-@c -*-texinfo-*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@ignore
+Tutorial guidelines:
+- unless you have a really good reason, use either
+ @l ilypond[quote,ragged-right,verbatim]
+ or
+ @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
+ (without spaces)
+ Don't use any other relative=X commands (make it a non-fragment
+ example), and don't use fragment without relative=2.
+- use "aes" and "ees" instead of "as" and "aes". I know it's not
+ correct Dutch naming, but let's not confuse people with this until
+ we get to the Basic notation chapter.
+@end ignore
+
+
+
+@c old info that will probably be removed.
@c TODO:
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
-@c * where to go from First steps+More basics?
+@c * where to go from First steps+More basics?
-@node Tutorial
-@chapter Tutorial
+@c wherever possible, do not include index entries here; the
+@c index should point to stuff in the reference manual. -gp
+@c Your first LilyPond score in 10 minutes?
+@node Tutorial
+@chapter Tutorial
-Using LilyPond comes down to encoding music in an input file. After
-entering the music, the program is run on the file producing output
-which can be viewed or printed. In this tutorial, we will show step
-by step how to enter such files, and illustrate the process with
-fragments of input and the corresponding output. At the end of every
-section, a paragraph will list where to find further information on
-the topics discussed.
+This tutorial starts with an introduction to the LilyPond music
+language and how to produce printed music. After this first contact we
+will explain how to create common musical notation.
+@ifhtml
Many people learn programs by trying and fiddling around with the
-program. This is also possible with LilyPond. If you click on a
+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.
-@ifhtml
-For example, consider the following input:
-@example
- c'^\markup @{ \bold \huge @{ Click on this image! @} @}
-@end example
-@c @lily pond[relative=1,raggedright,with the following output:]
-with the following output:
-@lilypond[relative=1,raggedright]
- c'^\markup { \bold \huge { Click on this image! } }
+Try it on this image
+
+@lilypond[fragment,quote,ragged-right,relative=2]
+c-\markup { \bold \huge { Click here. } }
@end lilypond
+By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
+to the end of the file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark the
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.
@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.
-
-
-This tutorial starts with a short introduction to the LilyPond music
-language. After this first contact, we will show you how to to
-produce printed output. You should then be able to create and print
-your first sheets of music.
@menu
* First steps::
-* Running LilyPond::
-* More about pitches::
-* Octave entry::
-* Combining music into compound expressions::
-* Adding articulation marks to notes::
-* Combining notes into chords::
-* Basic rhythmical commands::
-* Commenting input files::
-* Printing lyrics::
-* A lead sheet::
-* Listening to output::
-* Titling::
-* Single staff polyphony::
-* Piano staves::
-* Setting variables::
-* Fine tuning layout::
-* Organizing larger pieces::
-* An orchestral part::
-* Integrating text and music::
+* Single staff notation::
+* Multiple notes at once::
+* Songs::
+* Final touches::
@end menu
@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 @samp{a}
-through @samp{g}. So if you enter
-
-@example
-c d e f g a b
-@end example
+This section gives a basic introduction to working with LilyPond.
-@noindent
-then the result looks like this:
-
-@lilypond[notime,relative]
-c d e f g a b
-@end lilypond
-
-The length of a note is specified by adding a number, @samp{1} for a
-@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
-
-@example
-a1 a2 a4 a16 a32
-@end example
-
-@lilypond[notime]
-\set Score.timing = ##f
-\set Staff.autoBeaming = ##f
-\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
-
-If you do not specify a @rglos{duration}, the previous one is used:
-
-@example
-a4 a a2 a
-@end example
+@menu
+* Compiling a file::
+* Simple notation::
+* Working on text files::
+* How to read the tutorial::
+@end menu
-@lilypond[notime]
-\set Score.timing = ##f
-\transpose c c' { a a a2 a s16_" " }
-@end lilypond
+@node Compiling a file
+@subsection Compiling a file
-Rests are entered just like notes, but with the name ``@code{r}'':
+The first example demonstrates how to start working with LilyPond. To
+create sheet music, we write a text file that specifies the
+notation. For example, if we write
-@cindex rests
-@quotation
@example
-r2 r4 r8 r16
+@{
+ c' e' g' e'
+@}
@end example
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.Clef = \turnOff
-\set Staff.TimeSignature = \turnOff
-r2 r4 r8 r16
-s16_" "
-@end lilypond
-@end quotation
-@separate
-
-
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
-
-@example
-a2. a4 a8. a16
-@end example
+@noindent
+the result looks like this
-@lilypond[notime]
-\set Score.timing = ##f
-\transpose c c' { a2. a4 a8. a16 s16_" " }
+@lilypond[quote,ragged-right]
+{
+ c' e' g' e'
+}
@end lilypond
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input. The braces should be also be
+surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities. These may be omitted in some examples in this
+manual, but don't forget them in your own music!
-The @rglos{meter} (or @rglos{time signature}) can be set with the
-@code{\time} command:
-
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
-
-@c a clef here may lead to confusion
-@lilypond
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
-@end lilypond
+@cindex Case sensitive
+In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
+@sp 1
-The @rglos{clef} can be set using the @code{\clef} command:
+@subheading Entering music and viewing output
-@c what is more common name treble or violin?
-@c in Dutch, its violin.
-@c in English its definitely treble.
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
+In this section we will explain what commands to run
+and how to view or print the output.
-@lilypond[notime]
-\set Score.timing = ##f
-\clef violin
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
-@end lilypond
+@subsubheading MacOS X
-Notes and commands like @code{\clef} and @code{\time}, are enclosed
-in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
-to @rglos{lyrics}) follows:
+If you double click LilyPond.app, it will open with an example
+file. Save it, for example, to @file{test.ly} on your Desktop, and
+then process it with the menu command @samp{Compile > Typeset File}.
+The resulting PDF file will be displayed on your screen.
-@example
-\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
-@}
-@end example
-Now the piece of music is almost ready to be printed. The final step is to
-combine the music with a printing command.
+Be warned that the first time you ever run lilypond will take a minute
+or two because all of the system fonts have to be analyzed first.
-The printing command is the so-called @code{\paper} block:
+For future use of LilyPond, you should begin by selecting "New"
+or "Open".
-@example
-\paper @{ @}
-@end example
+@subsubheading Windows
-The @code{\paper} block is used to customize printing specifics. The
-customization commands go between @code{@{} and @code{@}}, but for
-now, we accept the defaults. The music and the @code{\paper} block
-are combined by enclosing them in @code{\score @{ ... @}}, so the
-following is a complete and valid input file:
+On Windows, start up a text-editor@footnote{Any simple or
+programmer-oriented editor with UTF-8 support will do, for example
+Notepad. Do not use a word processor, since these insert formatting
+codes that will confuse LilyPond.} and enter
-@example
-\score @{
- \notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- @}
- \paper @{ @}
-@}
-@end example
-
-@lilypond[noindent]
-\score {
- \notes {
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- }
- \paper {
- linewidth = 55 * \staffspace
- }
+@verbatim
+{
+ c' e' g' e'
}
-@end lilypond
+@end verbatim
-In the rest of the tutorial we will often leave out @code{\score}
-and @code{\paper} for clarity. However, both must be present when
-feeding the file to LilyPond.
+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.
-For more elaborate information on
-@table @asis
-@item entering pitches and durations
-see
-@ref{Pitches} and @ref{Durations}.
-@item Clefs
-see @ref{Clef}
-@item Time signatures and other timing commands
-see @ref{Time signature}.
-@end table
-
-@node Running LilyPond
-@section Running LilyPond
-
-In the last section we explained what kind of things you could enter
-in a LilyPond file. In this section we explain 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.
+@subsubheading Unix
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, then refer to 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' @}
-@}
-@end example
-@end quotation
+@code{joe}@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If they have not been
+installed already, refer to the file @file{INSTALL.txt}. These
+easiest editing environment is @file{LilyPondTool}. See
+@ref{Editor support} for more information.}. In your
+text editor, enter the following input and save the file as
+@file{test.ly}
+
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
-To process @file{test.ly}, proceed as follows:
+@noindent
+To process @file{test.ly}, proceed as follows
-@quotation
@example
lilypond test.ly
@end example
-@end quotation
-You will see something resembling:
+@noindent
+You will see something resembling
-@quotation
@example
-GNU LilyPond 1.8.0
-Now processing: `/home/fred/ly/test.ly'
+lilypond test.ly
+GNU LilyPond 2.10.0
+Processing `test.ly'
Parsing...
-Interpreting music...[1]
- @emph{ ... more interesting stuff ... }
-PDF output to `test.pdf'...
-DVI output to `test.dvi'...
+Interpreting music... [1]
+Preprocessing graphical objects...
+Calculating line breaks... [2]
+Layout output to `test.ps'...
+Converting to `test.pdf'...
@end example
-@end quotation
-@cindex DVI file
+
+@cindex PDF file
@cindex Viewing music
-@cindex xdvi
-
-The result is the file @file{test.pdf}.@footnote{For @TeX{}
-afficionados: 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
-} One of the following commands should put the PDF on your
-screen:
-@quotation
-@example
- gv test.pdf
- ghostview test.pdf
- ggv test.pdf
- kghostview test.pdf
- xpdf test.pdf
- gpdf test.pdf
- acroread test.pdf
- gsview32 test.pdf
-@end example
-@end quotation
@noindent
-If the music on your screen looks good, you can print it by clicking
-File/Print inside your viewing program.
+The result is the file @file{test.pdf} which you can print or view
+with the standard facilities of your operating system.@footnote{If
+your system does not have any tools installed, you can try
+@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
+available package for viewing and printing PDF and PostScript files.}
-@cindex Ghostscript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
-@cindex PDF
+@node Simple notation
+@subsection Simple notation
-On Windows, the same procedure should work, the terminal is started by
-clicking on the LilyPond or Cygwin icon. Any text editor (such as
-NotePad, Emacs or Vim) may be used to edit the LilyPond file.
+LilyPond will add some notation elements automatically. In the next
+example, we have only specified four pitches, but LilyPond has
+added a clef, time signature, and rhythms.
-To view the PDF file, try the following:
-@itemize
-@item
-If your system has a PDF viewer installed, open
-@file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
-@file{test.pdf}.
-@item
-If you prefer the keyboard, you can try to enter one of the commands
-from the list shown before in the terminal. If none work, go to
-@uref{http://www.cs.wisc.edu/~ghost/} to install the proper software.
-@end itemize
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
+@end lilypond
-The commands for formatting and printing music on all platforms are
-detailed in @ref{Invoking LilyPond}.
+@noindent
+This behavior may be altered, but in most cases these automatic values
+are useful.
-@node More about pitches
-@section More about pitches
-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.}
+@subheading Pitches
-@example
-cis1 ees fisis aeses
-@end example
+The easiest way to enter notes is by using @code{\relative} mode. In
+this mode, the @rglos{interval} between the previous note and the
+current note is assumed to be within a @rglos{fourth}. We begin by
+entering the most elementary piece of music, a @rglos{scale}.
-@lilypond[notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
@end lilypond
-
-@cindex key signature, setting
+The initial note is @rglos{middle C}. Each successive note
+is within a fourth of the previous note -- in other words, the first
+@samp{c} is the closest C to middle C. This is followed by the closest
+D to the previous note. We can create melodies which have larger intervals:
-The key signature is set with the command ``@code{\key}'', followed by
-a pitch and @code{\major} or @code{\minor}:
-@quotation
-@example
-\key d \major
-g1
-\key c \minor
-g
-@end example
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
-\key d \major
-g'1
-\key c \minor
-g'
+@noindent
+As you may notice, this example does not start on middle C. The first
+note -- the @samp{d} -- is the closest D to middle C.
+
+To add intervals that are larger than a fourth, we can raise the octave
+by adding a single quote @code{'} (or apostrophe) to the note name. We can
+lower the octave by adding a comma @code{,} to the note name.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
@end lilypond
-@end quotation
+@noindent
+To change a note by two (or more!) octaves, we use multiple @code{''} or
+@code{,,} -- but be careful that you use two single quotes @code{''} and
+not one double quote @code{"}@tie{}! The initial value in
+@code{\relative c'} may also be modified like this.
-Key signatures together with the pitch (including alterations) are
-used together to determine when to print accidentals. This is a
-feature that often causes confusion to newcomers, so let us explain it
-in more detail:
+@subheading Durations (rhythms)
-LilyPond has 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 a 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.
+The @rglos{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. Beams are added
+automatically.
-For example, in this example:
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
-\key d \major
-d' cis' fis'
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a1
+ a2 a4 a8 a
+ a16 a a a a32 a a a a64 a a a a a a a a2
+}
@end lilypond
@noindent
-no note gets an explicit accidental, but still you enter
-
-@example
-\key d \major
-d cis fis
-@end example
+If you do not specify a duration, the previous duration is used
+for the next note. The duration of the first note defaults to a quarter.
-The code @code{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 gets an accidental:
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
-\key as \major
-d'
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
@end lilypond
-@noindent
-@example
-\key as \major
-d
-@end example
-Adding all alterations explicitly might require some 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.
+@subheading Rests
+A @rglos{rest} is entered just like a note with the name @samp{r}:
-@cindex tie
-A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied:
-@quotation
-@lilypond[fragment,verbatim,relative=2]
-g4~ g a2~ a4
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
@end lilypond
-@end quotation
-@separate
-This example shows the key signature, accidentals and ties in action:
-@quotation
-@example
-\score @{
- \notes @{
- \time 4/4
- \key g \minor
- \clef violin
- r4 r8 a8 gis4 b
- g8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
- @}
- \paper @{ @}
-@}
-@end example
+@subheading Time signature
-@lilypond
-\score {
- \notes { \transpose c c' {
- \time 4/4
- \key g \minor
- \clef violin
- r4 r8 a8 gis4 b
- g8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
- }}
- \paper { linewidth = #(* 50 staffspace) }
+The @rglos{time signature}) can be set with the @code{\time} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
}
@end lilypond
-@end quotation
-@cindex accidentals
-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 lines breaks are in the
-source file. Finally, the order of time, key and clef changes is not
-relevant: in the printout, these are ordered according to standard
-notation conventions.
+@subheading Clef
-@cindex beams, by hand
-Beams are drawn automatically, but if you do not like where they are
-put, they can be entered by hand. Mark the first note to be beamed
-with @code{[} and the last one with @code{]}:
-@quotation
-@lilypond[fragment,relative=1,verbatim]
-a8[ ais] d[ es r d]
+The @rglos{clef} can be set using the @code{\clef} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ \clef treble
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
+}
@end lilypond
-@end quotation
-@separate
-For more information on
-@table @asis
-@item Rests
-see @ref{Rests}.
-@item Ties
-see @ref{Ties}.
+@subheading All together
-@item Accidentals
-see @ref{Accidentals}
+Here is a small example showing all these elements together:
-@item Key signature
-see @ref{Key signature}
+@lilypond[quote,ragged-right,verbatim]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
+@end lilypond
-@item Beams
-see @ref{Beaming}
+@moreinfo
+@quotation
+@table @asis
+@item Entering pitches and durations
+see @ref{Pitches} and @ref{Durations}.
+@item Rests
+see @ref{Rests}.
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@item Clefs
+see @ref{Clef}.
@end table
+@end quotation
-@node Octave entry
-@section Octave entry
+@node Working on text files
+@subsection Working on text files
+LilyPond input files are treated like files in most programming languages:
+they are case sensitive, white-space insensitive, expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ .. %@}}.
-@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...
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
-@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'}:
+@itemize
-@quotation
+@cindex Case sensitive
+@item @strong{Case sensitive}:
+it matters whether you enter a letter
+in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
+@code{A, B, S, T}). Notes are lower case: @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
+
+@item @strong{Whitespace insensitive}:
+it does not matter how many
+spaces (or new lines) you add. @code{ @{ c d e @}} means the same thing
+as @code{ @{ c @ @ @ @ @ d e @} } and
@example
-c'4 c'' c''' \clef bass c c,
+ @{
+c d
+ e @}
@end example
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-c'4 c'' c''' \clef bass c c,
-@end lilypond
-@end quotation
-@separate
+@noindent
+Of course, the previous example is hard to read. A good rule of thumb
+is to indent code blocks with either a tab or two spaces:
+@example
+@{
+ c d e
+@}
+@end example
-An example of the use of quotes is in the following Mozart fragment:
-@lilypond[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
-
-This 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. You must also give a note
-from which relative starts, in this case @code{c''}. 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, @code{c f} goes up while @code{c g} goes down:
+@item @strong{Expressions:}
+Every piece of LilyPond input needs to have
+@strong{@{ curly braces @}} placed around the input. These braces tell
+LilyPond that the input is a single music expression, just like
+parenthesis @samp{()} in mathematics. The braces should
+be surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities.
+
+A function (such as @code{\relative @{ @}} ) also counts as a single
+music expression.
+
+@cindex comments
+@cindex line comment
+@cindex block comment
+@item @strong{Comments}:
+A comment is a remark for the human reader of the music input; it is
+ignored while parsing, so it has no effect on the printed output.
+There are two types of comments. The percent symbol @samp{%}
+introduces a line comment; anything after @samp{%} on that line is
+ignored. A block comment marks a whole section of music
+input as a comment. Anything that is enclosed in @code{%@{} and @code{%@}} is
+ignored. The following fragment shows possible uses for comments
-@quotation
@example
-\relative c'' @{
- c f c g c
-@}
+% notes for twinkle twinkle follow
+ c4 c g' g a a g2
+
+%@{
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
+
+ g g f f e e d d c2
+%@}
@end example
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\relative c'' {
- c f c g c
-}
-@end lilypond
-@end quotation
-@separate
+@end itemize
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
-@c
-@lilypond[raggedright,fragment,verbatim]
-\relative c'' {
- \key a \major
- \time 6/8
- cis8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
-@end lilypond
+@node How to read the tutorial
+@subsection How to read the tutorial
+
+As we saw in @ref{Working on text files}, LilyPond input must be
+surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
+rest of this manual, most examples will omit this.
+
+If you are reading the HTML documentation and wish to see the exact
+exact LilyPond code that was used to create the example, simply click
+on the picture. If you are not reading the HTML version, you could
+copy and paste the displayed input, but you @strong{must} add the
+@code{\relative c'' @{ @}} like this:
-@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
@example
\relative c'' @{
- c f, f c' c g' c,
+ ... example goes here...
@}
@end example
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\relative c'' {
- c f, f c' c g' c,
-}
+Why omit the braces? Most examples
+in this manual can be inserted into the middle of a longer piece of
+music. For these examples, it does not make sense to add
+@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
+inside another @code{\relative}, so you would not be able to copy
+a small documentation example and paste it inside a longer piece
+of your own.
+
+
+@node Single staff notation
+@section Single staff notation
+
+This section introduces common notation that is used for one voice
+on one staff.
+
+@menu
+* Relative note names::
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
+
+
+@node Relative note names
+@subsection Relative note names
+
+As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+each note relative to the previous one@footnote{There is another mode of
+entering pitches, @ref{Absolute note names}, but in practice relative
+mode is much easier and safer to use.}. If no extra octave marks
+(@code{'} and @code{,}) are added, it assumes that each pitch is within
+a fourth of the previous note.
+
+LilyPond examines pitches based on the note names -- in other words,
+an augmented fourth is @emph{not} the same as a diminished fifth. If we
+begin at a C, then an F-sharp will be placed a higher than the C, while
+a G-flat will be placed lower than the C.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 fis
+c2 ges
@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Relative octaves
+see @ref{Relative octaves}.
+@item Octave check
+see @ref{Octave check}.
+@end table
@end quotation
-@separate
-Quotes or commas do not determine the absolute height of a note; the
-height of a note is relative to the previous one.
-@c do not 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:
+@node Accidentals and key signatures
+@subsection Accidentals and key signatures
-Here is an example of the difference between relative mode and
-``normal'' (non-relative) mode:
+@subheading Accidentals
-@quotation
-@example
-\relative a @{
-\clef bass
- a d a e d c' d'
-@}
-@end example
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, and a @rglos{flat} 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. To use other names for accidentals, see
+@ref{Note names in other languages}.}
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\relative a {
-\clef bass
- a d a e d c' d'
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+cis1 ees fisis, aeses
@end lilypond
-@end quotation
-@separate
-@quotation
-@example
-\clef bass
- a d a e d c' d'
-@end example
+@cindex key signature, setting
+@subheading Key signatures
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\clef bass
- a d a e d c' d'
+The key signature is set with the command @code{\key} followed by
+a pitch and @code{\major} or @code{\minor}.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+a1
+\key c \minor
+a
@end lilypond
-@end quotation
-@separate
+@sp 1
-For more information on Relative octaves see @ref{Relative octaves}
-and @ref{Octave check}.
+@subheading Warning: key signatures and pitches
+To determine whether to print an accidental, LilyPond examines the
+pitches and the key signature. The key signature only effects
+the @emph{printed} accidentals, not the actual pitches! This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail.
+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
+@emph{printed} flat, natural or sharp 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.
+In this example
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+d cis fis
+@end lilypond
+@noindent
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.
+The code @samp{e} does not mean @qq{print a black dot just below the
+first line of the staff.} Rather, it means: @qq{there is a note with
+pitch E-natural.} In the key of A-flat major, it @emph{does} get an
+accidental:
-@node Combining music into compound expressions
-@section Combining music into compound expressions
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
+@end lilypond
-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{\simultaneous @{} and
-@code{@}}, as is demonstrated here:
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+accidentals can be printed according to different conventions. See
+@ref{Automatic accidentals} for some examples how accidentals can be printed
+according to different rules.
+@moreinfo
@quotation
-@lilypond[fragment,verbatim]
-\simultaneous {
- \new Staff { \clef violin c'' }
- \new Staff { \clef bass c }
-}
-@end lilypond
+@table @asis
+@item Accidentals
+see @ref{Accidentals} and @ref{Automatic accidentals}.
+@item Key signature
+see @ref{Key signature}.
+@end table
@end quotation
-In this example, @code{\simultaneous } indicates that both music
-fragments happen at the same time, and must be printed stacked
-vertically. The notation @code{<< .. >>} can also be used as a
-shorthand for @code{\simultaneous @{ .. @}}.
+@node Ties and slurs
+@subsection Ties and slurs
-The command @code{\new} introduces a ``notation context''. To
-understand this concept, imagine that you are performing a piece of
-music. When you are playing, you combine the symbols printed at a
-certain point with contextual information. For example, without
-knowing the current clef, and the accidentals in the last measure, it
-would be impossible to determine the pitch of a note. In other words,
-this information forms context that helps you decipher a
-score. LilyPond produces notation from music, so in effect, it does
-the inverse of reading scores. Therefore, it also needs to keep track
-of contextual information. This information is maintained in
-``notation contexts.'' There are several types of contexts,
-e.g. @code{Staff}, @code{Voice} and @code{Score}, but also
-@code{Lyrics} and @code{ChordNames}. Prepending @code{\new} to a chunk
-of music indicates what kind of context to use for interpreting it,
-and ensures that the argument is interpreted with a fresh instance of
-the context indicated.
+@cindex ties
+@subheading Ties
+A @rglos{tie} is created by appending a tilde @samp{~} to the first
+note being tied
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
+@end lilypond
-@separate
+@cindex slurs
+@subheading Slurs
-We can now typeset a melody with two staves:
+A @rglos{slur} is a curve drawn across many notes. The starting note
+and ending note are marked with @samp{(} and @samp{)} respectively.
-@quotation
-@lilypond[verbatim,raggedright]
-\score {
- \notes
- << \new Staff {
- \time 3/4
- \clef violin
- \relative c'' {
- e2( d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.) }
- }
- \new Staff {
- \clef bass
- c2 e4 g2.
- f4 e d c2.
- }
- >>
- \paper {}
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@end quotation
-The example shows how small chunks of music, for example, the notes
-@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
-larger chunk by enclosing it in braces. Again, a larger chunk is
-formed by prefix @code{\new Staff} to it, and that chunk is combined
-with @code{<< >>}. This mechanism is similar with 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,
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
-@quotation
- 1
+@cindex phrasing slurs
+Slurs to indicate longer phrasing can be entered with @code{\(} and
+@code{\)}. You can have both legato slurs and phrasing slurs at the
+same time, but you cannot have simultaneous slurs or simultaneous
+phrasing slurs.
- 1 + 2
-
- (1 + 2) * 3
-
- ((1 + 2) * 3) / (4 * 5)
-@end quotation
-@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 +, * and /). Parentheses are used to group
-expressions. In LilyPond input, a similar mechanism is used. Here,
-the simplest expressions are notes and rests. By enclosing
-expressions in @code{<< >>} and @code{@{ @}}, more complex music is
-formed. The @code{\new} command also forms new expressions; prepending
-it to a music expression yields a new expression.
-
-Like mathematical expressions, music expressions can be nested
-arbitrarily deep, e.g.
-@lilypond[verbatim,relative=1]
- { c <<c e>>
- << { e f } { c <<b d>> }
- >>
- }
-@end lilypond
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
+@end lilypond
+@sp 1
-@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 amount of closing
-braces at the end of an expression. For example,
-@example
-\score @{
- \notes <<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
- >>
-@}
-@end example
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
+A slur looks like a @rglos{tie}, but it has a different meaning. A
+tie simply makes the first note 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
+can be nested.
-For more information on context see the Technical manual description
-in @ref{Interpretation context}.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+@moreinfo
+@quotation
+@table @asis
+@item Ties
+see @ref{Ties}.
+@item Slurs
+see @ref{Slurs}.
+@item Phrasing slurs
+see @ref{Phrasing slurs}.
+@end table
+@end quotation
-@node Adding articulation marks to notes
-@section Adding articulation marks to notes
+@node Articulation and dynamics
+@subsection Articulation and dynamics
@cindex articulation
@cindex accents
@cindex staccato
+@subheading Articulations
-Common accents can be added to a note using a dash (`@code{-}') and a
-single character:
-@quotation
-@lilypond[verbatim,relative=1]
+Common @rglos{articulations} can be added to a note using a dash @samp{-}
+and a single character:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@end quotation
-@separate
@cindex fingering
+@subheading Fingerings
Similarly, fingering indications can be added to a note using a dash
-(`@code{-}') and the digit to be printed:
-@c
-@lilypond[verbatim,relative=1]
- c-3 e-5 b-2 a-1
+(@samp{-}) and the digit to be printed:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-3 e-5 b-2 a-1
@end lilypond
+Articulations and fingerings are usually placed automatically, but you
+can specify a direction using @samp{^} (up) or @samp{_} (down). You can
+also use multiple articulations on the same note. However, in most cases
+it is best to let LilyPond determine the articulation directions.
-Dynamic signs are made by adding the markings to the note:
-@quotation
-@lilypond[verbatim,relative=1]
-c\ff c\mf
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
+@end lilypond
+
+@subheading Dynamics
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\ff c\mf c\p c\pp
@end lilypond
-@end quotation
-@separate
@cindex dynamics
@cindex decrescendo
@cindex crescendo
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to:
-@quotation
-@lilypond[verbatim,relative=1]
-c2\< c2\!\ff\> c2 c2\!
-@end lilypond
-@end quotation
-@separate
-
-
-
-@cindex slur
-
-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:
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+(de)crescendo, or the command @code{\!} can be used
-@quotation
-@lilypond[fragment,relative=1,verbatim]
-d4( c16)( cis d e c cis d e)( d4)
-@end lilypond
-@end quotation
-@separate
-@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:
-@c
-@lilypond[fragment,relative=1]
-c2~( c8 fis fis4 ~ fis2 g2)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2\< c2\ff\> c2 c2\!
@end lilypond
-@cindex phrasing slurs
-If you need two slurs at the same time (one for articulation, one for
-phrasing), you can also make a phrasing slur with @code{\(} and
-@code{\)}.
-
+@moreinfo
@quotation
-@lilypond[fragment,relative=1,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
-@end lilypond
+@table @asis
+@item Articulations
+see @ref{Articulations}.
+@item Fingering
+see @ref{Fingering instructions}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
@end quotation
-For more information on
-@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}
-@item fingering
-@end table
+@node Automatic and manual beams
+@subsection Automatic and manual beams
-@node Combining notes into chords
-@section Combining notes into chords
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
-@cindex chords
-Chords can be made by
-surrounding pitches with @code{<} and @code{>}:
-@quotation
-@lilypond[relative,fragment,verbatim]
-r4 <c e g>4 <c f a>8
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8
@end lilypond
-@end quotation
-@separate
+@noindent
+If you do not like the automatic beams, they may be overridden
+manually. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
-You can combine beams and ties with chords. Beam and tie markings
-must be placed outside the chord markers:
-@quotation
-@lilypond[relative,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@end lilypond
-@end quotation
+@moreinfo
@quotation
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
-@end example
-@lilypond[relative,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
-@end lilypond
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
@end quotation
-@separate
-
-
-@node Basic rhythmical commands
-@section Basic rhythmical commands
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
@cindex pickup
@cindex anacruse
-@cindex upstep
@cindex partial measure
-A pickup (or upstep) 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:
-@lilypond[relative=1,verbatim,fragment]
- \partial 8
- f8 c2 d e
+@subheading Partial measure
+
+A pickup (or @rglos{anacrusis}) is entered with the keyword
+@code{\partial}. It is followed by a duration: @code{\partial 4} is
+a quarter note pickup and @code{\partial 8} an eighth note.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\partial 8
+f8 c2 d
@end lilypond
@cindex tuplets
@cindex triplets
+@subheading Tuplets
+
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:
-@c
-@lilypond[relative,verbatim,fragment]
- \times 2/3 { f8 g a }
- \times 2/3 { c r c }
-@end lilypond
+2/3 of their notated duration, so a triplet has 2/3 as its fraction
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\times 2/3 { f8 g a }
+\times 2/3 { c r c }
+\times 2/3 { f,8 g16 a g a }
+\times 2/3 { d4 a8 }
+@end lilypond
@cindex grace notes
-@cindex accacciatura
-Grace notes are also made by prefixing a note, or a set of notes with
-a keyword. In this case, the keywords are @code{\appoggiatura}
-and @code{\acciaccatura}
-@cindex appoggiatura
@cindex acciaccatura
-
-@lilypond[relative=1,verbatim,fragment]
- c4 \appoggiatura b16 c4
- c4 \acciaccatura b16 c4
-@end lilypond
+@cindex appoggiatura
+@subheading Grace notes
-@noindent
+Grace notes are created with the @code{\grace} command, although they
+can also be created by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32 b} c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
-For more information on
+@moreinfo
+@quotation
@table @asis
-@item grace notes
+@item Grace notes
see @ref{Grace notes},
-@item tuplets
+@item Tuplets
see @ref{Tuplets},
-@item upsteps
+@item Pickups
see @ref{Partial measures}.
@end table
+@end quotation
+@node Multiple notes at once
+@section Multiple notes at once
-@node Commenting input files
-@section Commenting input files
+This section introduces having more than one note at the same time:
+multiple instruments, multiple staves for a single instrument (i.e. piano),
+and chords.
-@cindex comments
-@cindex line comment
-@cindex block comment
-Comments are pieces of the input that are ignored. There are two
-types of comments. A line comments is introduced by @code{%}: after
-that, the rest of that line is ignored. Block comments span larger
-sections of input. Anything that is enclosed in @code{%@{} and
-@code{%@}} is ignored too. The following fragment shows possible uses
-for comments:
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
-@example
- % notes for twinkle twinkle follow:
- c4 c g' g a a
-
- %@{
-
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
- g g f f e e d d c2
- %@}
-@end example
+@node Music expressions explained
+@subsection Music expressions explained
+In LilyPond input files, music is represented by @emph{music
+expressions}. A single note is a music expression, although it is not
+valid input all on its own.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a4
+@end lilypond
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
+Enclosing a group of notes in braces creates a new music expression:
-@cindex Lyrics
-@cindex Songs
-Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
-@example
- \lyrics @{ I want to break free @}
-@end example
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ a4 g4 }
+@end lilypond
-Like notes, lyrics are also a form of music, but they must not be
-printed on a staff, which is the default way to print music. To print
-them as lyrics, they must be marked with @code{ \new Lyrics}:
-@example
- \new Lyrics \lyrics @{ I want to break free @}
-@end example
-The melody for this song is as follows:
+Putting a group of music expressions (e.g. notes) in braces means that
+are in sequence (i.e. each one follows the previous one). The result
+is another music expression:
-@lilypond[fragment,relative=1]
- \partial 8
- c8
- \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
@end lilypond
-The lyrics can be set to these notes, combining both with the
-@code{\lyricsto} keyword:
-@example
- \lyricsto "@var{name}" \new Lyrics @dots{}
-@end example
-where @var{name} identifies to which melody the lyrics should be
-aligned. In this case, there is only one melody, so we can leave it
-empty.
-
-The final result is
-@lilypond[verbatim,fragment]
-\score {
- \notes <<
- \relative c' \new Voice {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4( a2) }
- }
- \lyricsto "" \new Lyrics \lyrics { I want to break free }
- >>
- \paper{ }
+@subheading Simultaneous music expressions: multiple staves
+
+This technique is useful for polyphonic music. To enter music
+with more voices or more staves, we combine expressions in
+parallel. To indicate that two voices should play at the same time
+simple enter a simultaneous combination of music expressions. A
+@q{simultaneous} music expression is formed by enclosing expressions inside
+@code{<<} and @code{>>}. In the following example, three sequences (all
+containing two separate notes) are combined simultaneously:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
}
@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
- \lyrics @{ I want to break free __ @}
-@end example
-@lilypond[raggedright]
-\score {
- \notes <<
- \relative c' \new Voice {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
- >>
- \paper{ }
+Note that we have indented each level of the input with a different
+amount of space. LilyPond does not care how much (or little) space there
+is at the beginning of a line, but indenting LilyPond code like this makes
+it much easier for humans to read.
+
+@subheading Simultaneous music expressions: single staff
+
+To determine the number of staves in a piece, LilyPond looks at the first
+exression. If it is a single note, there is one staff; if there is a
+simultaneous expression, there is more than one staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
}
@end lilypond
-Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables:
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
+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,
+
@example
- Twin -- kle twin -- kle
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
@end example
-@lilypond[raggedright]
-\score {
- << \notes \relative f' { \time 2/4
- f4 f c' c' }
- \new Lyrics \lyrics { Twin -- kle twin -- kle }
- >>
- \paper { raggedright = ##t }
- }
-@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
-discussed in @ref{Vocal music}.
+This is a sequence of expressions, where each expression is contained
+in the next (larger) one. The simplest expressions are numbers, and larger
+ones are made by combining expressions with operators (like @samp{+},
+@samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
+music expressions can be nested arbitrarily deep, which is necessary
+for complex music like polyphonic scores.
+@node Multiple staves
+@subsection Multiple staves
-@node A lead sheet
-@section A lead sheet
+As we saw in @ref{Music expressions explained}, LilyPond input files
+are constructed out of music expressions. If the score begins with
+simultaneous music expressions, LilyPond creates multiples staves. However,
+it is easier to see what happens if we create each staff explicitly.
-@cindex Lead sheets
-@cindex chords
-@cindex chord names
-
-In popular music, it is common to denote accompaniment as chord-names.
-Using them in LilyPond has two parts, just like lyrics: entering the
-chords (with @code{\chords}), and printing them (with @code{\new
-ChordNames}).
-
-Chord names are entered by starting chords mode (with @code{\chords}).
-In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that:
-@c
-@lilypond[verbatim]
- \chords { c2 f4. g8 }
-@end lilypond
+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 in parallel with @code{<<} and
+@code{>>}:
-@noindent
-The result of @code{\chords} is a list of chords, and is equivalent
-to entering chords with @code{<@dots{}>}.
-
-Other chords can be created by adding modifiers, after a colon. The
-following example shows a few common modifiers:
-@c
-@lilypond[verbatim]
- \chords { c2 f4:m g4:maj7 gis1:dim7 }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
-Printing chords is done by adding @code{\context ChordNames}
-before the chords thus entered:
-@c
-@lilypond[verbatim]
- \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
-@end lilypond
+The command @code{\new} introduces a @q{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 automatically. For more complex pieces, it
+is best to mark contexts explicitly.
-@cindex lead sheet
-@separate
-When put together, chord names, lyrics and a melody form
-a lead sheet, for example,
+There are several types of contexts. @code{Score}, @code{Staff},
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
+texts and @code{ChordNames} prints chord names.
-@example
-\score @{
+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.
+
+Time signatures entered in one staff affects all other staves, but
+the key signature of one staff does @emph{not} affect other
+staves@footnote{This behavior may be changed if desired; see
+@ref{Changing defaults} for details.}.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
<<
- \context ChordNames \chords @{ @emph{chords} @}
- \notes @emph{the melody}
- \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
- >>
- \paper @{ @}
-@}
-@end example
-@lilypond[]
-\score {
- <<
- \context ChordNames \chords { r8 c2:sus4 f }
- \notes \relative c' {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
+ \new Staff { \clef treble \time 3/4 c }
+ \new Staff { \clef bass \key d \major c,, }
>>
- \paper{ raggedright = ##t }
}
@end lilypond
-A complete list of modifiers, and other options for layout are in the
-reference manual section @ref{Chords}.
-@node Listening to output
-@section Listening to output
-@cindex sound
-@cindex MIDI
+@node Piano staves
+@subsection Piano staves
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and recording digital instruments. A MIDI file is like a
-tape recording of a MIDI 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: octaves that are off, or
-accidentals that were mistyped, stand out very much when listening to
-the musical transcription.
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+Piano music is typeset in two staves connected by a brace. Printing
+such a staff is similar to the polyphonic example in @ref{Multiple staves},
+but now this entire expression is inserted inside a @code{PianoStaff}:
-@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example,
-@example
-\score @{
- @var{..music..}
- \midi @{ \tempo 4=72 @}
- \paper @{ @}
-@}
-@end example
-
-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 is in the @ref{Sound} section in the
-notation manual.
-
-
-
-@node Titling
-@section Titling
-
-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 @{ @dots{} @}}. For
-example,
-@example
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
- @}
-
- \score @{ @dots{} @}
+@example
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
+>>
@end example
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Engraved by LilyPond
-
-When the file is processed by the @code{lilypond} wrapper script, then
-the title and composer specified 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 do
-us a favor, and leave the tagline if you can.}
-
-Normally, the @code{\header} is put at the top of the file. However,
-for a document that contains multiple pieces (e.g. an etude book, or
-an orchestral part with multiple movements), then the header can be
-put into the @code{\score} block as follows; in this case, the name of
-each piece will be printed before each movement:
-
-
-@cindex Engraved by LilyPond
-@cindex signature line
-@cindex tag line
-
-@example
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
- @}
-
- \score @{ @dots{}
- \header @{ piece = "Adagio" @}
- @}
- \score @{ @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@end example
+Here is a small example
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \new PianoStaff <<
+ \new Staff { \time 2/4 c4 e g g, }
+ \new Staff { \clef bass c,, c' e c }
+ >>
+}
+@end lilypond
-More information on titling can be found in @ref{Invoking lilypond}.
+@moreinfo
+@quotation
+See @ref{Piano music}.
+@end quotation
@node Single staff polyphony
-@section Single staff polyphony
+@subsection Single staff polyphony
@cindex polyphony
@cindex multiple voices
@cindex voices, more -- on a staff
-
-When different melodic lines are combined on a single staff, these are
-printed as polyphonic voices: each voice has its own stems, slurs and
+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.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{ .. @}}), and combining those simultaneously, separating the
-voices with @code{\\}:
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
-@example
- << @{ a4 g2 f4~ f4 @} \\
- @{ r4 g4 f2 f4 @} >>
-@end example
-@lilypond[relative=1]
-\context Staff << { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
-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:
-@example
- << @{ a4 g2 f4~ f4 @} \\
- @{ s4 g4 f2 f4 @} >>
-@end example
-@lilypond[relative=1]
-\context Staff << { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print. They are useful for filling up
+voices that temporarily do not play. Here is the same example with a
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
-Again, these expressions can be nested arbitrarily:
+@noindent
+Again, these expressions can be nested arbitrarily.
-@lilypond[fragment]
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
<<
- \new Staff
- \relative c''
- << { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
- \new Staff
- << { \clef bass <c g>1 ~ <c g>4 } \\
- { f4 d e2 ~ e4}
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
>>
>>
@end lilypond
+@moreinfo
+@quotation
+See @ref{Basic polyphony}.
+@end quotation
-More features of polyphonic typesetting are in the notation manual
-in @ref{Polyphony}.
-@node Piano staves
-@section Piano staves
+@node Combining notes into chords
+@subsection Combining notes into chords
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-@cindex @code{\translator}
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
-Piano music is always typeset in two staves connected by a brace.
-Printing such a staff is done similar to the polyphonic example in
-@ref{Combining music into compound expressions}:
-@example
- << \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @}
- >>
-@end example
-but now this entire expression must be interpreted as a
-@code{PianoStaff}:
-@example
- \new PianoStaff << \new Staff @dots{} >>
-@end example
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
-Here is a full-fledged example:
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
-@lilypond[relative,fragment]
-\new PianoStaff
- << \new Staff { \time 2/4
- c4 c g' g }
- \new Staff {
- \clef bass c,, c' e c }
- >>
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
@end lilypond
-More information on formatting piano music is in @ref{Piano music}.
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
-@node Setting variables
-@section Setting variables
-When the music is converted from notes to print, it is interpreted
-from left-to-right order, similar to what happens when we read
-music. During this step, context-sensitive information, such as the
-accidentals to print, and where barlines must be placed, are stored in
-variables. These variables are called @emph{context properties}.
-The properties can also be manipulated from input files. Consider this input:
-@example
-\set Staff.autoBeaming = ##f
-@end example
+@node Songs
+@section Songs
-@noindent
-It sets the property named @code{autoBeaming} in the current staff at
-this point in the music to @code{##f}, which means `false'. This
-property controls whether beams are printed automatically:
-@c
-@lilypond[relative=1,fragment,verbatim]
- c8 c c c
- \set Staff.autoBeaming = ##f
- c8 c c c
+This section introduces vocal music and simple song sheets.
+
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
+
+
+@node Printing lyrics
+@subsection Printing lyrics
+
+@cindex Lyrics
+@cindex Songs
+Consider a simple melody:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a4 e c r4
+ b2 c4( d)
+}
@end lilypond
-@noindent
-LilyPond includes a built-in programming language, namely, a dialect
-of Scheme. The argument to @code{\property}, @code{##f}, is an
-expression in that language. The first hash-mark signals that a piece
-of Scheme code follows. The second hash character is part of the
-boolean value true (@code{#t}). Values of other types may be
-entered as follows:
-@itemize @bullet
-@item a string, enclosed in double quotes, for example,
-@example
- \set Staff.instrument = #"French Horn"
-@end example
-@item a boolean: either @code{#t} or @code{#f}, for true and false
-respectively, e.g.
-@example
- \set autoBeaming = ##f
- \set Score.skipBars = ##t
-@end example
+The lyrics can be set to these notes, combining both with the
+@code{\addlyrics} keyword. Lyrics are entered by separating each
+syllable with a space.
-@item a number, such as
-@example
- \set Score.currentBarNumber = #20
-@end example
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
+ }
+ \addlyrics { One day this shall be free }
+>>
+@end lilypond
-@item a symbol, which is introduced by a quote character, as in
-@example
- \set Staff.crescendoSpanner = #'dashed-line
-@end example
+@cindex melisma
+@cindex extender line
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores @code{__}:
-@item a pair, which is also introduced by a quote character, like in
-the following statements, which set properties to the pairs (-7.5, 6)
-and (3, 4) respectively:
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
+ }
+ \addlyrics { One day this shall be free __ }
+>>
+@end lilypond
-@example
- \set Staff.minimumVerticalExtent = #'(-7.5 . 6)
- \set Staff.timeSignatureFraction = #'(3 . 4)
-@end example
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables
-@item a list, which is also introduced by a quote character. In the
-following example, the @code{breakAlignOrder} property is set to a
-list of symbols:
@example
- \set Score.breakAlignOrder =
- #'(left-edge time-signature key-signatures)
+A -- le gri -- a
@end example
+@c no ragged-right here because otherwise the hypens get lost.
+@lilypond[quote,verbatim]
+<<
+ \relative c' {
+ \time 2/4
+ f4 f c c
+ }
+ \addlyrics { A -- le gri -- a }
+>>
+@end lilypond
-@end itemize
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are
+discussed in @ref{Vocal music}.
+@end quotation
-There are many different properties, and not all of them are listed in
-this manual. However, the program reference lists them all in the
-section @internalsref{Context-properties}, and most properties are
-demonstrated in one of the
-@ifhtml
-@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
-@end ifhtml
-@ifnothtml
-tips-and-tricks
-@end ifnothtml
-examples.
-
-
-@node Fine tuning layout
-@section Fine tuning layout
-
-Sometimes it is necessary to change music layout by hand. When music
-is formatted, layout objects are created for each symbol. For
-example, every clef and every note head is represented by a layout
-object. These layout objects also carry variables, which we call
-@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score:
-
-@lilypond[verbatim,relative]
- c4
- \override Stem #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-@noindent
-In the example shown here, the layout property @code{thickness} (a
-symbol) is set to 3 in the @code{Stem} layout objects of the current
- As a result, the notes following @code{\property} have thicker
-stems.
+@node A lead sheet
+@subsection A lead sheet
+
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
-In most cases of manual overrides, only a single object must be
-changed. This can be achieved by prefixing @code{\once} to the
-@code{\property} statement, i.e.
+@c TODO: revise this, \chords { } is shorter and more intuitive.
+@c I need help for this. -gp
-@example
- \once \override Stem #'thickness = #3.0
-@end example
+In popular music it is common to denote accompaniment with chord names.
+Such chords can be entered like notes,
-@lilypond[relative]
- c4
- \once \override Stem #'thickness = #3.0
- c4 c4 c4
+@lilypond[quote,ragged-right,verbatim]
+\chordmode { c2 f4. g8 }
@end lilypond
@noindent
-Some overrides are so common that predefined commands are provided as
-a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
-commands are described in
-@ifhtml
-the
-@end ifhtml
-@ref{Notation manual}, under the sections for slurs and stems
-respectively.
-
-The exact tuning possibilities for each type of layout object are
-documented in the program reference of the respective
-object. However, many layout objects share properties, which can be
-used to apply generic tweaks. We mention a couple of these:
-
-@itemize @bullet
-@item The @code{extra-offset} property, which
-@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
-The first number controls left-right movement; a positive number will
-move the object to the right. The second number controls up-down
-movement; a positive number will move it higher. The unit of these
-offsets are staff-spaces. The @code{extra-offset} property is a
-low-level feature: the formatting engine is completely oblivious to
-these offsets.
-
-In the following example, the second fingering is moved a little to
-the left, and 1.8 staff space downwards:
-
-@cindex setting object properties
-
-@lilypond[relative=1,verbatim]
-\stemUp
-f-5
-\once \override Fingering
- #'extra-offset = #'(-0.3 . -1.8)
-f-5
+Now each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chordmode}
+
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers
+
+@lilypond[quote,verbatim,ragged-right]
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
-@item
-Setting the @code{transparent} property will make an object be printed
-in `invisible ink': the object is not printed, but all its other
-behavior is retained. The object still takes space, it takes part in
-collisions, and slurs, ties and beams can be attached to it.
-
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
-The following example demonstrates how to connect different voices
-using ties. Normally ties only happen between notes of the same
-voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices:
-
-@lilypond[fragment,relative=1,verbatim]
- c4 << {
- \once \override Stem #'transparent = ##t
- b8~ b8
- } \\ {
- b[ g8]
- } >>
+For lead sheets, chords are not printed on staves, but as names on a
+line for themselves. This is achieved by using @code{\chords} instead
+of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
+but renders the notes in a @code{ChordNames} context, with the
+following result.
+
+@lilypond[quote,verbatim,ragged-right]
+\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-@item
-The @code{padding} property for objects with
-@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
-symbols that are printed above or below notes. We only give an
-example; a more elaborate explanation is in @ref{Constructing a
-tweak}:
-
-@lilypond[relative=1,verbatim]
- c2\fermata
- \override Script #'padding = #3
- b2\fermata
+@cindex lead sheet
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
+
+@lilypond[quote,verbatim,ragged-right]
+% this melody needs to be changed. See my new example in 2.4.1. -gp
+<<
+ \chords { r2 c:sus4 f }
+ \relative {
+ r4 c' \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \addlyrics { I want to break free __ }
+>>
@end lilypond
-@end itemize
+A complete list of modifiers and other options for layout can be found
+in @ref{Chords}.
-More specific overrides are also possible. The notation manual
-discusses in depth how to figure out these statements for yourself, in
-@ref{Tuning output}.
-@node Organizing larger pieces
-@section Organizing larger pieces
+@node Final touches
+@section Final touches
-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 and/or
-orchestral pieces, more deeply nested. Such large expressions can
-become unwieldy.
-
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows:
-@c
-@example
- namedMusic = \notes @{ @dots{}
-@end example
+This is the final section of the tutorial; it demonstrates how to add the
+final touches to simple pieces, and provides an introduction to the rest
+of the manual.
-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:
+@menu
+* Version number::
+* Adding titles::
+* Absolute note names::
+* Organizing pieces with identifiers::
+* After the tutorial::
+* How to read the manual::
+@end menu
-@lilypond[raggedright,verbatim]
-seufzer = \notes {
- dis'8 e'8
-}
-\score { \notes {
- \seufzer \seufzer
-} }
-@end lilypond
-The name of an identifier should have alphabetic characters only, and
-no numbers, underscores or dashes. The assignment should be outside of
-the @code{\score} block.
+@node Version number
+@subsection Version number
+
+@cindex versioning
+The @code{\version} statement marks for which version of LilyPond the file
+was written. To mark a file for version 2.10.1, place
-It is possible to use variables for many other types of objects in the
-input. For example,
-@example
- width = 4.5\cm
- name = "Wendy"
- aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@end example
-Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables:
@example
- \score @{
- \notes @{ c4^\name @}
- \paper @{
- \aFivePaper
- linewidth = \width
- @}
- @}
+\version "2.10.1"
@end example
-More information on the possible uses of identifiers is in the
-technical manual, in @ref{Scheme datatypes}.
+@noindent
+at the top of your LilyPond file.
+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{Updating files with convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
-@node An orchestral part
-@section An orchestral part
-In orchestral music, all notes are printed twice: both 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
-variable. The contents of that variable is then used to generate
-both the part and the score.
+@node Adding titles
+@subsection Adding titles
-It is convenient to define the notes in a special file, for example,
-suppose that the @file{horn-music.ly} contains the following part of a
-horn/bassoon duo.
-@example
-hornNotes = \notes \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
+The title, composer, opus number, and similar information are entered
+in the @code{\header} block. This exists outside of the main
+music expression; the @code{\header} block is usually placed underneath
+the @ref{Version number}.
-Then, an individual part is made by putting the following in a file:
@example
-\include "horn-music.lyinc"
+\version "2.10.1"
\header @{
- instrument = "Horn in F"
-@}
-\score @{
- \notes \transpose f c' \hornNotes
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
-@end example
-The @code{\include} command substitutes the contents of the file at
-this position in the file, so that @code{hornNotes} is defined
-afterwards. The code @code{\transpose f c'} indicates that the
-argument, being @code{\hornNotes}, should be transposed by a fifth
-downwards: sounding @code{f} is denoted by notated @code{c'}, which
-corresponds with tuning of a normal French Horn in F. The
-transposition can be seen in the following output:
-
-@lilypond[raggedright]
-\score {
- \notes \transpose f c' \notes \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
-}
-@end lilypond
-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 R, and followed by a duration (1
-for a whole note, 2 for a half note, etc.) By multiplying the
-duration, longer rests can be constructed. For example, the next rest
-takes 3 measures in 2/4 time:
-@example
- R2*3
+@{
+ @dots{} music @dots{}
+@}
@end example
-When printing the part, the following @code{skipBars} property must be
-set to false, to prevent the rest from being expanded in three one bar
-rests:
-@example
- \set Score.skipBars = ##t
-@end example
-Prepending the rest and the property setting above, leads to the
-following result:
-
-@lilypond[raggedright]
-\score {\notes { \transpose f c' \relative c { \time 2/4
-\set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d } }}
-@end lilypond
+When the file is processed, the title and composer are printed above
+the music. More information on titling can be found in @ref{Creating
+titles}.
-The score is made by combining all of the music in a @code{\score}
-block, assuming that the other voice is in @code{bassoonNotes}, in the
-file @file{bassoon-music.ly}:
-@example
-\include "bassoon-music.lyinc"
-\include "horn-music.lyinc"
-
-\score @{
- \simultaneous @{
- \new Staff \hornNotes
- \new Staff \bassoonNotes
- @} @}
-@end example
-This would lead to the simple score depicted below:
+@node Absolute note names
+@subsection Absolute note names
-@lilypond[raggedright]
-\score {
- \notes \relative c \simultaneous {
- \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
+So far we have always used @code{\relative} to define pitches. This is
+the easiest way to enter most music, but another way of defining pitches
+exists: absolute mode.
-More in-depth information on preparing parts and scores is in the
-notation manual, in @ref{Orchestral music}.
+If you omit the @code{\relative}, LilyPond treats all pitches as
+absolute values. A @code{c'} will always mean middle C, a @code{b} will
+always mean the note one step below middle C, and a @code{g,} will
+always mean the note on the bottom staff of the bass clef.
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
+}
+@end lilypond
-@node Integrating text and music
-@section Integrating text and music
+Here is a four-octave scale:
-@cindex La@TeX{}, music in
-@cindex HTML, music in
-@cindex Texinfo, music in
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c, d, e, f,
+ g, a, b, c
+ d e f g
+ a b c' d'
+ \clef treble
+ e' f' g' a'
+ b' c'' d'' e''
+ f'' g'' a'' b''
+ c'''1
+}
+@end lilypond
-Sometimes you might want to use music examples in a text that you are
-writing (for example, 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 an automated procedure to reduce the amount of work.
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks. Consider this fragment from Mozart:
-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 program is fully described in @ref{lilypond-book manual}. Here
-we show a small example. The example contains also explanatory text,
-so we will not comment it further:
+@lilypond[quote,verbatim,ragged-right]
+{
+ \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
-@example
-\documentclass[a4paper]@{article@}
-\begin@{document@}
+All these quotes makes the input less readable and it is a source of
+errors. With @code{\relative}, the previous example is much easier
+to read:
-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@}
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
+@end lilypond
-If you have no \verb+\score+ block in the fragment,
-\texttt@{lilypond-book@} will supply one:
+If you make a mistake with an octave mark (@code{'} or @code{,}) while
+working in @code{\relative} mode, it is very obvious -- many notes will
+be in the wrong octave. When working in absolute mode, a single mistake
+will not be as visible, and will not be as easy to find.
-\begin@{lilypond@}
- c'4
-\end@{lilypond@}
+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.
-In the example you see here, two things happened: a
-\verb+\score+ block was added, and the line width was set to natural
-length. You can specify options by putting them in brackets:
-\begin[staffsize=26,verbatim]@{lilypond@}
- c'4 f16
-\end@{lilypond@}
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
-If you want to include large examples into the text, it is more
-convenient to put it in a separate file:
+When all of the elements discussed earlier are combined to produce
+larger files, the music expressions get a lot bigger. In polyphonic
+music with many staves, the input files can become very confusing. We can
+reduce this confusion by using @emph{identifiers}.
-\lilypondfile@{screech-boink.ly@}
+Identifiers (also known as variables or macros), we can break up
+complex music expressions. An identifier is assigned as follows
-\end@{document@}
+@example
+namedMusic = @{ @dots{} @}
@end example
-Under Unix, you can view the results as follows:
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command). Identifiers
+must be defined @emph{before} the main music expression.
+
+@lilypond[quote,verbatim,ragged-right]
+violin = \new Staff { \relative c'' {
+ a4 b c b
+}}
+cello = \new Staff { \relative c {
+ \clef bass
+ e2 d
+}}
+{
+ <<
+ \violin
+ \cello
+ >>
+}
+@end lilypond
+
+@noindent
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes.
+
+It is possible to use variables for many other types of objects in the
+input. For example,
+
@example
-$ cd input/tutorial
-$ 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/lilybook.latex'
-$ cd out
-$ latex lilybook.latex
-@var{lots of stuff deleted}
-$ xdvi lilybook
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
-To convert the file into a nice PDF document, run the following
-commands:
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables:
+
@example
-$ dvips -Ppdf -u +lilypond lilybook
-$ ps2pdf lilybook.ps
+\paper @{
+ \aFivePaper
+ line-width = \width
+@}
+@{ c4^\name @}
@end example
-Running lilypond-book and running latex creates a lot of temporary
-files, and you would not want those to clutter up your working
-directory. The @code{outdir} option to lilypond-book creates the
-temporary files in a separate subdirectory @file{out}.
-
-The result looks more or less like this:
+@node After the tutorial
+@subsection After the tutorial
-@separate
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Templates} and
+add notes. If you need any notation that was not covered in the
+tutorial, look at the Notation Reference, starting with
+@ref{Basic notation}. If you want to write for an instrument
+ensemble which is not covered in the templates,
+take a look at @ref{Extending the templates}.
-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
- }
- \paper {
- raggedright = ##t
- }
-}
-@end lilypond
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-If you have no @code{\score} block in the fragment,
-@code{lilypond-book} will supply one:
-@lilypond
- c'4
-@end lilypond
+@node How to read the manual
+@subsection How to read the manual
-In the example you see here, two things happened: a
-@code{score} block was added, and the line width was set to natural
-length. You can specify options by putting them in brackets:
+As we saw in @ref{How to read the tutorial}, many examples in the
+tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
+example.
-@lilypond[staffsize=26,verbatim]
- c'4 f16
-@end lilypond
+In the rest of the manual, we are much more lax about the
+printed examples: sometimes they may have omitted a
+@code{\relative c'' @{ ... @}}, but in other times a different initial
+pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
+the whole example is in absolute note mode! However, ambiguities like
+this only exist where the pitches are not important. In any example
+where the pitch matters, we have explicitly stated our @code{\relative}
+our our absolute-mode @code{@{ @}}.
-If you want to include large examples into the text, it is more
-convenient to put it in a separate file:
+If you are still confused about the exact LilyPond input that was
+used in an example, read the HTML version (if you are not already doing
+so) and click on the picture of the music. This will display the exact
+input that LilyPond used to generate this manual.
-@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff