@c -*-texinfo-*-
+@c This file is part of lilypond.tely
@c TODO:
@c * more details about running lilypond; error messages,
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, by showing 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.
+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
LilyPond input that was used to generate that image.
@ifhtml
For example, consider the following input:
-@c TODO: intertext fixme
-@lilypond[relative 1,singleline,verbatim,intertext="with the following output:"]
+@example
+ 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
your first sheets of music.
@menu
-* First steps:: Music language of LilyPond.
-* Running LilyPond:: Printing music.
-* More about pitches and accidentals::
+* 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::
-* Setting variables::
-* Fine tuning layout::
* Organizing larger pieces::
* An orchestral part::
-* Integrating text and music:: Integrating text and music.
+* Integrating text and music::
@end menu
@noindent
then the result looks like this:
-@c ?
-@c \transpose c c' { c d e f g a b }
-@c @lily pond[notime]
-@c \property Score.timing = ##f
-@lilypond[notime, relative=2]
+@lilypond[notime,relative]
c d e f g a b
@end lilypond
@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
s16_" "
@end lilypond
-Notes and commands like @code{\clef} and @code{\time} , are enclosed
+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:
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. The
-@code{\paper} block is used to customize printing specifics, but we
-accept the defaults for now. The music and the @code{\paper} block
-are combined by enclosing them in @code{\score @{ ... @}}. 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
-During 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.
-More elaborate information on entering pitches and durations is in
-@ref{Pitches} and @ref{Durations}. Clefs are fully explained in
-@ref{Clef}. Time signatures and other timing commands are described
-in @ref{Time signature}.
+For more elaborate information on
+@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
@node Running LilyPond
@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 xdvi
The result is the file @file{test.pdf}.@footnote{For @TeX{}
-afficionados, there is also a @file{test.dvi} file. It can be viewed
+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
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 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
@file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
@file{test.pdf}.
@item
-If you prefer the keyboard, you can also try the list of commands
-shown before. If none work, go to
+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
The commands for formatting and printing music on all platforms are
detailed in @ref{Invoking LilyPond}.
-@node More about pitches and accidentals
-@section More about pitches and accidentals
+@node More about pitches
+@section More about pitches
-A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
-@rglos{flat} (@texiflat{}) 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.}
+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.}
@example
cis1 ees fisis aeses
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
@cindex key signature, setting
The key signature is set with the command ``@code{\key}'', followed by
-a pitch and @code{\major} or @code{\minor}:
+a pitch and @code{\major} or @code{\minor}:
@quotation
@example
\key d \major
@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 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 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.
+
+For example, in this example:
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
+@end lilypond
+
+@noindent
+no note gets an explicit accidental, but still you enter
+
+@example
+\key d \major
+d cis fis
+@end example
+
+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:
+
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
+@end lilypond
+
+@noindent
+@example
+\key as \major
+d
+@end 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.
+
+
@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
+@lilypond[fragment,verbatim,relative=2]
+g4~ g a2~ a4
@end lilypond
@end quotation
@separate
\key g \minor
\clef violin
r4 r8 a8 gis4 b
- g8 d4.-~ d' e'8
- fis4 fis8 fis8 eis4 a8 gis-~
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
@}
- \paper @{ @}
@}
@end example
\key g \minor
\clef violin
r4 r8 a8 gis4 b
- g8 d4.-~ d e8
- fis4 fis8 fis8 eis4 a8 gis-~
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
}}
\paper { linewidth = #(* 50 staffspace) }
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.
-Accidentals (sharps and flats) do not have to be marked explicitly:
-you just enter the pitch of the note, and an accidental is printed
-only when necessary. The flip side of this mechanism, is that you have
-to mark notes as sharp or flat, even when they do not get accidentals.
-For example, in this example:
-@lilypond[fragment]
-\clef bass
-\property Staff.TimeSignature = #'()
-\key cis \major
-cis dis eis fis gis ais bis
-@end lilypond
-no note gets an explicit accidental, but still you enter
-@example
-\clef bass
-\key cis \major
-cis dis eis fis gis ais bis
-@end example
-
-Adding all alterations explicitly might require some more effort when
-typing, but the advantage is that transposing is easier. It also makes
-it possible to use different conventions for when to print
-accidentals.
@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]
+@lilypond[fragment,relative=1,verbatim]
a8[ ais] d[ es r d]
@end lilypond
@end quotation
@separate
-Rests are described in full detail in @ref{Rests}.
+For more information on
+@table @asis
+@item Rests
+see @ref{Rests}.
+
+@item Ties
+see @ref{Ties}.
+
+@item Accidentals
+see @ref{Accidentals}
+
+@item Key signature
+see @ref{Key signature}
-The notation manual discusses ties in @ref{Ties}.
+@item Beams
+see @ref{Beaming}
+@end table
-@node Octave entry
+@node Octave entry
@section Octave entry
@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
@separate
An example of the use of quotes is in the following Mozart fragment:
-@lilypond[singleline,fragment,verbatim]
+@lilypond[raggedright,fragment,verbatim]
\key a \major
\time 6/8
cis''8. d''16 cis''8 e''4 e''8
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 ' or , 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:
+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
@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
}
@separate
-Since most music has small intervals, in relative mode pieces can be
-written almost without using octavation quotes. In relative mode, the
-Mozart example is entered as
+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[singleline,fragment,verbatim]
+@lilypond[raggedright,fragment,verbatim]
\relative c'' {
\key a \major
\time 6/8
@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. 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:
-
+Larger intervals are made by adding octavation quotes.
@quotation
@example
\relative 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 quotation
@separate
+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:
+
+
Here is an example of the difference between relative mode and
``normal'' (non-relative) mode:
@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
@separate
-
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
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
+vertically. The notation @code{<< .. >>} can also be used as a
shorthand for @code{\simultaneous @{ .. @}}.
-@code{\context} introduces a ``notation context''. To understand this
-concept, imagine that you are performing a piece of music. When you
-perform the music, 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 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{\context} to a chunk of music
-indicates what kind of context to use for interpreting it.
-
-By specifying different names (in this case @code{staffA} and
-@code{staffB}), two different contexts are created, leading to two
-staves. It does not matter which names they are given, as long as they
-are different. If they get the same name, the chunks of music are
-assumed to belong on the same staff, and will be printed like that.
+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.
+
@separate
We can now typeset a melody with two staves:
@quotation
-@lilypond[verbatim,singleline]
+@lilypond[verbatim,raggedright]
\score {
\notes
- < \new Staff {
+ << \new Staff {
\time 3/4
\clef violin
\relative c'' {
c2 e4 g2.
f4 e d c2.
}
- >
- \paper {}
+ >>
}
@end lilypond
@end quotation
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{\context Staff} to it, and that chunk is
-combined with @code{< >}. This mechanism is similar with mathematical
-formulas: in a formula, a so-called expression is formed by combining
-simpler expressions into larger expressions. For example,
+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,
@quotation
1
@end quotation
@cindex expression
@cindex music expression
-is 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{\context}
-also forms new expressions; prepending it to a music expression yields
-a new 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> }
- >
+@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 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 @{
- \notes <
+ \notes <<
@{
@dots{}
@}
@{
@dots{}
@}
- >
+ >>
@}
@end example
+For more information on context see the Technical manual description
+in @ref{Interpretation context}.
+
@node Adding articulation marks to notes
Common accents can be added to a note using a dash (`@code{-}') and a
single character:
@quotation
-@lilypond[verbatim,relative 1]
+@lilypond[verbatim,relative=1]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
Similarly, fingering indications can be added to a note using a dash
(`@code{-}') and the digit to be printed:
@c
-@lilypond[verbatim,relative 1]
+@lilypond[verbatim,relative=1]
c-3 e-5 b-2 a-1
@end lilypond
Dynamic signs are made by adding the markings to the note:
@quotation
-@lilypond[verbatim,relative 1]
+@lilypond[verbatim,relative=1]
c\ff c\mf
@end lilypond
@end quotation
@code{\>}. The command @code{\!} finishes a crescendo on the note it
is attached to:
@quotation
-@lilypond[verbatim,relative 1]
-c2\< c2\!\ff c2\> c2\!
+@lilypond[verbatim,relative=1]
+c2\< c2\!\ff\> c2 c2\!
@end lilypond
@end quotation
@separate
``@code{(}'' and a ``@code{)}'' respectively:
@quotation
-@lilypond[fragment,relative 1, verbatim]
+@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 is different from a tie. 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:
-@lilypond[fragment, relative=1]
-c2-~( c8 fis fis4 ~ fis2 g2)
+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
@code{\)}.
@quotation
-@lilypond[fragment,relative 1, verbatim]
+@lilypond[fragment,relative=1,verbatim]
a8(\( ais b c) cis2 b'2 a4 cis, c\)
@end lilypond
@end quotation
-More information on fingering, articulation, slurs, phrasing slurs,
-and dynamics can be found in @ref{Fingering instructions},
-@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs}, and @ref{Dynamics},
-respectively.
+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
@cindex chords
Chords can be made by
-surrounding pitches with @code{<<} and @code{>}>:
+surrounding pitches with @code{<} and @code{>}:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>4 <<c f a>>8
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>4 <c f a>8
@end lilypond
@end quotation
@separate
You can combine beams and ties with chords. Beam and tie markings
must be placed outside the chord markers:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>8[ <<c f a>>]-~ <<c f a>>
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
@end lilypond
@end quotation
@quotation
@example
-r4 <<c e g>>8\>( <<c e g>> <<c e g>> <<c f a>>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-@lilypond[relative 0, fragment]
+@lilypond[relative,fragment]
\slurUp
-r4 <<c e g>>8\>( <<c e g>> <<c e g>> <<c f a>>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end lilypond
@end quotation
@separate
-@menu
-* Basic rhythmical commands::
-* Commenting input files::
-@end menu
@node Basic rhythmical commands
-@subsection Basic rhythmical commands
+@section Basic rhythmical commands
@cindex pickup
@cindex anacruse
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]
+@lilypond[relative=1,verbatim,fragment]
\partial 8
f8 c2 d e
@end lilypond
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 0,verbatim,fragment]
+@lilypond[relative,verbatim,fragment]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
@end lilypond
@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 keyword is @code{\grace}:
-@lilypond[relative 1, verbatim,fragment]
- c4 \grace b16( c4)
- \grace { d16( e } d4)
+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
-More information on grace notes, tuplets and upsteps are in @ref{Grace
-notes}, @ref{Tuplets} and @ref{Partial measures}.
+
+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
@node Commenting input files
-@subsection Commenting input files
+@section Commenting input files
@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 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{ \context Lyrics}:
+them as lyrics, they must be marked with @code{ \new Lyrics}:
@example
- \context Lyrics \lyrics @{ I want to break free @}
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
The melody for this song is as follows:
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword:
+@code{\lyricsto} keyword:
@example
- \addlyrics
- \notes @{ @dots{} @}
- \context Lyrics @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=6.0cm]
+@lilypond[verbatim,fragment]
\score {
- \notes {
- \addlyrics
- \relative c' {
+ \notes <<
+ \relative c' \new Voice {
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) }
}
- \context Lyrics \lyrics { I want to break free }
- }
- \paper{ }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
+ >>
}
@end lilypond
@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 a @emph{extender
+sung to more than one note. This is indicated with an @emph{extender
line}. It is entered as two underscores, i.e.
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[]
+@lilypond[raggedright]
\score {
- \notes {
- \addlyrics
- \relative c' {
- \partial 8
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4( a2) }
-
- %% ugh, this is to deal with bugs in the extender implementation
- \hideNotes
- c32
- }
- \context Lyrics \lyrics { I want to break free __ }
- }
- \paper{ linewidth = 9.0 \cm }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
+ >>
}
@end lilypond
@example
Twin -- kle twin -- kle
@end example
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \addlyrics \notes \relative f' { \time 2/4
+ << \notes \relative f' { \time 2/4
f4 f c' c' }
- \context Lyrics \lyrics { Twin -- kle twin -- kle
- }
-\paper { linewidth = 6.0 \cm }
+ \new Lyrics \lyrics { Twin -- kle twin -- kle }
+ >>
+ \paper { raggedright = ##t }
}
-
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
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{\context
+chords (with @code{\chords}), and printing them (with @code{\new
ChordNames}).
Chord names are entered by starting chords mode (with @code{\chords}).
@noindent
The result of @code{\chords} is a list of chords, and is equivalent
-to entering chords with @code{<<@dots{}>>}.
+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]
before the chords thus entered:
@c
@lilypond[verbatim]
- \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+ \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-@cindex lead sheet
+@cindex lead sheet
+@separate
When put together, chord names, lyrics and a melody form
a lead sheet, for example,
@example
\score @{
- <
+ <<
\context ChordNames \chords @{ @emph{chords} @}
- \addlyrics
- \notes @emph{the melody}
- \context Lyrics \lyrics @{ @emph{the text} @}
- >
- \paper @{ @}
+ \notes @emph{the melody}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
+ >>
@}
@end example
@lilypond[]
\score {
- <
+ <<
\context ChordNames \chords { r8 c2:sus4 f }
- \addlyrics
\notes \relative c' {
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \context Lyrics \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
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc. are
-entered as assignment, within @code{\header @{ @dots{} @}}. For
+entered as an assignment, within @code{\header @{ @dots{} @}}. For
example,
@example
\header @{
@cindex bibliographic information
@cindex titles
@cindex composer
+@cindex Engraved by LilyPond
-
-When the file is processed by @code{lilypond}, 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''.
+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.}
Normally, the @code{\header} is put at the top of the file. However,
-for a document that contains multiple pieces (e.g. a etude book, or
-part with multiple movements), then the header can be put into the
-@code{\score} block as follows; in this case, the name of each piece
-will be printed before each movement:
+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:
-@cindex Lily was here
+@cindex Engraved by LilyPond
@cindex signature line
@cindex tag line
@cindex multiple voices
@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff, these 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 stems down.
+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.
Entering such parts is done by entering each voice as a sequence (with
@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}:
@example
- < @{ a4 g2 f4-~ f4 @} \\
- @{ r4 g4 f2 f4 @} >
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ r4 g4 f2 f4 @} >>
@end example
-@lilypond[relative 1]
-\context Staff < { a4 g2 f4-~ f4 } \\
- { r4 g4 f2 f4 } >
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
@end lilypond
For polyphonic music typesetting, spacer rests can also be convenient: these
are rests that do not print. It is useful for filling up voices that
temporarily do not play:
@example
- < @{ a4 g2 f4-~ f4 @} \\
- @{ s4 g4 f2 f4 @} >
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ s4 g4 f2 f4 @} >>
@end example
-@lilypond[relative 1]
-\context Staff < { a4 g2 f4-~ f4 } \\
- { s4 g4 f2 f4 } >
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
@end lilypond
Again, these expressions can be nested arbitrarily:
@lilypond[fragment]
-<
+<<
\new Staff
\relative c''
- < { a4 g2 f4-~ f4 } \\
- { s4 g4 f2 f4 } >
+ << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
\new Staff
- < { \clef bass <<c g>>1 } \\
- { f4 d e2 }
- >
->
+ << { \clef bass <c g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
@end lilypond
@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{} @}
+ << \new Staff @{ @dots{} @}
\new Staff @{ @dots{} @}
- >
+ >>
@end example
but now this entire expression must be interpreted as a
@code{PianoStaff}:
@example
- \context PianoStaff < \context Staff @dots{} >
+ \new PianoStaff << \new Staff @dots{} >>
@end example
Here is a full-fledged example:
-@lilypond[relative 0,fragment]
-\context PianoStaff
- < \new Staff { \time 2/4
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
c4 c g' g }
\new Staff {
\clef bass c,, c' e c }
- >
+ >>
@end lilypond
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{translation properties}.
-The properties can also be manipulated from input files. Consider this input:
-@example
-\property Staff.autoBeaming = ##f
-@end example
-It sets the property named @code{autoBeaming} in the current staff to
-@code{##f}, which means `false'. This property controls whether beams
-are printed automatically:
-@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
-
-
-@end itemize
-
-There are many different properties, and not all of them are listed in
-this manual. However, the internal documentation lists them all in the
-@internalsref{All translation 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 0]
- 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 0]
- 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 internal documentation 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 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]
-\context Staff < {
- \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]
- 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
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.
+orchestral pieces, more deeply nested. Such large expressions can
+become unwieldy.
By using variables, also known as identifiers, it is possible to break
-up complex music expressions.
-An identifier is assigned as follows:
+up complex music expressions. An identifier is assigned as follows:
+@c
@example
namedMusic = \notes @{ @dots{}
@end example
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 thrice by using
+In the next example, a two note motive is repeated two times by using
variable substitution:
-@lilypond[singleline,verbatim]
-seufzer = \notes {
+@lilypond[raggedright,verbatim]
+seufzer = \notes {
dis'8 e'8
}
\score { \notes {
- \seufzer \seufzer \seufzer
+ \seufzer \seufzer
} }
@end lilypond
-The name of an identifier should only have alphabetic characters only,
-and no numbers, underscores or dashes. The assignment should be
-outside of the @code{\score} block.
+The name of an identifier should have alphabetic characters only;
+no numbers, underscores or dashes. The assignment should be outside of
+the @code{\score} block.
It is possible to use variables for many other types of objects in the
input. For example,
@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,
Then, an individual part is made by putting the following in a file:
@example
-\include "horn-music.ly"
+\include "horn-music.lyinc"
\header @{
instrument = "Horn in F"
@}
\score @{
- \notes \transpose c' f \hornNotes
+ \notes \transpose f c' \hornNotes
@}
@end example
The @code{\include} command substitutes the contents of the file at
corresponds with tuning of a normal French Horn in F. The
transposition can be seen in the following output:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
\notes \transpose f c' \notes \relative c {
\time 2/4
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[singleline]
+@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
block, assuming that the other voice is in @code{bassoonNotes}, in the
file @file{bassoon-music.ly}:
@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
+\include "bassoon-music.lyinc"
+\include "horn-music.lyinc"
\score @{
\simultaneous @{
This would lead to the simple score depicted below:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
\notes \relative c \simultaneous {
\new Staff { \time 2/4
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@}
@} @}
\end@{lilypond@}
-Notice that the music line length matches the margin settings of the
-document.
-
If you have no \verb+\score+ block in the fragment,
\texttt@{lilypond-book@} will supply one:
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:
-\begin[26pt,verbatim]@{lilypond@}
+\begin[staffsize=26,verbatim]@{lilypond@}
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@}
@example
$ cd input/tutorial
$ mkdir -p out/
-$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.7.23
-Reading `input/tutorial/lilbook.tex'
-Reading `input/screech-boink6.ly'
+$ 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/lilbook.latex'
+Writing `out/lilybook.latex'
$ cd out
-$ latex lilbook.latex
+$ latex lilybook.latex
@var{lots of stuff deleted}
-$ xdvi lilbook
+$ 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
+
+
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}.
}
@end lilypond
-Notice that the music line length matches the margin settings of the
-document.
-
If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one:
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:
+length. You can specify options by putting them in brackets:
-@lilypond[26pt,verbatim]
+@lilypond[staffsize=26,verbatim]
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}