-@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 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
-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.
+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
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,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
+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
-@ifhtml
-the
+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
-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.
@menu
* 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 lead sheet::
-* Listening to output::
-* Titling::
-* Single staff polyphony::
-* Piano staves::
-* 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
-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
+This section gives a basic introduction to working with LilyPond.
+
+@menu
+* Compiling a file::
+* Simple notation::
+* Working on text files::
+* How to read the tutorial::
+@end menu
+
+
+@node Compiling a file
+@subsection Compiling a file
+
+The first example demonstrates how to start working with LilyPond. To
+create sheet music, we write a text file that specifies the
+notation. For example, if we write
@example
-c d e f g a b
+@{
+ c' e' g' e'
+@}
@end example
@noindent
the result looks like this
-@lilypond[quote,notime,relative=1]
-c d e f g a b
+@lilypond[quote,ragged-right]
+{
+ c' e' g' e'
+}
@end lilypond
-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
+@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!
+
+@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
+
+@subheading Entering music and viewing output
+
+In this section we will explain what commands to run
+and how to view or print the output.
+
+@subsubheading MacOS X
+
+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.
+
+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.
+
+For future use of LilyPond, you should begin by selecting "New"
+or "Open".
+
+@subsubheading Windows
+
+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
+
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
+
+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.
+
+
+@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 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
+
+@noindent
+To process @file{test.ly}, proceed as follows
@example
-a1 a2 a4 a16 a32
+lilypond test.ly
@end example
-@lilypond[quote,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 duration last entered is
-used for the next notes. The duration of the first note in input
-defaults to a quarter
+@noindent
+You will see something resembling
@example
-a a8 a a2 a
+lilypond test.ly
+GNU LilyPond 2.10.0
+Processing `test.ly'
+Parsing...
+Interpreting music... [1]
+Preprocessing graphical objects...
+Calculating line breaks... [2]
+Layout output to `test.ps'...
+Converting to `test.pdf'...
@end example
-@lilypond[quote,notime]
-\set Score.timing = ##f
-\transpose c c' { a a8 a a2 a s16_" " }
+@cindex PDF file
+@cindex Viewing music
+
+@noindent
+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.}
+
+
+@node Simple notation
+@subsection Simple notation
+
+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.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
+@end lilypond
+
+@noindent
+This behavior may be altered, but in most cases these automatic values
+are useful.
+
+
+@subheading Pitches
+
+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[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
@end lilypond
+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:
-Rests are entered just like notes, but with the name @samp{r}
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
-@cindex rests
-@example
-r2 r4 r8 r16
-@end example
+@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,notime]
-\set Score.timing = ##f
-r2 r4 r8 r16 s16_" "
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
@end lilypond
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+@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.
-@example
-a2. a4 a8. a16
-@end example
-@lilypond[quote,notime]
-\set Score.timing = ##f
-\transpose c c' { a2. a4 a8. a16 s16_" " }
+@subheading Durations (rhythms)
+
+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.
+
+@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
-The @rglos{meter} (or @rglos{time signature}) can be set with the
-@code{\time} command
+@noindent
+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.
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
-@c A clef here may lead to confusion, remove it.
-@lilypond[quote]
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
@end lilypond
-The @rglos{clef} can be set using the @code{\clef} command
-@c what is more common name treble or violin?
-@c in Dutch, it is violin.
-@c in English it is definitely treble.
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
+@subheading Rests
-@lilypond[quote,notime]
-\set Score.timing = ##f
-\clef violin
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
+A @rglos{rest} is entered just like a note with the name @samp{r}:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
@end lilypond
-To recognize names like @samp{c} and @samp{d} as pitches, they have to
-be entered inside a so-called @code{\notes} block. This block is
-formed by enclosing notes and commands are enclosed in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
-the opening brace
-@example
-\notes @{
+@subheading Time signature
+
+The @rglos{time signature}) can be set with the @code{\time} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
\time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
-@}
-@end example
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
+@end lilypond
-Now the piece of music is almost ready to be printed. Enclose
-the @code{\notes} block in a @code{\score} block
-@example
-\score @{
- \notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- @}
-@}
-@end example
+@subheading Clef
-@noindent
-and the music will be converted to printable output.
-
-@lilypond[quote,noindent]
-\score {
- \notes {
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- }
- \paper {
- linewidth = 55 * \staffspace
- }
+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
-In many examples in this manual, both @code{\score} and @code{\notes}
-and accompanying braces are left out for brevity. However, they must
-be present when feeding the file to LilyPond.
-For more elaborate information on
+@subheading All together
+
+Here is a small example showing all these elements together:
+
+@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
+@moreinfo
@quotation
@table @asis
@item Entering pitches and durations
-see
-@ref{Pitches}, and @ref{Durations}.
-@item Clefs
-see @ref{Clef}.
+see @ref{Pitches} and @ref{Durations}.
@item Rests
-see @ref{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 Running LilyPond
-@section Running LilyPond
+@node Working on text files
+@subsection Working on text files
-@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?
+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
-@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
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
-In the last section we explained what kind of things you could enter
-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.
+@itemize
-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}
+@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
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+ @{
+c d
+ e @}
@end example
@noindent
-To process @file{test.ly}, proceed as follows
-
+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
-lilypond test.ly
+@{
+ c d e
+@}
@end example
-@noindent
-You will see something resembling
+@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
@example
-lilypond (GNU LilyPond) 2.2.0
-Running lilypond-bin...
-Now processing `/home/fred/ly/test.ly'
-Parsing...
-Interpreting music...[1]
-@emph{... more interesting stuff ... }
-DVI output to `test.dvi'...
-PDF output to `test.pdf'...
-PS output to `test.ps'...
+% 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
-@cindex DVI file
-@cindex Viewing music
-@cindex xdvi
-@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.}
+@end itemize
-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
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.
+
+
+@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:
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+\relative c'' @{
+ ... example goes here...
+@}
@end example
-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.
+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 More about pitches
-@section More about pitches
+@node Single staff notation
+@section Single staff notation
-A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
-the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+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
+
+
+
+@node Accidentals and key signatures
+@subsection Accidentals and key signatures
+
+@subheading Accidentals
+
+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.}
+like German and Dutch. To use other names for accidentals, see
+@ref{Note names in other languages}.}
-@example
-cis1 ees fisis aeses
-@end example
-
-@lilypond[quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+cis1 ees fisis, aeses
@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}
+@subheading Key signatures
-@example
-\key d \major
-g1
-\key c \minor
-g
-@end example
+The key signature is set with the command @code{\key} followed by
+a pitch and @code{\major} or @code{\minor}.
-@lilypond[quote,notime,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\key d \major
-g'1
+a1
\key c \minor
-g'
+a
@end lilypond
-@noindent
-Key signatures together with the pitches (including alterations) are
-used to determine when to print accidentals. This is a
+@sp 1
+
+@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
-flat, natural or sharp @emph{sign}) is printed in front of the
+@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
In this example
-@lilypond[quote,notime,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\key d \major
-d' cis' fis'
+d cis fis
@end lilypond
@noindent
-no note gets an explicit accidental, but you still must enter
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.
-@example
-\key d \major
-d cis fis
-@end example
+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:
-@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
-
-@lilypond[quote,notime,fragment]
-\key as \major
-d'
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
@end lilypond
-@example
-\key as \major
-d
-@end example
-
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
+accidentals can be printed according to different conventions. See
+@ref{Automatic accidentals} for some examples how accidentals can be printed
according to different rules.
-
-For more information on
-
+@moreinfo
@quotation
@table @asis
@item Accidentals
-see @ref{Accidentals}.
-
+see @ref{Accidentals} and @ref{Automatic accidentals}.
@item Key signature
see @ref{Key signature}.
@end table
@end quotation
-@node Entering ties
-@section Entering ties
-@cindex tie
-A tie is created by appending a tilde @samp{~} to the first note
-being tied
-
-@lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
-@end lilypond
-
-For more information on Ties see @ref{Ties}.
+@node Ties and slurs
+@subsection Ties and slurs
+@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
-@node Automatic and manual beams
-@section Automatic and manual beams
+@cindex slurs
+@subheading Slurs
-@cindex beams, by hand
-Beams are drawn automatically
+A @rglos{slur} is a curve drawn across many notes. The starting note
+and ending note are marked with @samp{(} and @samp{)} respectively.
-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@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{]}.
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
-@end lilypond
+@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.
-For more information on beams, see @ref{Beaming}.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
+@end lilypond
+@sp 1
-Here are key signatures, accidentals and ties in action
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
-@example
-\score @{
- \notes @{
- \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
+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.
-@lilypond[quote, noindent]
-\score {
- \notes \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
- }
- \paper { linewidth = 50 * \staffspace }
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@cindex accidentals
-
-@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.
+@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 Octave entry
-@section Octave entry
+@node Articulation and dynamics
+@subsection Articulation and dynamics
+@cindex articulation
+@cindex accents
+@cindex staccato
+@subheading Articulations
-@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...
+Common @rglos{articulations} can be added to a note using a dash @samp{-}
+and a single character:
-@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'}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
-@example
-c'4 c'' c''' \clef bass c c,
-@end example
+@cindex fingering
+@subheading Fingerings
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed:
-@lilypond[quote,notime,fragment]
-c'4 c'' c''' \clef bass c c,
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-3 e-5 b-2 a-1
@end lilypond
-An example of the use of quotes is in the following Mozart fragment
+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.
-@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
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
@end lilypond
-@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. You must also give a note
-from which relative mode 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, @samp{c f} goes up while @samp{c g} goes down
-
-@lilypond[quote,notime,fragment,verbatim]
-\relative c'' {
- c f c g c
-}
+@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
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
+Crescendi and decrescendi are started with the commands @code{\<} and
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+(de)crescendo, or the command @code{\!} can be used
-@lilypond[quote,raggedright,fragment,verbatim]
-\relative c'' {
- \key a \major
- \time 6/8
- cis8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
-@end lilypond
-
-@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.
-
-@lilypond[quote,notime,verbatim,fragment]
-\relative c'' {
- c f, f c' c g' c,
-}
-@end lilypond
-
-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.
-
-For more information on Relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
-
-
-@node Music expressions explained
-@section Music expressions explained
-
-
-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
-
-@lilypond[quote,verbatim,relative=3]
-a4
-@end lilypond
-
-Enclosing group of notes in braces creates a new music
-expression
-
-@lilypond[quote,verbatim,relative=3]
-{ a4 g4 }
-@end lilypond
-
-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
-
-@lilypond[quote,verbatim,relative=3]
-{ { a4 g } f g }
-@end lilypond
-
-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[quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
-@end lilypond
-
-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
-1
-
-1 + 2
-
-(1 + 2) * 3
-
-((1 + 2) * 3) / (4 * 5)
-@end example
-
-@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.
-
-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 current one will be explained
-later.}
-
-@lilypond[quote,verbatim,relative=2]
-{
- c <<c e>>
- << { e f } { c <<b d>> } >>
-}
-@end lilypond
-
-
-@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,
-
-@example
-\score @{
- \notes <<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
- >>
-@}
-@end example
-
-Some editors have special support for entering LilyPond, and can help
-indenting source files. See @ref{Editor support}, for more information.
-
-
-
-@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
-
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef violin c'' }
- \new Staff { \clef bass c }
->>
-@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.
-
-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).
-
-
-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.
-
-We can now typeset a melody with two staves
-
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-
-@lilypond[quote,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.
- }
- >>
-}
-@end lilypond
-
-For more information on context see the description in
-@ref{Interpretation contexts}.
-
-
-
-@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[quote,verbatim,relative=2]
-c-. c-- c-> c-^ c-+ c-_
-@end lilypond
-
-@cindex fingering
-Similarly, fingering indications can be added to a note using a dash
-(@samp{-}) and the digit to be printed
-
-@lilypond[quote,verbatim,relative=2]
-c-3 e-5 b-2 a-1
-@end lilypond
-
-
-Dynamic signs are made by adding the markings (with a backslash) to
-the note
-
-@lilypond[quote,verbatim,relative=2]
-c\ff c\mf
-@end lilypond
-
-@cindex dynamics
-@cindex decrescendo
-@cindex crescendo
-
-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
-
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
-
-
-@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
-
-@lilypond[quote,fragment,relative=2,verbatim]
-d4( c16)( cis d e c cis d e)( d4)
-@end lilypond
-
-@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
-
-@lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
-@end lilypond
-
-@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
-
-
-For more information on
-
+@moreinfo
@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 Fingering
+see @ref{Fingering instructions}.
@item Dynamics
see @ref{Dynamics}.
@end table
@end quotation
-@node Combining notes into chords
-@section Combining notes into chords
-
-@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
-
+@node Automatic and manual beams
+@subsection Automatic and manual beams
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
-@lilypond[quote,relative=1,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 c16 b a8
@end lilypond
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
-@end example
+@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{]}.
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@end lilypond
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation
-
-@node Basic rhythmical commands
-@section Basic rhythmical commands
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
@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
+@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,relative=2,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\partial 8
-f8 c2 d e
+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
-@lilypond[quote,relative=1,verbatim,fragment]
+@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 music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
-@cindex appoggiatura
@cindex acciaccatura
+@cindex appoggiatura
+@subheading Grace notes
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
-@end lilypond
-
-@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}
-For more information on
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32 b} c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
+@moreinfo
@quotation
@table @asis
@item Grace notes
@end quotation
-@node Commenting input files
-@section Commenting input files
+@node Multiple notes at once
+@section Multiple notes at once
-@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
+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.
-@example
-% notes for twinkle twinkle follow
-c4 c g' g a a
+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.
-%@{
- 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
-
-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
-
-@example
-\version "2.1.17"
-@end example
-
-@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.
-
-
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-@c TODO: (c) status of the Queen fragment.
-
-@cindex Lyrics
-@cindex Songs
-Lyrics are entered by separating each syllable with a space,
-
-@example
-I want to break free
-@end example
-
-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.
-
-@example
-\lyrics @{ I want to break free @}
-@end example
-
-@noindent
-Again, the braces @code{@{@}} signify that the syllables are sung in
-sequence.
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
-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,
-@example
-\new Lyrics \lyrics @{ I want to break free @}
-@end example
+@node Music expressions explained
+@subsection Music expressions explained
-The melody for this song is as follows
+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,fragment,relative=2]
-r4 c \times 2/3 { f4 g g }
-\times 2/3 { g4( a2) }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a4
@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
+Enclosing a group of notes in braces creates a new music expression:
-@noindent
-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[quote,verbatim,fragment,raggedright]
-\score {
- \notes <<
- \relative c' {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \lyricsto "" \new Lyrics \lyrics { I want to break free }
- >>
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ a4 g4 }
@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.,
+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:
-@example
-\lyrics @{ I want to break free __ @}
-@end example
-
-@lilypond[quote,raggedright]
-\score {
- <<
- \notes \relative c' \new Voice {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
- >>
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
@end lilypond
-Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables
+@subheading Simultaneous music expressions: multiple staves
-@example
-Twin -- kle twin -- kle
-@end example
+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,raggedright]
-\score {
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
<<
- \notes \relative f' \context Voice = bla {
- \time 2/4
- f4 f c' c
- }
- \new Lyrics \lyricsto "bla" \lyrics { Twin -- kle twin -- kle }
+ { a4 g }
+ { f e }
+ { d b }
>>
}
@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
-discussed in @ref{Vocal music}.
+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.
-@node A lead sheet
-@section A lead sheet
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
+}
+@end lilypond
-@cindex Lead sheets
-@cindex chords
-@cindex chord names
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
-In popular music, it is common to denote accompaniment as chord names.
-Such chords can be entered like notes,
+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
-c2 f4. g8
-@end example
+1
-@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}
+1 + 2
-@lilypond[quote,verbatim,raggedright]
-\score {
- \chords { c2 f4. g8 }
-}
-@end lilypond
+(1 + 2) * 3
-Other chords can be created by adding modifiers after a colon. The
-following example shows a few common modifiers
+((1 + 2) * 3) / (4 * 5)
+@end example
-@lilypond[quote,verbatim]
-\chords { c2 f4:m g4:maj7 gis1:dim7 }
-@end lilypond
+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.
-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
+@node Multiple staves
+@subsection Multiple staves
-@cindex lead sheet
-When put together, chord names, lyrics and a melody form
-a lead sheet, for example,
+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.
-@example
-\score @{
- <<
- \new ChordNames \chords @{ @emph{chords} @}
- \notes @emph{the melody}
- \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
- >>
-@}
-@end example
+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{>>}:
-@lilypond[quote,raggedright]
-\score {
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
<<
- \new ChordNames \chords { r2 c:sus4 f }
- \notes \relative c' {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
>>
}
@end lilypond
-A complete list of modifiers and other options for layout can be found
-in @ref{Chords}.
-
-
-@node Listening to output
-@section Listening to output
+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 sound
-@cindex MIDI
+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.
-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.
+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.
-To create a MIDI from a music piece of music, add a
-@code{\midi} block causes LilyPond to create 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.
+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.}.
-The @code{\midi} block is added to @code{\score}, for example,
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble \time 3/4 c }
+ \new Staff { \clef bass \key d \major c,, }
+ >>
+}
+@end lilypond
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
-@}
-@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 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
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
- \paper @{ @}
-@}
-@end example
-@cindex paper block
-@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 @{@tie{}@dots{}@tie{}@}}.
-For example,
+@node Piano staves
+@subsection Piano staves
-@example
-\header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
-@}
+@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}:
-\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 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.}
-
-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), 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"
-@}
+Here is a small example
-\score @{
- @dots{}
- \header @{ piece = "Adagio" @}
-@}
-\score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
-@}
-@end 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 they are
-printed as polyphonic voices: each voice has its own stems, slurs and
+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
+@code{@{...@}}) and combining these simultaneously, separating the
voices with @code{\\}
-@lilypond[quote,verbatim,relative=3]
-<< { 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. Here is the same example with a spacer rest
-instead of a normal rest---just use @samp{s} instead of @samp{r}
+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,verbatim,relative=3]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
@noindent
-Again, these expressions can be nested arbitrarily
+Again, these expressions can be nested arbitrarily.
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
>>
\new Staff <<
\clef bass
- { <c, g>1 ~ <c g>4 } \\
- { f4 d e2 ~ e4}
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
>>
>>
@end lilypond
-More features of polyphonic typesetting in the notation manual are
-described in @ref{Polyphony}.
-
+@moreinfo
+@quotation
+See @ref{Basic polyphony}.
+@end quotation
-@node Piano staves
-@section Piano staves
-@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},
+@node Combining notes into chords
+@subsection Combining notes into chords
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
-Here is a full-fledged example
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
-@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 }
->>
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
@end lilypond
-More information on formatting piano music is in @ref{Piano music}.
+@node Songs
+@section Songs
-@node Organizing larger pieces
-@section Organizing larger pieces
+This section introduces vocal music and simple song sheets.
-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.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
-@example
-namedMusic = \notes @{ @dots{} @}
-@end example
+@node Printing lyrics
+@subsection Printing lyrics
-@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[quote,raggedright,verbatim]
-seufzer = \notes {
- e'4( dis'4)
-}
-\score {
- \new Staff { \seufzer \seufzer }
+@cindex Lyrics
+@cindex Songs
+Consider a simple melody:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a4 e c r4
+ b2 c4( d)
}
@end lilypond
-The name of an identifier should have alphabetic characters only;
-no numbers, underscores or dashes. The assignment should be outside of
-the @code{\score} block.
+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.
-It is possible to use variables for many other types of objects in the
-input. For example,
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
+ }
+ \addlyrics { One day this shall be free }
+>>
+@end lilypond
-@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@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{__}:
-Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+@lilypond[quote,ragged-right,verbatim]
+<<
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
+ }
+ \addlyrics { One day this shall be free __ }
+>>
+@end lilypond
+
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables
@example
-\score @{
- \notes @{ c4^\name @}
- \paper @{
- \aFivePaper
- linewidth = \width
- @}
-@}
+A -- le gri -- a
@end example
-More information on the possible uses of identifiers is in the
-technical manual, in TODO.
+@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
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are
+discussed in @ref{Vocal music}.
+@end quotation
-@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.
+@node A lead sheet
+@subsection A lead sheet
-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
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
-@example
-hornNotes = \notes \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
+@c TODO: revise this, \chords { } is shorter and more intuitive.
+@c I need help for this. -gp
+
+In popular music it is common to denote accompaniment with chord names.
+Such chords can be entered like notes,
+
+@lilypond[quote,ragged-right,verbatim]
+\chordmode { c2 f4. g8 }
+@end lilypond
@noindent
-Then, an individual part is made by putting the following in a file
+Now each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chordmode}
-@example
-\include "horn-music.ly"
-\header @{
- instrument = "Horn in F"
-@}
-\score @{
- \notes \transpose f c' \hornNotes
-@}
-@end example
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers
-The line
+@lilypond[quote,verbatim,ragged-right]
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
+@end lilypond
-@example
-\include "horn-music.ly"
-@end example
+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.
-@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
-
-@lilypond[quote,raggedright]
-\score {
- \notes \transpose f c' \notes \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
+@lilypond[quote,verbatim,ragged-right]
+\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,
+
+@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
-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
+A complete list of modifiers and other options for layout can be found
+in @ref{Chords}.
-@example
-R2*3
-@end example
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
+@node Final touches
+@section Final touches
+
+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.
+
+@menu
+* Version number::
+* Adding titles::
+* Absolute note names::
+* Organizing pieces with identifiers::
+* After the tutorial::
+* How to read the manual::
+@end menu
+
+
+@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
@example
-\set Score.skipBars = ##t
+\version "2.10.1"
@end example
@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
+at the top of your LilyPond file.
-@lilypond[quote,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
+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.
-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}, a score is made with
+@node Adding titles
+@subsection Adding titles
+
+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}.
@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
-
-\score @{
- \simultaneous @{
- \new Staff \hornNotes
- \new Staff \bassoonNotes
- @}
+\version "2.10.1"
+\header @{
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
-@end example
-@noindent
-leading to
-
-@lilypond[quote,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
+@{
+ @dots{} music @dots{}
+@}
+@end example
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
+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}.
-Setting run-time variables (`properties') is discussed in ref-TODO.
+@node Absolute note names
+@subsection Absolute note names
-@node Integrating text and music
-@section Integrating text and music
+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.
-@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.
+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.
-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
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
+}
+@end lilypond
-@example
-\documentclass[a4paper]@{article@}
-\begin@{document@}
+Here is a four-octave scale:
-Documents for lilypond-book may freely mix music and text. For
-example,
+@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
-\begin@{lilypond@}
- \score @{ \notes \relative c' @{
- c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
- @} @}
-\end@{lilypond@}
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks. Consider this fragment from Mozart:
-If there is no \verb+\score+ block in the fragment,
-\texttt@{lilypond-book@} will supply one
+@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
-\begin[quote]@{lilypond@}
- c'4
-\end@{lilypond@}
+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:
-\noindent
-In this example two things happened: a
-\verb+\score+ block was added, and the line width was set to natural
-length.
+@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
-Options are put in brackets.
+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[quote,staffsize=26,verbatim]@{lilypond@}
- c'4 f16
-\end@{lilypond@}
+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.
-Larger examples can be put in a separate file, and introduced with
-\verb+\lilypondfile+.
-\lilypondfile[quote,noindent]@{screech-boink.ly@}
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
-\end@{document@}
-@end example
+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}.
-Under Unix, you can view the results as follows
+Identifiers (also known as variables or macros), we can break up
+complex music expressions. An identifier is assigned as follows
@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.tex'
-$ cd out
-$ latex lilybook
-@var{lots of stuff deleted}
-$ xdvi lilybook
+namedMusic = @{ @dots{} @}
@end example
-To convert the file into a nice PDF document, run the following
-commands
+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
-$ dvips -Ppdf -u +lilypond lilybook
-$ ps2pdf lilybook.ps
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
-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}.
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables:
-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.
+@example
+\paper @{
+ \aFivePaper
+ line-width = \width
+@}
+@{ c4^\name @}
+@end example
-@page
-Documents for lilypond-book may freely mix music and text. For
-example,
+@node After the tutorial
+@subsection After the tutorial
-@lilypond
-\score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
-} }
-@end lilypond
+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}.
-If there is no @code{\score} block in the fragment,
-@code{lilypond-book} will supply one
+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.
-@lilypond[quote]
-c'4
-@end lilypond
-@noindent
-In this example two things happened: a
-@code{score} block was added, and the line width was set to natural
-length.
+@node How to read the manual
+@subsection How to read the manual
-Options are put 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[quote,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{@{ @}}.
-Larger examples can be put in a separate file, and introduced with
-@code{\lilypondfile}.
+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[quote,noindent]{screech-boink.ly}
projects / lilypond.git / blobdiff