@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?)
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,ragged-right,relative=2]
-c-\markup { \bold \huge { Click here. } }
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+ 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 in the @qq{ly snippet} section, 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
+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
@menu
* First steps::
-* Second steps::
-* 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::
-* Advanced rhythmic commands::
-* Commenting input files::
-* Printing lyrics::
-* A lead sheet::
-* Adding titles::
-* Single staff polyphony::
-* Piano staves::
-* Organizing larger pieces::
-* An orchestral part::
-* After the tutorial::
+* 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 @rglos{scale}. A @rglos{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''
+ c' e' g' e'
@}
@end example
@noindent
the result looks like this
-@lilypond[quote]
+@c in this case we don't want verbatim
+@lilypond[quote,ragged-right]
{
-c' d' e' f' g' a' b' c''
+ c' e' g' e'
}
@end lilypond
-@emph{Warning:} Every piece of LilyPond input needs to have
-@{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 examples in this manual, but don't forget them in
-your own music!
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input. The braces should 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 case sensitive. @code{ @{ c d e @} } is
-valid input; @code{ @{ C D E @} } will produce an error message.
-
+In addition, LilyPond input is @strong{case sensitive}. @code{ @{c d e @}}
+is valid input; @code{@{ C D E @}} will produce an error message.
+@sp 1
-@unnumberedsubsec Entering music and viewing output
+@subheading Entering music and viewing output
In this section we will explain what commands to run
and how to view or print the output.
-@unnumberedsubsec MacOS X
+@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
+If you double click @code{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.
+Be warned that the first time you ever run LilyPond, it 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".
+For future use of LilyPond, you should begin by selecting @q{New}
+or @q{Open}. You must save your file before typesetting it. If any errors
+occur in processing, please see the log window.
-@unnumberedsubsec Windows
+@subsubheading Windows
-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, since these insert formatting codes that will confuse
-LilyPond.} and enter
+On Windows, if you double-click in the LilyPond icon on the Desktop, it
+will open a simple text editor with an example file. Save it, for
+example, to @file{test.ly} on your Desktop and then double-click on the
+file to process it (the file icon looks like a note). After some
+seconds, you will get a file @file{test.pdf}
+on your desktop. Double-click on this PDF file to view the typeset
+score. An alternative method to process the @file{test.ly} file
+is to drag and drop it onto the LilyPond icon using your mouse pointer.
-@verbatim
-{ c' e' g' c'' }
-@end verbatim
+To edit an existing @file{.ly} file, right-click on it and select
+@qq{Edit source}. To get an empty file to start from, run the editor
+as described above and use @qq{New} in the @qq{File} menu.
-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.
+Double-clicking the file does not only result in a PDF file, but also
+produces a @file{.log} file that contains some information on what LilyPond
+has done to the file. If any errors occur, please examine this file.
+Note that there are several other text editors available, with better
+support for LilyPond, see @rprogram{Editor support}, for more information.
-@unnumberedsubsec Unix
+@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}.}. In your
+installed already, refer to the file @file{INSTALL.txt}. The
+easiest editing environment is @file{LilyPondTool}. See
+@rprogram{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' c'' }
+{
+ c' e' g' e'
+}
@end verbatim
@noindent
Converting to `test.pdf'...
@end example
-@cindex DVI file
+@cindex PDF file
@cindex Viewing music
-@cindex xdvi
+
@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
+your system does not have any such 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 Second steps
-@section Second steps
+@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.
-@emph{Remember:} Every piece of LilyPond input needs to
-have @{curly braces@} placed around the input.
-The braces should be surrounded by a space unless
-they are at the beginning or end of a line to avoid ambiguities.
-For the rest of this manual, most examples will
-omit these braces, but don't forget them in your own music!
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
+@end lilypond
-@c will be removed once the tutorial either explains \relative or
-@c examples are fixed so they don't use it. -gp
-In addition, many examples use @code{relative} mode. This is explained
-in @ref{Octave entry}; for now simply be aware that some examples
-should be placed inside @code{\relative @{ @emph{...music...} @}}.
-Many example have also been compressed horizontally to save
-space, using @code{\paper @{ ragged-right = ##t @}}.
+@noindent
+This behavior may be altered, but in most cases these automatic values
+are useful.
-@cindex Case sensitive
-Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
-valid input; @code{ @{ C D E @} } will produce an error message.
-@c End of latest re-write. Since I have no life, I may do more
-@c work on this, but I'd really like to have a Doc Helper take
-@c over this task. -gp
+@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}.
-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
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
+@end lilypond
-@example
-a1 a2 a4 a16 a32
-@end example
+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:
-@lilypond[fragment,quote,notime,relative=2]
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
@end lilypond
-If you do not specify a duration, the duration last entered is used
-for the next notes. The duration of the first note in input defaults
-to a quarter
+@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.
-@example
-a a8 a a2 a
-@end example
+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[fragment,quote,notime,relative=2]
-{ a a8 a a2 a s16_" " }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
@end lilypond
+@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.
-A @rglos{rest} is entered just like a note, but with the name @samp{r}
-@example
-r2 r4 r8 r16
-@end example
+@subheading Durations (rhythms)
-@lilypond[fragment,quote,notime]
-r2 r4 r8 r16 s16_" "
+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
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+@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
-a2. a4 a8. a16
-@end example
+To create @rglos{dotted note}s, add a dot @samp{.} to the duration number.
-@lilypond[fragment,quote,notime,relative=1]
-{ a2. a4 a8. a16 s16_" " }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
@end lilypond
-The (or @rglos{time signature}) can be set with the @code{\time}
-command
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
+@subheading Rests
-@c A clef here may lead to confusion, remove it.
-@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-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
-The @rglos{clef} can be set using the @code{\clef} command
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
+@subheading Time signature
-@lilypond[fragment,quote,notime]
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
+The @rglos{time signature}) can be set with the @code{\time} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
@end lilypond
-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-@lilypond[fragment,quote,noindent,verbatim]
-\time 3/4
-\clef bass
-c2 e4 g2.
-f4 e d c2 r4
+@subheading Clef
+
+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
-For more 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}.
@item Time signatures and other timing commands
see @ref{Time signature}.
+@item Clefs
+see @ref{Clef}.
+@end table
+@end quotation
+
+
+@node Working on text files
+@subsection Working on text files
+
+LilyPond input files are similar to source files in many common programming languages.
+They are case sensitive, and white-space is generally equivalent. Expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ ... %@}}.
+
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
+
+@itemize
+
+@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 @tie{} @tie{} @tie{} d e @}} and
+@example
+ @{
+c d
+ e @}
+@end example
+
+@noindent
+Of course, the previous example is hard to read. A good rule of thumb
+is to indent code blocks with either a tab or two spaces:
+@example
+@{
+ c d e
+@}
+@end example
+
+@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. (Comments do not nest.) The following fragment shows possible uses for comments
+
+@example
+% 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
+
+@end itemize
+
+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
+\relative c'' @{
+ ... example goes here...
+@}
+@end example
+
+Why omit the braces? Most examples
+in this manual can be inserted into the middle of a longer piece of
+music. For these examples, it does not make sense to add
+@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
+inside another @code{\relative}, so you would not be able to copy
+a small documentation example and paste it inside a longer piece
+of your own.
+
+
+@node Single staff notation
+@section Single staff notation
+
+This section introduces common notation that is used for one voice
+on one staff.
+
+@menu
+* Relative note names::
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
+
+
+@node Relative note names
+@subsection Relative note names
+
+As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+each note relative to the previous one@footnote{There is another mode of
+entering pitches, @ref{Absolute note names}, but in practice relative
+mode is much easier and safer to use.}. If no extra octave marks
+(@code{'} and @code{,}) are added, it assumes that each pitch is within
+a fourth of the previous note.
+
+LilyPond examines pitches based on the note names -- in other words,
+an augmented fourth is @emph{not} the same as a diminished fifth. If we
+begin at a C, then an F-sharp will be placed a higher than the C, while
+a G-flat will be placed lower than the C.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 fis
+c2 ges
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Relative octaves
+see @ref{Relative octaves}.
+@item Octave check
+see @ref{Octave check}.
@end table
@end quotation
-@node More about pitches
-@section More about pitches
+
+@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, a @rglos{flat} pitch by adding @samp{es}. As
+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.}
-
-@example
-cis1 ees fisis aeses
-@end example
+like German and Dutch. To use other names for accidentals, see
+@ref{Note names in other languages}.}
-@lilypond[fragment,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[fragment,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 affects
+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 has an explicit accidental, but you still must enter
-
-@example
-\key d \major
-d cis fis
-@end example
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.
-@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 major, it does get an accidental
+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:
-@lilypond[quote,notime,fragment,relative=1,verbatim]
-\key as \major
-d
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
@end lilypond
Adding all alterations explicitly might require a little more effort
@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{Automatic 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
+@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,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
@end lilypond
-For more information on Ties see @ref{Ties}.
-
-
-
-@node Automatic and manual beams
-@section Automatic and manual beams
+@cindex slurs
+@subheading Slurs
-@cindex beams, by hand
-All @rglos{beam}s 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
+
+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.
-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
-For more information on beams, see @ref{Manual beams}.
+@sp 1
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
-Here are key signatures, accidentals and ties in action
+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[fragment,quote,noindent,line-width=50\staff-space,verbatim]
-\relative c'' {
- \time 4/4
- \key g \minor
- \clef treble
- r4 r8 a8 gis4 b
- a8 d4.~ d e,8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@cindex accidentals
+@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
-@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.
+@node Articulation and dynamics
+@subsection Articulation and dynamics
+@cindex articulation
+@cindex accents
+@cindex staccato
+@subheading Articulations
+Common @rglos{articulation}s can be added to a note using a dash @samp{-}
+and a single character:
-@node Octave entry
-@section Octave entry
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
+@cindex fingering
+@subheading Fingerings
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed:
-@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...
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-3 e-5 b-2 a-1
+@end lilypond
-@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{,}
-(comma). Middle C is @code{c'}
+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,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
@end lilypond
-An example of the use of quotes is in the following Mozart fragment
+@subheading Dynamics
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
-@lilypond[quote,ragged-right,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\ff c\mf c\p c\pp
@end lilypond
-@noindent
-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. This is the
-most convenient way to copy existing music.
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
-In relative mode, a note without octavation quotes (i.e., the @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
-previous one. For example, @samp{c f} goes up while @samp{c g} goes
-down.
+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
-To use relative mode, add @code{\relative} before the piece of
-music. The first note is taken relative to the middle C
-@c no , for this sentence
-(i.e., @code{c'})
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2\< c2\ff\> c2 c2\!
+@end lilypond
+@moreinfo
+@quotation
+@table @asis
+@item Articulations
+see @ref{Articulations}.
+@item Fingering
+see @ref{Fingering instructions}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
+@end quotation
-@lilypond[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
-}
-@end lilypond
+@node Automatic and manual beams
+@subsection Automatic and manual beams
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8
+@end lilypond
-@lilypond[quote,ragged-right,verbatim]
-\relative {
- \key a \major
- \time 6/8
- cis'8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
+@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,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@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.
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation
-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
+
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
+
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+@subheading Partial measure
+
+A pickup (or @rglos{anacrusis}) is entered with the keyword
+@code{\partial}. It is followed by a duration: @code{\partial 4} is
+a quarter note pickup and @code{\partial 8} an eighth note.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\partial 8
+f8 c2 d
@end lilypond
-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.
+@cindex tuplets
+@cindex triplets
+@subheading Tuplets
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+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,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
-@node Music expressions explained
-@section Music expressions explained
+@cindex grace notes
+@cindex acciaccatura
+@cindex appoggiatura
+@subheading Grace notes
+
+Grace notes are created with the @code{\grace} command, although they
+can also be created by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32[ b] } c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Grace notes
+see @ref{Grace notes},
+@item Tuplets
+see @ref{Tuplets},
+@item Pickups
+see @ref{Partial measures}.
+@end table
+@end quotation
+
+
+@node Multiple notes at once
+@section Multiple notes at once
+
+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.
+
+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.
+
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
-In input files, music is represent by so-called @emph{music
-expression}s. We have already seen some in the previous examples;
-a single note is a music expression
+@node Music expressions explained
+@subsection Music expressions explained
+
+In LilyPond input files, music is represented by @emph{music
+expressions}. A single note is a music expression, although it is not
+valid input all on its own.
-@lilypond[fragment,quote,verbatim,relative=3]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
a4
@end lilypond
-Enclosing a group of notes in braces creates a new music
-expression
+Enclosing a group of notes in braces creates a new music expression:
-@lilypond[fragment,quote,verbatim,relative=3]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
{ a4 g4 }
@end lilypond
-Putting a bunch of music expressions (e.g., 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
+Putting a group of music expressions (e.g. notes) in braces means that
+they are in sequence (i.e. each one follows the previous one). The result
+is another music expression:
-@lilypond[fragment,quote,verbatim,relative=3]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
{ { 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 separate notes) are combined simultaneously
+@subheading Simultaneous music expressions: multiple staves
-@lilypond[fragment,quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
+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,
+simply enter a simultaneous combination of music expressions. A
+@q{simultaneous} music expression is formed by enclosing expressions inside
+@code{<<} and @code{>>}. In the following example, three sequences (all
+containing two separate notes) are combined simultaneously:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
+}
@end lilypond
+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.
+
+@strong{Warning}: each note is relative to the
+previous note in the input, not relative to the @code{c''} in the
+initial @code{\relative} command.
+
+
+@subheading Simultaneous music expressions: single staff
+
+To determine the number of staves in a piece, LilyPond looks at the first
+expression. If it is a single note, there is one staff; if there is a
+simultaneous expression, there is more than one staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
+}
+@end lilypond
+
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
This mechanism is similar to mathematical
formulas: a big formula is created by composing small formulas. Such
-formulas are called expressions, and their definition is recursive, so
+formulas are called expressions, and their definition is recursive so
you can make arbitrarily complex and large expressions. For example,
@example
((1 + 2) * 3) / (4 * 5)
@end example
-@cindex expression
-@cindex music expression
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{+},
music expressions can be nested arbitrarily deep, which is necessary
for complex music like polyphonic scores.
-Note that this example only has one staff, whereas
-the previous example had three separate staves. That is because this
-example begins with a single note. To determine the number of staves,
-LilyPond looks at the first element. If it is a single note, there is one
-staff; if there is a simultaneous expression, there is more than one staff.
-@lilypond[fragment,quote,verbatim,relative=2]
-{
- c <<c e>>
- << { e f } { c <<b d>> } >>
-}
-@end lilypond
+@node Multiple staves
+@subsection Multiple staves
-Music files with deep nesting can be confusing to enter and
-maintain. One convention that helps against this confusion is
-indenting. When entering a file with deep nesting of braces and
-angles, 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
-<<
- @{
- @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
+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.
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{>>}, as demonstrated here
+@code{>>}:
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef treble c'' }
- \new Staff { \clef bass c }
->>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
-
-The command @code{\new} introduces a `notation context.' A notation
+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. This ensures that each fragment
-gets its own stave.
+is best to mark contexts explicitly.
-There are several types of contexts. @code{Staff}, @code{Voice} and
-@code{Score} handle melodic notation, while @code{Lyrics} sets lyric
+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.
In terms of syntax, prepending @code{\new} to a music expression
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
+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.}.
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-
-@lilypond[fragment,quote,verbatim,ragged-right]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
-
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
->>
+@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
-For more information on contexts 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[fragment,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[fragment,quote,verbatim,relative=2]
-c-3 e-5 b-2 a-1
-@end lilypond
+@node Piano staves
+@subsection Piano staves
-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. In most cases, however,
-it is best to let LilyPond determine the articulation directions.
+@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}:
-@lilypond[fragment,quote,verbatim,relative=2]
-c_-^1 d^. f^4_2-> e^-_+
-@end lilypond
+@example
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
+>>
+@end example
-Dynamic signs are made by adding the markings (with a backslash) to
-the note
+Here is a small example
-@lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
+@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
-@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
-(de)crescendo, or the command @code{\!} can be used
-
-@lilypond[fragment,quote,verbatim,relative=2]
-c2\< c2\ff\> c2 c2\!
-@end lilypond
+@moreinfo
+@quotation
+See @ref{Piano music}.
+@end quotation
+@node Single staff polyphony
+@subsection Single staff polyphony
-@cindex slur
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices; each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
-A @rglos{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
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
-@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
-@cindex slurs versus ties
-A slur looks like a @rglos{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
-can be nested
+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,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@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. You cannot have simultaneous slurs or simultaneous
-phrasing slurs.
+@noindent
+Again, these expressions can be nested arbitrarily.
-@lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
+ >>
+>>
@end lilypond
-
-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 Dynamics
-see @ref{Dynamics}.
-@end table
+See @ref{Basic polyphony}.
@end quotation
@node Combining notes into chords
-@section Combining notes into chords
+@subsection Combining notes into chords
@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
+Chords can be made by surrounding pitches with single 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
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
@end lilypond
-
You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
-
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
-@end lilypond
+be placed outside the angle brackets
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end example
-
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end lilypond
-
-
-@node Advanced rhythmic commands
-@section 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
-
-@lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
-@end lilypond
-
-@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
-
-@lilypond[quote,relative=1,verbatim,fragment]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
@end lilypond
-@cindex grace notes
-@cindex acciaccatura
-Grace notes are also made by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
-@cindex appoggiatura
-@cindex acciaccatura
-
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
@end lilypond
-@noindent
-
-For more information on
-
-@quotation
-@table @asis
-@item Grace notes
-see @ref{Grace notes},
-@item Tuplets
-see @ref{Tuplets},
-@item Pickups
-see @ref{Partial measures}.
-@end table
-@end quotation
+@node Songs
+@section Songs
-@node Commenting input files
-@section Commenting input files
+This section introduces vocal music and simple song sheets.
-@cindex comments
-@cindex line comment
-@cindex block comment
-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; after @code{%} the rest of the line is
-ignored. A block comment 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
-
-@example
-% 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
-
-@c TODO post-2.6 reorg
-@c This is good info, but I wouldn't call it a comment. IMO it should
-@c be moved somewhere else.
-
-@cindex versioning
-
-There is a special statement that is a kind of comment. The @code{\version}
-statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.10.1, use
-
-@example
-\version "2.10.1"
-@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{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-@c TODO: (c) status of the Queen fragment.
+@subsection Printing lyrics
@cindex Lyrics
@cindex Songs
-Lyrics are entered by separating each syllable with a space
+Consider a simple melody:
-@example
-I want to break free
-@end example
-
-Consider the melody
-
-@lilypond[quote,verbatim,fragment,ragged-right]
-\relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword
+@code{\addlyrics} keyword. Lyrics are entered by separating each
+syllable with a space.
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free }
+ \addlyrics { One day this shall be free }
>>
@end lilypond
@cindex melisma
@cindex extender line
-@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+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, i.e.,
-
-@example
-@{ I want to break free __ @}
-@end example
+line}. It is entered as two underscores @code{__}:
-@lilypond[fragment,quote,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free __ }
+ \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
-A -- le gri -- a
-@end example
-
-@c no ragged-right here, because otherwise the hypens get lost.
-@lilypond[fragment,quote]
+@c no ragged-right here because otherwise the hypens get lost.
+@lilypond[quote,verbatim]
<<
- \relative {
+ \relative c' {
\time 2/4
- f4 f c' c
+ f4 f c c
}
- \addlyrics { A -- le gri -- a }
+ \addlyrics { A -- le -- gri -- a }
>>
@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are
discussed in @ref{Vocal music}.
+@end quotation
@node A lead sheet
-@section A lead sheet
+@subsection A lead sheet
@cindex Lead sheets
@cindex chords
@cindex chord names
-@c TODO: revise this, \chords { } is shorter and more intuitive.
-
-In popular music, it is common to denote accompaniment with chord names.
+In popular music it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
\chordmode { c2 f4. g8 }
@end lilypond
-@noindent
Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chordmode}
-
-Other chords can be created by adding modifiers after a colon. The
-following example shows a few common modifiers
+This mode is switched on with @code{\chordmode}. Other chords can be
+created by adding modifiers after a colon. The
+following example shows a few common modifiers:
@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
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.
+following result:
@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@cindex lead sheet
When put together, chord names, lyrics and a melody form
-a lead sheet, for example,
+a lead sheet,
-@example
-<<
- \chords @{ @emph{chords} @}
- @emph{the melody}
- \addlyrics @{ @emph{the text} @}
->>
-@}
-@end example
-
-@lilypond[quote,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
<<
- \chords { r2 c:sus4 f }
- \relative {
- r4 c' \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \chords { c2 g:sus4 f e }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free __ }
+ \addlyrics { One day this shall be free __ }
>>
@end lilypond
+
+@moreinfo
+@quotation
A complete list of modifiers and other options for layout can be found
in @ref{Chords}.
+@end quotation
+
+
+@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
+\version "2.11.23"
+@end example
+
+@noindent
+at the top of your LilyPond file.
+
+These annotations make future upgrades of LilyPond go more
+smoothly. Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @rprogram{Updating files with convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
@node Adding titles
-@section Adding titles
+@subsection Adding titles
-Bibliographic information is entered in a separate block, the
-@code{\header} block. The name of the piece, its composer, etc., are
-entered as an assignment, within @code{\header
-@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
-the top of the file. For example,
+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
+\version "2.11.23"
\header @{
- title = "Miniature"
- composer = "Igor Stravinsky"
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
-@{ @dots{} @}
+@{
+ @dots{} music @dots{}
+@}
@end example
-
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}.
-@node Single staff polyphony
-@section Single staff polyphony
+@node Absolute note names
+@subsection Absolute note names
-@cindex polyphony
-@cindex multiple voices
-@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff they are
-printed as polyphonic voices; each voice has its own stems, slurs and
-beams, and the top voice has the stems up, while the bottom voice has
-them down.
+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.
-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining these simultaneously, separating the
-voices with @code{\\}
+If you omit the @code{\relative}, LilyPond treats all pitches as
+absolute values. A @code{c'} will always mean middle C, a @code{b} will
+always mean the note one step below middle C, and a @code{g,} will
+always mean the note on the bottom staff of the bass clef.
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
+}
@end lilypond
-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 (@code{s}) instead of a normal rest (@code{r}),
+Here is a four-octave scale:
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+@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
-@noindent
-Again, these expressions can be nested arbitrarily
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks. Consider this fragment from Mozart:
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-<<
- \new Staff <<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
- >>
- \new Staff <<
- \clef bass
- { <c g>1 ~ <c g>4 } \\
- { e,,4 d e2 ~ e4}
- >>
->>
+@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
-More features of polyphonic typesetting are described in this manual
-in section @ref{Basic polyphony}.
-
-
-@node Piano staves
-@section Piano staves
-
-@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{More staves},
+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:
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
-
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
-
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-
-Here is a small example
-
-@lilypond[quote,verbatim,relative=1,fragment]
-\new PianoStaff <<
- \new Staff { \time 2/4 c4 c g' g }
- \new Staff { \clef bass c,, c' e c }
->>
+@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
-More information on formatting piano music is given in @ref{Piano music}.
+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.
+
+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.
-@node Organizing larger pieces
-@section Organizing larger pieces
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
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 music,
-more deeply nested. Such large expressions can become unwieldy.
+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}.
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
+With identifiers (also known as variables or macros), we can break up
+complex music expressions. An identifier is assigned as follows
@example
namedMusic = @{ @dots{} @}
@end example
-@noindent
-The contents of the music expression @code{namedMusic}, can be used
-later by preceding the name with a backslash, i.e., @code{\namedMusic}.
-In the next example, a two-note motive is repeated two times by using
-variable substitution
-
-@lilypond[quote,ragged-right,verbatim,nofragment]
-seufzer = {
- e'4( dis'4)
+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
+ >>
}
-{ \seufzer \seufzer }
@end lilypond
-The name of an identifier should have alphabetic characters only: no
-numbers, underscores, or dashes. The assignment should be outside of
-running music.
+@noindent
+The name of an identifier must 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,
@end example
Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+places. The following example uses the above variables:
@example
\paper @{
@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
-
-
-@node An orchestral part
-@section An orchestral part
-
-In orchestral music, all notes are printed twice. Once in a part for
-the musicians, and once 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 full score.
-
-It is convenient to define the notes in a special file. For example,
-suppose that the file @file{horn-music.ly} contains the following part
-of a horn/@/bassoon duo
-
-@example
-hornNotes = \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
-
-@noindent
-Then, an individual part is made by putting the following in a file
-
-@example
-\include "horn-music.ly"
-\header @{
- instrument = "Horn in F"
-@}
-
-@{
- \transpose f c' \hornNotes
-@}
-@end example
-
-The line
-
-@example
-\include "horn-music.ly"
-@end example
-
-@noindent
-substitutes the contents of @file{horn-music.ly} at this position in
-the file, so @code{hornNotes} is defined afterwards. The command
-@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth upwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with the
-tuning of a normal French Horn in@tie{}F. The transposition can be seen
-in the following output
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-In ensemble pieces, one of the voices often does not play for many
-measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital @samp{R} followed by a duration
-(@code{1}@tie{}for a whole note, @code{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
-
-@example
-R2*3
-@end example
-
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
-
-@example
-\set Score.skipBars = ##t
-@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
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- \set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-
-The score is made by combining all of the music together. Assuming
-that the other voice is in @code{bassoonNotes} in the file
-@file{bassoon-music.ly}, a score is made with
-
-@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
-
-<<
- \new Staff \hornNotes
- \new Staff \bassoonNotes
->>
-@end example
-
-@noindent
-leading to
-
-@lilypond[quote,ragged-right]
-\relative c <<
- \new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
- }
- \new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
- }
->>
-@end lilypond
-
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
-
-Setting run-time variables (`properties') is discussed in
-@ref{Changing context properties on the fly}.
-
@node After the tutorial
-@section After the tutorial
+@subsection After the tutorial
After finishing the tutorial, you should probably try writing a
-piece or two. Start with one of the @ref{Example templates} and
+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 @ref{Example templates},
+ensemble that is not covered in the templates,
take a look at @ref{Extending the templates}.
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
+with reading it 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.
+@node How to read the manual
+@subsection How to read the manual
+
+As we saw in @ref{How to read the tutorial}, many examples in the
+tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
+example.
+
+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 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 @code{\relative}
+or absolute-mode @code{@{ @}}.
+
+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.
+
projects / lilypond.git / blobdiff