@c -*-texinfo-*-
+@c This file is part of lilypond.tely
@c TODO:
@c * more details about running lilypond; error messages,
@node Tutorial
@chapter Tutorial
-@html
-<!--- @@WEB-TITLE@@=Tutorial --->
-@end html
-@menu
-* First steps:: Music language of LilyPond.
-* Running LilyPond:: Printing music.
-* More basics::
-* Printing lyrics::
-* A lead sheet::
-* Listening to output::
-* Titling ::
-* Single staff polyphony ::
-* Piano staffs::
-* Setting variables::
-* Fine tuning layout::
-* Organizing larger pieces::
-* An orchestral part::
-* Integrating text and music:: Integrating text and music.
-@end menu
-Printing music with LilyPond is a two step process. First, the music
-to be printed is described in a text file. After that, LilyPond reads
-this @emph{input file} that describes the music and produces an
-@emph{output file} that can be printed or viewed.
+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.
-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, normally using the program @code{ly2dvi}. You
-should then be able to create and print your first sheets of music.
-Before starting out, it will be convenient for you to print
+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
+ 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
+
+@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
reference.
+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.
+
+@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
+
@node First steps
@section First steps
We start off by showing how very simple music is entered in LilyPond:
-you get a note simply by typing its @htmlref{note name}, from @samp{a}
+you get a note simply by typing its note name, from @samp{a}
through @samp{g}. So if you enter
@example
@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
-We will continue with this format: First we show a snippet of input,
-then the resulting output.
-
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:
@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
-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.}
+Rests are entered just like notes, but with the name ``@code{r}'':
+
+@cindex rests
+@quotation
@example
-cis1 ees fisis aeses
+r2 r4 r8 r16
@end example
-@lilypond[notime]
-\property Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.Clef = \turnOff
+\set Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
@end lilypond
+@end quotation
+@separate
+
Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
-Entering pitches and durations is fully explained in @ref{Pitches} and
-@ref{Durations}.
-
The @rglos{meter} (or @rglos{time signature}) can be set with the
@code{\time} command:
@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
s16_" "
@end lilypond
-Time signatures and other timing commands are described in @ref{Time
-signature}.
-
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
-Clefs are fully explained in @ref{Clef}.
-
-
-These commands must be enclosed in @code{\notes @{@dots{}@}}. This
-indicates that music (as opposed to @rglos{lyrics}) follows:
+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:
@example
\notes @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ 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. Later on
-you will see that the @code{\paper} block is used to customize
-printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in @code{\score @{ ... @}}. This is what a full source file looks like:
+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 @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
@}
- \paper @{ @}
@}
@end example
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
}
\paper {
linewidth = 55 * \staffspace
}
@end 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
+
+@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
-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}. In your
-text editor, enter the following input and save the file as
+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
@end example
@end quotation
-@cindex ly2dvi
-
-@c now this is weird, running ly2dvi to run LilyPond
-@c (therefore name change proposal)
-
-LilyPond is the program that computes the sheet music. All other
-things, such as adding titles, page breaking and other page layout,
-are done by a small wrapper program called
-@code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
-then adds the titling and page layout instructions. To process
-@file{test.ly} with @code{ly2dvi}, proceed as follows:
+To process @file{test.ly}, proceed as follows:
@quotation
@example
-ly2dvi -p test.ly
+lilypond test.ly
@end example
@end quotation
-You will see the following on your screen:
+You will see something resembling:
@quotation
@example
-GNU LilyPond 1.7.16
+GNU LilyPond 1.8.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
@cindex Viewing music
@cindex xdvi
-The results of the ly2dvi run are two files, @file{test.dvi} and
-@file{test.pdf}. The PDF file (@file{test.pdf}) is the one you can
-print or view. For example, viewing PDF can be done with ghostview.
-If a version of ghostview is installed on your system, one of these
-commands will produce a window with some music notation on your
+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:
-@c eeek
@quotation
@example
gv test.pdf
kghostview test.pdf
xpdf test.pdf
gpdf test.pdf
+ acroread test.pdf
+ gsview32 test.pdf
@end example
@end quotation
-If the music on your screen looks good, you can print it by clicking
-File/Print inside ghostview.
-
-The DVI file (@file{test.dvi}) contains the same sheet music in a
-different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. You can run @code{xdvi test.dvi}
-@c KDVI doesn't grok the PS specials.
-@c or
-@c @code{kdvi test.dvi}
-@c
-to view the DVI file. In Xdvi, the mouse buttons
-activate magnifying glasses. Unfortunately, variable symbols (such as
-beams and slurs) are not displayed in the magnifying glasses.
+@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 PostScript
@cindex PDF
-If you are familiar with @TeX{}, be warned: do not use other DVI
-drivers like @code{dvilj}. LilyPond DVI use embedded PostScript code
-and will not render correctly with other DVI drivers besides
-@code{dvips}.
-@cindex dvips
-@cindex dvilj
-@cindex DVI driver
+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.
+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
-Various commands for formatting and printing music are detailed in
-@ref{Invoking LilyPond}.
+The commands for formatting and printing music on all platforms are
+detailed in @ref{Invoking LilyPond}.
+@node More about pitches
+@section More about pitches
-@unnumberedsubsec Windows users
+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.}
-On Windows, 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. When Cygwin's @code{XFree86} X11
-window system is installed along with @code{tetex-x11} and
-@code{ghostscript-x11} packages, then the @code{dvi} output may be
-viewed with @code{xdvi test.dvi} as described above. If you have
-installed a PostScript/PDF viewer, such as @code{GSView} from
-@uref{http://www.cs.wisc.edu/~ghost}, viewing the PDF file can be done
-with:
-@quotation
-@example
-@code{gsview32 test.pdf}
-@end example
-@end quotation
-Printing may be done by executing
-@quotation
@example
-@code{gsview32 /s test.pdf}
+cis1 ees fisis aeses
@end example
-@end quotation
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
+@end lilypond
-@node More basics
-@section More basics
-
-We continue with the introduction of more musical constructs. Normal
-rests are entered just like notes with the name ``@code{r}'':
+
+@cindex key signature, setting
-@cindex rests
+The key signature is set with the command ``@code{\key}'', followed by
+a pitch and @code{\major} or @code{\minor}:
@quotation
@example
-r2 r4 r8 r16
+\key d \major
+g1
+\key c \minor
+g
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.Clef = \turnOff
-\property Staff.TimeSignature = \turnOff
-r2 r4 r8 r16
-s16_" "
+\set Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
@end lilypond
@end quotation
-@separate
-Rests are described in full detail in @ref{Rests}.
+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:
-@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...
-
-@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'}:
-@quotation
-@example
-c'4 c'' c''' \clef bass c c,
-@end 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.
+For example, in this example:
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-c'4 c'' c''' \clef bass c c,
-@end lilypond
-@end quotation
-@separate
-
-@cindex tie
-
-A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied.
-@quotation
-@lilypond[fragment,verbatim]
-g'4-~ g' a'2-~ a'4
-@end lilypond
-@end quotation
-@separate
-@cindex slurs versus ties
-A tie is different from a slur. 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-)
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
@end lilypond
-The notation manual discusses ties in @ref{Ties}.
-
-@cindex key signature, setting
+@noindent
+no note gets an explicit accidental, but still you enter
-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
-g'1
-\key c \minor
-g'
+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]
-\property Staff.TimeSignature = \turnOff
-\key d \major
-g'1
-\key c \minor
-g'
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
@end lilypond
-@end quotation
+@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.
-@c bit on the long/complex/scary taste
-@c cheating a bit: two lines makes for a friendlier look
-This example shows notes, ties, octave marks, and rests in action.
+@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
+
+This example shows the key signature, accidentals and ties in action:
@quotation
@example
\score @{
\notes @{
\time 4/4
- \key d \minor
+ \key g \minor
\clef violin
- r4 r8 d''8 cis''4 e''
- d''8 a'4.-~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis''-~
- cis''2 r2
+ r4 r8 a8 gis4 b
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
@}
- \paper @{ @}
@}
@end example
@lilypond
\score {
- \notes {
+ \notes { \transpose c c' {
\time 4/4
+ \key g \minor
\clef violin
- \key d \minor
- r4 r8 d''8 cis''4 e''
- d''8 a'4.-~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis''-~
- cis''2 r2
- }
- \paper { linewidth = 50*\staffspace }
+ r4 r8 a8 gis4 b
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+ }}
+ \paper { linewidth = #(* 50 staffspace) }
}
@end lilypond
@end quotation
-
@cindex accidentals
-There are some interesting points to note in this example.
-Accidentals (sharps and flats) do not have to be marked explicitly:
-you just enter the note name, and an accidental is printed
-automatically, only when necessary. 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 relevant: in the printout,
-these are ordered using standard notation conventions.
-
-The example also indicates that a piece of music written in a high
-register needs lots of quotes. This makes the input less readable,
-and is also a potential 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 ' or , after a note),
-relative mode chooses the note that is closest to the previous one.
-@c do not use commas or quotes in this sentence
-For example: @code{c f} goes up; @code{c g} goes down:
+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
+
+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}
+
+@item Beams
+see @ref{Beaming}
+@end table
+
+
+@node Octave entry
+@section Octave entry
+
+
+@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...
+
+@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'}:
+
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
+
+@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
@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.
+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
+
@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. 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
@end quotation
@separate
-@cindex slur
-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:
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-d4-( c16-)-( cis d e c cis d e-)-( d4-)
-@end lilypond
-@end quotation
-@separate
-@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{\(} and
-@code{\)}.
-@c lousy example
-@c ? --hwn
-@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
-@c chromatic thing pasted in front. (admittedly the original does not
-@c have a phrasing slur. The problem is that we do not want the slur
-@c and the Phrasing slur to collide. We are trying to make a good
-@c impression here.
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
-@end lilypond
-@end quotation
-@separate
-@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
-
-@menu
-* Combining music into compound expressions::
-* Adding articulation marks to notes ::
-* Basic rhythmical commands::
-* Commenting input files::
-@end menu
@node Combining music into compound expressions
-@subsection Combining music into compound expressions
+@section Combining music into compound expressions
-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:
+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 {
- \context Staff = staffA { \clef violin c'' }
- \context Staff = staffB { \clef bass c }
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
}
@end lilypond
@end quotation
-In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. It does not matter what names you give, as long
-as each staff has a different name. If you give them the same name,
-they are assumed to belong on the same staff, and will be printed like
-that. @code{\simultaneous } indicates that both 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
-@{ .. @}}.
+
+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 @{ .. @}}.
+
+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
- < \context Staff = staffA {
+ << \new Staff {
\time 3/4
\clef violin
\relative c'' {
- e2-( d4 c2 b4 a8-[ a-]
- b-[ b-] g-[ g-] a2.-) }
+ e2( d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.) }
}
- \context Staff = staffB {
+ \new Staff {
\clef bass
c2 e4 g2.
f4 e d c2.
}
- >
- \paper {}
+ >>
}
@end lilypond
@end quotation
-The example shows how small chunks of music, for example the notes
+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; it is prepended to a 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 amount of closing
-braces at the end of an expression. For example
+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
-@node Adding articulation marks to notes
-@subsection Adding articulation marks to notes
+
+For more information on context see the Technical manual description
+in @ref{Interpretation context}.
+
+
+
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
@cindex articulation
@cindex accents
@cindex staccato
-Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+Common accents can be added to a note using a dash (`@code{-}') and a
+single character:
@quotation
-@lilypond[verbatim,relative 1]
-c-. c-- c->
+@lilypond[verbatim,relative=1]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
@separate
@cindex fingering
-Similarly, fingering indications can be added to a note using @code{-}
-and the digit to be printed.
-@lilypond[verbatim,relative 1]
+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
Dynamic signs are made by adding the markings to the note:
@quotation
-@lilypond[verbatim,relative 1]
-c-\ff c-\mf
+@lilypond[verbatim,relative=1]
+c\ff c\mf
@end lilypond
@end quotation
@separate
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to.
+is attached to:
+@quotation
+@lilypond[verbatim,relative=1]
+c2\< c2\!\ff\> c2 c2\!
+@end lilypond
+@end quotation
+@separate
+
+
+
+@cindex slur
+
+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:
+
@quotation
-@lilypond[verbatim,relative 1]
-c2-\< c2-\!-\ff c2-\> c2-\!
+@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{\(} and
+@code{\)}.
+
+@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
@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
+
+
@node Basic rhythmical commands
-@subsection Basic rhythmical commands
+@section Basic rhythmical commands
@cindex pickup
@cindex anacruse
@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]
+and @code{\partial 8} an eighth note:
+@lilypond[relative=1,verbatim,fragment]
\partial 8
f8 c2 d e
@end lilypond
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.
+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 the use of grace notes is in @ref{Grace notes}.
+
+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 are 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
-for comments.
+for comments:
@example
% notes for twinkle twinkle follow:
@cindex Lyrics
@cindex Songs
Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
@example
\lyrics @{ I want to break free @}
@end example
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
+The melody for this song is as follows:
@lilypond[fragment,relative=1]
\partial 8
c8
- \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
@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-) }
+ \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
-line}. It is entered as two underscores, i.e.,
+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
- c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
-
- %% ugh, this is to deal with bugs in the extender implementation
- \hideNotes
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
c8
- }
- \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
Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables.
+resulting in a centered hyphen between two syllables:
@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
+ \new Lyrics \lyrics { Twin -- kle twin -- kle }
+ >>
+ \paper { raggedright = ##t }
}
-\paper { linewidth = 6.0 \cm }
- }
-
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
-TODO: discuss contexts.
-
-
@node A lead sheet
@section A lead sheet
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}).
In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that.
+root of the chord), and a durations following that:
@c
@lilypond[verbatim]
\chords { c2 f4. g8 }
@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
-following example shows a few common modifiers
+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 }
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
-A complete list of modifiers, and other options for layout are in the
-reference manual section @ref{Chords}.
-
-@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 __ }
- >
+ \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
+A complete list of modifiers and other options for layout are in the
+reference manual section @ref{Chords}.
+
@node Listening to output
@section 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
+@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 ly2dvi
+@cindex Engraved by LilyPond
-
-When the file is processed by @code{ly2dvi}, 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 ``Lily was
-here, 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
@}
@end example
-More information on titling can be found in @ref{Invoking ly2dvi}.
+More information on titling can be found in @ref{Invoking lilypond}.
-@node Single staff polyphony
+@node Single staff polyphony
@section Single staff polyphony
@cindex polyphony
@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 combing those simultaneously, separating the
+@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 typesetting spacer rests can also be convenient: these
+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 } >>
+ \new Staff
+ << { \clef bass <c g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
@end lilypond
+
More features of polyphonic typesetting are in the notation manual
in @ref{Polyphony}.
-@node Piano staffs
-@section Piano staffs
+@node Piano staves
+@section Piano staves
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
-Piano music is always typeset in two staffs connected by a brace.
-Printing such a staff is done similar to the polyphonic example in
-@ref{More basics}:
+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
- < \context Staff = up @{ @dots{} @}
- \context Staff = down @{ @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
- < \context Staff = up {
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
c4 c g' g }
- \context Staff = down {
+ \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: for example,
-@example
-\property Staff.autoBeaming = ##f
-@end example
-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
-@example
- \property Score.currentBarNumber = #20
-@end example
-
-@item a symbol, which is introduced by a quote character,
-@example
- \property Staff.crescendoSpanner = #'dashed-line
-@end example
-
-@item a pair, which is also introduced by a quote character.
-The following statements 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 almost all 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 prefix @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 the @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
-@cindex @code{extra-offset}
-@item The @code{extra-offset} property
-moves around objects in the printout. The unit of these offsets are
-staff-spaces. 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
-@code{extra-offset} 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, 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]
-\context Staff < {
- \once \property Voice.Stem \set #'transparent = ##t
- b8~ b8
- } \\ {
- b-[ g8-]
- } >
-@end lilypond
-
-@item
-The @code{padding} property for objects with
-@code{side-position-interface} can be set to increase distance between
-symbols that are printed above or below notes. An example of the use
-of padding is in @ref{Constructing a tweak}.
-@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}.
-For example
+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
} }
@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,
@example
- width = 1.5\cm
+ width = 4.5\cm
name = "Wendy"
- aFivePaper = \paper @{ paperheight = 22.7 \cm @}
+ 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:
@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
@section 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 which is printed both in
-parts as in full score. Identifiers can be used to avoid double work:
-the music is entered once, and stored in an variables. 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,
-suppose that the following is in @file{horn-music.ly}:
+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.
+
+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
@}
@end example
-Then, an individual part is made by putting the following in a file
+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
this position in the file, so that @code{hornNotes} is defined
-afterwards. Since the horn is tuned in F, the @code{\transpose}
-command is used. The code @code{\transpose c' f} indicates that the
-argument, being @code{\hornNotes} should be transposed by a fifth
-downwards: the @code{c'} becomes a @code{f}. The transposition can be
-seen in the following output:
+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:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \notes \transpose c' f \notes \relative c' {
+ \notes \transpose f c' \notes \relative c {
\time 2/4
r4 f8 a cis4 f e d
}
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital 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
-takes 3 measures in 2/4 time.
+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
-rests.
+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:
-The result would look like
-
-@lilypond[singleline]
-\score {\notes { \transpose c' f \relative c' { \time 2/4
-\property Score.skipBars = ##t
+@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{hornNotes}, in the
-file @file{horn-music.ly}:
+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
-\include "fagot-music.ly"
-\include "horn-music.ly"
+\include "bassoon-music.lyinc"
+\include "horn-music.lyinc"
\score @{
\simultaneous @{
- \context Staff = hornStaff \hornNotes
- \context Staff = fagStaff \fagottoNotes
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
@} @}
@end example
-This would lead to the following output:
+This would lead to the simple score depicted below:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
\notes \relative c \simultaneous {
- \context Staff = hornStaff { \time 2/4
+ \new Staff { \time 2/4
R2*3
r4 f8 a cis4 f e d }
- \context Staff = fagStaff { \clef bass
+ \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 is in the notation manual, in
-@ref{Orchestral music}.
+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
-TODO: shorten.
-
@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)
+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.
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 also contains 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 many more options using \LaTeX style options
-in brackets:
+length. You can specify options by putting them in brackets:
-\begin[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]@{lilypond@}
- c'4 f bes es
+\begin[staffsize=26,verbatim]@{lilypond@}
+ c'4 f16
\end@{lilypond@}
-The option \texttt@{verbatim@} prints the LilyPond code in addition to
-the graphical score, \texttt@{11pt@} selects the default music size,
-\texttt@{fragment@} adds a score block, \texttt@{relative@} uses
-relative mode for the fragment, and \texttt@{intertext@} specifies
-what to print between the \texttt@{verbatim@} code and the music.
+If you want to include large examples in the text it is more
+convenient to put it in a separate file:
-If you want to include large examples into the text, it may be more
-convenient to put the example in a separate file:
-
-\lilypondfile[printfilename]@{screech-boink.ly@}
-
-The \texttt@{printfilename@} option adds the file name to the output.
+\lilypondfile@{screech-boink.ly@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows:
@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:
c'4
@end lilypond
-In the example you see here, a number of things happened: a
-@code{\score} block was added, and the line width was set to natural
-length. You can specify many more options using La@TeX{} style options
-in brackets:
+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:
-@lilypond[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]
- c'4 f bes es
+@lilypond[staffsize=26,verbatim]
+ c'4 f16
@end lilypond
-The option @code{verbatim} also shows the LilyPond code, @code{11pt} selects
-the default music size, @code{fragment} adds a score block,
-@code{relative} uses relative mode for the fragment, and
-@code{intertext} specifies what to print between the
-@code{verbatim} code and the music.
-
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
-
-@lilypondfile[printfilename]{screech-boink.ly}
-
-The @code{printfilename} option adds the file name to the output.
+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