@c -*-texinfo-*-
+@c This file is part of lilypond.tely
+
+@c TODO:
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
@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.
+
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+@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! } }
+@end lilypond
+
+@end ifhtml
+By cutting and pasting the full input into a test file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for quick
+reference.
+
+
+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
-* Introduction:: Introduction
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* More movements:: More than one movement in a file
-* A piano excerpt:: Piano music
-* end of tutorial:: The end
+* 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::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music::
@end menu
-@node Introduction
-@section Introduction
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-chapter is a gentle introduction to that language.
+@node First steps
+@section First steps
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
+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
-@cindex examples, tutorial
+@example
+c d e f g a b
+@end example
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}.@footnote{When we refer
-to filenames, they are relative to the top directory of the source
-package.
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
+@noindent
+then the result looks like this:
+@lilypond[notime,relative]
+c d e f g a b
+@end lilypond
-@node Running LilyPond
-@section Running 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:
-Before we dive into describing the input language of LilyPond, we first
-show you through the procedure for getting notes on your screen and out
-of your printer.
+@example
+a1 a2 a4 a16 a32
+@end example
-The first step is creating an input file. Using your favorite
-text-editor, create @file{test.ly} containing
+@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
-\header @{
- title = "Test";
-@}
+a4 a a2 a
+@end example
-\score @{
- \notes @{ c'4 e'4 g'4 @}
- \paper @{ @}
-@}
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { a a a2 a s16_" " }
+@end lilypond
+
+
+Rests are entered just like notes, but with the name ``@code{r}'':
+
+@cindex rests
+@quotation
+@example
+r2 r4 r8 r16
+@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
-@unnumberedsubsec Unix
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { a2. a4 a8. a16 s16_" " }
+@end lilypond
-@cindex Unix, Running lilypond on
-If you run Unix, proceed as follows: run lilypond on the file, i.e.,
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command:
+
@example
- lilypond test
+\time 3/4
+\time 6/8
+\time 4/4
@end example
-You will see the following on your screen:
+
+@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
+
+
+The @rglos{clef} can be set using the @code{\clef} command:
+
+@c what is more common name treble or violin?
+@c in Dutch, it's violin.
+@c in English it's definitely treble.
@example
-GNU LilyPond 1.3.125.
-Now processing: `input/tutorial/test.ly'
-Parsing...
-Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
+\clef treble
+\clef bass
+\clef alto
+\clef tenor
@end example
-Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
-especially suited for typesetting mathematics.}. The result should
-resemble this:
+@lilypond[notime]
+\set Score.timing = ##f
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
+@end lilypond
+
+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:
+
@example
-This is TeX, Version 3.14159 (Web2C 7.3.1)
-(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
-(/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
-LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
-(/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
-(/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
-Output written on test.dvi (1 page, 3716 bytes).
-Transcript written on test.log.
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+@}
@end example
-The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
-(@file{test.dvi}).
-@cindex DVI file
-@cindex @TeX{}
+Now the piece of music is almost ready to be printed. Enclosing the
+music in a @code{\score} processes them to printed output,
+so the following is a complete and valid input file:
-@cindex Viewing music
-@cindex @code{xdvi}
-To view the output, run Xdvi, i.e.
@example
- xdvi test
+\score @{
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+ @}
+@}
@end example
-You should see the following in a window next to some buttons.
-@lilypond
-\header {
- title = "Test";
-}
+@lilypond[noindent]
\score {
- \notes { c'4 e'4 g'4 }
- \paper { }
-}
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+ }
+ \paper {
+ linewidth = 55 * \staffspace
+ }
+}
@end lilypond
-@cindex postscript, converting to
-When you're satisfied with the result, you can print it. For printing,
-you have to generate a postscript file:
+In many examples in this manual, @code{\score} is left out for
+clarity. However, it must be present when feeding the file to
+LilyPond.
+
+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 will explain what commands to run
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup, or want to run an example file
+yourself, read this section. The instructions that follow are for
+Unix-like systems. Some additional instructions for Microsoft Windows
+are given at the end of this section.
+
+Begin by opening a terminal window and starting a text editor. For
+example, you could open an xterm and execute
+@code{joe}.@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+installed already, 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
- dvips -o test.ps test.dvi
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
@end example
-which looks like this:
+@end quotation
+
+To process @file{test.ly}, proceed as follows:
+
+@quotation
@example
-This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
-' TeX output 2001.01.27:1806' -> test.ps
-<texc.pro><special.pro>. [1]
+lilypond test.ly
@end example
+@end quotation
-@cindex PostScript
-@cindex Printing output
-@cindex GhostScript
+You will see something resembling:
+
+@quotation
+@example
+GNU LilyPond 1.8.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PDF output to `test.pdf'...
+DVI output to `test.dvi'...
+@end example
+@end quotation
+@cindex DVI 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.
+
+@cindex Ghostscript
@cindex @code{lpr}
-PostScript is a page description language, similar to PDF. Some printers
-can understand a postscript file directly, but the cheaper ones need the
-intervention of GhostScript, an emulator that runs PostScript on your
-computer instead of your printer. Most Linux distributions nowadays have
-GhostScript running ``in the background'', so any configured printer
-will act as a PostScript printer. Assuming this, the following command
-will print the file
+@cindex Printing output
+@cindex PostScript
+@cindex PDF
+
+
+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.
+
+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
+
+The commands for formatting and printing music on all platforms are
+detailed in @ref{Invoking LilyPond}.
+
+@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.}
+
@example
- lpr test.ps
+cis1 ees fisis aeses
@end example
-If this does not make your printer produce a page of music, then you
-should look into installing and configuring ghostscript. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-There are three other routes: firstly, you can add titling to the
-output. This is done by a separate program called @file{ly2dvi}: this
-program first calls LilyPond to process the @file{.ly} file, and then
-runs @TeX{} on it to produce a @file{.dvi} file with proper margin
-settings and titling.
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
+@end lilypond
-@cindex titles, adding
-@cindex ly2dvi
+
+@cindex key signature, setting
+The key signature is set with the command ``@code{\key}'', followed by
+a pitch and @code{\major} or @code{\minor}:
+@quotation
@example
- ly2dvi test.ly
+\key d \major
+g1
+\key c \minor
+g
@end example
-After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the Chapter @ref{ly2dvi}.
-Secondly, you can generate PostScript directly. This is useful if you
-can not or do not want to run @TeX{} on your system.
-To obtain PS output, invoke LilyPond as follows:
-@cindex PostScript output
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
+
+
+Key signatures together with the pitches (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:
+
+
+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 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.
+
+For example, in this example:
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
+@end lilypond
+
+@noindent
+no note gets an explicit accidental, but still you enter
+
@example
- lilypond -f ps test.ly
+\key d \major
+d cis fis
@end example
-You have to set some environment variables to view or print this
-output. More information can be found in the Section @ref{Invoking
-LilyPond}.
+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:
-Finally, there is a script called lilypond-book, that allows you to
-freely mix LilyPond input with Texinfo or LaTeX input. For example, this
-manual was written using lilypond-book.
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
+@end lilypond
-@unnumberedsubsec Windows
+@noindent
+@example
+\key as \major
+d
+@end example
-[TODO]
+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.
-@node The first tune
-@section The first tune
+@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
+@end lilypond
+@end quotation
+@separate
+This example shows the key signature, accidentals and ties in action:
-To demonstrate what LilyPond input looks like, we start off with a
-full-fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
-is included in the distribution as @file{menuet.ly}.
-@cindex Bach, Johann Sebastian
+@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
+ @}
+@}
+@end example
-@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
-\include "paper16.ly"
+@lilypond
\score {
- \notes
- \relative c'' \sequential{
- \time 3/4;
- \key g \major;
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
-
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|.";
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
- }
+ \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) }
}
@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 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.
+
+
+@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]
+@end lilypond
+@end quotation
+@separate
-We will analyse the input, line by line.
-@example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
-@end example
-The percent sign, @code{%}, introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by @code{%@{} and @code{%@}}
-@cindex comment
-@cindex block comment
-@cindex line comment
+For more information on
+@table @asis
+@item Rests
+see @ref{Rests}.
-@example
+@item Ties
+see @ref{Ties}.
- \include "paper16.ly"
-
-@end example
-@cindex @code{\include}
-@cindex point, printer's
-@cindex staff size setting
-By default, LilyPond will use definitions for a staff that is 20
-point@footnote {A point is the standard measure of length for printing;
-one point is 1/72.27 inch. [TODO: mm vs. pt]} high. We want smaller
-output (16 point staff height), so we must import the settings for that
-size, which is done here.
-@example
+@item Accidentals
+see @ref{Accidentals}
- \score @{
-
-@end example
-A lilypond file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
-@example
+@item Key signature
+see @ref{Key signature}
- \notes
-
-@end example
- This makes LilyPond ready for accepting notes.
-@example
+@item Beams
+see @ref{Beaming}
+@end table
- \relative c''
-
-@end example
-@cindex octaves, choosing
-@cindex pitch
-As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (@code{'}) and ``lowered'' quotes (commas:
-@code{,}). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
-@cindex relative
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.
-@example
+@node Octave entry
+@section Octave entry
- \sequential @{
-
-@end example
-What follows is sequential music, i.e.,
-@cindex sequential music
-notes that are to be played and printed after each other.
-@example
- \time 3/4;
-
+@c Tim wants to move this quotes example just before the: quotes-do not-work
+@c score, but we'd need to remove quotes from the other two (key and
+@c tie) examples...
+
+@c better to have this just before the `octaves are bad' snipped
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a ``low quote'' @code{,}
+(a comma). Middle C is @code{c'}:
+
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
@end example
-@cindex time signature, setting
-@cindex @code{\time}
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.
-@example
- \key g \major;
-
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
+
+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:
+
+@quotation
+@example
+\relative c'' @{
+ c f c g c
+@}
@end example
-@cindex key signature, setting
-@cindex @code{\key}
- This command changes the current key signature to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions.
-@example
- \repeat "volta" 2
-
-@end example
- This command tells LilyPond that the following piece of music must be
-played twice. The first argument indicates the type of repeat. In this
-case, @code{"volta"} means that volta brackets are be used for
-alternatives---if there were any.
-@example
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
+}
+@end lilypond
+@end quotation
+@separate
+
+
+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
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same.
-@example
- d4
-
-@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note).
-@example
+@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,
+@}
+@end example
- a b
-
-@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, e.g. @code{a4 b4})
-@example
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@end quotation
+@separate
- d4 g, g |
-
-@end example
-@cindex bar check
-@cindex @code{|}
-@cindex errors, finding
- Three more notes. The @code{|} character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
-
-@cindex alteration, chromatic
-@cindex chromatic alteration
-So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
-@example
+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:
- c8 d e fis
-
-@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
-@example
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
- The next line shows how to make a slur: the beginning and ending note
-of the slur is marked with an opening and closing parenthesis
-respectively. In the line shown above, this is done for two slurs.
-Slur markers (parentheses) are put between the slurred notes.
-@example
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around the notes you want beamed.
-@example
+Here is an example of the difference between relative mode and
+``normal'' (non-relative) mode:
- g2. |
-
+@quotation
+@example
+\relative a @{
+\clef bass
+ a d a e d c' d'
+@}
@end example
-@cindex augmentation dot
-@cindex dot
-A duration with augmentation dot is notated
-with the duration number followed by a period.
-@example
-
- @}
-
-@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
-@example
- cis'4 b8 cis a4 |
-
-@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
-the second one without.
-@example
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative a {
+\clef bass
+ a d a e d c' d'
+}
+@end lilypond
+@end quotation
+@separate
- a8-. b-. cis-. d-. e-. fis-.
-
+@quotation
+@example
+\clef bass
+ a d a e d c' d'
@end example
-@cindex articulation
-You can enter articulation signs either in a verbose form using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the character for the articulation to use, e.g. @code{-.} for
-staccato as shown above.
-@example
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename @code{r}.
-@example
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\clef bass
+ a d a e d c' d'
+@end lilypond
+@end quotation
+@separate
- d2.-\fermata
-
-@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command @code{\fermata} is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an identifier.
-@cindex identifier
-@cindex @code{\fermata}
-@example
- @}
-
-@end example
-
-Here the music ends.
-@example
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
- \paper @{
- linewidth = 14.0\cm;
- @}
-
-@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 5.5 inches).
-@example
- @}
-
-@end example
-The last brace ends the @code{\score} block.
-@node Lyrics and chords
-@section Lyrics and chords
+@node Combining music into compound expressions
+@section Combining music into compound expressions
-In this section we show how to typeset a song.@footnote{The author would
-welcome information about the origin of this song.}. This file is
-included as @file{flowing.ly}.
+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:
-@example
-\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8;
- \key c \minor;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-@}
+@quotation
+@lilypond[fragment,verbatim]
+\simultaneous {
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
+}
+@end lilypond
+@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 @{ .. @}}.
+
+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 a 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.
+
+
+@separate
+
+We can now typeset a melody with two staves:
+
+@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.
+ }
+ >>
+}
+@end lilypond
+@end quotation
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-@}
+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 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,
+
+@quotation
+ 1
+
+ 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
-accompaniment =\chords @{
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min @}
+@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 @{
- \simultaneous @{
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel @{
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
-@}
-@end example
+ \notes <<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ >>
+@}
+@end example
-The result would look this@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
+For more information on context see the Technical manual description
+in @ref{Interpretation context}.
-@center @strong{The river is flowing}
-@center Traditional
-@lilypond[center]
-\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8;
- \key c \minor;
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-}
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
-accompaniment =\chords {
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
+@cindex articulation
+@cindex accents
+@cindex staccato
+
+Common accents can be added to a note using a dash (`@code{-}') and a
+single character:
+@quotation
+@lilypond[verbatim,relative=1]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
+@end quotation
+@separate
+
+@cindex fingering
+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
+@end lilypond
-\score {
- \simultaneous {
-% \accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel {
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- }
- \context Lyrics \text
- }
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
-}
+
+Dynamic signs are made by adding the markings to the note:
+@quotation
+@lilypond[verbatim,relative=1]
+c\ff c\mf
@end lilypond
+@end quotation
+@separate
-Again, we will dissect the file line by line.
-@example
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
- \header @{
-
-@end example
-@cindex @code{\header}
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is passed into the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@example
+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
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
-@example
- \include "paper16.ly"
-
-@end example
-Smaller size for inclusion in a book.
-@example
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one, a
-@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
+@cindex slur
-@example
- \partial 8;
-@end example
+A slur is drawn across many notes, and indicates bound articulation
+(legato). The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
+
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+d4( c16)( cis d e c cis d e)( d4)
+@end lilypond
+@end quotation
+@separate
+@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)
+@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{\(} and
+@code{\)}.
+
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@end lilypond
+@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 Combining notes into chords
+@section Combining notes into chords
+
+@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
+@end lilypond
+@end quotation
+@separate
+
+
+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>
+@end lilypond
+@end quotation
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis of one eighth.
+@quotation
@example
- \key c \minor;
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-The key is C minor: we have three flats.
+@lilypond[relative,fragment]
+\slurUp
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+@end lilypond
+@end quotation
+@separate
-@example
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-
-@end example
-@cindex manual beaming
-@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.
-@example
- @}
-
-@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.
-@example
+@node Basic rhythmical commands
+@section Basic rhythmical commands
- text = \lyrics @{
-
-@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}.
-@example
+@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
+@end lilypond
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
-@}
-
-@end example
-@cindex extenders, lyric
-@cindex hyphens, lyric
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering @code{__}, and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
-@example
+@cindex tuplets
+@cindex triplets
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
+@c
+@lilypond[relative,verbatim,fragment]
+ \times 2/3 { f8 g a }
+ \times 2/3 { c r c }
+@end lilypond
- accompaniment =\chords @{
-
-@end example
-@cindex chords
-@cindex mode, chords
-We'll put chords over the music, to enter them, there is a special mode,
-called @code{\chords}. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
-@example
+@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
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@example
+@noindent
- c2:3- f:3-.7
-
-@end example
+For more information on
+@table @asis
+@item grace notes
+see @ref{Grace notes},
+@item tuplets
+see @ref{Tuplets},
+@item upsteps
+see @ref{Partial measures}.
+@end table
-@cindex tonic
-@cindex chord modifier
-@cindex modifier, chord
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.
-@example
- d:min es4 c8:min r8
-
-@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
-@example
+@node Commenting input files
+@section Commenting input files
- c2:min f:min7 g:7^3.5 c:min @}
-
+@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 comment 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:
+
+@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.
+
+ g g f f e e d d c2
+ %@}
@end example
-@cindex named modifier
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh. The brace ends the sequential music.
-@example
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.
-@cindex @code{\simultaneous}
-@example
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff.
-@example
- \context ChordNames \accompaniment
-
-@end example
-@cindex context
-@cindex interpretation context
-@cindex notation context
-Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation contexts'.
-
-By default, LilyPond will create a Staff context for you. If you
-removed the @code{%} sign in the previous line, you would see that
-mechanism in action.
-
-We don't want that default here, because we want chord names, not note heads.
-An interpretation context can also created upon explicit request. The
-keyword for such a request is @code{\context}. It takes two arguments.
-The first is the name of an interpretation context. The name is a
-string, it can be quoted with double quotes). The second argument is
-the music that should be interpreted in this context. For the previous
-line, we could have written @code{\context Staff \accompaniment}, and
-get the same effect.
-@example
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
- \addlyrics
-
+@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
-@cindex @code{\addlyrics}
-@cindex lyrics and melody, combining
-@cindex combining lyrics and melody
-
-The lyrics need to be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)
-@example
- \context Staff = mel @{
-
+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:
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove the comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.
-@example
+@lilypond[fragment,relative=1]
+ \partial 8
+ c8
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
+@end lilypond
- \property Staff.noAutoBeaming = ##t
-
+The lyrics can be set to these notes, combining both with the
+@code{\lyricsto} keyword:
+@example
+ \lyricsto "@var{name}" \new Lyrics @dots{}
@end example
-@cindex \property
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables that tune its behaviour. One of
-the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
-the boolean value @var{true}, LilyPond will not try to put automatic beaming
-on the current staff.
-
-@cindex GUILE
-@cindex Scheme
-@cindex accessinng Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond internally uses GUILE, a Scheme-interpreter@footnote{Scheme is
-a language from the LISP family. You can learn more about Scheme at
-@uref{http://www.scheme.org}.} to represent data throughout the whole
-program. The hash-sign (@code{#}) accesses GUILE directly: the code
-following the hash-sign is evaluated as Scheme. The boolean value
-@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
-@code{##t}
+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 }
+ >>
+}
+@end lilypond
-@example
+@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 __ }
+ >>
+}
+@end lilypond
- \property Staff.automaticMelismata = ##t
-
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables:
+@example
+ Twin -- kle twin -- kle
@end example
-@cindex automaticMelismata
-@cindex melismata
-@cindex @code{\addlyrics} and slurs
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under notes
-while there is a slur.
-@example
-
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
-@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
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.
-@example
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
- @}
-
-@end example
-This ends @code{\simultaneous}.
-@example
- \midi @{ \tempo 4=72;@}
-
-@end example
-This makes the music go to a MIDI file. MIDI is great for checking
-music you enter. You listen to the MIDI file: if you hear something
-unexpected, it's probably a typing error. @code{\midi} starts an output
-definition, a declaration that specifies how to output music analogous
-to @code{\paper @{ @}}. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set to
-72 beats per minute.
-@example
- \paper @{ linewidth = 10.0\cm; @}
-
-@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines.
-@example
+@node A lead sheet
+@section A lead sheet
- @}
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
-@end example
-End the score block.
+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
-@node More movements
-@section More movements
+@noindent
+The result of @code{\chords} is a list of chords, and is equivalent
+to entering chords with @code{<@dots{}>}.
-You probably ran @file{ly2dvi} on the last example, and ended up with a
-viewable @file{.dvi} file. However, between there are a few steps of
-which LilyPond is only one. To enhance your understanding of what's
-happening under the hood when you run @code{ly2dvi}, we explain what
-programs are run.
+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 }
+@end lilypond
-@code{ly2dvi} is a program that calls a number of programs in sequence.
-The first thing it does, is running LilyPond on the input file. After
-some calculations, a @file{.tex} is produced. The contents
-of this file are very low-level instructions.
+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
-For example, the following file (@file{layout.ly})
+@cindex lead sheet
+@separate
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
@example
- \version "1.3.124";
- \header @{ title = "Two miniatures"; @}
-
- #(set! point-and-click #t)
-
- \paper @{
- linewidth = -1.0; @}
-
- \score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1.";
- piece = "Up"; @}
- @}
- \score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2.";
- piece = "Down"; @}
- @}
+\score @{
+ <<
+ \context ChordNames \chords @{ @emph{chords} @}
+ \notes @emph{the melody}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
+ >>
+@}
@end example
- results in something like this@footnote{The titling in this manual was
-not generated by ly2dvi, so details will differ.}
-
-@center @strong{Two miniatures}
-@flushright
- Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
-@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper {
- linewidth = -1.0; }
- }
-@end lilypond
-@flushright
- Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper {
- linewidth = -1.0; }
- }
+@lilypond[]
+\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 __ }
+ >>
+ \paper{ raggedright = ##t }
+}
@end lilypond
-This file is produced by ly2dvi in a few stages, with the help of text
-formatting tools. LilyPond produces two output files, @file{layout.tex}
-and @file{layout-1.tex}. They both look like this:
-@example
- ...
- \placebox@{-5 \outputscale @}%
- @{ 8.7229 \outputscale @}%
- @{\magfontWXGEomMMBo\char90 @}%
-
- \placebox@{-4 \outputscale @}%
- @{ 81.0647 \outputscale @}%
- ...
-@end example
+A complete list of modifiers and other options for layout are in the
+reference manual section @ref{Chords}.
-@file{ly2dvi} analyses the progress indication that LilyPond spews out,
-and generates a file called @file{layout_ly1.tex}. This file contains
-formatting instructions for the title and page layout. A fragment might
-look like
-@example
+@node Listening to output
+@section Listening to output
- \geometry@{width=540.602362pt,headheight=2mm, ...
- \renewcommand@{\@@oddfoot@}@{\parbox@{\textwidth@}@{\mbox@{@} ...
- \begin@{document@}
- \lilypondtitle@{foo@}%
- \makelilytitle
- \input@{ly2dvi.tex@}
+@cindex sound
+@cindex MIDI
-@end example
+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 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.
+
+The @code{\midi} block is added to @code{\score}, for example,
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+@}
+@end example
-@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
-built on top of @TeX{}. It's very popular in the academic world. If LaTeX
-is successful, this will produce a @file{.dvi} file, containing both the
-titling and notes. @code{ly2dvi} completes its task by deleting the two
-temporary files, leaving only @file{layout.dvi}.
+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.
-Next, now we'll look at the examples line by line to explain new things.
+If there is a @code{\midi} command in a @code{\score}, then only MIDI
+will be produced. If notation is needed too, then a @code{\paper}
+block must be added too:
@example
-\version "1.3.124";
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
@end example
-Lilypond and its language are still under development, and occasionally,
-details of the syntax are changed. This fragment indicates for which
-version the input file was written. When you compile this file, the
-version number will be checked, and you will get a warning when the file
-is too old.
-This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it update the file to the latest lily
-version.
+@cindex paper block
-@example
- \header @{ title = "Two miniatures"; @}
-@end example
-This sets the titling information for the entire file.
+@node Titling
+@section Titling
-@example
- #(set! point-and-click #t)
+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{} @}
@end example
-This is Scheme code. It sets the variable @code{point-and-click} to the
-value @var{true}.
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex Engraved by LilyPond
-Editing input files can be quite complicated if you're working with
-large files: if you're digitizing existing music, you have to
-synchronize the .ly file, the sheet music on your lap and the sheet
-music on the screen. The point-and-click mechanism makes it easy to
-find the origin of an error in the .ly file: @footnote{This feature is
-presently only available on X-windows using patched versions of Xdvi and
-emacs} when you view the file with Xdvi and click on a note using
-control-mousebutton 1@footnote{If you're using a patched xdvik, the
-command is control-mousebutton-2}, your editor will jump to the spot
-where that note was entered.
+When the file is processed by the @code{lilypond} wrapper script
+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.}
-More information is in in @ref{Point and click}
+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 in the @code{\score} block as follows; in this case, the name of
+each piece will be printed before each movement:
-@example
- \paper @{
-@end example
-The @code{\score} blocks that follow in the file don't have
-@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
-default page layout.
+@cindex Engraved by LilyPond
+@cindex signature line
+@cindex tag line
-@example
- linewidth = -1.0; @}
+@example
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+ @}
+
+ \score @{ @dots{}
+ \header @{ piece = "Adagio" @}
+ @}
+ \score @{ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
@end example
+More information on titling can be found in @ref{Invoking lilypond}.
-The variable @code{linewidth} normally sets the length of the systems on
-the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes up
-little space, a longer phrase more space.
-
-@example
- \score @{
- \notes @{ c'4 d'4 @}
-@end example
+@node Single staff polyphony
+@section Single staff polyphony
-In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
-predecessor. Besides relative, there is also absolute octave
-specification, and it is turned on by default. In this input mode, the
-central C is denoted by @code{c'}. Going down, you get @code{c}
-@code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''} etc.
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
-When you're copying music from existing sheet music, relative octaves
-are probably the easiest to use: it's less typing work and errors are
-easily spotted. However, if you write LilyPond input, either by hand
-(ie. composing) or by computer, absolute octaves are probably less work.
+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{\\}:
@example
- \header @{
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ r4 g4 f2 f4 @} >>
@end example
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
+@end lilypond
-The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different pieces
-from one file (for example, if there are multiple movements, or if
-you're making a etude-book), you can put different @code{\score} blocks
-into the input file. ly2dvi will assemble all LilyPond output files into
-a big document. The contents of \header blocks specified within each
-score, are used for the titling of each movement.
+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
- opus = "Opus 1.";
- piece = "Up"; @}
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ s4 g4 f2 f4 @} >>
@end example
-For example, the Opus number is put at the right, and the piece string
-will be at the left.
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+@end lilypond
+Again, these expressions can be nested arbitrarily:
+
+@lilypond[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}
+ >>
+>>
+@end lilypond
-@node A piano excerpt
-@section A piano excerpt
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
-Our third subject is a piece of piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740. It's in the source package
-under the name @file{sammartini.ly}.
+@node Piano staves
+@section Piano staves
-@lilypond[verbatim]
-\include "paper16.ly";
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\translator}
-stemdown = \property Voice.Stem \override #'direction = #-1
-stemup = \property Voice.Stem \override #'direction = #1
-stemboth = \property Voice.Stem \revert #'direction
+Piano music is always typeset in two staves connected by a brace.
+Printing such a staff is 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
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f-\arpeggio g' c>
- \stemdown g'8. b,16
- s1 s2. r4
- g
-}
+Here is a full-fledged example:
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemup s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemdown
- \grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
- f8 e e2
- } >
- \stemboth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
+ c4 c g' g }
+ \new Staff {
+ \clef bass c,, c' e c }
+ >>
+@end lilypond
-hoomPah = \repeat unfold 8
- \notes \transpose c' { c8 \stemdown c'8 \stemup }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \autochange Staff \hoomPah
- \translator Staff = down
- \stemdown [c8 c'8] r4
- <g d'> r4
- < {\stemup r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
-}
+More information on formatting piano music is in @ref{Piano music}.
-\score {
- \context PianoStaff \notes <
- \context Staff = up < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = down < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
-}
-@end lilypond
+@node Organizing larger pieces
+@section Organizing larger pieces
-If it looks like incomprehensible gibberish to you, then you are right.
-This example has been doctored to have as many quirks as possible.
+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
- stemdown = \property Voice.Stem \override #'direction = #-1
+ namedMusic = \notes @{ @dots{}
@end example
-As you can see, this example features more voices on one staff. To make
-room for those voices, their notes have to be stemmed in opposite
-directions. These are the commands to make that happen.
+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:
-The symbols that are printed, are internally represented by so-called
-Graphical Objects (or more colloquially: Grobs). These statements
-concern the grob called `Stem'. Each grob is described by a bunch of
-settings. These setting determine the fonts, offsets, sub-routines to be
-called on the grob, etc. The initial values of these settings are set
-in the Scheme file @file{scm/grob-description.scm}.
+@lilypond[raggedright,verbatim]
+seufzer = \notes {
+ dis'8 e'8
+}
+\score { \notes {
+ \seufzer \seufzer
+} }
+@end lilypond
-This statement adds a the setting for all Stem grobs in the current
-Voice: @code{direction} is set to @code{-1}, which encodes down. The
-setting remains in effect until it is reverted.
+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.
+It is possible to use variables for many other types of objects in the
+input. For example,
@example
- \property Voice.Stem \revert #'direction
+ 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
+ @}
+ @}
@end example
-This statement reverts the old setting. If you do this, the effect of a
-@code{\stemdown} or @code{\stemup} is neutralised.
-
-@code{\override} and @code{\revert} function like a stack: you can push
-values onto the grob-setting-stack with @code{\override} and you pop
-them with @code{\revert}.
-
-LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some more often used formatting instructions, but to explain how it
-works, we wrote our own here. Of course, you should use predefined
-identifiers like these if possible: then you will be affected less by
-the implementation changes we occasionally make.
-
-@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example, you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
-(`@code{viola}').
-
-@example
-<c4-\f-\arpeggio g' c>
-@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a chord.
-
-@cindex dynamics
-@cindex loudness
-@cindex forte
-@cindex arpeggio
+More information on the possible uses of identifiers is in the
+technical manual, in TODO.
-@code{\f} places a forte symbol under the chord. The forte applies to
-the whole chord, but the syntax requires that commands like forte and
-arpeggio are attached to a note, so here we attach them to the first
-note.
-@code{\arpeggio} draws an vertical wavy line before the chord,
-signifying an arpeggio.
+@node An orchestral part
+@section An orchestral part
-@example
- \stemdown
-@end example
+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
+a variable. The contents of that variable is then used to generate
+both the part and the score.
+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
-@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
+Then, an individual part is made by putting the following in a file:
+@example
+\include "horn-music.lyinc"
+\header @{
+ instrument = "Horn in F"
+@}
+\score @{
+ \notes \transpose f c' \hornNotes
+@}
+@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
-@example
-s1 s2. r4
-@end example
-@code{s} is a spacer rest. It does not print anything, but it does have
-the duration of a rest. It is useful for filling up voices that
-temporarily don't play. In this case, the viola doesn't come until one
-and a half measure later.
+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 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, this rest
+takes 3 measures in 2/4 time:
+@example
+ R2*3
+@end example
-@example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.
-@example
-\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemup} is a reference to the @code{\property \override} command
-defined above. .
-@example
-\grace <e8 g> < d4 f> <c2 e>
+When printing the part, the following @code{skipBars} property must be
+set to true, to prevent the rest from being expanded to three one bar
+rests:
+@example
+ \set Score.skipBars = ##t
@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
+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
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord.
+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"
-@ignore
-The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@end ignore
-@example
-\times 2/3
+\score @{
+ \simultaneous @{
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+ @} @}
@end example
-@cindex tuplet
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
-@example
-@{ <d8 \< f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord, a crescendo is started with
-@code{\<}. To be precise, the crescendo start is syntactically attached
-to the preceding note, the @code{d}.
-@cindex dynamics
-@cindex crescendo
-@cindex @code{\<}
+This would lead to the simple score depicted below:
-@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems:
-@example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
-@end example
+@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
+
+More in-depth information on preparing parts and scores is in the
+notation manual, in @ref{Orchestral music}.
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+@cindex La@TeX{}, music in
+@cindex HTML, music in
+@cindex Texinfo, music in
+
+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.
+
+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 also contains explanatory text,
+so we will not comment on it further:
-@cindex @code{\!}
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
-@example
-\context Voice = oboeTwo @{
-\stemDown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice.
-@example
-\grace @{
-@end example
-@cindex Grace context
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here we fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.
+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@}
-@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
-@end example
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@example
+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:
- f8 e e2
-@} >
-@end example
-This ends the two-part section.
-@example
-\stemboth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@cindex trill
-@cindex stemboth
+\begin[staffsize=26,verbatim]@{lilypond@}
+ c'4 f16
+\end@{lilypond@}
-@code{\stemBoth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
+If you want to include large examples in the text it is more
+convenient to put it in a separate file:
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use repeats:
-@example
-hoomPah = \repeat unfold 8
+\lilypondfile@{screech-boink.ly@}
+
+\end@{document@}
@end example
-@cindex unfolded @code{\repeat}
-This repeat print the following sequence notes eight times.
+
+Under Unix, you can view the results as follows:
@example
-\notes \transpose c' @{
-@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-Transposing can be done with @code{\transpose}. It takes two arguments;
-the first specifies what central C should be transposed to. The second
-is the to-be-transposed music. As you can see, in this case, the
-transposition is a no-op, as central C stay at central C.
-
-The purpose of this no-op is circumventing relative mode. Relative mode
-can not be used together with transposition, so @code{\relative} will
-leave the contents of @code{\hoomPah} alone. We can use it without
-having to worry about getting the motive in a wrong octave.
-@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\autochange Staff \hoomPah
+$ 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
@end example
-@cindex staff switch, automatic
-@cindex cross staff voice, automatic
-@cindex @code{\autochange}
-
-Voices can switch between staffs. The easiest way to get this, is to use
-@code{\autochange}. This command looks at the pitch of each note, and if
-necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
+
+To convert the file into a nice PDF document, run the following
+commands:
@example
- \translator Staff = down
+$ dvips -Ppdf -u +lilypond lilybook
+$ ps2pdf lilybook.ps
@end example
-@cindex staff switch
-@cindex cross staff voice
-The rest of this melody must be in the lower staff, so we do a manual
-staff switch here.
-@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
-@end example
-@cindex tie
-@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties.
-@example
-\context PianoStaff
-@end example
- A special context is needed to get cross staff beaming right. This
-context is called @code{PianoStaff}.
-@example
-\context Staff = bottom < \time 2/2; \clef bass;
-@end example
-The bottom staff must have a different clef.
-@example
-indent = 0.0;
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks very cramped, but that is due
-to the page layout of this document.
+Running lilypond-book and running latex creates a lot of temporary
+files. 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:
-[TODO:
+@separate
-* arpeggio, glissando,
+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
-* \apply, \outputproperty, \translator @{@}, \molecule hacking.
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
-* font-size, cadenza. rhythmic staff, multi-stanza.
+@lilypond
+ c'4
+@end lilypond
+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:
-* Orchestral: demonstrate Hara-Kiri, part combining, part extraction,
-scores, transposition, instrument names,
+@lilypond[staffsize=26,verbatim]
+ c'4 f16
+@end lilypond
-]
+If you want to include large examples in the text, it is more
+convenient to put it in a separate file:
-@node end of tutorial
-@section The end
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
+@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff