickup'') of one eighth.
-@separate
+@node Basic rhythmical commands
+@section Basic rhythmical commands
-@separate
-@example
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+A pickup is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep
+and @code{\partial 8} an eighth note
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-
-@end example
+@lilypond[quote,relative=2,verbatim,fragment]
+\partial 8
+f8 c2 d e
+@end lilypond
-@cindex manual beaming
-@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we turn automatic
-beams off and use explicit beaming where needed.
-@separate
-@example
+@cindex tuplets
+@cindex triplets
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so a triplet has 2/3 as its fraction
- @}
-
-@end example
-This ends the definition of @code{melody}.
+@lilypond[quote,relative=1,verbatim,fragment]
+\times 2/3 { f8 g a }
+\times 2/3 { c r c }
+@end lilypond
-@separate
-@example
+@cindex grace notes
+@cindex acciaccatura
+Grace notes are also made by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
+@cindex appoggiatura
+@cindex acciaccatura
+
+@lilypond[quote,relative=2,verbatim,fragment]
+c4 \appoggiatura b16 c4
+c4 \acciaccatura b16 c4
+@end lilypond
- text = \lyrics @{
-
-@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-This defines the lyrics, similar to what we have seen before.
+@noindent
-@separate
-@example
+For more information on
- accompaniment =\chords @{
-
-@end example
-@cindex chords
-@cindex mode, chords
-We'll put chords over the music. To enter them, we use a special mode
-analogous to @code{\lyrics} and @code{\notes} mode, where you can give
-the names of the chords you want instead of listing the notes
-comprising the chord.
-@separate
-@example
+@quotation
+@table @asis
+@item Grace notes
+see @ref{Grace notes},
+@item Tuplets
+see @ref{Tuplets},
+@item Pickups
+see @ref{Partial measures}.
+@end table
+@end quotation
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@separate
-@example
- c2:3-
-
-@end example
+@node Commenting input files
+@section Commenting input files
-@cindex tonic
-@cindex chord modifier
-@cindex modifier, chord
-This is a c minor chord, lasting for a half note. Chords are entered using
-the tonic. Notes can be changed to create different chords. In this case,
-a lowered third is used (making a C major chord into a C minor chord).
-The code for this is @code{3-}.
+@cindex comments
+@cindex line comment
+@cindex block comment
+A comment is a remark for the human reader of the music input; it is
+ignored and has no effect on the printed output. There are two types
+of comments. The percent symbol @samp{%} introduces a line comment;
+the rest of the line is ignored. A block comments marks a whole
+section of music input---anything that is enclosed in @code{%@{} and
+@code{%@}} is ignored. The following fragment shows possible uses for
+comments
-@separate
@example
-f:3-.7
-@end example
-Similarly, @code{7} modifies (adds) a seventh, which is small by
-default to create the @code{f a c es} chord. Multiple modifiers must be
-separated by dots.
-@separate
-@example
+% notes for twinkle twinkle follow
+c4 c g' g a a
- d:min es4 c8:min r8
-
-@end example
-Some modifiers have predefined names, e.g. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
-@separate
-@example
+%@{
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
- c2:min f:min7 g:7^3.5 c:min @}
-
+ g g f f e e d d c2
+%@}
@end example
-@cindex named modifier
-
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh (a G7 chord without the third or the fifth). The
-brace ends the sequential music.
-@separate
-@example
-
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.
-@cindex @code{\simultaneous}
-@separate
-@example
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff. To print them as chords names, they have to be interpreted as
-being chords, not notes. This is done with the following command:
-@separate
-@example
+There is a special statement that really is a kind of comment. The
+version statement marks for which version of LilyPond the file was
+written. To mark a file for version 2.1.17, use
- \context ChordNames \accompaniment
-
+@example
+\version "2.1.17"
@end example
-@cindex context
-@cindex interpretation context
-@cindex notation context
-
-Normally the notes that you enter are transformed into note heads.
-Note heads alone make no sense, so they need surrounding information: a key
-signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts exist for generating notation
-(`notation context') and for generating sound (`performance
-context'). These objects only exist while LilyPond is executing.
+@noindent
+These annotations make future upgrades of LilyPond go more
+smoothly. Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
-When LilyPond interprets music, it will create a Staff context. If
-the @code{%} sign in the previous line were removed, you could see
-that mechanism in action.
-We don't want that default here, because we want chord names. The
-command above explicitly creates an interpretation context of
-@code{ChordNames} type to interpret the music @code{\accompaniment}.
-
-@separate
-@example
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
- \context Staff = mel @{
-
-@end example
+@c TODO: (c) status of the Queen fragment.
-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
+@cindex Lyrics
+@cindex Songs
+Lyrics are entered by separating each syllable with a space
- \property Staff.autoBeaming = ##f
-
+@example
+I want to break free
@end example
-@cindex \property
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables, called properties, that tune
-its behavior. One of the variables is @code{autoBeaming}. Setting
-this @code{Staff}'s property to @code{##f}, which is the boolean value
-@var{false}, turns the automatic beaming mechanism off for the current
-staff.
-
-@separate
-@example
+Consider the melody
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
-
-@separate
-@example
-
- \midi @{ \tempo 4=72@}
-
-@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 makes the
-music go to a MIDI file, so you can listen to the music you entered. It
-is great for checking the music. Whenever you hear something weird, you
-probably hear a typing error.
-
-Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
-also specifies an output method. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set to
-72 beats per minute.
-@separate
-@example
-
- \paper @{ linewidth = 10.0\cm @}
-
-@end example
-We also want notation output. The linewidth is short so that the piece
-will be set in two lines.
-
-@node More stanzas
-@section More stanzas
-
-
-@cindex phrasing
-
-If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
-do this if you tell it which lyric lines belong to which melody.
-We show how you can do this by showing how you could print a frivolous
-fragment of a fictional Sesame Street duet.
-
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
+@lilypond[quote,verbatim,fragment,raggedright]
+\relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
}
@end lilypond
-To this end, give the Voice context an identity, and set the
-LyricsVoice to a name starting with that identity followed by a dash.
-In the following example, the Voice identity is @code{duet},
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
-@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
+@c FIXME: when/how/to what rename newlyrics?
+The lyrics can be set to these notes, combining both with the
+@code{\newlyrics} keyword
-We add the names of the singers. This can be done by setting
-@code{LyricsVoice.Stanza} (for the first system) and
-@code{LyricsVoice.stz} for the following systems. Note that you must
-surround dots with spaces in @code{\lyrics} mode.
+@lilypond[quote,verbatim,fragment,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \newlyrics { I want to break free }
+>>
+@end lilypond
+
+@cindex melisma
+@cindex extender line
+@c synonyms?
+This melody ends on a @rglos{melisma}, a single syllable (`free')
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores, i.e.,
@example
- \property LyricsVoice . stanza = "Bert"
- @dots{}
- \property LyricsVoice . stanza = "Ernie"
-@end example
+@{ I want to break free __ @}
+@end example
-The convention for naming @code{LyricsVoice} and @code{Voice} must
-also be used to get melismata on rests correct.
-
-
-@c I think we need to change the name of this section, but that
-@c would probably involve a lot of changes in other places too.
-@node More movements
-@section More movements
-
-The program @code{lilypond} only produces sheet music and does not
-create titles, subtitles, or print the composer's name. To do that,
-you need to use @code{ly2dvi}, which comes with LilyPond. @code{ly2dvi}
-creates the title, then calls @code{lilypond} to format the sheet music.
-In this section, we show you how to create titles like this:
-
-@c Old version of the above paragraph.
-@c LilyPond only produces sheet music; it doesn't concern itself with
-@c producing titles. Titles are produced using a simply wrapper program
-@c This is the jobs of a simple wrapper
-@c program called ly2dvi. @code{ly2dvi} calls LilyPond to do the
-@c sheet music formatting. Then it produces titles, and ties together all
-@c inputs into a single @file{dvi} file. In this section, we show some of
-@c the options for titling. We will show how you can produce a file
-@c that looks like this:
-
-@center @strong{Two miniatures}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
-@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
-@flushright
-Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper { linewidth = -1.0 }
+@lilypond[fragment,quote,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
}
+ \newlyrics { I want to break free __ }
+>>
@end lilypond
-For example, consider the following file (@file{miniatures.ly})
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables
@example
-\version "1.5.72"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-%@{
+Twin -- kle twin -- kle
+@end example
-Mental note: discuss Schenkerian analysis of these key pieces.
+@lilypond[fragment,quote,raggedright]
+<<
+ \relative {
+ \time 2/4
+ f4 f c' c
+ }
+ \newlyrics { Twin -- kle twin -- kle }
+>>
+@end lilypond
-%@}
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
+@c FIXME: too geeky, for notation manual?
+@c or introduce using foo = \lyrics { a b c } ?
+When using variables for a piece of lyrics
+To prevent certain words (for example `as') as being read as a
+pitch, the input-mode must be switched. This is done with
+@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
+syllables.
-The information for the global titling is in a so-called header block.
-The information in this block is not used by LilyPond, but it is
-passed into @code{ly2dvi}, which uses this information to print titles
-above the music.
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. The header block for this file looks like
-this
-@cindex @code{\header}
-@example
- \header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful"
- @}
+@example
+myText = \lyrics @{ I want to break free @}
@end example
-When you process a file with ly2dvi, a signature line is printed at
-the bottom of the last page. This signature is produced from the
-@code{tagline} field of @code{\header}. The default "Lily was here,
-@var{version number}" is convenient for programmers: archiving the
-layouts of different versions allows programmers to compare the
-versions using old print-outs.
-
-@cindex Lily was here
-@cindex signature line
-@cindex tag line
+@noindent
+The braces @code{@{@}} signify that the syllables are sung in
+sequence.
-Many people find the default tagline (``Lily was here'') too droll.
-If that is the case, you can change @code{tagline} to somethign else,
-as shown above.
+@ignore
+By default, music expressions are interpreted in @code{Staff} context. For
+lyrics, this is obviously not desirable, so it is necessary
+to explicitly specify a @code{Lyrics} context,
-@separate
@example
- \paper @{
- linewidth = -1.0 @}
+\lyrics @{ I want to break free @}
@end example
-A paper block at top level (i.e. not in a @code{\score} block) sets the
-default page layout. The following @code{\score} blocks don't have
-@code{\paper} sections, so the settings of this block are used.
+The melody for this song is as follows
-The variable @code{linewidth} normally sets the length of the systems
-on the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes
-up little space, a longer phrase takes more space, all on the same line.
+@lilypond[fragment,quote,fragment,relative=2]
+r4 c \times 2/3 { f4 g g }
+\times 2/3 { g4( a2) }
+@end lilypond
-@example
-%@{
+@end ignore
-Mental note: discuss Schenkerian analysis of these key pieces.
-%@}
-@end example
+@node A lead sheet
+@section A lead sheet
+
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
-Mental notes to yourself can be put into comments. There are two types
-of comments. Line comments are introduced by @code{%}, and block
-comments are delimited by @code{%@{} and @code{%@}}.
+In popular music, it is common to denote accompaniment as chord names.
+Such chords can be entered like notes,
-@separate
@example
- \score @{
- \notes @{ c'4 d'4 @}
+c2 f4. g8
@end example
-In previous examples, most notes were specified in relative octaves
-(i.e. each note was put in the octave that is closest to its
-predecessor). Besides relative, there is also absolute octave
-specification, which you get when you don't include @code{\relative} in
-your input file. In this input mode, the middle C is denoted by
-@code{c'}. Going down, you get @code{c} @code{c,} @code{c,,} etc.
-Going up, you get @code{c''} @code{c'''} etc.
+@noindent
+but now, each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chords}
-When you're copying music from existing sheet music, relative octaves
-are probably the easiest to use: you have to do less typing, and errors are
-easily spotted. However, if you write LilyPond input directly, either by
-hand (i.e. composing) or by computer, absolute octaves may be easier to use.
+@lilypond[quote,verbatim,raggedright]
+\chords { c2 f4. g8 }
+@end lilypond
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers
-@separate
-@example
- \header @{
-@end example
+@lilypond[quote,verbatim]
+\chords { c2 f4:m g4:maj7 gis1:dim7 }
+@end lilypond
-The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different pieces
-from one file (for example, if there are multiple movements, or if
-you're making an exercise book), you can put different @code{\score}
-blocks into the input file. @code{ly2dvi} will assemble all LilyPond
-output files into a big document. The contents of @code{\header} blocks
-specified within each score is used for the title of that movement.
-@separate
-@example
- opus = "Opus 1."
- piece = "Up" @}
-@end example
-For example, the Opus number is put at the right, and the "piece" string
-will be at the left.
+For lead sheets, chords are not printed on staves, but as names on a
+line of themselves. Hence, we have to override the context with
+@code{\new}, rendering the music expression in a @code{ChordNames}
+context
+@lilypond[quote,verbatim]
+\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@end lilypond
+@cindex lead sheet
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
@example
-\version "1.5.72"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
+<<
+ \new ChordNames \chords @{ @emph{chords} @}
+ @emph{the melody}
+ \newlyrics @{ @emph{the text} @}
+>>
@}
@end example
+@lilypond[quote,raggedright]
+<<
+ \new ChordNames \chords { r2 c:sus4 f }
+ \relative {
+ r4 c' \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \newlyrics { I want to break free __ }
+>>
+@end lilypond
-@separate
-@example
-\version "1.5.72"
-@end example
-Lilypond and its language are still under development, and
-occasionally details of the syntax are changed. The @code{version}
-fragment indicates which version of lilypond the input file was written
-for. When you compile this file, the version number will be checked
-and you will get a warning when the file is too old. This version
-number is also used by the @code{convert-ly} program (See
-@ref{Invoking convert-ly}), which can used to update the file to the
-latest lily version.
-
-
-@node A piano excerpt
-@section A piano excerpt
-
-Our eighth 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, composed around 1740. It's in the source
-package under the name @file{input/tutorial/sammartini.ly}.
-
-@lilypondfile[smallverbatim]{sammartini.ly}
+A complete list of modifiers and other options for layout can be found
+in @ref{Chords}.
-As you can see, this example features multiple voices on one staff. To
-make room for those voices, their notes should be stemmed in opposite
-directions.
+@c FIXME: we talk about \midi before mentioning \paper (or \layout?)
+@node Listening to output
+@section Listening to output
-LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some other commonly used formatting instructions, but to explain how
-it works, we wrote our own here. Of course, you should use predefined
-identifiers like these if possible: you will be less affected by changes
-between different versions of LilyPond.
+@cindex sound
+@cindex MIDI
-@separate
-@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among other things). The type name of this context
-is @code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it a unique name
-(`@code{viola}').
-
-@separate
-@example
-<c4-\arpeggio g' c>
-@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a chord.
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and controlling digital instruments. A MIDI file is like a
+tape recording of a MIDI instrument.
-@cindex arpeggio
+To create a MIDI from a music piece of music, add a @code{\midi}
+block. This causes LilyPond to create a MIDI file, so you can listen
+to what you just entered. It is great for checking the music.
+Octaves that are off or accidentals that were mistyped stand out very
+much when listening to the musical transcription.
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
-the chord.
+The @code{\midi} block is added to @code{\score}, for example,
-@separate
@example
- \voiceTwo
+\score @{
+ @var{...music...}
+ \midi @{ \tempo 4=72 @}
+@}
@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.
+Here, the tempo is specified using the @code{\tempo} command. In this
+case the tempo of quarter notes is set to 72 beats per minute. More
+information on auditory output in the notation manual can be found in
+@ref{Sound}.
+If there is a @code{\midi} command in a @code{\score}, only MIDI will
+be produced. If notation is needed too, a @code{\paper} block must be
+added
-
-@separate
-@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
-
-@separate
-@example
-s1 s2. r4
-@end example
-@code{s} is a spacer rest. It does not print anything, but it does have
-the duration of a rest. It is useful for filling up voices that
-temporarily don't play. In this case, the viola doesn't come until one
-and a half measure later.
-
-@separate
@example
-oboes = \notes \relative c'' \context Voice = oboe @{
+\score @{
+ @var{...music...}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.
-@separate
-@example
-\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
-@end example
+@cindex paper block
-The oboes should have stems up to keep them from interfering with
-the staff-jumping bass figure. To do that, we use @code{\voiceOne}.
-@separate
-@example
-\grace <e8( g> < d4 )f> <c2 e>
-@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. A slur is introduced starting from the @code{\grace}
-ending on the following chord.
+@node Adding titles
+@section Adding titles
-@separate
-@example
-\times 2/3
-@end example
-@cindex tuplet
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
-@separate
-@example
-@{ <d8 f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three chords.
+Bibliographic information is entered in a separate block, the
+@code{\header} block. The name of the piece, its composer, etc., are
+entered as an assignment, within @code{\header
+@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
+the top of the file. For example,
-@separate
-@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a "chord of sequences" to do it. We start with the upper
-voice, which continues with upward stems:
-@separate
-@example
- @{ \times 2/3 @{ a8 g c @} c2 @}
-@end example
-
-@separate
-@example
-\\
-@end example
-The easiest way to enter multiple voices is demonstrated
-here. Separate the components of the voice (single notes or entire
-sequences) with @code{\\} in a simultaneous music expression. The
-@code{\\} separators split first voice, second voice, third voice, and
-so on.
-
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@separate
@example
+\header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+@}
- f,8 e e2
-@} >
-@end example
-This ends the two-part section.
-@separate
-@example
-\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+@{ @dots{} @}
@end example
-@cindex trill
-@cindex stemBoth
-@code{\stemBoth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex Engraved by LilyPond
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staves. Since it is repetitive, we use repeats:
-@separate
-@example
-hoomPah = \repeat unfold 8
-@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-@example
-\notes \transpose c' @{
-@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-Transposing can be done with @code{\transpose}, which takes two arguments.
-The first specifies what central C should be transposed to. The second
-is the to-be-transposed music. As you can see, in this case, the
-transposition has no effect, as central C stays at central C.
-
-The purpose of this no-op is to protect it from being interpreted as
-relative notes. Relative mode can not be used together with
-transposition, so @code{\relative} will leave the contents of
-@code{\hoomPah} alone. We can use it without having to worry about
-getting the motive in a wrong octave.
-@separate
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-@cindex @code{\translator}
+When the file is processed the title and composer are printed above
+the music. The `tagline' is a short line printed at bottom of the last
+page which normally says `Engraved by LilyPond, version @dots{}'. In
+the example above it is replaced by the line `small is
+beautiful.'@footnote{Nicely printed parts are good PR for us, so
+please leave the tagline if you can.}
-@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 the stem directions explicitly
-(using the identifiers @code{\stemUp} and @code{\stemDown}, the notes
-can be beamed together (despite jumping between staffs).
-@separate
-@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\autochange Staff \hoomPah \context Voice
-@end example
+The @code{\header} block is usually put at the top of the file.
-@separate
-@example
- \translator Staff = down
-@end example
-@cindex staff switch
-@cindex cross staff voice
-We want the remaining part of this melody on the lower staff, so we do a
-manual staff switch here.
+A document may contains multiple pieces of music, examples are an
+etude book, or an orchestral part with multiple movements.
+@c FIXME: ugh. \header can only live at toplevel, or inside \score.
+@c If we allow it also to live inside \book, we do not need \score here?
+The @code{\book} block is used to group the individual @code{\score}
+blocks.
+The header for each piece of music can be put inside the @code{\score}
+block. The @code{piece} name from the header will be printed before
+each movement.
-@separate
-@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
-@end example
-@cindex tie
-@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties. Note
-that ties and slurs are different things. A tie can only connect two
-note heads of the same pitch, whereas a slur can connect many notes
-with one curve.
+@ignore
-@separate
-@example
-\context PianoStaff
-@end example
- A special context is needed to get cross staff beaming right. This
-context is called @code{PianoStaff}.
-@separate
-@example
-\context Staff = bottom < \time 2/2 \clef bass
-@end example
-The bottom staff must have a different clef.
-@separate
-@example
-indent = 0.0
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks very cramped, but that is due
-to the page layout of this document.
+FIXME: introduce \BOOK
+FIXME: Using "Adagio" as a name is confusing, it's more common to be
+a plain tempo indication.
-@ignore
-[TODO:
+Since today (CVS-1.211) we also allow headers and composite music
+inside book:
-* font-size, multi-stanza.
+ \header { ... }
+ \book {
+ \header { ... }
+ { ... }
+ \header { ... }
+ { ... }
+ }
-* Simple part combining in a Hymn
@end ignore
+@cindex Engraved by LilyPond
+@cindex signature line
+@cindex tag line
-@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). Both fragments (the
-tuned and the untuned are in the @file{input/tutorial/}).
+@example
+\header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+@}
-The code for the untuned example shows us some new things.
+\book @{
+ \score @{
+ @dots{}
+ \header @{ piece = "Adagio" @}
+ @}
+ \score @{
+ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
+@}
+@end example
-@lilypondfile[verbatim]{brahms-original.ly}
+More information on titling can be found in @ref{Invoking lilypond}.
-@cindex dynamics
-@cindex loudness
-@cindex forte
-@cindex crescendo
-@cindex @code{\<}
-@cindex @code{\!}
+@node Single staff polyphony
+@section Single staff polyphony
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices; each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
-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.
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}), and combining those simultaneously, separating the
+voices with @code{\\}
-@cindex fingering instructions
+@lilypond[quote,verbatim,relative=3]
+<< { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
+@end lilypond
-Fingering indications are entered simply using @code{-@var{N}}, where
-@var{N} is a digit.
+For polyphonic music typesetting, spacer rests can also be convenient; these
+are rests that do not print. It is useful for filling up voices that
+temporarily do not play. Here is the same example with a spacer rest
+instead of a normal rest---just use @samp{s} instead of @samp{r}
-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:
+@lilypond[quote,verbatim,relative=3]
+<< { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+@end lilypond
-@lilypondfile{brahms-tweaked.ly}
+@noindent
+Again, these expressions can be nested arbitrarily
+
+@lilypond[quote,fragment,verbatim,relative=3]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c, g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
+@end lilypond
-@cindex tuning grob behavior
+More features of polyphonic typesetting in the notation manual are
+described in @ref{Polyphony}.
-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. Every
-setting is a variable: it has a name, and you can assign a value to
-the variable. 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
+@node Piano staves
+@section Piano staves
-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)
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\context}
+Piano music is typeset in two staves connected by a brace. Printing
+such a staff is similar to the polyphonic example in @ref{More staves},
@example
- \property Voice.Slur \set #'attachment = #'(stem . stem)
+<< \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @} >>
@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 back-end 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 descriptions
-
-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 information 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
+@noindent
+but now this entire expression must be interpreted as a
+@code{PianoStaff}
-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 with its default setting.
-The property documentation explains that the following setting will
-produce the desired effect:
-@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
+\new PianoStaff << \new Staff @dots{} >>
@end example
+Here is a full-fledged example
+@lilypond[quote,verbatim,relative=1,fragment]
+\new PianoStaff <<
+ \new Staff { \time 2/4 c4 c g' g }
+ \new Staff { \clef bass c,, c' e c }
+>>
+@end lilypond
-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
+More information on formatting piano music is in @ref{Piano music}.
-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}
+@node Organizing larger pieces
+@section Organizing larger pieces
-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. The unit of these offsets are staff-spaces.
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic pieces,
+more deeply nested. Such large expressions can become unwieldy.
-@cindex reverting grob properties
-@cindex undoing grob properties
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions. An identifier is assigned as follows
-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
+namedMusic = @{ @dots{} @}
@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}. 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
+@noindent
+The contents of the music expression @code{namedMusic}, can be used
+later by preceding the name with a backslash, i.e., @code{\namedMusic}.
+In the next example, a two-note motive is repeated two times by using
+variable substitution
-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
+@lilypond[quote,raggedright,verbatim,nofragment]
+seufzer = {
+ e'4( dis'4)
+}
+{ \seufzer \seufzer }
+@end lilypond
-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
+The name of an identifier should have alphabetic characters only;
+no numbers, underscores or dashes. The assignment should be outside of
+running music.
+
+It is possible to use variables for many other types of objects in the
+input. For example,
- 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
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@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.
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables
@example
- \property Voice.Stem \set #'transparent = ##t
- d'
- \property Voice.Stem \revert #'transparent
+ \paper @{
+ \aFivePaper
+ linewidth = \width
+ @}
+ @{ c4^\name @}
@end example
-Finally, the last tie is forced up using @code{\tieUp}.
+More information on the possible uses of identifiers is in the
+technical manual, in TODO.
-@node An orchestral score
-@section An orchestral score
-
-@menu
-* The full score::
-* Extracting an individual part::
-@end menu
+@node An orchestral part
+@section An orchestral part
+In orchestral music, all notes are printed twice; in a part for
+the musicians, and in a full score for the conductor. Identifiers can
+be used to avoid double work. The music is entered once, and stored in
+a variable. The contents of that variable is then used to generate
+both the part and the score.
-Our last two examples show a way to setup the music for an orchestral
-score. When typesetting a piece for several instruments, you'll want to
-create a conductor's full score, alongside several individual parts.
-
-LilyPond is well suited for this task. We will declare the music for
-each instrument individually, giving the music of each instrument its
-own name. These pieces of music are then combined in different
-@code{\score} blocks to produce different combinations of the score.
-
-This orchestral score example consists of three input files. In the
-first file, @file{os-music.ly}, we define the music for all
-instruments. This file will be used both for producing the score and
-the separate parts. Other files reference this file by doing
-@code{\include "os-music.ly"}.
-
-If you were to run LilyPond on this file, no printable output would be
-produced.
+It is convenient to define the notes in a special file. For example,
+suppose that the file @file{horn-music.ly} contains the following part
+of a horn/bassoon duo
@example
-% os-music.ly
-\header @{
- title = "Zo, goed lieverd?"
- subtitle = "How's, this babe?"
- composer = "JCN"
- opus = "1"
- piece = "Laid back"
-@}
-global = @{
+hornNotes = \relative c @{
\time 2/4
- \skip 2*4 \bar "|."
-@}
-Key = \notes \key as \major
-flautoI = \notes\relative c'' @{
- f8 g f g f g f g
- bes as bes as bes as bes as
-@}
-flautoII = \notes\relative c'' @{
- as8 bes as bes R1 d4 ~ d
-@}
-tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 r as, r
-@}
-tromboII = \notes\relative c'' @{
- as4. as8 as8 as4. R1*1/2 as4 es'
-@}
-timpani = \notes\relative c, @{
- \times 2/3 @{ f4 f f @}
- \times 4/5 @{ as8 as as as as @}
- R1
-@}
-corno = \notes\relative c' @{
- bes4 d f, bes d f, bes d
+ r4 f8 a cis4 f e d
@}
@end example
-We will not go through the input line by line, but only indicate and
-explain the new elements.
-
+@noindent
+Then, an individual part is made by putting the following in a file
-@separate
@example
-global = @{
- \time 2/4
- \skip 2*4 \bar "|.";
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
@}
-@end example
-
-Declare setting to be used globally. The @code{\skip} command produces
-no output, but moves forward in time: in this case, the duration of a
-half note (@code{2}), and that four times (@code{*4}). This brings us
-to the end of the piece, and we can set the end bar.
-
-@separate
-@example
-Key = \notes \key as \major
-@end example
-Declare the key signature of the piece and assign it to the identifier
-@var{Key}. Later on, we'll use @code{\Key} for all staves except those
-for transposing instruments.
-
-@node The full score
-@subsection The full score
-
-The second file, @file{input/tutorial/os-score.ly} reads the definitions of the first
-(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
-
-
-@example
-% os-score.ly
-\include "os-music.ly"
-\include "paper13.ly"
-
-#(set-point-and-click! 'line-column)
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-
-\score @{
- <
- \global
- \property Score.BarNumber \override #'padding = #3
- \context StaffGroup = woodwind <
- \context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
- \Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
- >
- >
- \context StaffGroup = timpani <
- \context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass
- \Key
- \timpani
- >
- >
- \context StaffGroup = brass <
- \context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
- \Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
- >
- \context Staff = corni <
- \property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (columns "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major
- \context Voice=one \corno
- >
- >
- >
- \paper @{
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
- textheight = 90 * \staffspace
- \translator@{
- \HaraKiriStaffContext
- @}
- @}
- \midi @{
- \tempo 4 = 75
- @}
+@{
+ \transpose f c' \hornNotes
@}
@end example
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
+The line
-@lilypondfile{os-score.ly}
-
-@separate
@example
-\include "os-music.ly"
+\include "horn-music.ly"
@end example
-First, we need to include the music definitions we made in
-@file{os-music.ly}.
-@separate
-@example
-#(set-point-and-click! 'line-column)
-@end example
+@noindent
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards. The command
+@code{\transpose f@tie{}c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
+@samp{f} is denoted by notated @code{c'}, which corresponds with
+tuning of a normal French Horn in@tie{}F. The transposition can be seen
+in the following output
-This piece of Scheme code executes the function
-@code{set-point-and-click!}, with the argument @code{line-column}, a
-symbol).
-
-Editing input files can be complicated if you're working with large
-files: if you're digitizing existing music, you have to synchronize
-the .ly file, the sheet music on your lap and the sheet music on the
-screen. The point-and-click mechanism makes it easy to find the
-origin of an error in the LY file: when you view the file with Xdvi
-and click on a note, your editor will jump to the spot where that note
-was entered. For more information, see @ref{Point and click}.
-
-
-@separate
-@example
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-@end example
-
-When naming the tuning of the french horn, we'll need a piece of text
-with a flat sign. LilyPond has a mechanism for font selection and
-kerning called Scheme markup text (See @ref{Text markup}). The flat
-sign is taken from the music font, and its name is @code{accidentals--1}
-(The natural sign is called @code{accidentals-0}). The default font is
-too big for text, so we select a relative size of @code{-2}.
-
-@separate
-@example
- <
- \global
-@end example
-Of course, all staves are simultaneous and use the same global settings.
-
-@separate
-@example
- \property Score.BarNumber \override #'padding = #3
-@end example
-LilyPond prints bar numbers at the start of each line, but
-unfortunately, they end up a bit too close to the staff in this
-example. A bar number internally is a Grob called @var{BarNumber}.
-BarNumber Grobs can be manipulated through their
-@var{side-position-interface}. One of the properties of a
-@var{side-position-interface} that can be tweaked is the
-@var{padding}: the amount of extra space that is put between this Grob
-and other Grobs. We set the padding to three staff spaces.
-
-You can find information on all these kind of properties in LilyPond's
-automatically generated documentation in
-@ifnottex
-@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
-@end ifnottex
-@iftex
-the online documentation.
-@end iftex
-
-@separate
-@example
- \context StaffGroup = woodwind <
- \context Staff = flauti <
-@end example
-A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
-hold one or more @code{Staff}'s, and will print a big bracket at the
-left of the score. Start a new staff group for the woodwind section
-(just the flutes in this case). Immediately after that, we start the
-staff for the two flutes, that also play simultaneously.
+@lilypond[quote,raggedright]
+ \transpose f c' \relative c {
+ \time 2/4
+ r4 f8 a cis4 f e d
+ }
+@end lilypond
-@separate
-@example
- \property Staff.midiInstrument = #"flute"
-@end example
-Specify the instrument for MIDI output (see @ref{MIDI instrument
-names}).
+In ensemble pieces, one of the voices often does not play for many
+measures. This is denoted by a special rest, the multi-measure
+rest. It is entered with a capital @samp{R} followed by a duration
+(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes 3@tie{}measures in 2/4 time
-@separate
@example
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+R2*3
@end example
-And define the instrument names to be printed in the margin,
-@code{instrument} for the first line of the score, @code{instr} for the
-rest of the score.
-@separate
-@example
- \Key
-@end example
-The flutes play in the default key.
+When printing the part, multi-rests
+must be condensed. This is done by setting a run-time variable
-@separate
@example
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
+\set Score.skipBars = ##t
@end example
-Last come the actual flute parts. Remember that we're still in
-simultaneous mode. We name both voices differently, so that LilyPond
-will actually create two Voice contexts. The flute parts are simple, so
-we specify manually which voice is which: @code{\voiceOne} forces the
-direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
-directions down.
-
-@separate
-@example
- >
- >
-@end example
-Close the flutes staff and woodwind staff group.
-@separate
-@example
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
-@end example
-The timpani staff only shows a new piece of scheme markup, it sets two
-lines of text.
+@noindent
+This command sets the property @code{skipBars} in the
+@code{Score} context to true (@code{##t}). Prepending the rest and
+this option to the music above, leads to the following result
-@separate
-@example
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
-@end example
-You have seen the notation contexts Staff and Voice, but here's a new
-one: Thread. One or more Threads can be part of a Voice. The Thread
-takes care of note heads and rests, the Voice combine note heads onto a
-stem.
-
-For the trumpets we use the automatic part combiner (see @ref{Automatic
-part combining}) to combine the two simultaneous trumpet parts onto the
-trumpet staff. Each trumpet gets its own Thread context, which must be
-named @code{one} and @code{two}). The part combiner makes these two
-threads share a Voice when they're similar, and splits the threads up
-when they're different.
-
-@separate
-@example
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
-@end example
-The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has three elements (columns), the @code{(E},
-the flat sign @code{text-flat} that we defined before and a final @code{")"}.
-Note that we use a backquote instead of an ordinary quote at the
-beginning of the Scheme expression to be able to access the
-@code{text-flat} identifier, `unquoting' it with a @code{,}.
-
-@separate
-@example
- \property Staff.transposing = #3
-@end example
-The french horn is to be tuned in E-flat, so we tell the MIDI back-end to
-transpose this staff by three steps.
+@lilypond[quote,raggedright]
+\transpose f c' \relative c {
+ \time 2/4
+ \set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d
+ }
+@end lilypond
-Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff property
-@var{transposing}.
-@separate
-@example
- \notes \key bes \major
-@end example
-Therefore, it has a different key.
+The score is made by combining all of the music together. Assuming
+that the other voice is in @code{bassoonNotes} in the file
+@file{bassoon-music.ly}, a score is made with
-@separate
@example
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
-@end example
-We specify a big indent for the first line and a small linewidth for this
-tutorial.
-
-@separate
-
-Usually, LilyPond's predefined setup of notation contexts (Thread,
-Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
-want a different type of Staff context.
+\include "bassoon-music.ly"
+\include "horn-music.ly"
-@example
- \translator@{
- \HaraKiriStaffContext
- @}
+ <<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+ >>
@end example
-In orchestral scores, it often happens that one instrument has only
-rests during one line of the score. The @code{HaraKiriStaffContext} can
-be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staves.
-
-@node Extracting an individual part
-@subsection Extracting an individual part
-
-The third file, @file{os-flute-2.ly} also reads the definitions of the
-first (@file{os-music.ly}), and defines the @code{\score} block for the
-second flute part.
+@noindent
+leading to
-@example
-\include "os-music.ly"
-\include "paper16.ly"
-
-\score @{
- \context Staff <
- \property Score.skipBars = ##t
- \property Staff.midiInstrument = #"flute"
- \global
- \Key
- \flautoII
- >
- \header @{
- instrument = "Flauto II"
- @}
- \paper @{
- linewidth = 80 * \staffspace
- textheight = 200 * \staffspace
- @}
- \midi @{
- \tempo 4 = 75
- @}
-@}
-@end example
-
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@center @emph{Flauto II}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-@lilypondfile{os-flute-2.ly}
-
-
-Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score with the music of
-the second flute. This then is the part for the second flute player.
-Of course, we make separate parts for all individual instruments.
-
-@separate
-@example
- \flautoII
-@end example
-In this individual part the second flute has a whole staff for itself,
-so we don't want to force stem or tie directions.
+@lilypond[quote,raggedright]
+ \relative c <<
+ \new Staff {
+ \time 2/4 R2*3
+ r4 f8 a cis4 f e d
+ }
+ \new Staff {
+ \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f
+ }
+ >>
+@end lilypond
-@separate
-@example
- \header @{
- instrument = "Flauto II"
- @}
-@end example
-The @code{\header} definitions were also read from @file{os-music.ly},
-but we need to set the instrument for this particular score.
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ref{Orchestral music}.
-@separate
-@example
- \property Score.skipBars = ##t
-@end example
-In the conductor's full score, all bars with rests are printed, but for
-the individual parts, we want to contract pieces of consecutive empty
-bars. LilyPond will do this if Score's @var{skipBars} property to
-true.
+Setting run-time variables (`properties') is discussed in ref-TODO.
@node Integrating text and music
@section Integrating text and music
-
@cindex La@TeX{}, music in
@cindex HTML, music in
@cindex Texinfo, music in
+Some texts include music examples. Examples are musicological
+treatises, songbooks or manuals like this. Such texts can be made by
+hand, simply by importing a PostScript figure into the word processor.
+However, there is an automated procedure to reduce the amount of work
+involved HTML, La@TeX{}, and Texinfo documents.
-Sometimes, you might want to use music examples in a text that you are
-writing. For example, if you are writing a musicological treatise, a
-songbook, or (like us) the LilyPond manual. You can make such texts by
-hand, simply by importing a PostScript figure into your word processor.
-However, there is a also an automated procedure:
-
-If you use HTML, 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.
-This utility program is described fully in the chapter
-@ref{Integrating text and music with lilypond-book}. Here we show a
-small example. Since the example also contains explanatory text, we
-won't comment on the contents.
+A script called @code{lilypond-book} will extract the music fragments,
+run format them, and put back the resulting notation. This program is
+fully described in @ref{lilypond-book manual}. Here we show a small
+example. The example also contains explanatory text, so we will not
+comment on it further
@example
\documentclass[a4paper]@{article@}
\begin@{document@}
-In a lilypond-book document, you can freely mix music and text. For
-example:
-\begin@{lilypond@}
- \score @{ \notes \relative c' @{
- c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
- @} @}
-\end@{lilypond@}
-Notice that the music line length matches the margin settings of the
-document.
-
-If you have no \verb+\score+ block in the fragment,
-\texttt@{lilypond-book@} will supply one:
+Documents for lilypond-book may freely mix music and text. For
+example,
\begin@{lilypond@}
- c'4
+ @{ \relative c' @{
+ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
+ @}
\end@{lilypond@}
-In the example you see here, a number of things happened: a
-\verb+\score+ block was added, and the line width was set to natural
-length. You can specify many more options using \LaTeX style options
-in brackets:
+Options are put in brackets.
-\begin[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]@{lilypond@}
- c'4 f bes es
+\begin[fragment,quote,staffsize=26,verbatim]@{lilypond@}
+ c'4 f16
\end@{lilypond@}
-\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
-the default music size, \texttt@{fragment@} adds a score block,
-\texttt@{relative@} uses relative mode for the fragment, and
-\texttt@{intertext@} specifies what to print between the
-\texttt@{verbatim@} code and the music.
-
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
+Larger examples can be put in a separate file, and introduced with
+\verb+\lilypondfile+.
-\lilypondfile[printfilename]@{sammartini.ly@}
-
-The \texttt@{printfilename@} option adds the file name to the output.
+\lilypondfile[quote,noindent]@{screech-boink.ly@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows
+
@example
$ cd input/tutorial
-$ mkdir out/
-@var{..may complain that @file{out/} already exists..}
-$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.3.146
-Reading `input/tutorial/lilbook.tex'
-Reading `input/tutorial/sammartini.ly'
+$ mkdir -p out/
+$ lilypond-book --output=out/ lilybook.tex
+lilypond-book (GNU LilyPond) 2.1.19
+Reading `input/tutorial/lilybook.tex'
+Reading `input/screech-boink.ly'
@var{lots of stuff deleted}
-Writing `out/lilbook.latex'
+Writing `out/lilybook.tex'
$ cd out
-$ latex lilbook.latex
+$ latex lilybook
@var{lots of stuff deleted}
-$ xdvi lilbook
+$ xdvi lilybook
@end example
-Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you wouldn't want
-those to clutter up your working directory. Hence, we have them created
-in a separate subdirectory.
+To convert the file into a nice PDF document, run the following
+commands
-The result more or less looks like this:
+@example
+$ dvips -Ppdf -u+lilypond -u+ec-mftrace lilybook
+$ ps2pdf lilybook.ps
+@end example
-@separate
+Running lilypond-book and running latex creates a lot of temporary
+files, which would clutter up the working directory. To remedy this,
+use the @code{--output=@var{dir}} option. It will create the files in
+a separate subdirectory @file{dir}.
-In a lilypond-book document, you can freely mix music and text. For
-example:
-@lilypond
- \score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
- } }
-@end lilypond
-Notice that the music line length matches the margin settings of the
-document.
+Finally the result of the La@TeX{} example shown above.@footnote{Note
+that in this tutorial the example is processed with Texinfo. This gives
+slightly different results in layout.} This finishes the tutorial
+section.
+
+@page
-If you have no @code{\score} block in the fragment,
-@code{lilypond-book} will supply one:
+Documents for lilypond-book may freely mix music and text. For
+example,
@lilypond
- c'4
+\relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+}
@end lilypond
-In the example you see here, a number of things happened: a
-@code{\score} block was added, and the line width was set to natural
-length. You can specify many more options using La@TeX{} style options
-in brackets:
+Options are put in brackets.
-@lilypond[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]
- c'4 f bes es
+@lilypond[fragment,quote,staffsize=26,verbatim]
+c'4 f16
@end lilypond
-@code{verbatim} also shows the LilyPond code, @code{11pt} selects
-the default music size, @code{fragment} adds a score block,
-@code{relative} uses relative mode for the fragment, and
-@code{intertext} specifies what to print between the
-@code{verbatim} code and the music.
-
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
-
-@lilypondfile[printfilename]{sammartini.ly}
-
-The @code{printfilename} option adds the file name to the output.
-@node End of tutorial
-@section End of tutorial
-
-This is the end of the tutorial. If you came up till here, and
-have understood everything, then you're now an accomplished lilypond
-hacker. From here, you can try fiddling with input
-files, coming back to the reference manual for information.
-Also don't forget to check out the
-@ifhtml
-@uref{../../templates/out-www/templates.html,templates},
-@uref{../../test/out-www/test.html,example} and
-@uref{../../regression/out-www/regression.html,feature test}
-snippets.
-@end ifhtml
-@ifnothtml
-templates, example and feature test snippets.
-@end ifnothtml
-If you want to see real action lilypond, then head over to
-@uref{http://www.mutopiaproject.org}, which has many examples of
-classical music typeset by LilyPond.
-
+Larger examples can be put in a separate file, and introduced with
+@code{\lilypondfile}.
+@lilypondfile[quote,noindent]{screech-boink.ly}
projects / lilypond.git / blobdiff