@c -*-texinfo-*-
+@c This file is part of lilypond.tely
@c TODO:
@c * more details about running lilypond; error messages,
* First steps::
* Running LilyPond::
* More about pitches::
+* Entering ties::
+* Automatic and manual beams::
* Octave entry::
-* Combining music into compound expressions::
+* Music expressions explained::
+* More staves::
* Adding articulation marks to notes::
* Combining notes into chords::
* Basic rhythmical commands::
* Titling::
* Single staff polyphony::
* Piano staves::
-* Setting variables::
-* Fine tuning layout::
* Organizing larger pieces::
* An orchestral part::
* Integrating text and music::
@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 note name, from @samp{a}
-through @samp{g}. So if you enter
+We start off by showing how very simple music is entered in LilyPond.
+A note is entered by typing its name, from @samp{a} through @samp{g},
+and a number. So, if you enter
@example
-c d e f g a b
+c4 d4 e4 f4
@end 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]
-c d e f g a b
+@lilypond[notime,relative]
+c4 d4 e4 f4
@end lilypond
-The length of a note is specified by adding a number, @samp{1} for a
+The number specifies the length of the note, @samp{1} for a
@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
@example
@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
-If you do not specify a @rglos{duration}, the previous one is used:
+If you do not specify a @rglos{duration}, the the first note is a
+quarter, and for others, the last entered duration is used.
@example
a4 a a2 a
@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
-in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
-to @rglos{lyrics}) follows:
+To recognize names like @code{c} and @code{d} as pitches, they have to
+be entered inside a so-called @code{\notes} block. This block is
+formed by enclosing notes and commands are enclosed in curly braces,
@example
-\notes @{
+@{
\time 3/4
\clef bass
c2 e4 g2.
f4 e d c2 r4
@}
@end example
-Now the piece of music is almost ready to be printed. The final step is to
-combine the music with a printing command.
-
-The printing command is the so-called @code{\paper} block:
+and adding the keyword @code{\notes} before the opening brace
+@code{@{}, for example,
@example
-\paper @{ @}
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+@}
@end example
-The @code{\paper} block is used to customize printing specifics. The
-customization commands go between @code{@{} and @code{@}}, but for
-now, we accept the defaults. The music and the @code{\paper} block
-are combined by enclosing them in @code{\score @{ ... @}}, so the
-following is a complete and valid input file:
+Now the piece of music is almost ready to be printed. When this
+enclosed a @code{\score} block, i.e. braces @code{@{ @dots{} @}} with
+keyword @code{\score} in front, like
@example
\score @{
c2 e4 g2.
f4 e d c2 r4
@}
- \paper @{ @}
@}
@end example
+then the music will be converted to printable output:
+
@lilypond[noindent]
\score {
\notes {
}
@end lilypond
-In the rest of the tutorial we will often leave out @code{\score}
-and @code{\paper} for clarity. However, both must be present when
-feeding the file to LilyPond.
+In many examples in this manual, both @code{\score} and @code{\notes}
+and accompanying braces are left out for brevity. However, they must
+be present when feeding the file to LilyPond.
For more elaborate information on
@table @asis
-@item entering pitches and durations
+@item Entering pitches and durations
see
@ref{Pitches} and @ref{Durations}.
@item Clefs
see @ref{Clef}
+@item Rests
+see @ref{Rests}.
@item Time signatures and other timing commands
see @ref{Time signature}.
@end table
@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 Viewing music
@cindex xdvi
-The result is the file @file{test.pdf}.@footnote{For @TeX{}
+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
@cindex dvips
@cindex dvilj
@cindex DVI driver
-} One of the following commands should put the PDF on your
-screen:
+} which you can print or with the standard facilities of your
+operating system.@footnote{If your system does not have any tools
+installed, you can try @uref{Ghostscript,
+http://www.cs.wisc.edu/~ghost/}, a freely available package for
+viewing and printing PDF and PostScript files.}
+
+On Windows, start up a text-editor@footnote{Any programmer-oriented
+editor will do, for example NotePad. Do not use word processor. Its
+formatting codes will confuse LilyPond} and enter
+
+
@quotation
@example
- gv test.pdf
- ghostview test.pdf
- ggv test.pdf
- kghostview test.pdf
- xpdf test.pdf
- gpdf test.pdf
- acroread test.pdf
- gsview32 test.pdf
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
@end example
@end quotation
-@noindent
-If the music on your screen looks good, you can print it by clicking
-File/Print inside your viewing program.
-
-@cindex Ghostscript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
-@cindex PDF
-
-
-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
-
-The commands for formatting and printing music on all platforms are
-detailed in @ref{Invoking LilyPond}.
+Save it on the desktop as @file{test.ly} and make sure that it is not
+called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
+the file and show the resulting PDF file.
+
@node More about pitches
@section More about pitches
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
@end example
@lilypond[fragment]
-\property Staff.TimeSignature = \turnOff
+\set Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
@end quotation
-Key signatures together with the pitch (including alterations) are
+Key signatures together with the pitches (including alterations) are
used together to determine when to print accidentals. This is a
feature that often causes confusion to newcomers, so let us explain it
in more detail:
-LilyPond has a sharp distinction between musical content and
+LilyPond makes a sharp distinction between musical content and
layout. The alteration (flat, natural or sharp) of a note is part of
the pitch, and is therefore musical content. Whether an accidental (a
flat, natural or sharp @emph{sign}) is a printed in front of the
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:
+In this example
+
@lilypond[fragment]
-\property Staff.TimeSignature = #'()
+\set Staff.TimeSignature = \turnOff
\key d \major
d' cis' fis'
@end lilypond
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:
+of A-flat, it does get an accidental:
@lilypond[fragment]
-\property Staff.TimeSignature = #'()
+\set Staff.TimeSignature = \turnOff
\key as \major
d'
@end lilypond
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.
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+music can be printed according to different conventions. See
+@ref{Accidentals} for some examples how accidentals can be printed
+according to different rules.
+
+
+For more information on
+
+@table @asis
+@item Accidentals
+see @ref{Accidentals}
+
+@item Key signature
+see @ref{Key signature}
+@end table
+@node Entering ties
+@section Entering ties
@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
@end quotation
@separate
-This example shows the key signature, accidentals and ties in action:
+
+For more information on Ties, see @ref{Ties}.
+
+
+
+@node Automatic and manual beams
+@section Automatic and manual beams
+
+@cindex beams, by hand
+Beams are drawn automatically
+
+
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+ a8 ais d es r d
+@end lilypond
+@end quotation
+@separate
+
+If you do not like where beams 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 beams, see @ref{Beaming}.
+
+
+Here are key signatures, accidentals and ties in action:
@quotation
@example
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
+ a8 d4.~ d e8
fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
}}
There are some interesting points to note in this example. Bar lines
and beams are drawn automatically. Line breaks are calculated
-automatically; it does not matter where the 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 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
+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.
-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
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
@end quotation
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f c g c
}
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f, f c' c g' c,
}
@end 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:
-
-@quotation
-@example
-\relative a @{
-\clef bass
- a d a e d c' d'
-@}
-@end example
-
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\relative a {
-\clef bass
- a d a e d c' d'
-}
-@end lilypond
-@end quotation
-@separate
-
-@quotation
-@example
-\clef bass
- a d a e d c' d'
-@end example
-
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\clef bass
- a d a e d c' d'
-@end lilypond
-@end quotation
-@separate
-
+In @code{\relative} mode, quotes or commas no longer determine the
+absolute height of a note. Rather, the height of a note is relative to
+the previous one, and changing the octave of a single note shifts all
+following notes an octave up or down.
For more information on Relative octaves see @ref{Relative octaves}
and @ref{Octave check}.
+@node Music expressions explained
+@section Music expressions explained
+In input files, music is represent by so-called @emph{music
+expression}. We have already seen in the previous examples;
+a single note is a music expression:
-
-@node 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:
-
-@quotation
-@lilypond[fragment,verbatim]
-\simultaneous {
- \new Staff { \clef violin c'' }
- \new Staff { \clef bass c }
-}
+@lilypond[verbatim,relative=2]
+a4
@end lilypond
-@end quotation
-
-
-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 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.
+Enclosing group of notes in braces creates a new music
+expression:
+
+@lilypond[verbatim,relative=2]
+ { a4 g4 }
+@end lilypond
-@separate
+Putting a bunch of music expressions (notes) in braces, means that
+they should be played in sequence. The result again is a music
+expression, which can be grouped with other expressions sequentially.
+Here, the expression from the previous example is combined with two
+notes:
-We can now typeset a melody with two staves:
+@lilypond[verbatim,relative=2]
+ { { a4 g } f g }
+@end lilypond
-@quotation
-@lilypond[verbatim,raggedright]
-\score {
- \notes
- << \new Staff {
- \time 3/4
- \clef violin
- \relative c'' {
- e2( d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.) }
- }
- \new Staff {
- \clef bass
- c2 e4 g2.
- f4 e d c2.
- }
+This technique becomes useful for non-monophonic music. To enter music
+with more voices or more staves, we also combine expressions in
+parallel. Two voices that should play at the same time, are entered as
+a simultaneous combination of two sequences. A ``simultaneous'' music
+expression is formed by enclosing expressions in @code{<<} and
+@code{>>}. In the following example, three sequences (all contaning
+two notes) are combined simultaneously:
+
+@lilypond[verbatim,relative=2]
+ <<
+ { a4 g }
+ { f e }
+ { d b }
>>
- \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{\new Staff} to it, and that chunk is combined
-with @code{<< >>}. This mechanism is similar with mathematical
+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,
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.
+expressions.
Like mathematical expressions, music expressions can be nested
arbitrarily deep, e.g.
@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 <<
@}
@end example
+Some editors have special support for entering LilyPond, and can help
+indenting source files. See @ref{Editor support} for more information.
+
+
+
+@node More staves
+@section More staves
+
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it. These
+@code{Staff}'s are then combined parallel with @code{<<} and
+@code{>>}, as demonstrated here:
+
+@quotation
+@lilypond[fragment,verbatim]
+<<
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
+>>
+@end lilypond
+@end quotation
+
+
+The command @code{\new} introduces a ``notation context.'' A notation
+context is an environment in which musical events (like notes or
+@code{\clef} commands) are interpreted. For simple pieces, such
+notation contexts are created implicitly. For more complex pieces, it
+is best to mark contexts explicitly. This ensures that each fragment
+gets its own stave.
+
+There are several types of contexts: @code{Staff}, @code{Voice} and
+@code{Score} handle normal music notation. Other staves are also
+@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
+printing chord names).
+
-For more information on context see the Technical manual description
-in @ref{Interpretation context}.
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression. In this way it resembles the minus
+sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
+expression.
+
+We can now typeset a melody with two staves:
+
+@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
+
+
+@quotation
+@lilypond[verbatim,raggedright]
+\score {
+ \notes
+ << \new Staff {
+ \time 3/4
+ \clef violin
+ \relative c'' {
+ e2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2. }
+ }
+ \new Staff {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >>
+}
+@end lilypond
+@end quotation
+
+For more information on context see the description in
+@ref{Interpretation context}.
@end lilypond
-Dynamic signs are made by adding the markings to the note:
+Dynamic signs are made by adding the markings (with a backslash) to
+the note:
@quotation
@lilypond[verbatim,relative=1]
c\ff c\mf
@cindex crescendo
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to:
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+crescendo, or the command @code{\!} can be used:
@quotation
@lilypond[verbatim,relative=1]
-c2\< c2\!\ff\> c2 c2\!
+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
+A slur is a curve drawn across many notes, and indicates legato
+articulation. The starting note and ending note are marked with a
``@code{(}'' and a ``@code{)}'' respectively:
@quotation
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{\(} and
-@code{\)}.
+Slurs to indicate phrasing can be entered with @code{\(} and
+@code{\)}, so you can have both legato slurs and phrasing slurs at the
+same time.
@quotation
@lilypond[fragment,relative=1,verbatim]
For more information on
@table @asis
-@item fingering
+@item Fingering
see @ref{Fingering instructions}
-@item articulations
+@item Articulations
see @ref{Articulations}
-@item slurs
+@item Slurs
see @ref{Slurs}
-@item phrasing slurs
+@item Phrasing slurs
see @ref{Phrasing slurs}
-@item dynamics
+@item Dynamics
see @ref{Dynamics}
-@item fingering
+@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{>}:
+Chords can be made by surrounding pitches with angled brackets.
+Angled brackets are the symbols @code{<} and @code{>}.
+
@quotation
@lilypond[relative,fragment,verbatim]
r4 <c e g>4 <c f a>8
@separate
-You can combine beams and ties with chords. Beam and tie markings
-must be placed outside the chord markers:
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets:
@quotation
@lilypond[relative,fragment,verbatim]
r4 <c e g>8[ <c f a>]~ <c f a>
@cindex pickup
@cindex anacruse
-@cindex upstep
@cindex partial measure
-A pickup (or upstep) is entered with the keyword @code{\partial}. It
+A pickup 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]
@cindex grace notes
@cindex accacciatura
-Grace notes are also made by prefixing a note, or a set of notes with
-a keyword. In this case, the keywords are @code{\appoggiatura}
-and @code{\acciaccatura}
+Grace notes are also made by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
@cindex appoggiatura
@cindex acciaccatura
@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
-that, the rest of that line is ignored. Block comments span larger
+types of comments. The percent symbol @code{%} introduces a line
+comment; the rest of the 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:
@section Printing lyrics
@cindex lyrics
+@c TODO: (c) status of the Queen fragment.
+
@cindex Lyrics
@cindex Songs
Lyrics are entered by separating each syllable with a space, and
Like notes, lyrics are also a form of music, but they must not be
printed on a staff, which is the default way to print music. To print
-them as lyrics, they must be marked with @code{ \new LyricsVoice}:
+them as lyrics, they must be marked with @code{ \new Lyrics}:
@example
- \new LyricsVoice \lyrics @{ I want to break free @}
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
The melody for this song is as follows:
The lyrics can be set to these notes, combining both with the
@code{\lyricsto} keyword:
@example
- \lyricsto "@var{name}" \new LyricsVoice @dots{}
+ \lyricsto "@var{name}" \new Lyrics @dots{}
@end example
where @var{name} identifies to which melody the lyrics should be
aligned. In this case, there is only one melody, so we can leave it
empty.
The final result is
-@lilypond[verbatim,linewidth=6.0\cm]
+@lilypond[verbatim,fragment]
\score {
\notes <<
\relative c' \new Voice {
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) }
}
- \lyricsto "" \new LyricsVoice \lyrics { I want to break free }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
>>
- \paper{ }
}
@end lilypond
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[]
+@lilypond[raggedright]
\score {
\notes <<
\relative c' \new Voice {
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \lyricsto "" \new LyricsVoice \lyrics { I want to break free __ }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
>>
- \paper{ }
}
@end lilypond
The result of @code{\chords} is a list of chords, and is equivalent
to entering chords with @code{<@dots{}>}.
-Other chords can be created by adding modifiers, after a colon. The
+Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers:
@c
@lilypond[verbatim]
\chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
-Printing chords is done by adding @code{\context ChordNames}
+Printing chords is done by adding @code{\new ChordNames}
before the chords thus entered:
@c
@lilypond[verbatim]
- \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+ \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@cindex lead sheet
@example
\score @{
<<
- \context ChordNames \chords @{ @emph{chords} @}
+ \new ChordNames \chords @{ @emph{chords} @}
\notes @emph{the melody}
- \lyricsto "" \new LyricsVoice \lyrics @{ @emph{the text} @}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
>>
- \paper @{ @}
@}
@end example
@lilypond[]
\score {
<<
- \context ChordNames \chords { r8 c2:sus4 f }
+ \new ChordNames \chords { r8 c2:sus4 f }
\notes \relative c' {
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \new LyricsVoice \lyricsto "" \lyrics { I want to break free __ }
+ \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
>>
\paper{ raggedright = ##t }
}
@end lilypond
-A complete list of modifiers, and other options for layout are in the
+A complete list of modifiers and other options for layout are in the
reference manual section @ref{Chords}.
@node Listening to output
MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments. A MIDI file is like a
-tape recording of a MIDI instrument. The @code{\midi} block makes the
-music go to a MIDI file, so you can listen to the music you entered.
-It is great for checking the music: octaves that are off, or
-accidentals that were mistyped, stand out very much when listening to
+tape recording of a MIDI instrument. The @code{\midi} block causes LilyPond
+to create a MIDI file, so you can listen to the music you entered.
+It is great for checking the music: octaves that are off or
+accidentals that were mistyped stand out very much when listening to
the musical transcription.
-@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example,
+The @code{\midi} block is added to @code{\score}, for example,
@example
\score @{
@var{..music..}
\midi @{ \tempo 4=72 @}
- \paper @{ @}
@}
@end example
information on auditory output is in the @ref{Sound} section in the
notation manual.
+If there is a @code{\midi} command in a @code{\score}, then only MIDI
+will be produced. If notation is needed too, then a @code{\paper}
+block must be added too:
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
+@end example
+
+@cindex paper block
@node Titling
@section Titling
@cindex composer
@cindex Engraved by LilyPond
-When the file is processed by the @code{lilypond} wrapper script, then
+When the file is processed by the @code{lilypond} wrapper script
the title and composer specified are printed above the music. The
-`tagline' is a short line printed at bottom of the last page, which
+`tagline' is a short line printed at bottom of the last page which
normally says ``Engraved by LilyPond, version @dots{}''. In the
-example above, it is replaced by the line ``small is
+example above it is replaced by the line ``small is
beautiful.''@footnote{Nicely printed parts are good PR for us, so do
us a favor, and leave the tagline if you can.}
Normally, the @code{\header} is put at the top of the file. However,
for a document that contains multiple pieces (e.g. an etude book, or
-an orchestral part with multiple movements), then the header can be
-put into the @code{\score} block as follows; in this case, the name of
+an orchestral part with multiple movements), the header can be
+put in the @code{\score} block as follows; in this case, the name of
each piece will be printed before each movement:
@cindex multiple voices
@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff, these are
+When different melodic lines are combined on a single staff they are
printed as polyphonic voices: each voice has its own stems, slurs and
beams, and the top voice has the stems up, while the bottom voice has
them down.
@{ r4 g4 f2 f4 @} >>
@end example
@lilypond[relative=1]
-\context Staff << { a4 g2 f4~ f4 } \\
+\new Staff << { a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 } >>
@end lilypond
@{ s4 g4 f2 f4 @} >>
@end example
@lilypond[relative=1]
-\context Staff << { a4 g2 f4~ f4 } \\
+\new Staff << { a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 } >>
@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
-@ref{Combining music into compound expressions}:
+Printing such a staff is similar to the polyphonic example in
+@ref{More staves}:
@example
<< \new Staff @{ @dots{} @}
\new Staff @{ @dots{} @}
More information on formatting piano music is in @ref{Piano music}.
-@node Setting variables
-@section Setting variables
-
-When the music is converted from notes to print, it is interpreted
-from left-to-right order, similar to what happens when we read
-music. During this step, context-sensitive information, such as the
-accidentals to print, and where barlines must be placed, are stored in
-variables. These variables are called @emph{context properties}.
-The properties can also be manipulated from input files. Consider this input:
-@example
-\property Staff.autoBeaming = ##f
-@end example
-
-@noindent
-It sets the property named @code{autoBeaming} in the current staff at
-this point in the music to @code{##f}, which means `false'. This
-property controls whether beams are printed automatically:
-@c
-@lilypond[relative=1,fragment,verbatim]
- c8 c c c
- \property Staff.autoBeaming = ##f
- c8 c c c
-@end lilypond
-
-@noindent
-LilyPond includes a built-in programming language, namely, a dialect
-of Scheme. The argument to @code{\property}, @code{##f}, is an
-expression in that language. The first hash-mark signals that a piece
-of Scheme code follows. The second hash character is part of the
-boolean value true (@code{#t}). Values of other types may be
-entered as follows:
-@itemize @bullet
-@item a string, enclosed in double quotes, for example,
-@example
- \property Staff.instrument = #"French Horn"
-@end example
-@item a boolean: either @code{#t} or @code{#f}, for true and false
-respectively, e.g.
-@example
- \property Voice.autoBeaming = ##f
- \property Score.skipBars = ##t
-@end example
-
-@item a number, such as
-@example
- \property Score.currentBarNumber = #20
-@end example
-
-@item a symbol, which is introduced by a quote character, as in
-@example
- \property Staff.crescendoSpanner = #'dashed-line
-@end example
-
-@item a pair, which is also introduced by a quote character, like in
-the following statements, which set properties to the pairs (-7.5, 6)
-and (3, 4) respectively:
-
-@example
- \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
- \property Staff.timeSignatureFraction = #'(3 . 4)
-@end example
-
-@item a list, which is also introduced by a quote character. In the
-following example, the @code{breakAlignOrder} property is set to a
-list of symbols:
-@example
- \property Score.breakAlignOrder =
- #'(left-edge time-signature key-signatures)
-@end example
-
-
-@end itemize
-
-There are many different properties, and not all of them are listed in
-this manual. However, the program reference lists them all in the
-section @internalsref{Context-properties}, and most properties are
-demonstrated in one of the
-@ifhtml
-@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
-@end ifhtml
-@ifnothtml
-tips-and-tricks
-@end ifnothtml
-examples.
-
-
-@node Fine tuning layout
-@section Fine tuning layout
-
-Sometimes it is necessary to change music layout by hand. When music
-is formatted, layout objects are created for each symbol. For
-example, every clef and every note head is represented by a layout
-object. These layout objects also carry variables, which we call
-@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score:
-
-@lilypond[verbatim,]
- c4
- \property Voice.Stem \override #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-
-@noindent
-In the example shown here, the layout property @code{thickness} (a
-symbol) is set to 3 in the @code{Stem} layout objects of the current
-Voice. As a result, the notes following @code{\property} have thicker
-stems.
-
-In most cases of manual overrides, only a single object must be
-changed. This can be achieved by prefixing @code{\once} to the
-@code{\property} statement, i.e.
-
-@example
- \once \property Voice.Stem \set #'thickness = #3.0
-@end example
-
-@lilypond[relative]
- c4
- \once \property Voice.Stem \set #'thickness = #3.0
- c4 c4 c4
-@end lilypond
-
-@noindent
-Some overrides are so common that predefined commands are provided as
-a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
-commands are described in
-@ifhtml
-the
-@end ifhtml
-@ref{Notation manual}, under the sections for slurs and stems
-respectively.
-
-The exact tuning possibilities for each type of layout object are
-documented in the program reference of the respective
-object. However, many layout objects share properties, which can be
-used to apply generic tweaks. We mention a couple of these:
-
-@itemize @bullet
-@item The @code{extra-offset} property, which
-@cindex @code{extra-offset}
-has a pair of numbers as value, moves around objects in the printout.
-The first number controls left-right movement; a positive number will
-move the object to the right. The second number controls up-down
-movement; a positive number will move it higher. The unit of these
-offsets are staff-spaces. The @code{extra-offset} property is a
-low-level feature: the formatting engine is completely oblivious to
-these offsets.
-
-In the following example, the second fingering is moved a little to
-the left, and 1.8 staff space downwards:
-
-@cindex setting object properties
-
-@lilypond[relative=1,verbatim]
-\stemUp
-f-5
-\once \property Voice.Fingering
- \set #'extra-offset = #'(-0.3 . -1.8)
-f-5
-@end lilypond
-
-@item
-Setting the @code{transparent} property will make an object be printed
-in `invisible ink': the object is not printed, but all its other
-behavior is retained. The object still takes space, it takes part in
-collisions, and slurs, ties and beams can be attached to it.
-
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
-The following example demonstrates how to connect different voices
-using ties. Normally ties only happen between notes of the same
-voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices:
-
-@lilypond[fragment,relative=1,verbatim]
- c4 << {
- \once \property Voice.Stem \set #'transparent = ##t
- b8~ b8
- } \\ {
- b[ g8]
- } >>
-@end lilypond
-
-@item
-The @code{padding} property for objects with
-@cindex @code{padding}
-@code{side-position-interface} can be set to increase distance between
-symbols that are printed above or below notes. We only give an
-example; a more elaborate explanation is in @ref{Constructing a
-tweak}:
-
-@lilypond[relative=1,verbatim]
- c2\fermata
- \property Voice.Script \set #'padding = #3
- b2\fermata
-@end lilypond
-
-@end itemize
-
-More specific overrides are also possible. The notation manual
-discusses in depth how to figure out these statements for yourself, in
-@ref{Tuning output}.
-
@node Organizing larger pieces
@section Organizing larger pieces
variable substitution:
@lilypond[raggedright,verbatim]
-seufzer = \notes {
+seufzer = \notes {
dis'8 e'8
}
\score { \notes {
} }
@end lilypond
-The name of an identifier should have alphabetic characters only, and
+The name of an identifier should have alphabetic characters only;
no numbers, underscores or dashes. The assignment should be outside of
the @code{\score} block.
@end example
More information on the possible uses of identifiers is in the
-technical manual, in @ref{Scheme datatypes}.
+technical manual, in TODO.
@node An orchestral part
In orchestral music, all notes are printed twice: both in a part for
the musicians, and in a full score for the conductor. Identifiers can
be used to avoid double work: the music is entered once, and stored in
-variable. The contents of that variable is then used to generate
+a variable. The contents of that variable is then used to generate
both the part and the score.
It is convenient to define the notes in a special file, for example,
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital R, and followed by a duration (1
+rest. It is entered with a capital R followed by a duration (1
for a whole note, 2 for a half note, etc.) By multiplying the
-duration, longer rests can be constructed. For example, the next rest
+duration, longer rests can be constructed. For example, this rest
takes 3 measures in 2/4 time:
@example
R2*3
@end example
When printing the part, the following @code{skipBars} property must be
-set to false, to prevent the rest from being expanded in three one bar
+set to true, to prevent the rest from being expanded to three one bar
rests:
@example
- \property Score.skipBars = ##t
+ \set Score.skipBars = ##t
@end example
Prepending the rest and the property setting above, leads to the
following result:
@lilypond[raggedright]
\score {\notes { \transpose f c' \relative c { \time 2/4
-\property Score.skipBars = ##t
+\set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d } }}
@end lilypond
code. A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This program is fully described in @ref{lilypond-book manual}. Here
-we show a small example; since the example contains also explanatory
-text, we will not comment it further:
+we show a small example. The example also contains explanatory text,
+so we will not comment on it further:
@example
\documentclass[a4paper]@{article@}
c'4
\end@{lilypond@}
-In the example you see here, two things happened: a
+In the example you see here two things happened: a
\verb+\score+ block was added, and the line width was set to natural
length. You can specify options by putting them in brackets:
c'4 f16
\end@{lilypond@}
-If you want to include large examples into the text, it is more
+If you want to include large examples in the text it is more
convenient to put it in a separate file:
\lilypondfile@{screech-boink.ly@}
$ lilypond-book --output=out/ lilybook.tex
lilypond-book (GNU LilyPond) 2.1.19
Reading `input/tutorial/lilybook.tex'
-Reading `input/screech-boink6.ly'
+Reading `input/screech-boink.ly'
@var{lots of stuff deleted}
Writing `out/lilybook.latex'
$ cd out
Running lilypond-book and running latex creates a lot of temporary
-files, and you would not want those to clutter up your working
+files. You would not want those to clutter up your working
directory. The @code{outdir} option to lilypond-book creates the
temporary files in a separate subdirectory @file{out}.
c'4 f16
@end lilypond
-If you want to include large examples into the text, it is more
+If you want to include large examples in the text, it is more
convenient to put it in a separate file:
@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff