-@c -*-texinfo-*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@c TODO:
@c compiling/viewing (emacs?)
@c * where to go from First steps+More basics?
+@c wherever possible, do not include index entries here; the
+@c index should point to stuff in the reference manual. -gp
+
@c Your first LilyPond score in 10 minutes?
@node Tutorial
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
@end ifhtml
@menu
* First steps::
-* Running LilyPond::
+* Running LilyPond for the first time::
* More about pitches::
* Entering ties::
* Automatic and manual beams::
* More staves::
* Adding articulation marks to notes::
* Combining notes into chords::
-* Basic rhythmical commands::
+* Advanced rhythmic commands::
* Commenting input files::
* Printing lyrics::
* A lead sheet::
-* Listening to output::
* Adding titles::
* Single staff polyphony::
* Piano staves::
* Organizing larger pieces::
* An orchestral part::
-* Integrating text and music::
+* After the tutorial::
@end menu
@section First steps
The first example demonstrates how to enter the most elementary piece
-of music, a scale. A note can be entered by typing its name, from
-@samp{a} through @samp{g}. So, if you enter
+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
@example
+@{
c d e f g a b
+@}
@end example
@noindent
the result looks like this
-@lilypond[quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=1]
c d e f g a b
@end lilypond
-The duration of a note is specified by a number after the note name.
-@samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
+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
@example
a1 a2 a4 a16 a32
@end example
-@c FIXME: have NOTIME also remove Score.timing?
-@lilypond[quote,notime,relative=1]
-\set Score.timing = ##f
+@lilypond[fragment,quote,notime,relative=2]
\set Staff.autoBeaming = ##f
{ a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-If you do not specify a @rglos{duration}, the duration last entered is
-used for the next notes. The duration of the first note in input
-defaults to a quarter
+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
@example
a a8 a a2 a
@end example
-@lilypond[quote,notime,relative=1]
-\set Score.timing = ##f
+@lilypond[fragment,quote,notime,relative=2]
{ a a8 a a2 a s16_" " }
@end lilypond
-Rests are entered just like notes, but with the name @samp{r}
+A @rglos{rest} is entered just like a note, but with the name @samp{r}
-@cindex rests
@example
r2 r4 r8 r16
@end example
-@lilypond[quote,notime]
-\set Score.timing = ##f
+@lilypond[fragment,quote,notime]
r2 r4 r8 r16 s16_" "
@end lilypond
a2. a4 a8. a16
@end example
-@lilypond[quote,notime,relative=1]
-\set Score.timing = ##f
+@lilypond[fragment,quote,notime,relative=1]
{ a2. a4 a8. a16 s16_" " }
@end lilypond
-The @rglos{meter} (or @rglos{time signature}) can be set with the
-@code{\time} command
+The (or @rglos{time signature}) can be set with the @code{\time}
+command
@example
\time 3/4
@end example
@c A clef here may lead to confusion, remove it.
-@lilypond[quote]
-\override Staff.Clef #'transparent = ##t
+@lilypond[fragment,quote]
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
The @rglos{clef} can be set using the @code{\clef} command
-@c what is more common name treble or violin?
-@c in Dutch, it is violin.
-@c in English it is definitely treble.
@example
\clef treble
\clef bass
\clef tenor
@end example
-@lilypond[quote,notime]
-\set Score.timing = ##f
-\clef violin
+@lilypond[fragment,quote,notime]
+\clef treble
s4_" "
\clef bass
s4_" "
s16_" "
@end lilypond
-@ignore
-To recognize names like @samp{c} and @samp{d} as pitches, they have to
-be entered inside a so-called @code{\notes} block. This block is
-formed by enclosing notes and commands are enclosed in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
-the opening brace
-
-@example
-@{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
-@}
-@end example
-
-Now the piece of music is almost ready to be printed. Enclose
-the @code{\notes} block in a @code{\score} block
-
-@example
-\score @{
- \notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- @}
-@}
-@end example
-
-@noindent
-and the music will be converted to printable output.
-@end ignore
-
Remember to enclose the notes and commands in curly braces
@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-@lilypond[quote,noindent,linewidth=55\staffspace]
-{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
-}
+@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
@end quotation
-@node Running LilyPond
-@section Running LilyPond
+@node Running LilyPond for the first time
+@section Running LilyPond for the first time
+
+@c cheesy title to avoid clash with chapter name.
+
+In the last section we explained what kind of things you can 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.
+
+@unnumberedsubsec MacOS X
+
+If you double click LilyPond.app, it will open with an example
+file. Save it, for example, to @file{test.ly} on your Desktop, and
+then process it with the menu command @samp{Compile > Typeset File}.
+The resulting PDF file will be displayed on your screen.
+
+Be warned that the first-ever run will take a minute or two, because
+all of the system fonts have to be analyzed first.
-@c FIXME: let's not be so casual about Emacs and VIM, but rather
-@c instruct (how) to use them; let advanced user figure-out what
-@c commands to type?
+@unnumberedsubsec Windows
-@c
-@c We don't have enough space to explain either VIM
-@c or Emacs non-advanced users, and I fear that both editors will only
-@c confuse newbies. I vote for keeping the material in footnotes.
-@c
-@c --hwn
+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
+
+@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
+the file and show the resulting PDF file.
-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.
+
+@unnumberedsubsec Unix
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
@code{joe}.@footnote{There are macro files for VIM addicts, and there
-is a @code{LilyPond-mode} for Emacs addicts. If it has not been
-installed already, refer to
-@c FIXME lousy reference.
-the file @file{INSTALL.txt}.} In your text editor, enter the following
-input and save the file as @file{test.ly}
+is a @code{LilyPond-mode} for Emacs addicts. If they have not been
+installed already, refer to the file @file{INSTALL.txt}.} In your
+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
You will see something resembling
@example
-lilypond (GNU LilyPond) 2.2.0
-Running lilypond-bin...
-Now processing `/home/fred/ly/test.ly'
+lilypond test.ly
+GNU LilyPond 2.6.0
+Processing `test.ly'
Parsing...
-Interpreting music...[1]
-@emph{... more interesting stuff ... }
-DVI output to `test.dvi'...
-PDF output to `test.pdf'...
-PS output to `test.ps'...
+Interpreting music... [1]
+Preprocessing graphical objects...
+Calculating line breaks... [2]
+Layout output to `test.ps'...
+Converting to `test.pdf'...
@end example
@cindex DVI file
@cindex Viewing music
@cindex xdvi
@noindent
-The result is the file @file{test.pdf}@footnote{For @TeX{}
-aficionados: there is also a @file{test.dvi} file. It can be viewed
-with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
-not show up in the magnifying glass. The specials also mean that the
-DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
-printing.
-@cindex dvips
-@cindex dvilj
-@cindex DVI driver
-} which you can print or with the standard facilities of your
-operating system.@footnote{If your system does not have any tools
-installed, you can try @uref{Ghostscript,
-http://www.cs.wisc.edu/~ghost/}, a freely available package for
-viewing and printing PDF and PostScript files.}
-
-On Windows, start up a text-editor@footnote{Any simple or
-programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, its formatting codes will confuse LilyPond.} and enter
-
-@example
-@{ c'4 e' g' @}
-@end example
-
-Save it on the desktop as @file{test.ly} and make sure that it is not
-called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
-the file and show the resulting PDF file.
-
+The result is the file @file{test.pdf} which you can print or view
+with the standard facilities of your operating system.@footnote{If
+your system does not have any tools installed, you can try
+@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
+available package for viewing and printing PDF and PostScript files.}
@node 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
cis1 ees fisis aeses
@end example
-@lilypond[quote,notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
g
@end example
-@lilypond[quote,notime,fragment]
+@lilypond[fragment,quote,notime,fragment]
\key d \major
g'1
\key c \minor
@end lilypond
@noindent
-no note gets an explicit accidental, but you still must enter
+no note has an explicit accidental, but you still must enter
@example
\key d \major
@noindent
The code @samp{d} does not mean `print a black dot just below the
staff.' Rather, it means: `a note with pitch D-natural.' In the key
-of A-flat, it does get an accidental
-
-@lilypond[quote,notime,fragment]
-\key as \major
-d'
-@end lilypond
+of A-flat major, it does get an accidental
-@example
+@lilypond[quote,notime,fragment,relative=1,verbatim]
\key as \major
d
-@end example
+@end lilypond
Adding all alterations explicitly might require a little more effort
when typing, but the advantage is that transposing is easier, and
-music can be printed according to different conventions. See
-@ref{Accidentals}, for some examples how accidentals can be printed
+accidentals can be printed according to different conventions. See
+@ref{Automatic accidentals}, for some examples how accidentals can be printed
according to different rules.
@quotation
@table @asis
@item Accidentals
-see @ref{Accidentals}.
+see @ref{Automatic accidentals}.
@item Key signature
see @ref{Key signature}.
@section Entering ties
@cindex tie
-A tie is created by appending a tilde @samp{~} to the first note
-being tied
+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
@node Automatic and manual beams
@section Automatic and manual beams
-@cindex beams, by hand
-Beams are drawn automatically
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically
@lilypond[quote,fragment,relative=2,verbatim]
a8 ais d es r d
a8[ ais] d[ es r d]
@end lilypond
-For more information on beams, see @ref{Beaming}.
+For more information on beams, see @ref{Manual beams}.
Here are key signatures, accidentals and ties in action
-@example
-@{
+@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
+\relative c'' {
\time 4/4
\key g \minor
- \clef violin
+ \clef treble
r4 r8 a8 gis4 b
- a8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
-@}
-@end example
-
-@ignore
-FIXME
-ugr: removing the ignore block, leaving the comment line below
-@c TODO: use relative mode, verbatim, junk \transpose and above @example
-@end ignore
-
-
-@lilypond[quote,noindent,linewidth=50\staffspace]
-\transpose c c' {
- \time 4/4
- \key g \minor
- \clef violin
- r4 r8 a8 gis4 b
- a8 d4.~ d e8
+ a8 d4.~ d e,8
fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
}
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
+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.
@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{,}
-(a comma). Middle C is @code{c'}
-
-@example
-c'4 c'' c''' \clef bass c c,
-@end example
+(comma). Middle C is @code{c'}
-@lilypond[quote,notime,fragment]
+@lilypond[quote,notime,fragment,verbatim]
c'4 c'' c''' \clef bass c c,
@end lilypond
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
-The last example shows that music in a high register needs lots of quotes.
+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.
-@ignore
-FIXME: move to notation manual?
- You must also give a note
-from which relative mode starts, in this case @code{c''}.
-@end ignore
-If you do not
-use octavation quotes (i.e., do not add @code{'} or @code{,} after a
-note), relative mode chooses the note that is closest to the previous
-one. For example, @samp{c f} goes up while @samp{c g} goes down
+solution is to use `relative octave' mode. This is the
+most convenient way to copy existing music.
+
+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.
+
+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,notime,fragment,verbatim]
\relative {
without octavation quotes in relative mode. The previous example is
entered as
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\relative {
\key a \major
\time 6/8
- cis''8. d16 cis8 e4 e8
+ cis'8. d16 cis8 e4 e8
b8. cis16 b8 d4 d8
}
@end lilypond
relative to the previous one, and changing the octave of a single note
shifts all following notes an octave up or down.
-For more information on Relative octaves see @ref{Relative octaves},
+For more information on relative octaves see @ref{Relative octaves},
and @ref{Octave check}.
In input files, music is represent by so-called @emph{music
-expression}. We have already seen in the previous examples;
+expression}s. We have already seen some in the previous examples;
a single note is a music expression
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
a4
@end lilypond
-Enclosing group of notes in braces creates a new music
+Enclosing a group of notes in braces creates a new music
expression
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
{ a4 g4 }
@end lilypond
-Putting a bunch of music expressions (notes) in braces, means that
+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
-@lilypond[quote,verbatim,relative=3]
-{ { a4 g } f g }
+@lilypond[fragment,quote,verbatim,relative=3]
+{ { a4 g } f g }
@end lilypond
This technique is useful for non-monophonic music. To enter music
as a simultaneous combination of two sequences. A `simultaneous'
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
-two notes) are combined simultaneously
+two separate notes) are combined simultaneously
-@lilypond[quote,verbatim,relative=3]
+@lilypond[fragment,quote,verbatim,relative=3]
<<
- { a4 g }
- { f e }
- { d b }
+ { a4 g }
+ { f e }
+ { d b }
>>
@end lilypond
@cindex expression
@cindex music expression
-This example shows a sequence of expressions, where each expression is
-contained in the next one. The simplest expressions are numbers and
-operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
-to group expressions.
-
-Like mathematical expressions, music expressions can be nested
-arbitrarily deep@footnote{The reason for getting three staves in the
-previous example but just a single staff in the current one will be
-explained later.}
-
-@lilypond[quote,verbatim,relative=2]
+This is a sequence of expressions, where each expression is contained
+in the next (larger) one. The simplest expressions are numbers, and larger
+ones are made by combining expressions with operators (like @samp{+},
+@samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
+music expressions can be nested arbitrarily deep, which is necessary
+for complex music like polyphonic scores.
+
+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
-
-@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,
+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
-\book @{
- \score @{
- <<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
- \paper @{
- @dots{}
- @}
- >>
+<<
+ @{
+ @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.
+indenting source files. See @ref{Editor support} for more information.
@node More staves
@section More staves
To print more than one staff, each piece of music that makes up a
staff is marked by adding @code{\new Staff} before it. These
-@code{Staff} elements are then combined parallel with @code{<<} and
+@code{Staff} elements are then combined in parallel with @code{<<} and
@code{>>}, as demonstrated here
@lilypond[quote,fragment,verbatim]
<<
- \new Staff { \clef violin c'' }
+ \new Staff { \clef treble c'' }
\new Staff { \clef bass c }
>>
@end lilypond
The command @code{\new} introduces a `notation context.' A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
-notation contexts are created implicitly. For more complex pieces, it
+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.
-There are several types of contexts: @code{Staff}, @code{Voice} and
-@code{Score} handle normal music notation. Other contexts are also
-@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
-printing chord names).
-
+There are several types of contexts. @code{Staff}, @code{Voice} and
+@code{Score} 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
creates a bigger music expression. In this way it resembles the minus
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@lilypond[quote,verbatim,raggedright]
-<<
+@lilypond[fragment,quote,verbatim,ragged-right]
+\relative <<
\new Staff {
\time 3/4
- \clef violin
- \relative {
- e''2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2. }
+ \clef treble
+
+ e'2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.
}
\new Staff {
\clef bass
- c2 e4 g2.
+ c,,2 e4 g2.
f4 e d c2.
}
>>
@end lilypond
-For more information on context see the description in
+For more information on contexts see the description in
@ref{Interpretation contexts}.
Common accents can be added to a note using a dash (@samp{-}) and a
single character
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
Similarly, fingering indications can be added to a note using a dash
(@samp{-}) and the digit to be printed
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
+Articulations and fingerings are usually placed automatically, but you
+can specify a direction using @samp{^} (up) or @samp{_} (down). You can
+also use multiple articulations on the same note. In most cases, however,
+it is best to let LilyPond determine the articulation directions.
+
+@lilypond[fragment,quote,verbatim,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
+@end lilypond
Dynamic signs are made by adding the markings (with a backslash) to
the note
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c\ff c\mf
@end lilypond
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. An ending dynamic, for example @code{\f}, will finish the
-crescendo, or the command @code{\!} can be used
+(de)crescendo, or the command @code{\!} can be used
-@lilypond[quote,verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
@cindex slur
-A slur is a curve drawn across many notes, and indicates legato
-articulation. The starting note and ending note are marked with
-@samp{(} and @samp{)}, respectively
+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
-@lilypond[quote,fragment,relative=2,verbatim]
-d4( c16)( cis d e c cis d e)( d4)
+@lilypond[fragment,quote,fragment,relative=2,verbatim]
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
@cindex slurs versus ties
-A slur looks like a tie, but it has a different meaning. A tie simply
-makes the first note sound longer, and can only be used on pairs of
-notes with the same pitch. Slurs indicate the articulations of notes,
-and can be used on larger groups of notes. Slurs and ties are also
-nested in practice
+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
@lilypond[quote,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@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.
+same time. You cannot have simultaneous slurs or simultaneous
+phrasing slurs.
@lilypond[quote,fragment,relative=2,verbatim]
a8(\( ais b c) cis2 b'2 a4 cis, c\)
@end lilypond
@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+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>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
@end lilypond
-
-
-@node Basic rhythmical commands
-@section Basic rhythmical commands
+@node Advanced rhythmic commands
+@section Advanced rhythmic commands
@cindex pickup
@cindex anacruse
@end lilypond
@cindex grace notes
-@cindex accacciatura
+@cindex acciaccatura
Grace notes are also made by prefixing a music expression with the
keyword @code{\appoggiatura} or @code{\acciaccatura}
@cindex appoggiatura
@cindex line comment
@cindex block comment
A comment is a remark for the human reader of the music input; it is
-ignored and has no effect on the printed output. There are two types
-of comments. The percent symbol @samp{%} introduces a line comment;
-the rest of the line is ignored. A block comments marks a whole
-section of music input---anything that is enclosed in @code{%@{} and
-@code{%@}} is ignored. The following fragment shows possible uses for
-comments
+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
+ 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
+ g g f f e e d d c2
%@}
@end example
-There is a special statement that really is a kind of comment. The
-version statement marks for which version of LilyPond the file was
-written. To mark a file for version 2.1.17, use
+@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 2.6.0, use
@example
-\version "2.1.17"
+\version "2.6.0"
@end example
@noindent
These annotations make future upgrades of LilyPond go more
-smoothly. Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Invoking convert-ly}), and it uses
+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.
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) }
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
}
@end lilypond
-@c FIXME: when/how/to what rename newlyrics?
The lyrics can be set to these notes, combining both with the
-@code{\newlyrics} keyword
+@code{\addlyrics} keyword
-@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) }
}
- \newlyrics { I want to break free }
+ \addlyrics { I want to break free }
>>
@end lilypond
@example
@{ I want to break free __ @}
-@end example
+@end example
-@lilypond[quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
\times 2/3 { g4( a2) }
}
- \newlyrics { I want to break free __ }
+ \addlyrics { I want to break free __ }
>>
@end lilypond
Twin -- kle twin -- kle
@end example
-@lilypond[quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
- \time 2/4
- f4 f c' c
- }
- \newlyrics { Twin -- kle twin -- kle }
+ \time 2/4
+ f4 f c' c
+ }
+ \addlyrics { Twin -- kle twin -- kle }
>>
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.
-@c FIXME: too geeky, for notation manual?
-@c or introduce using foo = \lyrics { a b c } ?
-
-When using variables for a piece of lyrics
-To prevent certain words (for example `as') as being read as a
-pitch, the input-mode must be switched. This is done with
-@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
-syllables.
-
-@example
-myText = \lyrics @{ I want to break free @}
-@end example
-
-@noindent
-The braces @code{@{@}} signify that the syllables are sung in
-sequence.
-
-@ignore
-By default, music expressions are interpreted in @code{Staff} context. For
-lyrics, this is obviously not desirable, so it is necessary
-to explicitly specify a @code{Lyrics} context,
-
-@example
-\lyrics @{ I want to break free @}
-@end example
-
-The melody for this song is as follows
-
-@lilypond[quote,fragment,relative=2]
-r4 c \times 2/3 { f4 g g }
-\times 2/3 { g4( a2) }
-@end lilypond
-
-@end ignore
-
@node A lead sheet
@section A lead sheet
@cindex chords
@cindex chord names
-In popular music, it is common to denote accompaniment as chord names.
+@c TODO: revise this, \chords { } is shorter and more intuitive.
+
+In popular music, it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@example
-c2 f4. g8
-@end example
+@lilypond[quote,verbatim,ragged-right]
+\chordmode { c2 f4. g8 }
+@end lilypond
@noindent
-but now, each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chords}
-
-@lilypond[quote,verbatim,raggedright]
-\chords { c2 f4. g8 }
-@end lilypond
+Now each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chordmode}
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
-@lilypond[quote,verbatim]
-\chords { c2 f4:m g4:maj7 gis1:dim7 }
+@lilypond[quote,verbatim,ragged-right]
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
For lead sheets, chords are not printed on staves, but as names on a
-line of themselves. Hence, we have to override the context with
-@code{\new}, rendering the music expression in a @code{ChordNames}
-context
+line for themselves. This is achieved by using @code{\chords} instead
+of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
+but renders the notes in a @code{ChordNames} context, with the
+following result.
-@lilypond[quote,verbatim]
-\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@lilypond[quote,verbatim,ragged-right]
+\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@cindex lead sheet
@example
<<
- \new ChordNames \chords @{ @emph{chords} @}
+ \chords @{ @emph{chords} @}
@emph{the melody}
- \newlyrics @{ @emph{the text} @}
+ \addlyrics @{ @emph{the text} @}
>>
@}
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
- \new ChordNames \chords { r2 c:sus4 f }
- \notes \relative {
+ \chords { r2 c:sus4 f }
+ \relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
}
- \newlyrics { I want to break free __ }
+ \addlyrics { I want to break free __ }
>>
@end lilypond
A complete list of modifiers and other options for layout can be found
in @ref{Chords}.
-@c FIXME: we talk about \midi before mentioning \paper (or \layout?)
-@node Listening to output
-@section Listening to output
-
-@cindex sound
-@cindex MIDI
-
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is like a
-tape recording of a MIDI instrument.
-
-To create a MIDI from a music piece of music, add a @code{\midi}
-block. This causes LilyPond to create a MIDI file, so you can listen
-to what you just 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
-
-Here, the tempo is specified using the @code{\tempo} command. In this
-case the tempo of quarter notes is set to 72 beats per minute. More
-information on auditory output in the notation manual can be found in
-@ref{Sound}.
-
-If there is a @code{\midi} command in a @code{\score}, only MIDI will
-be produced. If notation is needed too, a @code{\paper} block must be
-added
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
- \paper @{ @}
-@}
-@end example
-@cindex paper block
-
@node Adding titles
@section Adding titles
@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
the top of the file. For example,
-@example
+@example
\header @{
- title = "Eight miniatures"
+ title = "Miniature"
composer = "Igor Stravinsky"
- tagline = "small is beautiful"
@}
@{ @dots{} @}
@end example
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Engraved by LilyPond
-
-When the file is processed the title and composer are printed above
-the music. The `tagline' is a short line printed at bottom of the last
-page which normally says `Engraved by LilyPond, version @dots{}'. In
-the example above it is replaced by the line `small is
-beautiful.'@footnote{Nicely printed parts are good PR for us, so
-please leave the tagline if you can.}
-
-
-The @code{\header} block is usually put at the top of the file.
-
-A document may contains multiple pieces of music, examples are an
-etude book, or an orchestral part with multiple movements.
-@c FIXME: ugh. \header can only live at toplevel, or inside \score.
-@c If we allow it also to live inside \book, we do not need \score here?
-The @code{\book} block is used to group the individual @code{\score}
-blocks.
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement.
-
-@ignore
-
-FIXME: introduce \BOOK
-FIXME: Using "Adagio" as a name is confusing, it's more common to be
-a plain tempo indication.
-
-Since today (CVS-1.211) we also allow headers and composite music
-inside book:
-
- \header { ... }
- \book {
- \header { ... }
- { ... }
- \header { ... }
- { ... }
- }
-
-@end ignore
-
-@cindex Engraved by LilyPond
-@cindex signature line
-@cindex tag line
-
-@example
-\header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
-@}
-
-\book @{
- \score @{
- @dots{}
- \header @{ piece = "Adagio" @}
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
-
-More information on titling can be found in @ref{Invoking lilypond}.
+When the file is processed, the title and composer are printed above
+the music. More information on titling can be found in @ref{Creating
+titles}.
@node Single staff polyphony
them down.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining those simultaneously, separating the
+@code{@{...@}}), and combining these simultaneously, separating the
voices with @code{\\}
-@lilypond[quote,verbatim,relative=3]
+@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 } >>
@end lilypond
-For polyphonic music typesetting, spacer rests can also be convenient; these
-are rests that do not print. It is useful for filling up voices that
-temporarily do not play. Here is the same example with a spacer rest
-instead of a normal rest---just use @samp{s} instead of @samp{r}
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print. They are useful for filling up
+voices that temporarily do not play. Here is the same example with a
+spacer rest (@code{s}) instead of a normal rest (@code{r}),
-@lilypond[quote,verbatim,relative=3]
+@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 } >>
@end lilypond
@noindent
Again, these expressions can be nested arbitrarily
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
>>
\new Staff <<
\clef bass
- { <c, g>1 ~ <c g>4 } \\
- { f4 d e2 ~ e4}
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
>>
>>
@end lilypond
-More features of polyphonic typesetting in the notation manual are
-described in @ref{Polyphony}.
+More features of polyphonic typesetting are described in this manual
+in section @ref{Basic polyphony}.
@node Piano staves
@cindex staff switch, manual
@cindex cross staff voice, manual
-@cindex @code{\context}
Piano music is typeset in two staves connected by a brace. Printing
such a staff is similar to the polyphonic example in @ref{More staves},
\new PianoStaff << \new Staff @dots{} >>
@end example
-Here is a full-fledged example
+Here is a small example
@lilypond[quote,verbatim,relative=1,fragment]
\new PianoStaff <<
>>
@end lilypond
-More information on formatting piano music is 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
up complex music expressions. An identifier is assigned as follows
@example
-namedMusic = \notes @{ @dots{} @}
+namedMusic = @{ @dots{} @}
@end example
@noindent
In the next example, a two-note motive is repeated two times by using
variable substitution
-@lilypond[quote,raggedright,verbatim,nofragment]
-seufzer = \notes {
+@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 @code{\score} block.
+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
input. For example,
places. The following example uses the above variables
@example
-\score @{
- \notes @{ c4^\name @}
- \paper @{
- \aFivePaper
- linewidth = \width
- @}
+\paper @{
+ \aFivePaper
+ line-width = \width
@}
+@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is in the
-technical manual, in TODO.
+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; 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
+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 score.
+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
+of a horn/@/bassoon duo
@example
-hornNotes = \notes \relative c @{
+hornNotes = \relative c @{
\time 2/4
r4 f8 a cis4 f e d
@}
\header @{
instrument = "Horn in F"
@}
-\score @{
- \notes \transpose f c' \hornNotes
+
+@{
+ \transpose f c' \hornNotes
@}
@end example
substitutes the contents of @file{horn-music.ly} at this position in
the file, so @code{hornNotes} is defined afterwards. The command
@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with
+@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,raggedright]
-\score {
- \notes \transpose f c' \notes \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
- }
+@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
-(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]
-\score {
- \notes \transpose f c' \relative c {
- \time 2/4
- \set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
- }
+@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 in a @code{\score}
-block. Assuming that the other voice is in @code{bassoonNotes} in the
-file @file{bassoon-music.ly}, a score is made with
+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"
-\score @{
- \simultaneous @{
- \new Staff \hornNotes
- \new Staff \bassoonNotes
- @}
-@}
+<<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+>>
@end example
@noindent
-leading to
-
-@lilypond[quote,raggedright]
-\score {
- \notes \relative c \simultaneous {
- \new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
- }
- \new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
- }
+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-TODO.
-
-
-@node Integrating text and music
-@section Integrating text and music
-
-@cindex La@TeX{}, music in
-@cindex HTML, music in
-@cindex Texinfo, music in
-Some texts include music examples. Examples are musicological
-treatises, songbooks or manuals like this. Such texts can be made by
-hand, simply by importing a PostScript figure into the word processor.
-However, there is an automated procedure to reduce the amount of work
-involved HTML, La@TeX{}, and Texinfo documents.
-
-A script called @code{lilypond-book} will extract the music fragments,
-run format them, and put back the resulting notation. This program is
-fully described in @ref{lilypond-book manual}. Here we show a small
-example. The example also contains explanatory text, so we will not
-comment on it further
-
-@example
-\documentclass[a4paper]@{article@}
-\begin@{document@}
-
-Documents for lilypond-book may 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@}
-
-If there is no \verb+\score+ block in the fragment,
-\texttt@{lilypond-book@} will supply one
-
-\begin[quote]@{lilypond@}
- c'4
-\end@{lilypond@}
-
-\noindent
-In this example two things happened. A
-\verb+\score+ block was added, and the line width was set to natural
-length.
+Setting run-time variables (`properties') is discussed in
+@ref{Changing context properties on the fly}.
-Options are put in brackets.
-\begin[quote,staffsize=26,verbatim]@{lilypond@}
- c'4 f16
-\end@{lilypond@}
-
-Larger examples can be put in a separate file, and introduced with
-\verb+\lilypondfile+.
-
-\lilypondfile[quote,noindent]@{screech-boink.ly@}
-
-\end@{document@}
-@end example
+@node After the tutorial
+@section After the tutorial
-Under Unix, you can view the results as follows
-
-@example
-$ cd input/tutorial
-$ mkdir -p out/
-$ lilypond-book --output=out/ lilybook.tex
-lilypond-book (GNU LilyPond) 2.1.19
-Reading `input/tutorial/lilybook.tex'
-Reading `input/screech-boink.ly'
-@var{lots of stuff deleted}
-Writing `out/lilybook.tex'
-$ cd out
-$ latex lilybook
-@var{lots of stuff deleted}
-$ xdvi lilybook
-@end example
-
-To convert the file into a nice PDF document, run the following
-commands
-
-@example
-$ dvips -Ppdf -u +lilypond lilybook
-$ ps2pdf lilybook.ps
-@end example
+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}.
-Running lilypond-book and running latex creates a lot of temporary
-files, which would clutter up the working directory. To remedy this,
-use the @code{--output=@var{dir}} option. It will create the files in
-a separate subdirectory @file{dir}.
-
-Finally the result of the La@TeX{} example shown above.@footnote{Note
-that in this tutorial the example is processed with Texinfo. This gives
-slightly different results in layout.} This finishes the tutorial
-section.
-
-@page
-
-Documents for lilypond-book may freely mix music and text. For
-example,
-
-@lilypond
-\score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
-} }
-@end lilypond
-
-If there is no @code{\score} block in the fragment,
-@code{lilypond-book} will supply one
-
-@lilypond[quote]
-c'4
-@end lilypond
-
-@noindent
-In this example two things happened. A
-@code{score} block was added, and the line width was set to natural
-length.
-
-Options are put in brackets.
-
-@lilypond[quote,staffsize=26,verbatim]
-c'4 f16
-@end lilypond
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-Larger examples can be put in a separate file, and introduced with
-@code{\lilypondfile}.
-@lilypondfile[quote,noindent]{screech-boink.ly}
projects / lilypond.git / blobdiff