@c -*-texinfo-*-
+@c This file is part of lilypond.tely
-@c TODO: LilyPond Lilypond lilypond
-
-FIXME: choose one of: notation context/interpretation context.
-
+@c TODO:
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a textual @emph{language}.
-This chapter is a gentle introduction to that language.
-
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
-
-@cindex examples, tutorial
-
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}@footnote{When we refer
-to filenames, they are relative to the top directory of the source
-package. In binary installations you should look in your doc section,
-eg, @code{/usr/share/doc/lilypond1.3/examples/input/tutorial}
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
-
-@menu
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* More movements ::
-* A piano excerpt:: Piano music
-* An orchestral score::
-* Other ways to run LilyPond::
-* Latex and texinfo integration::
-* end of tutorial:: The end
-@end menu
-
-
-@node Running LilyPond
-@section Running LilyPond
-
-Before we dive into describing the input language of LilyPond, we first
-show you through the procedure for getting notes on your screen and out
-of your printer.
-
-The first step is creating an input file. Using your favorite
-text-editor, create @file{test.ly} containing
-@ignore
-NOTE: if you're reading this, ie, the Texinfo source itself, test.ly
-should of course contain:
- \score{
- \notes { c'4 e' g' }
- }
-
-@end ignore
+Using LilyPond comes down to encoding music in an input file. After
+entering the music, the program is run on the file producing output
+which can be viewed or printed. In this tutorial, we will show step
+by step how to enter such files, and illustrate the process with
+fragments of input and the corresponding output. At the end of every
+section, a paragraph will list where to find further information on
+the topics discussed.
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+@ifhtml
+For example, consider the following input:
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+ c'^\markup @{ \bold \huge @{ Click on this image! @} @}
@end example
+@c @lily pond[relative=1,raggedright,with the following output:]
+with the following output:
+@lilypond[relative=1,raggedright]
+ c'^\markup { \bold \huge { Click on this image! } }
+@end lilypond
-@unnumberedsubsec Unix
-@cindex Unix, Running lilypond on
-@cindex ly2dvi
-
-On unix, you invoke ly2dvi to compile your lilypond source file (you can
-omit the @code{.ly}):
-
-@example
-ly2dvi -P test
-@end example
+@end ifhtml
+By cutting and pasting the full input into a test file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for quick
+reference.
-You will see the following on your screen:
-@example
-GNU LilyPond 1.3.145
-Now processing: `/home/fred/ly/test.ly'
-Parsing...
-Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
-
-Analyzing test.tex...
-Running LaTeX...
-Running dvips...
-PS output to test.ps...
-DVI output to test.dvi...
-@end example
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact, we will show you how to to
+produce printed output. You should then be able to create and print
+your first sheets of music.
-The results of the ly2dvi run are a ``DeVice Independent'' file
-(@file{test.dvi}) and a PostScript file (@file{test.ps}).
+@menu
+* First steps::
+* Running LilyPond::
+* More about pitches::
+* Octave entry::
+* Combining music into compound expressions::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Basic rhythmical commands::
+* Commenting input files::
+* Printing lyrics::
+* A lead sheet::
+* Listening to output::
+* Titling::
+* Single staff polyphony::
+* Piano staves::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music::
+@end menu
-@cindex DVI file
-@cindex Viewing music
-@cindex xdvi
-@cindex .dvi
+@node First steps
+@section First steps
-To view the @code{test.dvi} output, run Xdvi (you may omit the
-@code{.dvi}):
+We start off by showing how very simple music is entered in LilyPond:
+you get a note simply by typing its note name, from @samp{a}
+through @samp{g}. So if you enter
@example
-xdvi test
+c d e f g a b
@end example
-You should see the following in a window next to some buttons.
-@lilypond
-\score {
- \notes { c'4 e' g' }
-}
+@noindent
+then the result looks like this:
+
+@lilypond[notime,relative]
+c d e f g a b
@end lilypond
-When you're satisfied with the result, you can print the
-PostScript file:
+The length of a note is specified by adding a number, @samp{1} for a
+@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
@example
-lpr test.ps
+a1 a2 a4 a16 a32
@end example
-If this does not make your printer produce a page of music, you should
-look into installing and configuring ghostscript. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-@cindex GhostScript
-@cindex @code{lpr}
-@cindex Printing output
-
-@cindex PostScript
-@cindex .ps
-
-@unnumberedsubsec Windows
-@strong{[TODO]}
-
-* setting of env vars (TFMFONTS,MFINPUTS,TEXINPUTS)
-
-* dvi viewer doesn't display postscript
-
-
-@node The first tune
-@section The first tune
-
-
-To demonstrate what LilyPond input looks like, we start off with a
-full-fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
-is included in the distribution as @file{menuet.ly}.
-@cindex Bach, Johann Sebastian
-
-@lilypond[verbatim]
-% all text after a percent sign is a comment
-% and is ignored by Lilypond
-\include "paper16.ly"
-\score {
- \notes
- \relative c'' \sequential {
- \time 3/4
- \key g \major
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8( )c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
-
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|."
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm
- }
-}
+@lilypond[notime]
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
+\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-We will analyse the input, line by line.
-@separate
-@example
- % all text after a percent sign is a comment
- % and is ignored by Lilypond
-@end example
-The percent sign, @code{%}, introduces a line comment. You can also
-comment out a block of several lines, by enclosing them in
-@code{%@{} and @code{%@}}.
-@cindex comment
-@cindex block comment
-@cindex line comment
-@separate
-@example
+If you do not specify a @rglos{duration}, the previous one is used:
- \include "paper16.ly"
-
+@example
+a4 a a2 a
@end example
-@cindex @code{\include}
-@cindex point, printer's
-@cindex staff size setting
-By default, LilyPond will typeset the music in a size such that each
-staff is 20 point@footnote{A point is the standard measure of length for
-printing; one point is 1/72.27 inch.} high. We want smaller
-output (16 point staff height), so we must import the settings for that
-size, which is done here.
-@separate
-@example
- \score @{
-
-@end example
-Music is printed by combining a piece of music with directions for
-outputting it. This combination is formed in the @code{\score} block.
-@separate
-@example
-
- \notes
-
-@end example
-Prepare LilyPond for accepting notes.
-@cindex octaves, choosing
-@cindex pitch
-@separate
-@example
-
- \relative c''
-
-@end example
-@cindex relative
-As we will see, each note is described by its note name, duration,
-octave and possibly a chromatic alteration. In this setup, the octave
-is indicated by using high quotes (@code{'}) and ``lowered quotes''
-(commas: @code{,}). The central C is denoted by @code{c'}. The C one
-octave higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
-Even though a piece of music often spans a range of several octaves, it
-mostly moves in small intervals. LilyPond has a special entry mode to
-save typing in this situation. In this ``relative'' octave mode,
-octaves of notes without quotes are chosen such that a note is as close
-as possible (graphically, on the staff) to the preceding note. If you
-add a high-quote an extra octave is added. A lowered quote (a comma)
-will subtract an extra octave.
-
-Because the first note has no predecessor,
-you have to give the (absolute) pitch of the note to start with.
-@separate
-@example
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { a a a2 a s16_" " }
+@end lilypond
- \sequential @{
-
-@end example
-What follows is sequential music, i.e.,
-@cindex sequential music
-notes that are to be played and printed after each other.
-@separate
-@example
- \time 3/4
-
-@end example
-@cindex time signature, setting
-@cindex @code{\time}
-Set (or change) the time signature of the current piece: a 3/4 sign is
-printed. The time signature setting is also used to generate bar lines
-at the right spots.
-@separate
-@example
+Rests are entered just like notes, but with the name ``@code{r}'':
- \key g \major
-
+@cindex rests
+@quotation
+@example
+r2 r4 r8 r16
@end example
-@cindex key signature, setting
-@cindex @code{\key}
-Set (or change) the current key signature to G-major. Although in this
-example, the @code{\key} command happened to be entered after the
-@code{\time} command, in the output the time signature will be printed
-after the key signature; LilyPond knows about music typesetting
-conventions.
-@separate
-@example
-
- \repeat "volta" 2
-
-@end example
-The following piece of music is played twice. The first argument
-indicates the type of repeat. In this case, @code{"volta"} means that
-prima volta/secunda volta brackets are used for the alternative
-endings---if there were any.
-@separate
-@example
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same.
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.Clef = \turnOff
+\set Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
+@end lilypond
+@end quotation
@separate
-@example
- d4 g,8
-
-@end example
-Two notes. The first note is a quarter note with relative pitch
-@code{d}. The relative music was started with a @code{c''}, so the real
-pitch of this note is @code{d''}. The duration of a note is designated
-by a number; the @code{4} here represents a quarter note.
-
-The second note is an eight note with relative pitch @code{g,}. The
-pitch is taken relative to the previous @code{d''}, making this
-note have real pitch @code{g'}. The @code{8} represents an eight note.
-@separate
-@example
- a b
-
-@end example
-Two more notes, with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g,8}, there is no need to enter the
-duration, but you may enter it anyway, i.e., @code{a4 b4}
-@separate
-@example
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
- d4 g, g |
-
+@example
+a2. a4 a8. a16
@end example
-@cindex bar check
-@cindex @code{|}
-@cindex errors, finding
-Three more notes. The @code{|} character is a ``bar check''. LilyPond
-will verify that bar checks are found at the start of a measure. This can
-help you track down typing errors.
-
-@cindex alteration, chromatic
-@cindex chromatic alteration
-@separate
-@example
- c8 d e fis
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { a2. a4 a8. a16 s16_" " }
+@end lilypond
-@end example
-So far, no notes were chromatically altered. Here is the first one that
-is: @code{fis}. Lilypond by default uses Dutch@footnote{Note names are
-available in several languages, but we find the Dutch names quite
-convenient.} note names, and ``Fis'' is the Dutch note name for ``F
-sharp''. However, there is no sharp sign in the output. The program
-keeps track of key signatures, and will only print accidentals if they
-are needed.
-
-For groups of eighth notes and shorter, LilyPond can determine how the
-notes should form a beam. In this case, the 4 eights are automatically
-printed as a beam.
-@separate
-@example
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
-The beginning and ending notes of a slur are marked with parentheses,
-@code{(} and @code{)} for start and end respectively. The line above
-indicates two slurs. These slur markers (parentheses) are entered
-between the slurred notes.
-@separate
-@example
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command:
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks, @code{[}
-and @code{]}. These beam markers (brackets) are put around the notes
-you want beamed.
-@separate
-@example
-
- g2. |
-
+@example
+\time 3/4
+\time 6/8
+\time 4/4
@end example
-@cindex augmentation dot
-@cindex dot
-A period adds an augmentation dot to the note.
-@separate
-@example
-
- @}
-
-@end example
-The end of the sequential music to be repeated. LilyPond will typeset a
-repeat bar.
-@separate
-@example
- cis'4 b8 cis a4 |
-
-@end example
-Accidentals are printed whenever necessary: the first C sharp of the bar
-will be printed with an accidental, the second one without.
-@separate
-@example
+@c a clef here may lead to confusion
+@lilypond
+\override Staff.Clef #'transparent = ##t
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
- a8-. b-. cis-. d-. e-. fis-.
-
-@end example
-@cindex articulation
-You can enter articulation signs either in a verbose form or using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the character for the articulation to use, e.g. @code{-.} for
-staccato as shown above.
-@separate
-@example
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename @code{r}.
-@separate
-@example
+The @rglos{clef} can be set using the @code{\clef} command:
- d2.-\fermata
-
-@end example
-All articulations have a verbose form, like @code{\fermata}. The
-command @code{\fermata} is not part of the core of the language, but it
-is a shorthand for a more complicated description of a fermata symbol.
-@code{\fermata} names that description and is therefore called an
-identifier.
-@cindex identifier
-@cindex @code{\fermata}
-@separate
+@c what is more common name treble or violin?
+@c in Dutch, it's violin.
+@c in English it's definitely treble.
@example
- \bar "|."
- @}
-@end example
-Here the music ends. LilyPond does not automatically typeset and end
-bar, we must explicitely request one, using @code{"|."}.
-@c FIXME: Why not?! better to override \bar "" if not wanted?
-@separate
-@example
-
- \paper @{
- linewidth = 14.0\cm
- @}
-
-@end example
-The @code{\paper} block specifies how entered music should be converted
-to notation output. Most of the details of the conversion (font sizes,
-dimensions, etc.) have been taken care of, but to fit the output in this
-document, it has to be narrower. We do this by setting the line width
-to 14 centimeters (approximately 5.5 inches).
-@separate
-@example
-
- @}
-
-@end example
-The last brace ends the @code{\score} block.
-
-
-
-
-@node Lyrics and chords
-@section Lyrics and chords
-
-In this section we show how to typeset a song. This file is
-included as @file{flowing.ly}.
+\clef treble
+\clef bass
+\clef alto
+\clef tenor
+@end example
+
+@lilypond[notime]
+\set Score.timing = ##f
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
+@end lilypond
-@example
-\header @{
- title = "The river is flowing"
- composer = "Traditional"
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \partial 8
- \key c \minor
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-@}
+Notes and commands like @code{\clef} and @code{\time}, are enclosed
+in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
+to @rglos{lyrics}) follows:
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
+@example
+\notes @{
+ \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. Enclosing the
+music in a @code{\score} processes them to printed output,
+so the following is a complete and valid input file:
-accompaniment =\chords @{
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min @}
-
+@example
\score @{
- \simultaneous @{
- %\accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel @{
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ \tempo 4=72 @}
- \paper @{ linewidth = 10.0\cm @}
-@}
-@end example
-
-
-The result would look this.@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@code{ly2dvi}.}
-
-@center @strong{The river is flowing}
-@center Traditional
-
-@lilypond[center]
-\header {
- title = "The river is flowing"
- composer = "Traditional"
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \partial 8
- \key c \minor
- g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-}
-
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
-
-accompaniment =\chords {
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+ @}
+@}
+@end example
+@lilypond[noindent]
\score {
- \simultaneous {
- %\accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel {
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
- }
- \context Lyrics \text
- }
- \midi { \tempo 4=72 }
- \paper { linewidth = 10.0\cm }
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+ }
+ \paper {
+ linewidth = 55 * \staffspace
+ }
}
@end lilypond
-Again, we will dissect the file line by line.
-@separate
-@example
-
- \header @{
-
-@end example
-@cindex @code{\header}
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is passed into the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@separate
-@example
-
- title = "The river is flowing"
- composer = "Traditional (?)"
-@end example
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. Lexically, both the variable name and the
-assigned value are strings. The values have to be quoted here, because
-they contain spaces, the variable names could also be put within quotes
-but it is not necessary. Each assignment is finished with a semicolon.
-@separate
-@example
+In many examples in this manual, @code{\score} is left out for
+clarity. However, it must be present when feeding the file to
+LilyPond.
- \include "paper16.ly"
-
-@end example
-Smaller size for inclusion in a book.
-@separate
-@example
+For more elaborate information on
- melody = \notes \relative c' @{
-
-@end example
-The structure of the file will be the same as the previous one, a
-@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
+@table @asis
+@item entering pitches and durations
+see
+@ref{Pitches} and @ref{Durations}.
+@item Clefs
+see @ref{Clef}
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@end table
-@separate
-@example
- \partial 8
-@end example
+@node Running LilyPond
+@section Running LilyPond
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis of one eighth.
-@separate
+In the last section we explained what kind of things you could enter
+in a LilyPond file. In this section we will explain what commands to run
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup, or want to run an example file
+yourself, read this section. The instructions that follow are for
+Unix-like systems. Some additional instructions for Microsoft Windows
+are given at the end of this section.
+
+Begin by opening a terminal window and starting a text editor. For
+example, you could open an xterm and execute
+@code{joe}.@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+installed already, then refer to the file @file{INSTALL.txt}}. In
+your text editor, enter the following input and save the file as
+@file{test.ly}:
+
+@quotation
@example
- \key c \minor
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
@end example
-The key is C minor: we have three flats.
+@end quotation
-@separate
-@example
+To process @file{test.ly}, proceed as follows:
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-
-@end example
-
-@cindex manual beaming
-@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we turn automatic
-beams off, and use explicit beaming where needed.
-@separate
-@example
-
- @}
-
-@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at the top level.
-
-[FIXME: no longer true for 146?]
-
-@separate
-@example
-
- text = \lyrics @{
-
+@quotation
+@example
+lilypond test.ly
@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}.
-@separate
-@example
+@end quotation
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
-@}
-
-@end example
-@cindex extenders, lyric
-@cindex hyphens, lyric
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering @code{__}, and centered hyphens with
-@code{-}@code{-}. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music, which obviously isn't all quarter notes.
-@separate
-@example
+You will see something resembling:
- accompaniment =\chords @{
-
+@quotation
+@example
+GNU LilyPond 1.8.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PDF output to `test.pdf'...
+DVI output to `test.dvi'...
@end example
-@cindex chords
-@cindex mode, chords
-We'll put chords over the music. To enter them, there is a special mode
-analogous to @code{\lyrics} and @code{\notes} mode, where you can give
-the names of the chords you want, instead of listing the notes
-comprising the chord.
-@separate
-@example
+@end quotation
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@separate
-@example
+The result is the file @file{test.pdf}.@footnote{For @TeX{}
+afficionados: there is also a @file{test.dvi} file. It can be viewed
+with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
+not show up in the magnifying glass. The specials also mean that the
+DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
+printing.
+@cindex dvips
+@cindex dvilj
+@cindex DVI driver
+} One of the following commands should put the PDF on your
+screen:
+@quotation
+@example
+ gv test.pdf
+ ghostview test.pdf
+ ggv test.pdf
+ kghostview test.pdf
+ xpdf test.pdf
+ gpdf test.pdf
+ acroread test.pdf
+ gsview32 test.pdf
+@end example
+@end quotation
+
+@noindent
+If the music on your screen looks good, you can print it by clicking
+File/Print inside your viewing program.
+
+@cindex Ghostscript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+@cindex PDF
- c2:3- f:3-.7
-
-@end example
-@cindex tonic
-@cindex chord modifier
-@cindex modifier, chord
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad. Since a minor triad is wanted, @code{3-} is added to modify the
-third to be small. @code{7} modifies (adds) a seventh, which is small by
-default to create the @code{f a c es} chord. Multiple modifiers must be
-separated by dots.
-@separate
-@example
+On Windows, the same procedure should work. The terminal is started by
+clicking on the LilyPond or Cygwin icon. Any text editor (such as
+Notepad, Emacs or Vim) may be used to edit the LilyPond file.
- d:min es4 c8:min r8
-
-@end example
+To view the PDF file, try the following:
+@itemize
+@item
+If your system has a PDF viewer installed, open
+@file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
+@file{test.pdf}.
+@item
+If you prefer the keyboard, you can try to enter one of the commands
+from the list shown before in the terminal. If none work, go to
+@uref{http://www.cs.wisc.edu/~ghost/} to install the proper software.
+@end itemize
-Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
-@separate
-@example
+The commands for formatting and printing music on all platforms are
+detailed in @ref{Invoking LilyPond}.
- c2:min f:min7 g:7^3.5 c:min @}
-
-@end example
-@cindex named modifier
+@node More about pitches
+@section More about pitches
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh. The brace ends the sequential music.
-@separate
-@example
+A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
+the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+you might expect, a @rglos{double sharp} or @rglos{double flat} is
+made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
+derived from note naming conventions in Nordic and Germanic languages,
+like German and Dutch.}
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.
-@cindex @code{\simultaneous}
-@separate
-@example
+@example
+cis1 ees fisis aeses
+@end example
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff. To print them as chords names, they have to be interpreted as
-being chords, not notes. This is done with the following command:
-@separate
-@example
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
+@end lilypond
- \context ChordNames \accompaniment
-@end example
-@cindex context
-@cindex interpretation context
-@cindex notation context
+@cindex key signature, setting
+The key signature is set with the command ``@code{\key}'', followed by
+a pitch and @code{\major} or @code{\minor}:
+@quotation
+@example
+\key d \major
+g1
+\key c \minor
+g
+@end example
+
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
-Normally, the notes that you enter are transformed into note heads.
-Note heads alone make no sense, they need surrounding information: a key
-signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts (or `Notation contexts') only exist
-during a run of LilyPond.
-By default, LilyPond will create a Staff context for you. If you would
-remove the @code{%} sign in the previous line, you would see that
-mechanism in action.
+Key signatures together with the pitches (including alterations) are
+used together to determine when to print accidentals. This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail:
-We don't want that default here, because we want chord names. The
-command above explicitly creates an interpretation context of
-@code{ChordNames} type to interpret the music @code{\accompaniment}.
-@separate
-@example
- \addlyrics
-
-@end example
-@cindex @code{\addlyrics}
-@cindex lyrics and melody, combining
-@cindex combining lyrics and melody
-
-The lyrics should be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful, and looks
-silly.
-@separate
-@example
+LilyPond makes a sharp distinction between musical content and
+layout. The alteration (flat, natural or sharp) of a note is part of
+the pitch, and is therefore musical content. Whether an accidental (a
+flat, natural or sharp @emph{sign}) is a printed in front of the
+corresponding note is a question of layout. Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
- \context Staff = mel @{
-
-@end example
+For example, in this example:
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
+@end lilypond
-The second argument of @code{\addlyrics} is the melody. We instantiate
-a @code{Staff} context explicitly: should you choose to remove the
-comment before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on
-staff different from the accompaniment. This is accomplished by giving
-the melody and accompaniment staffs different names.
-@separate
-@example
+@noindent
+no note gets an explicit accidental, but still you enter
- \property Staff.noAutoBeaming = ##t
-
+@example
+\key d \major
+d cis fis
@end example
-@cindex \property
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables, called properties, that tune
-its behaviour. One of the variables is @code{noAutoBeaming}. Setting
-this Staff's property to @code{##t}, which is the boolean value @var{true},
-turns the automatic beaming mechanism off for the current staff.
-@cindex GUILE
-@cindex Scheme
-@cindex accessing Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
-language from the LISP family. You can learn more about Scheme at
-@uref{http://www.scheme.org}. It is used to represent data throughout
-the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
-code following the hash-sign is evaluated as Scheme. The boolean value
-@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
-@code{##t}.
-
-If Scheme scares you, don't worry. You don't need to know Scheme to
-create beautiful sheet music.
-
+The code @code{d} does not mean ``print a black dot just below the
+staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
+of A-flat, it gets an accidental:
-@separate
-@example
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
+@end lilypond
- \property Staff.automaticMelismata = ##t
-
+@noindent
+@example
+\key as \major
+d
@end example
-@cindex automaticMelismata
-@cindex melismata
-@cindex @code{\addlyrics} and slurs
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under each
-separate note while there is a slur.
-@separate
-@example
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
-@separate
-@example
+Adding all alterations explicitly might require some more effort when
+typing, but the advantage is that transposing is easier, and music can
+be printed according to different conventions. See @ref{Accidentals}
+for some examples how accidentals can be printed according to
+different rules.
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.
-@separate
-@example
- \midi @{ \tempo 4=72@}
-
-@end example
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and recording digital instruments. So a MIDI file is like a
-tape recording of an instrument. The @code{\midi} block causes makes the
-music go to a MIDI file, so you can listen to the music you entered. It
-is great for checking the music. Whenever you hear something weird, you
-probably hear a typing error.
-
-Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
-also specifies an output method. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set to
-72 beats per minute.
+@cindex tie
+A tie is created by adding a tilde ``@code{~}'' to the first note
+being tied:
+@quotation
+@lilypond[fragment,verbatim,relative=2]
+g4~ g a2~ a4
+@end lilypond
+@end quotation
@separate
-@example
-
- \paper @{ linewidth = 10.0\cm @}
-
-@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines.
-
-@node More movements
-@section More movements
-
-[FIXME: merge here with, or move this to: Other ways to run LilyPond]
-You probably ran @file{ly2dvi} on the last example, and ended up with a
-viewable @file{.dvi} file. However, between there are a few steps of
-which LilyPond is only one. To enhance your understanding of what's
-happening under the hood when you run @code{ly2dvi}, we explain what
-programs are run.
-
-@code{ly2dvi} is a program that calls a number of programs in sequence.
-The first thing it does, is running LilyPond on the input file. After
-some calculations, a @file{.tex} is produced. The contents
-of this file are very low-level instructions.
-
-For example, the following file (@file{miniatures.ly})
+This example shows the key signature, accidentals and ties in action:
+@quotation
@example
-\version "1.3.124"
-\header @{ title = "Two miniatures" @}
-
-#(set! point-and-click line-column-location)
-
-\paper @{ linewidth = -1.0 @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
+ \notes @{
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+ @}
@}
@end example
-The titling in this manual was not generated by ly2dvi, so we can't
-exactly show it would look, but the result should resemble this:
-
-@center @strong{Two miniatures}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper { linewidth = -1.0 }
- }
+\score {
+ \notes { \transpose c c' {
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+ }}
+ \paper { linewidth = #(* 50 staffspace) }
+}
@end lilypond
-@flushright
-Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper { linewidth = -1.0 }
- }
+@end quotation
+@cindex accidentals
+
+There are some interesting points to note in this example. Bar lines
+and beams are drawn automatically. Line breaks are calculated
+automatically; it does not matter where the line breaks are in the
+source file. Finally, the order in which time, key and clef changes are entered is not
+relevant: in the printout, these are ordered according to standard
+notation conventions.
+
+
+@cindex beams, by hand
+Beams are drawn automatically, but if you do not like where they are
+put, they can be entered by hand. Mark the first note to be beamed
+with @code{[} and the last one with @code{]}:
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+a8[ ais] d[ es r d]
@end lilypond
+@end quotation
+@separate
-This file is produced by ly2dvi in a few stages, with the help of text
-formatting tools. LilyPond produces two output files, @file{miniatures.tex}
-and @file{miniatures-1.tex}. They both look like this:
+For more information on
+@table @asis
+@item Rests
+see @ref{Rests}.
-@example
- ...
- \placebox@{-5 \outputscale @}%
- @{ 8.7229 \outputscale @}%
- @{\magfontWXGEomMMBo\char90 @}%
-
- \placebox@{-4 \outputscale @}%
- @{ 81.0647 \outputscale @}%
- ...
-@end example
+@item Ties
+see @ref{Ties}.
-@file{ly2dvi} looks at what output LilyPond produces, and generates a
-file called @file{ly2dvi.out.tex}. This file contains formatting
-instructions for the title and page layout. A fragment might look like
+@item Accidentals
+see @ref{Accidentals}
-@example
+@item Key signature
+see @ref{Key signature}
- \def\lilypondopus@{Opus 1.@}
- \def\lilypondpiece@{Up@}
- \def\mustmakelilypondtitle@{@}
- \input miniatures.tex
- \def\lilypondtitle@{Two miniatures@}
+@item Beams
+see @ref{Beaming}
+@end table
-@end example
-@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
-built on top of @TeX{}. It's very popular in the academic world. If LaTeX
-is successful, this will produce a @file{.dvi} file, containing both the
-titling and the actual music. @code{ly2dvi} completes its task by
-deleting the two temporary files, leaving only @file{miniatures.dvi}.
+@node Octave entry
+@section Octave entry
-Next, now we'll look at the example line by line to explain new things.
-@separate
-@example
-\version "1.3.124"
-@end example
-Lilypond and its language are still under development, and occasionally,
-details of the syntax are changed. This fragment indicates for which
-version the input file was written. When you compile this file, the
-version number will be checked, and you will get a warning when the file
-is too old.
+@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...
-This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it to update the file to the latest lily
-version.
+@c better to have this just before the `octaves are bad' snipped
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a ``low quote'' @code{,}
+(a comma). Middle C is @code{c'}:
-@separate
+@quotation
@example
- \header @{ title = "Two miniatures" @}
+c'4 c'' c''' \clef bass c c,
@end example
-This sets the titling information for the entire file.
-@separate
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
+
+An example of the use of quotes is in the following Mozart fragment:
+@lilypond[raggedright,fragment,verbatim]
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8
+ b'8. cis''16 b'8 d''4 d''8
+@end lilypond
+
+This example shows that music in a high register needs lots of quotes.
+This makes the input less readable, and it is a source of errors. The
+solution is to use ``relative octave'' mode. In practice, this is the
+most convenient way to copy existing music. To use relative mode, add
+@code{\relative} before the piece of music. You must also give a note
+from which relative starts, in this case @code{c''}. If you do not
+use octavation quotes (i.e. do not add @code{'} or @code{,} after a
+note), relative mode chooses the note that is closest to the previous
+one. For example, @code{c f} goes up while @code{c g} goes down:
+
+@quotation
@example
- #(set! point-and-click line-column-location)
+\relative c'' @{
+ c f c g c
+@}
@end example
-This piece of Scheme code sets the Scheme variable
-@code{point-and-click} to the value @var{line-column-location} (which
-itself is a Scheme procedure).
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
+}
+@end lilypond
+@end quotation
+@separate
-Editing input files can be quite complicated if you're working with
-large files: if you're digitizing existing music, you have to
-synchronize the .ly file, the sheet music on your lap and the sheet
-music on the screen. The point-and-click mechanism makes it easy to
-find the origin of an error in the .ly file: when you view the file with
-Xdvi and click on a note, your editor will jump to the spot where that
-note was entered. For more information, see @ref{Point and click}.
-@separate
-@example
- \paper @{
-@end example
+Since most music has small intervals, pieces can be written almost
+without octavation quotes in relative mode. The previous example is
+entered as
+@c
+@lilypond[raggedright,fragment,verbatim]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
+@end lilypond
-The @code{\score} blocks that follow in the file don't have
-@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
-default page layout.
-@separate
+@c needed better, maybe even redundant explanation
+@c added another example below.
+@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
+@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
+Larger intervals are made by adding octavation quotes.
+@quotation
@example
- linewidth = -1.0 @}
+\relative c'' @{
+ c f, f c' c g' c,
+@}
@end example
-
-
-The variable @code{linewidth} normally sets the length of the systems on
-the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes up
-little space, a longer phrase more space.
-
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@end quotation
@separate
-@example
- \score @{
- \notes @{ c'4 d'4 @}
-@end example
-In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
-predecessor. Besides relative, there is also absolute octave
-specification, which you get when you don't specify @code{\relative}. In
-this input mode, the central C is denoted by @code{c'}. Going down, you
-get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
-@code{c'''} etc.
+Quotes or commas do not determine the absolute height of a note; the
+height of a note is relative to the previous one.
+@c do not use commas or quotes in this sentence
+For example: @code{c f,} goes down; @code{f, f} are both the same;
+@code{c' c} are the same; and @code{c g'} goes up:
-When you're copying music from existing sheet music, relative octaves
-are probably the easiest to use: it's less typing work and errors are
-easily spotted. However, if you write LilyPond input, either by hand
-(ie. composing) or by computer, absolute octaves are probably less work.
-@separate
-@example
- \header @{
-@end example
+Here is an example of the difference between relative mode and
+``normal'' (non-relative) mode:
-The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different pieces
-from one file (for example, if there are multiple movements, or if
-you're making an exercise book), you can put different @code{\score}
-blocks into the input file. ly2dvi will assemble all LilyPond output
-files into a big document. The contents of \header blocks specified
-within each score, are used for the titling of each movement.
-@separate
+@quotation
@example
- opus = "Opus 1."
- piece = "Up" @}
+\relative a @{
+\clef bass
+ a d a e d c' d'
+@}
@end example
-For example, the Opus number is put at the right, and the piece string
-will be at the left.
-
-
-
-@node A piano excerpt
-@section A piano excerpt
-
-Our fourth subject is a piece of piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740. It's in the source package
-under the name @file{sammartini.ly}.
-
-@lilypond[verbatim]
-\include "paper16.ly"
-stemDown = \property Voice.Stem \override #'direction = #-1
-stemUp = \property Voice.Stem \override #'direction = #1
-stemBoth = \property Voice.Stem \revert #'direction
-
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f-\arpeggio g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
-}
-
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
- \grace <e8( g> <d4 )f> <c2 e>
- \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemDown
- \grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
- f8 e e2
- }
- >
- \stemBoth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
-
-hoomPah = \repeat unfold 8 \notes
- \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \autochange Staff \hoomPah
- \translator Staff = down
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
-}
-
-\score {
- \context PianoStaff \notes <
- \context Staff = up < \time 2/2
- \viola
- \oboes
- >
- \context Staff = down < \time 2/2 \clef bass
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0
- linewidth = 15.0 \cm }
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\relative a {
+\clef bass
+ a d a e d c' d'
}
@end lilypond
-
-If this looks like incomprehensible gibberish to you, you are right.
-This example has been doctored to have as many quirks as possible.
-
-As you can see, this example features multiple voices on one staff. To
-make room for those voices, their notes have to be stemmed in opposite
-directions.
-
-Printed symbols are internally represented by so-called Graphical
-Objects (more colloquially: Grobs). These statements concern the
-grob called `Stem'. Each grob is described by a bunch of settings. These
-setting determine the fonts, offsets, sub-routines to be called on the
-grob, etc. The initial values of these settings are set in the Scheme
-file @file{scm/grob-description.scm}.
-
+@end quotation
@separate
+
+@quotation
@example
- stemDown = \property Voice.Stem \override #'direction = #-1
+\clef bass
+ a d a e d c' d'
@end example
-Set a proprerty for all Stem grobs in the current Voice:
-@code{direction} is set to @code{-1}, which encodes down. The setting
-remains in effect until it is reverted.
-
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+\clef bass
+ a d a e d c' d'
+@end lilypond
+@end quotation
@separate
-@example
- \property Voice.Stem \revert #'direction
-@end example
-Revert the to the previous setting. The effect of precisely one
-@code{\stemDown} or @code{\stemUp} is neutralised.
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
-LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some other commonly used formatting instructions, but to explain how
-it works, we wrote our own here. Of course, you should use predefined
-identifiers like these if possible: then you will be affected less by
-the implementation changes we occasionally make.
-@separate
-@example
-viola = \notes \relative c' \context Voice = viola @{
-@end example
-In this example, you can see multiple parts on a staff. Each part is
-associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
-(`@code{viola}').
-@separate
-@example
-<c4-\f-\arpeggio g' c>
-@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a chord.
-@cindex dynamics
-@cindex loudness
-@cindex forte
-@cindex arpeggio
-@code{\f} places a forte symbol under the chord. The forte applies to
-the whole chord, but the syntax requires that commands like forte and
-arpeggio are attached to a note, so here we attach them to the first
-note.
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
-the chord.
+@node Combining music into compound expressions
+@section Combining music into compound expressions
-@separate
-@example
- \stemDown
-@end example
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\context Staff} before it. These
+@code{Staff}'s are then grouped inside @code{\simultaneous @{} and
+@code{@}}, as is demonstrated here:
+@quotation
+@lilypond[fragment,verbatim]
+\simultaneous {
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
+}
+@end lilypond
+@end quotation
-@separate
-@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
-@separate
-@example
-s1 s2. r4
-@end example
-@code{s} is a spacer rest. It does not print anything, but it does have
-the duration of a rest. It is useful for filling up voices that
-temporarily don't play. In this case, the viola doesn't come until one
-and a half measure later.
+In this example, @code{\simultaneous } indicates that both music
+fragments happen at the same time, and must be printed stacked
+vertically. The notation @code{<< .. >>} can also be used as a
+shorthand for @code{\simultaneous @{ .. @}}.
-@separate
-@example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.
-@separate
-@example
-\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemUp} is a reference to the @code{\property \override} command
-defined above.
-@separate
-@example
-\grace <e8 g> < d4 f> <c2 e>
-@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
+The command @code{\new} introduces a ``notation context''. To
+understand this concept, imagine that you are performing a piece of
+music. When you are playing, you combine the symbols printed at a
+certain point with contextual information. For example, without
+knowing the current clef, and the accidentals in the last measure, it
+would be impossible to determine the pitch of a note. In other words,
+this information forms a context that helps you decipher a
+score. LilyPond produces notation from music, so in effect, it does
+the inverse of reading scores. Therefore, it also needs to keep track
+of contextual information. This information is maintained in
+``notation contexts.'' There are several types of contexts,
+e.g. @code{Staff}, @code{Voice} and @code{Score}, but also
+@code{Lyrics} and @code{ChordNames}. Prepending @code{\new} to a chunk
+of music indicates what kind of context to use for interpreting it,
+and ensures that the argument is interpreted with a fresh instance of
+the context indicated.
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord.
-@ignore
-The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@end ignore
@separate
-@example
-\times 2/3
-@end example
-@cindex tuplet
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
-@separate
-@example
-@{ <d8 \< f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord, a crescendo is started with
-@code{\<}. To be precise, the crescendo start is syntactically attached
-to the preceding note, the @code{d}.
-@cindex dynamics
-@cindex crescendo
-@cindex @code{\<}
+We can now typeset a melody with two staves:
-@separate
-@example
-<
-@end example
-At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems:
-@separate
-@example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
-@end example
+@quotation
+@lilypond[verbatim,raggedright]
+\score {
+ \notes
+ << \new Staff {
+ \time 3/4
+ \clef violin
+ \relative c'' {
+ e2( d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.) }
+ }
+ \new Staff {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >>
+}
+@end lilypond
+@end quotation
-@cindex @code{\!}
+The example shows how small chunks of music, for example, the notes
+@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
+larger chunk by enclosing it in braces. Again, a larger chunk is
+formed by prefix @code{\new Staff} to it, and that chunk is combined
+with @code{<< >>}. This mechanism is similar to mathematical
+formulas: a big formula is created by composing small formulas. Such
+formulas are called expressions, and their definition is recursive, so
+you can make arbitrarily complex and large expressions. For example,
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
-@separate
-@example
-\context Voice = oboeTwo @{
-\stemDown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice.
-@separate
-@example
-\grace @{
+@quotation
+ 1
+
+ 1 + 2
+
+ (1 + 2) * 3
+
+ ((1 + 2) * 3) / (4 * 5)
+@end quotation
+@cindex expression
+@cindex music expression
+This example shows a sequence of expressions, where each expression is
+contained in the next one. The simplest expressions are numbers and
+operators (like +, * and /). Parentheses are used to group
+expressions. In LilyPond input, a similar mechanism is used. Here,
+the simplest expressions are notes and rests. By enclosing
+expressions in @code{<< >>} and @code{@{ @}}, more complex music is
+formed. The @code{\new} command also forms new expressions; prepending
+it to a music expression yields a new expression.
+
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, e.g.
+@lilypond[verbatim,relative=1]
+ { c <<c e>>
+ << { e f } { c <<b d>> }
+ >>
+ }
+@end lilypond
+
+
+@cindex indent
+When spreading expressions over multiple lines, it is customary to use
+an indent that indicates the nesting level. Formatting music like this
+eases reading, and helps you insert the right number of closing
+braces at the end of an expression. For example,
+@example
+\score @{
+ \notes <<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ >>
+@}
@end example
-@cindex Grace context
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here we fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.
-@separate
-@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
-@end example
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+For more information on context see the Technical manual description
+in @ref{Interpretation context}.
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@separate
-@example
- f8 e e2
-@} >
-@end example
-This ends the two-part section.
-@separate
-@example
-\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@cindex trill
-@cindex stemBoth
-@code{\stemBoth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use repeats:
-@separate
-@example
-hoomPah = \repeat unfold 8
-@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-@example
-\notes \transpose c' @{
-@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-Transposing can be done with @code{\transpose}. It takes two arguments
-the first specifies what central C should be transposed to. The second
-is the to-be-transposed music. As you can see, in this case, the
-transposition has no effect, as central C stays at central C.
-
-The purpose of this no-op is circumventing relative mode. Relative mode
-can not be used together with transposition, so @code{\relative} will
-leave the contents of @code{\hoomPah} alone. We can use it without
-having to worry about getting the motive in a wrong octave.
-@separate
-@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\autochange Staff \hoomPah
-@end example
-@cindex staff switch, automatic
-@cindex cross staff voice, automatic
-@cindex @code{\autochange}
-
-Voices can switch between staffs. The easiest way to get this, is to use
-@code{\autochange}. This command looks at the pitch of each note, and if
-necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
+@cindex articulation
+@cindex accents
+@cindex staccato
+
+Common accents can be added to a note using a dash (`@code{-}') and a
+single character:
+@quotation
+@lilypond[verbatim,relative=1]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
+@end quotation
@separate
-@example
- \translator Staff = down
-@end example
-@cindex staff switch
-@cindex cross staff voice
-We want the remaining part of this melody on the lower staff, so we do a
-manual staff switch here.
+@cindex fingering
+Similarly, fingering indications can be added to a note using a dash
+(`@code{-}') and the digit to be printed:
+@c
+@lilypond[verbatim,relative=1]
+ c-3 e-5 b-2 a-1
+@end lilypond
-@separate
-@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
-@end example
-@cindex tie
-@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties. Note
-that ties and slurs are different things. A tie can only connect two
-note heads of the same pitch, whereas a slur can connect many chords
-with one curve.
+Dynamic signs are made by adding the markings to the note:
+@quotation
+@lilypond[verbatim,relative=1]
+c\ff c\mf
+@end lilypond
+@end quotation
@separate
-@example
-\context PianoStaff
-@end example
- A special context is needed to get cross staff beaming right. This
-context is called @code{PianoStaff}.
-@separate
-@example
-\context Staff = bottom < \time 2/2 \clef bass
-@end example
-The bottom staff must have a different clef.
-@separate
-@example
-indent = 0.0
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks very cramped, but that is due
-to the page layout of this document.
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
-@ignore
-[TODO:
+Crescendi and decrescendi are started with the commands @code{\<} and
+@code{\>}. The command @code{\!} finishes a crescendo on the note it
+is attached to:
+@quotation
+@lilypond[verbatim,relative=1]
+c2\< c2\!\ff\> c2 c2\!
+@end lilypond
+@end quotation
+@separate
-* font-size, multi-stanza.
-* Simple part combining in a Hymn
-@end ignore
+@cindex slur
-@node An orchestral score
-@section An orchestral score
+A slur is drawn across many notes, and indicates bound articulation
+(legato). The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
-@menu
-* The full score::
-* Extracting an individual part::
-@end menu
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+d4( c16)( cis d e c cis d e)( d4)
+@end lilypond
+@end quotation
+@separate
+@cindex slurs versus ties
+A slur looks like a tie, but it has a different meaning. A tie simply
+makes the first note sound longer, and can only be used on pairs of
+notes with the same pitch. Slurs indicate the articulations of notes,
+and can be used on larger groups of notes. Slurs and ties are also
+nested in practice:
+@c
+@lilypond[fragment,relative=1]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+@cindex phrasing slurs
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
-Our last two examples show a way to setup the music for an orchestral
-score. When typesetting a piece for several instruments, you'll want to
-create a conductor's full score, alongside several individual parts.
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@end lilypond
+@end quotation
+
+
+For more information on
+@table @asis
+@item fingering
+ see @ref{Fingering instructions}
+@item articulations
+ see @ref{Articulations}
+@item slurs
+ see @ref{Slurs}
+@item phrasing slurs
+ see @ref{Phrasing slurs}
+@item dynamics
+ see @ref{Dynamics}
+@item fingering
+@end table
+
+@node Combining notes into chords
+@section Combining notes into chords
-LilyPond is well suited for this task. We will declare the music for
-each instrument individually, giving the music of each instrument its
-own name. These pieces of music are then combined in different
-@code{\score} blocks to produce different combinations of the score.
+@cindex chords
+Chords can be made by
+surrounding pitches with @code{<} and @code{>}:
+@quotation
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>4 <c f a>8
+@end lilypond
+@end quotation
+@separate
-This orchestral score example consists of three input files. In the
-first file, @file{os-music.ly}, we define the music for all instruments.
-This file will be used both for producing the score and the separate
-parts.
-If you were to run lilypond on this file, no printable output would be
-produced.
+You can combine beams and ties with chords. Beam and tie markings
+must be placed outside the chord markers:
+@quotation
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
+@end lilypond
+@end quotation
+@quotation
@example
-% os-music.ly
-\header @{
- title = "Zo, goed lieverd?"
- subtitle = "How's, this babe?"
- composer = "JCN"
- opus = "1"
- piece = "Laid back"
-@}
-global = @{
- \time 2/4
- \skip 2*4 \bar "|."
-@}
-Key = \notes \key as \major
-flautoI = \notes\relative c'' @{
- f8 g f g f g f g
- bes as bes as bes as bes as
-@}
-flautoII = \notes\relative c'' @{
- as8 bes as bes R1 d4 ~ d
-@}
-tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 r as, r
-@}
-tromboII = \notes\relative c'' @{
- as4. as8 as8 as4. R1*1/2 as4 es'
-@}
-timpani = \notes\relative c, @{
- \times 2/3 @{ f4 f f @}
- \times 4/5 @{ as8 as as as as @}
- R1
-@}
-corno = \notes\relative c' @{
- bes4 d f, bes d f, bes d
-@}
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-
-We will not go through the input line by line, but only indicate and
-explain the new elements.
+@lilypond[relative,fragment]
+\slurUp
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+@end lilypond
+@end quotation
+@separate
-@separate
-@example
-global = @{
- \time 2/4
- \skip 2*4 \bar "|.";
-@}
-@end example
-Declare setting to be used globally. The @code{\skip} command produces
-no output, but moves forward in time: in this case, the duration of a
-half note (@code{2}), and that four times (@code{*4}). This brings us
-to the end of the piece, and we can set the end bar.
-@separate
-@example
-Key = \notes \key as \major
-@end example
-Declare the key signature of the piece and assign it to the identifier
-@var{Key}. Lateron, we'll use @code{\Key} for all staffs except those
-for transposing instruments.
+@node Basic rhythmical commands
+@section Basic rhythmical commands
-@node The full score
-@subsection The full score
+@cindex pickup
+@cindex anacruse
+@cindex upstep
+@cindex partial measure
+A pickup (or upstep) is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep
+and @code{\partial 8} an eighth note:
+@lilypond[relative=1,verbatim,fragment]
+ \partial 8
+ f8 c2 d e
+@end lilypond
+@cindex tuplets
+@cindex triplets
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
+@c
+@lilypond[relative,verbatim,fragment]
+ \times 2/3 { f8 g a }
+ \times 2/3 { c r c }
+@end lilypond
-The second file, @file{os-score.ly} reads the definitions of the first
-(@file{os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
+@cindex grace notes
+@cindex accacciatura
+Grace notes are also made by prefixing a note, or a set of notes with
+a keyword. In this case, the keywords are @code{\appoggiatura}
+and @code{\acciaccatura}
+@cindex appoggiatura
+@cindex acciaccatura
+
+@lilypond[relative=1,verbatim,fragment]
+ c4 \appoggiatura b16 c4
+ c4 \acciaccatura b16 c4
+@end lilypond
+@noindent
-@example
-% os-score.ly
-\include "os-music.ly"
-\include "paper13.ly"
+For more information on
+@table @asis
+@item grace notes
+see @ref{Grace notes},
+@item tuplets
+see @ref{Tuplets},
+@item upsteps
+see @ref{Partial measures}.
+@end table
-#(set! point-and-click line-column-location)
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-\score @{
- <
- \global
- \property Score.BarNumber \override #'padding = #3
- \context StaffGroup = woodwind <
- \context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
- \Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
- >
- >
- \context StaffGroup = timpani <
- \context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass
- \Key
- \timpani
- >
- >
- \context StaffGroup = brass <
- \context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
- \Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
- >
- \context Staff = corni <
- \property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (rows "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major
- \context Voice=one \corno
- >
- >
- >
- \paper @{
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
- textheight = 90 * \staffspace
- \translator@{
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
- \translator@{
- \HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
- @}
- @}
- \midi @{
- \tempo 4 = 75
- @}
-@}
-@end example
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
+@node Commenting input files
+@section Commenting input files
-@lilypondfile{os-score.ly}
+@cindex comments
+@cindex line comment
+@cindex block comment
+Comments are pieces of the input that are ignored. There are two
+types of comments. A line comment is introduced by @code{%}: after
+that, the rest of that line is ignored. Block comments span larger
+sections of input. Anything that is enclosed in @code{%@{} and
+@code{%@}} is ignored too. The following fragment shows possible uses
+for comments:
-@separate
@example
-\include "os-music.ly"
-@end example
-First, we need to include the music definitions we made in
-@file{os-music.ly}.
+ % notes for twinkle twinkle follow:
+ c4 c g' g a a
+
+ %@{
+
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
-@separate
-@example
-#(set! point-and-click line-column-location)
+ g g f f e e d d c2
+ %@}
@end example
-In a large orchestral score like this you're bound to make some small
-mistakes, so we enable point and click (See @ref{Point and click})
-editing.
-@separate
-@example
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-@end example
-When naming the tuning of the french horn, we'll need a piece of text
-with a flat sign. LilyPond has a mechanism for font selection and
-kerning called Scheme markup text (See @ref{Text markup}). The flat
-sign is taken from the music font, and its name is @code{accidentals--1}
-(The sharp sign is called @code{accidentals-+1}). The default font is
-too big for text, so we select a relative size of @code{-2}.
-@separate
-@example
- <
- \global
-@end example
-Of course, all staffs are simultaneous and use the same global settings.
-@separate
-@example
- \property Score.BarNumber \override #'padding = #3
-@end example
-LilyPond prints bar numbers at the start of each line, but
-unfortunately, they end up a bit too close to the staff in this example.
-A bar number internally is a Grob called @var{BarNumber}. BarNumber
-Grobs can be manipulated through their @var{side-position-interface}. One
-of the properties of a @var{side-position-interface} that can be tweaked
-is the @var{padding}: the amount of extra space that is put between this
-Grob and other Grobs. We set the padding to three staff spaces.
-
-You can find all this kind of information in LilyPond's automatically
-generated documentation in
-@ifnottex
-@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
-@end ifnottex
-@iftex
-the online documentation.
-@end iftex
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
-@separate
+@cindex Lyrics
+@cindex Songs
+Lyrics are entered by separating each syllable with a space, and
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
@example
- \context StaffGroup = woodwind <
- \context Staff = flauti <
+ \lyrics @{ I want to break free @}
@end example
-A new notation context: the StaffGroup. StaffGroup can hold one or more
-Staffs, and will print a big bracket at the left of the score. Start a
-new staff group for the woodwind section (just the flutes in this case).
-Immediately after that, we start the staff for the two flutes, that also
-play simultaneously.
-@separate
+Like notes, lyrics are also a form of music, but they must not be
+printed on a staff, which is the default way to print music. To print
+them as lyrics, they must be marked with @code{ \new Lyrics}:
@example
- \property Staff.midiInstrument = #"flute"
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
-Specify the instrument for MIDI output (see @ref{MIDI instrument
-names}).
+The melody for this song is as follows:
-@separate
-@example
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
-@end example
-And define the instrument names to be printed in the margin,
-@code{instrument} for the first line of the score, @code{instr} for the
-rest of the score.
+@lilypond[fragment,relative=1]
+ \partial 8
+ c8
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
+@end lilypond
-@separate
+The lyrics can be set to these notes, combining both with the
+@code{\lyricsto} keyword:
@example
- \Key
-@end example
-The flutes play in the default key.
+ \lyricsto "@var{name}" \new Lyrics @dots{}
+@end example
+where @var{name} identifies to which melody the lyrics should be
+aligned. In this case, there is only one melody, so we can leave it
+empty.
+
+The final result is
+@lilypond[verbatim,fragment]
+\score {
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4( a2) }
+ }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
+ >>
+}
+@end lilypond
-@separate
+@cindex melisma
+@cindex extender line
+@c synonyms?
+This melody ends on a @rglos{melisma}, a single syllable (``free'')
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores, i.e.
@example
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
-@end example
-Last come the actual flute parts. Remember that we're still in
-simultaneous mode. We name both voices differently, so that LilyPond
-will actually create two Voice contexts. The flute parts are simple, so
-we specify manually which voice is which: @code{\voiceOne} forces the
-direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
-directions down.
+ \lyrics @{ I want to break free __ @}
+@end example
+@lilypond[raggedright]
+\score {
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
+ >>
+}
+@end lilypond
-@separate
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables:
@example
- >
- >
+ Twin -- kle twin -- kle
@end example
-Close the flutes staff and woodwind staff group.
+@lilypond[raggedright]
+\score {
+ << \notes \relative f' { \time 2/4
+ f4 f c' c' }
+ \new Lyrics \lyrics { Twin -- kle twin -- kle }
+ >>
+ \paper { raggedright = ##t }
+ }
+@end lilypond
-@separate
-@example
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
-@end example
-The timpani staff only shows a new piece of scheme markup, it sets two
-lines of text.
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
-@separate
-@example
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
-@end example
-You have seen the notation contexts Staff and Voice, but here's a new
-one: Thread. One or more Threads can be part of a Voice. The Thread
-takes care of note heads and rests, the Voice combine note heads onto a
-stem.
-
-For the trumpets we use the automatic part combiner (see @ref{Automatic
-part combining}) to combine the two simultaneous trumpet parts onto the
-trumpet staff. Each trumpet gets its own Thread context, which must be
-named @code{one} and @code{two}). The part combiner makes these two
-threads share a Voice when they're similar, and splits the threads up
-when they're different.
-@separate
-@example
- \property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
-@end example
-The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has two elements (rows), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
-@separate
-@example
- \property Staff.transposing = #3
-@end example
-The french horn is to be tuned in E-flat, so we tell the MIDI backend to
-transpose this staff by three steps.
+@node A lead sheet
+@section A lead sheet
-Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff proprerty
-@var{transposing}.
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
+
+In popular music, it is common to denote accompaniment as chord-names.
+Using them in LilyPond has two parts, just like lyrics: entering the
+chords (with @code{\chords}), and printing them (with @code{\new
+ChordNames}).
+
+Chord names are entered by starting chords mode (with @code{\chords}).
+In chords mode, you can enter chords with a letter (indicating the
+root of the chord), and a durations following that:
+@c
+@lilypond[verbatim]
+ \chords { c2 f4. g8 }
+@end lilypond
-@separate
-@example
- \notes \key bes \major
-@end example
-Therefore, it has a different key.
+@noindent
+The result of @code{\chords} is a list of chords, and is equivalent
+to entering chords with @code{<@dots{}>}.
-@separate
-@example
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
-@end example
-We specify a big indent for the first line and a small linewidth for this
-tutorial.
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers:
+@c
+@lilypond[verbatim]
+ \chords { c2 f4:m g4:maj7 gis1:dim7 }
+@end lilypond
+
+Printing chords is done by adding @code{\context ChordNames}
+before the chords thus entered:
+@c
+@lilypond[verbatim]
+ \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@end lilypond
+@cindex lead sheet
@separate
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
+
@example
- \translator@{
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
- \translator@{
- \HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
- @}
+\score @{
+ <<
+ \context ChordNames \chords @{ @emph{chords} @}
+ \notes @emph{the melody}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
+ >>
+@}
@end example
-[FIXME: ignoring mmrest moving for now, assuming we'll do that in
-engraver.ly]
+@lilypond[]
+\score {
+ <<
+ \context ChordNames \chords { r8 c2:sus4 f }
+ \notes \relative c' {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
+ >>
+ \paper{ raggedright = ##t }
+}
+@end lilypond
-Usually, LilyPond's predefined setup of notation contexts (Thread,
-Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
-want a different type of Staff context.
-In orchestral scores, it often happens that one instrument has only
-rests during one line of the score. The @code{HaraKiriStaffContext} can
-be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staffs.
+A complete list of modifiers and other options for layout are in the
+reference manual section @ref{Chords}.
-@node Extracting an individual part
-@subsection Extracting an individual part
+@node Listening to output
+@section Listening to output
-The third file, @file{os-flute-2.ly} also reads the definitions of the
-first (@file{os-music.ly}), and defines the @code{\score} block for the
-second flute part.
+@cindex sound
+@cindex MIDI
-@example
-\include "os-music.ly"
-\include "paper16.ly"
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and recording digital instruments. A MIDI file is like a
+tape recording of a MIDI instrument. The @code{\midi} block causes LilyPond
+to create a MIDI file, so you can listen to the music you entered.
+It is great for checking the music: octaves that are off or
+accidentals that were mistyped stand out very much when listening to
+the musical transcription.
+The @code{\midi} block is added to @code{\score}, for example,
+@example
\score @{
- \context Staff <
- \property Score.skipBars = ##t
- \property Staff.midiInstrument = #"flute"
- \global
- \Key
- \flautoII
- >
- \header @{
- instrument = "Flauto II"
- @}
- \paper @{
- linewidth = 80 * \staffspace
- textheight = 200 * \staffspace
- @}
- \midi @{
- \tempo 4 = 75
- @}
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
@}
-@end example
+@end example
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@center @emph{Flauto II}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-@lilypondfile{os-flute-2.ly}
+Here, the tempo is specified using the @code{\tempo} command. In this
+case the tempo of quarter notes is set to 72 beats per minute. More
+information on auditory output is in the @ref{Sound} section in the
+notation manual.
+If there is a @code{\midi} command in a @code{\score}, then only MIDI
+will be produced. If notation is needed too, then a @code{\paper}
+block must be added too:
-Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
-the second flute. This then is the part for the second flute player.
-Of course, we make separate parts for all individual instruments.
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
+@end example
-@separate
-@example
- \flautoII
-@end example
-In this individual part the second flute has a whole staff for itself,
-so we don't want to force stem or tie directions.
+@cindex paper block
-@separate
-@example
+@node Titling
+@section Titling
+
+Bibliographic information is entered in a separate block, the
+@code{\header} block. The name of the piece, its composer, etc. are
+entered as an assignment, within @code{\header @{ @dots{} @}}. For
+example,
+@example
\header @{
- instrument = "Flauto II"
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
@}
+
+ \score @{ @dots{} @}
@end example
-The @code{\header} definitions were also read from @file{os-music.ly},
-but we need to set the instrument for this particular score.
-
-@separate
-@example
- \property Score.skipBars = ##t
-@end example
-In the conductor's full score, all bars with rests are printed, but for
-the individual parts, we want to contract pieces of consecutive empty
-bars. LilyPond will do this if Score's @var{skipBars} property to
-true.
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex Engraved by LilyPond
-@node Other ways to run LilyPond
-@section Other ways to run LilyPond
+When the file is processed by the @code{lilypond} wrapper script
+the title and composer specified are printed above the music. The
+`tagline' is a short line printed at bottom of the last page which
+normally says ``Engraved by LilyPond, version @dots{}''. In the
+example above it is replaced by the line ``small is
+beautiful.''@footnote{Nicely printed parts are good PR for us, so do
+us a favor, and leave the tagline if you can.}
-[FIXME: describe all programs involved in one list.]
+Normally, the @code{\header} is put at the top of the file. However,
+for a document that contains multiple pieces (e.g. an etude book, or
+an orchestral part with multiple movements), the header can be
+put in the @code{\score} block as follows; in this case, the name of
+each piece will be printed before each movement:
-Until now, you have been using @file{ly2dvi} to invoke LilyPond.
-There are three other routes. Firstly, there is a script called
-@code{lilypond-book}, that allows you to freely mix LilyPond input with
-Texinfo or LaTeX input. For example, this manual was written using
-@code{lilypond-book}. It is discussed in @ref{lilypond-book}.
-@c FIXME: ly2dvi option?
-Secondly, you can generate PostScript directly. This is useful if you
-can not or do not want to run @TeX{} on your system. To obtain direct
-PostScript output, invoke LilyPond as follows:
-@cindex PostScript output
-@example
-lilypond -f ps test.ly
-@end example
-You have to set some environment variables to view or print this
-output. More information can be found in @ref{Invoking
-LilyPond}.
+@cindex Engraved by LilyPond
+@cindex signature line
+@cindex tag line
-@c FIXME: ly2dvi option?
-Thirdly, if you want to do special things with your output, you can run
-invoke lilypond directly:
-@example
-lilypond test.ly
+@example
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+ @}
+
+ \score @{ @dots{}
+ \header @{ piece = "Adagio" @}
+ @}
+ \score @{ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
@end example
-to produce plain @TeX{}@footnote{@TeX{} is a text-typesetting system
-that is especially suited for typesetting mathematics.} output. Note
-that you must run @TeX{} on the resulting @file{test.tex}, ie, not
-LaTeX.
-@cindex @TeX{}
-
-
+More information on titling can be found in @ref{Invoking lilypond}.
-@node Latex and texinfo integration
-@section Latex and texinfo integration
+@node Single staff polyphony
+@section Single staff polyphony
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
-[TODO: rewrite completely.]
+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.
-@menu
-* Songs with additional verses::
-@end menu
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{ .. @}}), and combining those simultaneously, separating the
+voices with @code{\\}:
-
-So what does this look like? Well, here is an example:
-@lilypond[veryverbatim, intertext="produces this music:"]
-\score{
- \notes\relative c'{
- \time 5/8
- [e16( g b c a g][e a b d] | )e2 d,8 |
- [e16( g b c a g][e a b d] | )b2 [a16( f] |
- [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
- [f( a b d b a][f a b d] | )e2
- }
-}
-@end lilypond
-If you are lucky, the above example show a nice feature of LilyPond
-and La@TeX{}. Since LilyPond can output the music as @TeX{} graphics,
-La@TeX{} can insert pagebreaks between the lines of music.
-
-Notice that there is no @code{\paper} statement in the example
-above. Lilypond-book will insert some code for you that defines the
-linewidth and the font to use. If you don't want to change the default,
-there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
-In the example above, something like this might be inserted before your code:
@example
-\include "paper16.ly"
-\paper@{ \paper_sixteen
- linewidth = 390.\pt
-@}
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ r4 g4 f2 f4 @} >>
@end example
-The actual values for linewidth will differ depending on papersize and
-number of columns. Also, if you use a different fontsize for the
-music, another file than @code{paper16.ly} should be included.
-
-If you want to make the music not so wide, you can insert a
-@code{\paper} statement to set the linewidth:
-
-@lilypond[veryverbatim, intertext="produces this music:"]
-\score{
- \notes\relative c'{
- \time 5/8
- [e16( g b c a g][e a b d] | )e2 d,8 |
- [e16( g b c a g][e a b d] | )b2 [a16( f] |
- [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
- [f( a b d b a][f a b d] | )e2
- }
- \paper{linewidth = 10.\cm }
-}
-@end lilypond
-
-Very often, if you mix music and text, the music is often only a
-few notes or at most a few bars. This music should be as short as
-possible and not stretched to be aligned to the right margin.
-
-If you only write voice-contents in the lilypond block, @command{lilypond-book}
-will set the @code{linewidth} variable to -1, so Lilypond
-will make the music as short as possible but without breaking the
-line. Here is a well know harmonic progression:
-@lilypond[veryverbatim, intertext="produce a well known harmonic progression:"]
- \context Voice { <c' e g> <b d g> <c2 e g> }
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
@end lilypond
-If you want to place music examples in the text,
-@lilypond[eps]
- \context Voice { <c' e g> <b d g> <c2 e g> }
-@end lilypond
-, you can use the @code{eps} option. This will create the music as
-eps graphics and include it into the document with the
-@code{\includegraphics} command.
-
-The code used look like this:
+For polyphonic music typesetting, spacer rests can also be convenient: these
+are rests that do not print. It is useful for filling up voices that
+temporarily do not play:
@example
-@@lilypond[eps]
- \context Voice @{ <c' e g> <b d g> <c2 e g> @}
-@@end lilypond
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ s4 g4 f2 f4 @} >>
@end example
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+@end lilypond
-You can also use the @code{eps} option if the block is a complete
-lilypond source. This 5 cm long empty line,
-@lilypond[eps]
-\score{
- \notes{s}
- \paper{ linewidth = 5.\cm }
-}
+Again, these expressions can be nested arbitrarily:
+
+@lilypond[fragment]
+<<
+ \new Staff
+ \relative c''
+ << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+ \new Staff
+ << { \clef bass <c g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
@end lilypond
-was created with this code:
-@example
-@@lilypond[eps]
-\score@{
- \notes@{s@}
- \paper@{ linewidth = 5.\cm@}
-@}
-@@end lilypond
-@end example
-To avoid that La@TeX{} places the music on a line of its one, there should
-be no empty lines between the normal text and the lilypond
-environment.
-You can also use @code{lilypondfile} (on a separate line, FIXME), to
-include another file.
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
-@subsection Fontsize options
+@node Piano staves
+@section Piano staves
-You can use all lilypond fontsizes in @command{lilypond-book}. The
-default 16pt fontsize is probably to big to be included in the middle of
-the text, 11pt or 13pt is probably better.
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\translator}
-The code can look like this:
+Piano music is always typeset in two staves connected by a brace.
+Printing such a staff is similar to the polyphonic example in
+@ref{Combining music into compound expressions}:
@example
-@@lilypond[13pt, eps]
-<c' e g>
-@@end lilypond
+ << \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @}
+ >>
+@end example
+but now this entire expression must be interpreted as a
+@code{PianoStaff}:
+@example
+ \new PianoStaff << \new Staff @dots{} >>
@end example
-The following options set the fontsize:
-@itemize
-@item @code{11pt}
-@lilypond[11pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-@end lilypond
-@item @code{13pt}
-@lilypond[13pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-@end lilypond
-@item @code{16pt}
-@lilypond[16pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-@end lilypond
-@item @code{20pt}
-@lilypond[20pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
-@end lilypond
-@item @code{26pt}
-@lilypond[26pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- }
-@end lilypond
-@end itemize
-
+Here is a full-fledged example:
-@subsection More options
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
+ c4 c g' g }
+ \new Staff {
+ \clef bass c,, c' e c }
+ >>
+@end lilypond
-@itemize
-@item The @code{singleline} option sets @code{linewidth} to -1.0.
-@item The @code{multiline} option sets @code{linewidth} to a value letting
-the music be aligned to the right margin. The music can span several
-lines.
-@end itemize
+More information on formatting piano music is in @ref{Piano music}.
-@subsection Just in case...
-The options @code{fragment} and @code{nofragment} will override
-@command{lilypond-book} when it scans the lilypond code to see if it is voice
-contents or complete code. This might be useful if @command{lilypond-book} choose
-wrong.
+@node Organizing larger pieces
+@section Organizing larger pieces
-Since there is no finder's fee which doubles every year, there is no
-need to wait for the price money to grow. So send a bug report today
-if you need this one of these options.
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic and/or
+orchestral pieces, more deeply nested. Such large expressions can
+become unwieldy.
-@subsection Examples
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions. An identifier is assigned as follows:
+@c
+@example
+ namedMusic = \notes @{ @dots{}
+@end example
-This was all options to @code{\begin}. The rest of the lilypond
-document will show some ways you can use lilypond in
-La@TeX{} documents. It will also act as a simple test-suite for
-lilypond-book. You can place @code{eps} lilypond in and marginspars just
-as any other included eps graphics.
+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
-\score{
- \notes\relative c'{
- \time 12/8
- r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
- [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
-
- r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
- }
- \paper{linewidth = 7.\cm}
+@lilypond[raggedright,verbatim]
+seufzer = \notes {
+ dis'8 e'8
}
+\score { \notes {
+ \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.
-To the right you can see some bars from the trumpet fanfara from the
-beginning of the fantastic street opera ``Houdini the Great'', by the
-Danish composer Andy Pape. The music is put inside a
-@code{floatingfigure} environment, and the music will be aligned by
-the right margin if you set floatingfigure width and lilypond linewidth
-to the same value. The code looks like this:
+It is possible to use variables for many other types of objects in the
+input. For example,
+@example
+ width = 4.5\cm
+ name = "Wendy"
+ aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables:
+@example
+ \score @{
+ \notes @{ c4^\name @}
+ \paper @{
+ \aFivePaper
+ linewidth = \width
+ @}
+ @}
+@end example
-@lilypond[verbatim]
-\score{
- \notes\relative c'{
- \time 12/8
- r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
- [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
-
- r4.-\fermata [cis,16 cis g'8 f16 f b8]
- [g16 g f8 b16 b] dis4.-\fermata
- }
- \paper{linewidth = 7.\cm }
-}
-@end lilypond
+More information on the possible uses of identifiers is in the
+technical manual, in TODO.
-If you have a lot of small music examples like this in the middle of
-your text, you might get a nicer look by using ``double'' line
-spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
-your document. Then the line spacing will not be increased between the
-lines where you have music printed with the smallest font size.
-Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
-So the music will be adjusted to the new linewidth:
+@node An orchestral part
+@section An orchestral part
-Verbatim environments will also ignore the page margins. That is
-a feature of La@TeX{}. (But you usually put things inside a verbatim
-environment when you don't want La@TeX{} to do any linebreaking)
+In orchestral music, all notes are printed twice: both in a part for
+the musicians, and in a full score for the conductor. Identifiers can
+be used to avoid double work: the music is entered once, and stored in
+a variable. The contents of that variable is then used to generate
+both the part and the score.
-@node Songs with additional verses
-@subsection Songs with additional verses
+It is convenient to define the notes in a special file, for example,
+suppose that the @file{horn-music.ly} contains the following part of a
+horn/bassoon duo.
+@example
+hornNotes = \notes \relative c @{
+ \time 2/4
+ r4 f8 a cis4 f e d
+@}
+@end example
-With lilypond-book, you can typeset songs with additional verses. To
-make lilypond-book print titles like ly2dvi, add
+Then, an individual part is made by putting the following in a file:
+@example
+\include "horn-music.lyinc"
+\header @{
+ instrument = "Horn in F"
+@}
+\score @{
+ \notes \transpose f c' \hornNotes
+@}
+@end example
+The @code{\include} command substitutes the contents of the file at
+this position in the file, so that @code{hornNotes} is defined
+afterwards. The code @code{\transpose f c'} indicates that the
+argument, being @code{\hornNotes}, should be transposed by a fifth
+downwards: sounding @code{f} is denoted by notated @code{c'}, which
+corresponds with tuning of a normal French Horn in F. The
+transposition can be seen in the following output:
-[TODO: merge with lilypond-book tutorial]
+@lilypond[raggedright]
+\score {
+ \notes \transpose f c' \notes \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 R followed by a duration (1
+for a whole note, 2 for a half note, etc.) By multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes 3 measures in 2/4 time:
+@example
+ R2*3
+@end example
+When printing the part, the following @code{skipBars} property must be
+set to true, to prevent the rest from being expanded to three one bar
+rests:
+@example
+ \set Score.skipBars = ##t
+@end example
+Prepending the rest and the property setting above, leads to the
+following result:
+@lilypond[raggedright]
+\score {\notes { \transpose f c' \relative c { \time 2/4
+\set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d } }}
+@end lilypond
+The score is made by combining all of the music in a @code{\score}
+block, assuming that the other voice is in @code{bassoonNotes}, in the
+file @file{bassoon-music.ly}:
@example
-\input titledefs.tex
-\def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
+\include "bassoon-music.lyinc"
+\include "horn-music.lyinc"
+
+\score @{
+ \simultaneous @{
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+ @} @}
@end example
-just before the music fragment.
+This would lead to the simple score depicted below:
-@c urg: can't show, won't work for .texi docs
+@lilypond[raggedright]
+\score {
+ \notes \relative c \simultaneous {
+ \new Staff { \time 2/4
+ R2*3
+ r4 f8 a cis4 f e d }
+ \new Staff { \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f }
+ } }
+@end lilypond
+
+More in-depth information on preparing parts and scores is in the
+notation manual, in @ref{Orchestral music}.
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+@cindex La@TeX{}, music in
+@cindex HTML, music in
+@cindex Texinfo, music in
+
+Sometimes you might want to use music examples in a text that you are
+writing (for example, a musicological treatise, a songbook, or (like us)
+the LilyPond manual). You can make such texts by hand, simply by
+importing a PostScript figure into your word processor. However,
+there is an automated procedure to reduce the amount of work.
+
+If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
+code. A script called @code{lilypond-book} will extract the music
+fragments, run LilyPond on them, and put back the resulting notation.
+This program is fully described in @ref{lilypond-book manual}. Here
+we show a small example. The example also contains explanatory text,
+so we will not comment on it further:
@example
-% generate standard lilypond titles
-\input titledefs.tex
-\def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+In a lilypond-book document, you can freely mix music and text. For
+example:
\begin@{lilypond@}
-\header @{
- title = "Title"
- subtitle = "Subtitle"
- subsubtitle = "Subsubtitle"
- opus = "Opus 1"
- piece = "Piece"
- composer = "Composer"
- enteredby = "JCN"
- instrument = "instrument"
-@}
-\paper @{ linewidth = -1. @}
-\score @{
- \notes \relative c'' @{ a b c d @}
-@}
+ \score @{ \notes \relative c' @{
+ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
+ @} @}
\end@{lilypond@}
-\begin@{enumerate@}
-\item Verse one. aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa
-\item Verse two. bbb bbb bbb bbb bbb bbb bbb bbb bbb bbb
-\end@{enumerate@}
-@end example
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+In the example you see here two things happened: a
+\verb+\score+ block was added, and the line width was set to natural
+length. You can specify options by putting them in brackets:
+
+\begin[staffsize=26,verbatim]@{lilypond@}
+ c'4 f16
+\end@{lilypond@}
-@node end of tutorial
-@section The end
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual. You can find more example
-files in @file{input} and @file{input/test}. You can also look at some
-Real Music (TM), have a look at the @ref{Mutopia project}.
+If you want to include large examples in the text it is more
+convenient to put it in a separate file:
+\lilypondfile@{screech-boink.ly@}
+\end@{document@}
+@end example
-@ignore
+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.latex'
+$ cd out
+$ latex lilybook.latex
+@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
-[TODO
-this should be on mutopia website.
+Running lilypond-book and running latex creates a lot of temporary
+files. You would not want those to clutter up your working
+directory. The @code{outdir} option to lilypond-book creates the
+temporary files in a separate subdirectory @file{out}.
-]
+The result looks more or less like this:
+@separate
-@c waar deze info? is uiteindelijk wel handig, schat ik.
-[TODO: cut blabla]
+In a lilypond-book document, you can freely mix music and text. For
+example:
+@lilypond
+\score {
+ \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ }
+ \paper {
+ raggedright = ##t
+ }
+}
+@end lilypond
-If you have a big music project, or just a lot of LilyPond input files,
-all generated output from LilyPond, @TeX{} and metafont will clutter
-your working directory. LilyPond comes with a one-size-fits-all
-pre-cooked makefile that helps you manage producing output. It will
-produce all output in the directory @file{out} , generate and track
-dependencies. Also, it helps in preparing your submission to @ref{Mutopia
-project}.
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
-@file{make/ly.make}
-@example
-mkdir my-project
-cd my-project
-cp /usr/share/lilypond/make/ly.make GNUmakefile
-cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
-make menuet
-[..]
-Generated out/menuet.ps for target menuet.
-@end example
+@lilypond
+ c'4
+@end lilypond
-Type @samp{make help} to see possible targets.
+In the example you see here, two things happened: a
+@code{score} block was added, and the line width was set to natural
+length. You can specify options by putting them in brackets:
-[TODO]
-@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
+@lilypond[staffsize=26,verbatim]
+ c'4 f16
+@end lilypond
-@end ignore
+If you want to include large examples in the text, it is more
+convenient to put it in a separate file:
+@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff