* Titling::
* Single staff polyphony::
* Piano staves::
-* Setting variables::
-* Fine tuning layout::
* Organizing larger pieces::
* An orchestral part::
* Integrating text and music::
@end example
@lilypond[notime]
-\property Score.timing = ##f
-\property Staff.autoBeaming = ##f
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a a a2 a s16_" " }
@end lilypond
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.Clef = \turnOff
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.Clef = \turnOff
+\set Staff.TimeSignature = \turnOff
r2 r4 r8 r16
s16_" "
@end lilypond
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
@c a clef here may lead to confusion
@lilypond
-\property Staff.Clef \set #'transparent = ##t
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
The @rglos{clef} can be set using the @code{\clef} command:
@c what is more common name treble or violin?
-@c in Dutch, its violin.
-@c in English its definitely treble.
+@c in Dutch, it's violin.
+@c in English it's definitely treble.
@example
\clef treble
\clef bass
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\clef violin
s4_" "
\clef bass
f4 e d c2 r4
@}
@end example
-Now the piece of music is almost ready to be printed. The final step is to
-combine the music with a printing command.
-
-The printing command is the so-called @code{\paper} block:
-
-@example
-\paper @{ @}
-@end example
-
-The @code{\paper} block is used to customize printing specifics. The
-customization commands go between @code{@{} and @code{@}}, but for
-now, we accept the defaults. The music and the @code{\paper} block
-are combined by enclosing them in @code{\score @{ ... @}}, so the
-following is a complete and valid input file:
+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:
@example
\score @{
c2 e4 g2.
f4 e d c2 r4
@}
- \paper @{ @}
@}
@end example
}
@end lilypond
-In the rest of the tutorial we will often leave out @code{\score}
-and @code{\paper} for clarity. However, both must be present when
-feeding the file to LilyPond.
+In many examples in this manual, @code{\score} is left out for
+clarity. However, it must be present when feeding the file to
+LilyPond.
For more elaborate information on
@section Running LilyPond
In the last section we explained what kind of things you could enter
-in a LilyPond file. In this section we explain what commands to run
+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
@cindex PDF
-On Windows, the same procedure should work, the terminal is started by
+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.
+Notepad, Emacs or Vim) may be used to edit the LilyPond file.
To view the PDF file, try the following:
@itemize
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
@end example
@lilypond[fragment]
-\property Staff.TimeSignature = \turnOff
+\set Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
@end quotation
-Key signatures together with the pitch (including alterations) are
+Key signatures together with the pitches (including alterations) are
used together to determine when to print accidentals. This is a
feature that often causes confusion to newcomers, so let us explain it
in more detail:
-LilyPond has a sharp distinction between musical content and
+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
For example, in this example:
@lilypond[fragment]
-\property Staff.TimeSignature = #'()
+\set Staff.TimeSignature = \turnOff
\key d \major
d' cis' fis'
@end lilypond
of A-flat, it gets an accidental:
@lilypond[fragment]
-\property Staff.TimeSignature = #'()
+\set Staff.TimeSignature = \turnOff
\key as \major
d'
@end lilypond
fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
@}
- \paper @{ @}
@}
@end example
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 lines breaks are in the
-source file. Finally, the order of time, key and clef changes is not
+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.
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
@end quotation
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f c g c
}
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f, f c' c g' c,
}
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative a {
\clef bass
a d a e d c' d'
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\clef bass
a d a e d c' d'
@end lilypond
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 context that helps you decipher a
+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
f4 e d c2.
}
>>
- \paper {}
}
@end lilypond
@end quotation
@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 with mathematical
+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,
@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 amount of closing
+eases reading, and helps you insert the right number of closing
braces at the end of an expression. For example,
@example
\score @{
@cindex line comment
@cindex block comment
Comments are pieces of the input that are ignored. There are two
-types of comments. A line comments is introduced by @code{%}: after
+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
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 LyricsVoice}:
+them as lyrics, they must be marked with @code{ \new Lyrics}:
@example
- \new LyricsVoice \lyrics @{ I want to break free @}
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
The melody for this song is as follows:
The lyrics can be set to these notes, combining both with the
@code{\lyricsto} keyword:
@example
- \lyricsto "@var{name}" \new LyricsVoice @dots{}
+ \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,linewidth=6.0\cm]
+@lilypond[verbatim,fragment]
\score {
\notes <<
\relative c' \new Voice {
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) }
}
- \lyricsto "" \new LyricsVoice \lyrics { I want to break free }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
>>
- \paper{ }
}
@end lilypond
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[]
+@lilypond[raggedright]
\score {
\notes <<
\relative c' \new Voice {
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \lyricsto "" \new LyricsVoice \lyrics { I want to break free __ }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
>>
- \paper{ }
}
@end lilypond
The result of @code{\chords} is a list of chords, and is equivalent
to entering chords with @code{<@dots{}>}.
-Other chords can be created by adding modifiers, after a colon. The
+Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers:
@c
@lilypond[verbatim]
<<
\context ChordNames \chords @{ @emph{chords} @}
\notes @emph{the melody}
- \lyricsto "" \new LyricsVoice \lyrics @{ @emph{the text} @}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
>>
- \paper @{ @}
@}
@end example
@lilypond[]
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \new LyricsVoice \lyricsto "" \lyrics { I want to break free __ }
+ \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
>>
\paper{ raggedright = ##t }
}
@end lilypond
-A complete list of modifiers, and other options for layout are in the
+A complete list of modifiers and other options for layout are in the
reference manual section @ref{Chords}.
@node Listening to output
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 makes the
-music go to 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
+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.
-@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example,
+The @code{\midi} block is added to @code{\score}, for example,
@example
\score @{
@var{..music..}
\midi @{ \tempo 4=72 @}
- \paper @{ @}
@}
@end example
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:
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
+@end example
+
+@cindex paper block
@node Titling
@section Titling
@cindex composer
@cindex Engraved by LilyPond
-When the file is processed by the @code{lilypond} wrapper script, then
+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
+`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
+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.}
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), then the header can be
-put into the @code{\score} block as follows; in this case, the name of
+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:
@cindex multiple voices
@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff, these are
+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.
@cindex @code{\translator}
Piano music is always typeset in two staves connected by a brace.
-Printing such a staff is done similar to the polyphonic example in
+Printing such a staff is similar to the polyphonic example in
@ref{Combining music into compound expressions}:
@example
<< \new Staff @{ @dots{} @}
More information on formatting piano music is in @ref{Piano music}.
-@node Setting variables
-@section Setting variables
-
-When the music is converted from notes to print, it is interpreted
-from left-to-right order, similar to what happens when we read
-music. During this step, context-sensitive information, such as the
-accidentals to print, and where barlines must be placed, are stored in
-variables. These variables are called @emph{context properties}.
-The properties can also be manipulated from input files. Consider this input:
-@example
-\property Staff.autoBeaming = ##f
-@end example
-
-@noindent
-It sets the property named @code{autoBeaming} in the current staff at
-this point in the music to @code{##f}, which means `false'. This
-property controls whether beams are printed automatically:
-@c
-@lilypond[relative=1,fragment,verbatim]
- c8 c c c
- \property Staff.autoBeaming = ##f
- c8 c c c
-@end lilypond
-
-@noindent
-LilyPond includes a built-in programming language, namely, a dialect
-of Scheme. The argument to @code{\property}, @code{##f}, is an
-expression in that language. The first hash-mark signals that a piece
-of Scheme code follows. The second hash character is part of the
-boolean value true (@code{#t}). Values of other types may be
-entered as follows:
-@itemize @bullet
-@item a string, enclosed in double quotes, for example,
-@example
- \property Staff.instrument = #"French Horn"
-@end example
-@item a boolean: either @code{#t} or @code{#f}, for true and false
-respectively, e.g.
-@example
- \property Voice.autoBeaming = ##f
- \property Score.skipBars = ##t
-@end example
-
-@item a number, such as
-@example
- \property Score.currentBarNumber = #20
-@end example
-
-@item a symbol, which is introduced by a quote character, as in
-@example
- \property Staff.crescendoSpanner = #'dashed-line
-@end example
-
-@item a pair, which is also introduced by a quote character, like in
-the following statements, which set properties to the pairs (-7.5, 6)
-and (3, 4) respectively:
-
-@example
- \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
- \property Staff.timeSignatureFraction = #'(3 . 4)
-@end example
-
-@item a list, which is also introduced by a quote character. In the
-following example, the @code{breakAlignOrder} property is set to a
-list of symbols:
-@example
- \property Score.breakAlignOrder =
- #'(left-edge time-signature key-signatures)
-@end example
-
-
-@end itemize
-
-There are many different properties, and not all of them are listed in
-this manual. However, the program reference lists them all in the
-section @internalsref{Context-properties}, and most properties are
-demonstrated in one of the
-@ifhtml
-@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
-@end ifhtml
-@ifnothtml
-tips-and-tricks
-@end ifnothtml
-examples.
-
-
-@node Fine tuning layout
-@section Fine tuning layout
-
-Sometimes it is necessary to change music layout by hand. When music
-is formatted, layout objects are created for each symbol. For
-example, every clef and every note head is represented by a layout
-object. These layout objects also carry variables, which we call
-@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score:
-
-@lilypond[verbatim,relative]
- c4
- \property Voice.Stem \override #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-
-@noindent
-In the example shown here, the layout property @code{thickness} (a
-symbol) is set to 3 in the @code{Stem} layout objects of the current
-Voice. As a result, the notes following @code{\property} have thicker
-stems.
-
-In most cases of manual overrides, only a single object must be
-changed. This can be achieved by prefixing @code{\once} to the
-@code{\property} statement, i.e.
-
-@example
- \once \property Voice.Stem \set #'thickness = #3.0
-@end example
-
-@lilypond[relative]
- c4
- \once \property Voice.Stem \set #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-
-@noindent
-Some overrides are so common that predefined commands are provided as
-a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
-commands are described in
-@ifhtml
-the
-@end ifhtml
-@ref{Notation manual}, under the sections for slurs and stems
-respectively.
-
-The exact tuning possibilities for each type of layout object are
-documented in the program reference of the respective
-object. However, many layout objects share properties, which can be
-used to apply generic tweaks. We mention a couple of these:
-
-@itemize @bullet
-@item The @code{extra-offset} property, which
-@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
-The first number controls left-right movement; a positive number will
-move the object to the right. The second number controls up-down
-movement; a positive number will move it higher. The unit of these
-offsets are staff-spaces. The @code{extra-offset} property is a
-low-level feature: the formatting engine is completely oblivious to
-these offsets.
-
-In the following example, the second fingering is moved a little to
-the left, and 1.8 staff space downwards:
-
-@cindex setting object properties
-
-@lilypond[relative=1,verbatim]
-\stemUp
-f-5
-\once \property Voice.Fingering
- \set #'extra-offset = #'(-0.3 . -1.8)
-f-5
-@end lilypond
-
-@item
-Setting the @code{transparent} property will make an object be printed
-in `invisible ink': the object is not printed, but all its other
-behavior is retained. The object still takes space, it takes part in
-collisions, and slurs, ties and beams can be attached to it.
-
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
-The following example demonstrates how to connect different voices
-using ties. Normally ties only happen between notes of the same
-voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices:
-
-@lilypond[fragment,relative=1,verbatim]
- c4 << {
- \once \property Voice.Stem \set #'transparent = ##t
- b8~ b8
- } \\ {
- b[ g8]
- } >>
-@end lilypond
-
-@item
-The @code{padding} property for objects with
-@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
-symbols that are printed above or below notes. We only give an
-example; a more elaborate explanation is in @ref{Constructing a
-tweak}:
-
-@lilypond[relative=1,verbatim]
- c2\fermata
- \property Voice.Script \set #'padding = #3
- b2\fermata
-@end lilypond
-
-@end itemize
-
-More specific overrides are also possible. The notation manual
-discusses in depth how to figure out these statements for yourself, in
-@ref{Tuning output}.
-
@node Organizing larger pieces
@section Organizing larger pieces
variable substitution:
@lilypond[raggedright,verbatim]
-seufzer = \notes {
+seufzer = \notes {
dis'8 e'8
}
\score { \notes {
} }
@end lilypond
-The name of an identifier should have alphabetic characters only, and
+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.
@end example
More information on the possible uses of identifiers is in the
-technical manual, in @ref{Scheme datatypes}.
+technical manual, in TODO.
@node An orchestral part
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
-variable. The contents of that variable is then used to generate
+a variable. The contents of that variable is then used to generate
both the part and the score.
It is convenient to define the notes in a special file, for example,
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, and followed by a duration (1
+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, the next rest
+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 false, to prevent the rest from being expanded in three one bar
+set to true, to prevent the rest from being expanded to three one bar
rests:
@example
- \property Score.skipBars = ##t
+ \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
-\property Score.skipBars = ##t
+\set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d } }}
@end 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; since the example contains also explanatory
-text, we will not comment it further:
+we show a small example. The example also contains explanatory text,
+so we will not comment on it further:
@example
\documentclass[a4paper]@{article@}
c'4
\end@{lilypond@}
-In the example you see here, two things happened: a
+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:
c'4 f16
\end@{lilypond@}
-If you want to include large examples into the text, it is more
+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@}
$ lilypond-book --output=out/ lilybook.tex
lilypond-book (GNU LilyPond) 2.1.19
Reading `input/tutorial/lilybook.tex'
-Reading `input/screech-boink6.ly'
+Reading `input/screech-boink.ly'
@var{lots of stuff deleted}
Writing `out/lilybook.latex'
$ cd out
Running lilypond-book and running latex creates a lot of temporary
-files, and you would not want those to clutter up your working
+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}.
c'4 f16
@end lilypond
-If you want to include large examples into the text, it is more
+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