LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
@end ifhtml
* More staves::
* Adding articulation marks to notes::
* Combining notes into chords::
-* Advanced rhythmic commands::
+* Advanced rhythmic commands::
* Commenting input files::
* Printing lyrics::
* A lead sheet::
* Piano staves::
* Organizing larger pieces::
* An orchestral part::
+* After the tutorial::
@end menu
name, from @samp{a} through @samp{g}. So, if you enter
@example
+@{
c d e f g a b
+@}
@end example
@noindent
c d e f g a b
@end lilypond
+Every piece of LilyPond input needs to have @{curly braces@} placed
+around the input. For the rest of this manual, most examples will
+omit these braces, but don't forget them in your own music!
+
+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 @}}.
+
+@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.
+
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
@c A clef here may lead to confusion, remove it.
@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
s16_" "
@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,linewidth=55\staffspace]
+@c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
+@lilypond[fragment,quote,noindent,verbatim]
\time 3/4
\clef bass
c2 e4 g2.
f4 e d c2 r4
@end lilypond
-For more elaborate information on
+For more information on
@quotation
@table @asis
@item Entering pitches and durations
-see
+see
@ref{Pitches}, and @ref{Durations}.
@item Clefs
see @ref{Clef}.
@item Rests
-see @ref{Rests}.
+see @ref{Rests}.
@item Time signatures and other timing commands
see @ref{Time signature}.
@end table
word processor, since these insert formatting codes that will confuse
LilyPond.} and enter
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{ c'4 e' g' }
+@end verbatim
Save it on the desktop as @file{test.ly} and make sure that it is not
called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
text editor, enter the following input and save the file as
@file{test.ly}
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{ c'4 e' g' }
+@end verbatim
@noindent
To process @file{test.ly}, proceed as follows
Processing `test.ly'
Parsing...
Interpreting music... [1]
-Preprocessing graphical objects...
+Preprocessing graphical objects...
Calculating line breaks... [2]
Layout output to `test.ps'...
Converting to `test.pdf'...
available package for viewing and printing PDF and PostScript files.}
@node More about pitches
-@section 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
@node Automatic and manual beams
@section Automatic and manual beams
-@cindex beams, by hand
+@cindex beams, by hand
All @rglos{beam}s are drawn automatically
@lilypond[quote,fragment,relative=2,verbatim]
Here are key signatures, accidentals and ties in action
-@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
+@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
\relative c'' {
\time 4/4
\key g \minor
@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
+@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'}
An example of the use of quotes is in the following Mozart fragment
-@lilypond[quote,raggedright,fragment,verbatim]
+@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
+b'8. cis''16 b'8 d''4 d''8
@end lilypond
@noindent
without octavation quotes in relative mode. The previous example is
entered as
-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\relative {
\key a \major
\time 6/8
In input files, music is represent by so-called @emph{music
-expression}s. We have already seen some in the previous examples;
+expression}s. We have already seen some in the previous examples;
a single note is a music expression
@lilypond[fragment,quote,verbatim,relative=3]
notes
@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
+{ { a4 g } f g }
@end lilypond
This technique is useful for non-monophonic music. To enter music
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]
+@lilypond[fragment,quote,verbatim,relative=2]
{
c <<c e>>
<< { e f } { c <<b d>> } >>
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@lilypond[fragment,quote,verbatim,raggedright]
+@lilypond[fragment,quote,verbatim,ragged-right]
\relative <<
\new Staff {
\time 3/4
- \clef treble
-
+ \clef treble
+
e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
+ b[ b] g[ g] a2.
}
\new Staff {
\clef bass
are ignored, since they are in a
block comment.
- g g f f e e d d c2
+ g g f f e e d d c2
%@}
@end example
Consider the melody
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
\relative {
r4 c \times 2/3 { f g g }
\times 2/3 { g4( a2) }
The lyrics can be set to these notes, combining both with the
@code{\addlyrics} keyword
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
@example
@{ I want to break free __ @}
-@end example
+@end example
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
Twin -- kle twin -- kle
@end example
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
\time 2/4
In popular music, it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4. g8 }
@end lilypond
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
following result.
-
-@lilypond[quote,verbatim,raggedright]
+
+@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@}
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
- \chords { r2 c:sus4 f }
+ \chords { r2 c:sus4 f }
\relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
the top of the file. For example,
-@example
+@example
\header @{
- title = "Miniature"
+ title = "Miniature"
composer = "Igor Stravinsky"
@}
>>
\new Staff <<
\clef bass
- { <c, g>1 ~ <c g>4 } \\
- { e,4 d e2 ~ e4}
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
>>
>>
@end lilypond
More features of polyphonic typesetting are described in this manual
-in section @ref{Polyphony}.
+in section @ref{Basic polyphony}.
@node Piano staves
>>
@end lilypond
-More information on formatting piano music is given in @ref{Piano music}.
+More information on formatting piano music is given in @ref{Piano music}.
@node Organizing larger pieces
@section Organizing larger pieces
When all of the elements discussed earlier are combined to produce
-larger files, the @code{\score} blocks get a lot bigger, because the
-music expressions are longer, and, in the case of polyphonic pieces,
+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.
By using variables, also known as identifiers, it is possible to break
In the next example, a two-note motive is repeated two times by using
variable substitution
-@lilypond[quote,raggedright,verbatim,nofragment]
+@lilypond[quote,ragged-right,verbatim,nofragment]
seufzer = {
e'4( dis'4)
}
{ \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
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes. The assignment should be outside of
running music.
It is possible to use variables for many other types of objects in the
@example
\paper @{
\aFivePaper
- linewidth = \width
+ line-width = \width
@}
@{ c4^\name @}
@end example
tuning of a normal French Horn in@tie{}F. The transposition can be seen
in the following output
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
r4 f8 a cis4 f e d
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
rest. It is entered with a capital @samp{R} followed by a duration
-(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+(@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
@code{Score} context to true (@code{##t}). Prepending the rest and
this option to the music above, leads to the following result
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
- \set Score.skipBars = ##t
+ \set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d
}
@end example
@noindent
-leading to
+leading to
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\relative c <<
\new Staff {
\time 2/4 R2*3
@ref{Changing context properties on the fly}.
-@ignore
-
-* longer example
+@node After the tutorial
+@section After the tutorial
-* discuss expectations (?)
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Example 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},
+take a look at @ref{Extending the templates}.
-* conclude tutorial
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-* overview of chapters?
-@end ignore
projects / lilypond.git / blobdiff