@c -*-texinfo-*-
+@c TODO: LilyPond LilyPond LilyPond
+
@node Tutorial
@chapter Tutorial
+@html
+<!--- @@WEB-TITLE@@=Tutorial --->
+@end html
+
@menu
-* Introduction:: Introduction
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* More movements ::
+* First steps:: Music language of LilyPond
+* Running LilyPond:: Printing music
+* More basics::
+* Printing lyrics::
+* A melody with chords ::
+* More stanzas::
+* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
-* An orchestral score::
-* Part extraction::
-* end of tutorial:: The end
+* Fine tuning a piece::
+* An orchestral score:: Conductor's score and individual parts
+* Integrating text and music:: Integrating text and music
+* End of tutorial:: The end
@end menu
-@node Introduction
-@section Introduction
+Operating lilypond is done through text files: to print a piece of
+music, you enter the music in a file. When you run lilypond (normally
+using the program @code{ly2dvi}) on that file, the program produces
+another file which contains sheet music that you can print or view.
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-chapter is a gentle introduction to that language.
+This tutorial starts with a small introduction to the LilyPond music
+language. After this first contact, we will show you how to run
+LilyPond to produce printed output; you should then be able to create
+your first sheets of music. The tutorial continues with more and more
+complex examples.
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
+@node First steps
+@section First steps
-@cindex examples, tutorial
+We start off by showing how very simple music is entered in
+LilyPond: you get a note simply by typing its note name, from
+@code{a} through @code{g}. So if you enter
+@quotation
+@example
+c d e f g a b
+@end example
+@end quotation
+then the result looks like this:
+@quotation
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { c d e f g a b }
+@end lilypond
+@end quotation
+@separate
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}.@footnote{When we refer
-to filenames, they are relative to the top directory of the source
-package.
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
+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, ``@code{1}'' for a
+whole note, ``@code{2}'' for a half note, and so on:
-@node Running LilyPond
-@section Running LilyPond
+@quotation
+@example
+a1 a2 a4 a16 a32
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+%\property Staff.Clef = \turnOff
+\transpose c'' { a1 a2 a4 a16 a32 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+If you don't specify a duration, the previous one is used:
+@quotation
+@example
+a4 a a2 a
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a a a2 a }
+s16_" "
+@end lilypond
+@end quotation
+@separate
-Before we dive into describing the input language of LilyPond, we first
-show you through the procedure for getting notes on your screen and out
-of your printer.
+A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
+(@texiflat{}) by adding ``@code{es}''. As you would expect, a
+double-sharp or double-flat is made by adding ``@code{isis}'' or
+``@code{eses}'':
-The first step is creating an input file. Using your favorite
-text-editor, create @file{test.ly} containing
+@quotation
+@example
+cis1 ees fisis aeses
+@end example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { cis1 ees fisis aeses }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+Add a dot ``@code{.}'' after the duration to get a dotted note:
+@quotation
@example
-\header @{
- title = "Test";
+a2. a4 a8. a16
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature \set #'transparent = ##t
+%\property Staff.Clef = \turnOff
+\transpose c'' { a2. a4 a8. a16 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+The meter (or time signature) can be set with the @code{\time} command:
+
+@quotation
+@example
+\time 3/4
+\time 6/8
+\time 4/4
+@end example
+
+@c a clef here may lead to confusion
+@lilypond[fragment]
+\property Staff.Clef \set #'transparent = ##t
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+The 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.
+@quotation
+@example
+\clef treble
+\clef bass
+\clef alto
+\clef tenor
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+@c From these commands and notes, a piece of music can be formed. A piece
+@c of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
+@c rephrased:
+When you enter these commands in a file, you must to enclose them in
+``@code{\notes @{ .. @}}''. This lets LilyPond know that music (and
+not lyrics, for example) follows:
+
+@quotation
+@example
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
+@end example
+@end quotation
+@separate
+
+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
+LilyPond source file looks like:
+@quotation
+@example
\score @{
- \notes @{ c'4 e'4 g'4 @}
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
\paper @{ @}
+@}
+@end example
+
+@lilypond
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { linewidth = 60 * \staffspace }
+}
+@end lilypond
+@end quotation
+@separate
+
+
+@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 how to run LilyPond
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup of LilyPond, or want to run an example
+file yourself, read this section. The instructions that follow
+are for running LilyPond on Unix-like systems. Some additional
+instructions for running LilyPond on 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
+@file{test.ly}:
+
+@quotation
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
@}
@end example
+@end quotation
+
+@cindex ly2dvi
-@unnumberedsubsec Unix
+@c now this is weird, running ly2dvi to run LilyPond
+@c (therefore name change proposal)
-@cindex Unix, Running lilypond on
+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:
-If you run Unix, proceed as follows: run lilypond on the file, i.e.,
+@quotation
@example
- lilypond test
+ly2dvi -P test.ly
@end example
+@end quotation
+
You will see the following on your screen:
+
+@quotation
@example
-GNU LilyPond 1.3.125.
-Now processing: `input/tutorial/test.ly'
+GNU LilyPond 1.6.0
+Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
-@end example
-
-Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
-especially suited for typesetting mathematics.}. The result should
-resemble this:
-@example
-This is TeX, Version 3.14159 (Web2C 7.3.1)
-(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
-(/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
-LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
-(/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
-(/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
-Output written on test.dvi (1 page, 3716 bytes).
-Transcript written on test.log.
-@end example
-The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
-(@file{test.dvi}).
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
+@end example
+@end quotation
@cindex DVI file
-@cindex @TeX{}
-
@cindex Viewing music
-@cindex @code{xdvi}
-To view the output, run Xdvi, i.e.
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
+You can view the PS file using the program 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 screen:
+@c eeek
+@quotation
@example
- xdvi test
+ gv test.ps
+ ghostview test.ps
+ ggv test.ps
+ kghostview test.ps
@end example
-You should see the following in a window next to some buttons.
-@lilypond
-\header {
- title = "Test";
-}
+@end quotation
+If the music on your screen looks good, you can print it by clicking
+File/Print inside ghostview.
-\score {
- \notes { c'4 e'4 g'4 }
- \paper { }
-}
-@end lilypond
+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} or
+@code{kdvi test.dvi} 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.
+
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
-@cindex postscript, converting to
-When you're satisfied with the result, you can print it. For printing,
-you have to generate a postscript file:
+@c volgende alinea schrappen?
+
+If your system does not support printing PostScript files, then you
+can install Ghostscript, a PostScript emulator. Refer to
+Ghostscript's website at @uref{http://www.ghostscript.com}.
+
+@cindex Ghostscript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+@cindex PDF
+
+A final option is to use the popular PDF format. You can get a PDF
+file by running @code{ly2dvi --pdf test.ly}. With @code{--pdf}
+you will get DVI, PS and PDF files. Viewers for PS files also
+accept PDF files, but there are also many other applications for
+viewing PDF files.
+
+If you are familiar with @TeX{}, be warned: do not use other
+DVI drivers like @code{dvilj}. The @TeX{} coming out of LilyPond
+uses embedded PostScript code and will not render correctly if
+you use anything other than @code{dvips}.
+
+@cindex dvips
+@cindex dvilj
+@cindex DVI driver
+
+@unnumberedsubsec Windows users
+Windows users can start the terminal by clicking on the LilyPond or
+Cygwin icon. You can use any text editor (such as NotePad, Emacs or
+Vim) to edit the LilyPond file. If you install the Cygwin's
+@code{XFree86} X11 window system, @code{tetex-x11} and
+@code{ghostscript-x11} packages too, you can view the @code{dvi}
+output doing @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 PS file can be done
+with:
+@quotation
@example
- dvips -o test.ps test.dvi
+@code{gsview32 test.ps}
@end example
-which looks like this:
+@end quotation
+You can also print from the command line by executing:
+@quotation
@example
-This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
-' TeX output 2001.01.27:1806' -> test.ps
-<texc.pro><special.pro>. [1]
+@code{gsview32 /s test.ps}
@end example
+@end quotation
-@cindex PostScript
-@cindex Printing output
-@cindex GhostScript
-@cindex @code{lpr}
-PostScript is a page description language, similar to PDF. Some printers
-can understand a postscript file directly, but the cheaper ones need the
-intervention of GhostScript, an emulator that runs PostScript on your
-computer instead of your printer. Most Linux distributions nowadays have
-GhostScript running ``in the background'', so any configured printer
-will act as a PostScript printer. Assuming this, the following command
-will print the file
-@example
- lpr test.ps
-@end example
-If this does not make your printer produce a page of music, then you
-should look into installing and configuring ghostscript. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-
-There are three other routes: firstly, you can add titling to the
-output. This is done by a separate program called @file{ly2dvi}: this
-program first calls LilyPond to process the @file{.ly} file, and then
-runs @TeX{} on it to produce a @file{.dvi} file with proper margin
-settings and titling.
-
-@cindex titles, adding
-@cindex ly2dvi
+@strong{SUMMARY}
+
+To run LilyPond, input a text file, then run the command @code{ly2dvi} on
+that file. The resulting files are either DVI or PostScript, and can
+be viewed with @code{xdvi} (unix) and ghostview (unix and windows)
+respectively. The following table summarizes the constructs that were
+discussed in the previous two sections.
+
+@multitable @columnfractions .3 .3 .4
+
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
+
+@item @code{1 2 8 16}
+@tab durations
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c1 c2 c8 c16
+@end lilypond
+
+@item @code{. ..}
+@tab augmentation dots
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c4. c4..
+@end lilypond
+
+@item @code{c d e f g a b }
+@tab scale
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c d e f g a b
+@end lilypond
+
+@item @code{\clef treble \clef bass }
+@tab clefs
+@tab
+@lilypond[fragment]
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef treble
+s4_" "
+\clef bass
+s4_" "
+@end lilypond
+
+@item @code{\time 3/4 \time 4/4 }
+@tab time signature
+@tab
+@lilypond[fragment]
+\property Staff.Clef \set #'transparent = ##t
+\time 3/4
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+
+@end multitable
+
+
+@node More basics
+@section More basics
+
+We continue with the introduction of the remaining musical constructs.
+Normal rests are entered just like notes with the name ``@code{r}'':
+
+@quotation
@example
- ly2dvi test.ly
+r2 r4 r8 r16
@end example
-After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the @ref{ly2dvi}.
-Secondly, you can generate PostScript directly. This is useful if you
-can not or do not want to run @TeX{} on your system.
-To obtain PS output, invoke LilyPond as follows:
-@cindex PostScript output
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+@c Tim wants to move this quotes example just before the: quotes-don't-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
- lilypond -f ps test.ly
+c'4 c'' c''' \clef bass c c,
@end example
-You have to set some environment variables to view or print this
-output. More information can be found in the @ref{Invoking
-LilyPond}.
-
-Finally, there is a script called lilypond-book, that allows you to
-freely mix LilyPond input with Texinfo or LaTeX input. For example, this
-manual was written using lilypond-book. lilypond-book is discussed in
-@ref{lilypond-book}.
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
-@unnumberedsubsec Windows
+A tie is created by entering a tilde ``@code{~}'' between the notes to
+be tied. A tie between two notes means that the second note must not be
+played separately; it just makes the first note sound longer:
-[TODO]
+@quotation
+@lilypond[fragment,verbatim]
+g'4 ~ g' a'2 ~ a'4
+@end lilypond
+@end quotation
+@separate
+The key signature is set with the command ``@code{\key}''. One caution:
+you need to specify whether the key is @code{\major} or @code{\minor}.
+@quotation
+@example
+\key d \major
+g'1
+\key c \minor
+g'
+@end example
+
+@lilypond[fragment]
+\property Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
-@node The first tune
-@section The first tune
+@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.
-To demonstrate what LilyPond input looks like, we start off with a
-full-fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
-is included in the distribution as @file{menuet.ly}.
-@cindex Bach, Johann Sebastian
+@quotation
+@example
+\score @{
+ \notes @{
+ \time 4/4
+ \key d \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
+ @}
+ \paper @{ @}
+@}
+@end example
-@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
-\include "paper16.ly"
+@lilypond
\score {
- \notes
- \relative c'' \sequential{
- \time 3/4;
- \key g \major;
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
+ \notes {
+ \time 4/4
+ \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 }
+}
+@end lilypond
+@end quotation
+
+@c accidentals...
+There are some interesting points to note in this example.
+Accidentals (sharps and flats) don't have to be marked explicitly: you
+just enter the note name, and LilyPond determines whether or not to
+print an accidental. Bar lines and beams are drawn automatically.
+LilyPond calculates line breaks for you; it doesn't matter where you
+make new lines in the source file. Finally, the order of time, key and
+clef changes is not relevant: lilypond will use standard notation
+conventions for ordering these items.
+
+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 don't
+use octavation quotes (ie don't add ' or , after a note), relative mode
+chooses the note that is closest to the previous one. Since most music
+has small intervals, you can write quite a lot in relative mode without
+using octavation quotes.
+@c don't use commas or quotes in this sentence
+For example: @code{c f} goes up; @code{c g} goes down:
+
+@quotation
+@example
+\relative c'' @{
+ c f c g c
+@}
+@end example
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|.";
- }
- \paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
- }
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
}
@end lilypond
+@end quotation
+@separate
+
+
+@c needed better, maybe even redundant explanation
+@c added another example below.
+@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
+@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
+You can make larger intervals by adding octavation quotes. Note that
+quotes or commas do not determine the absolute height of a note;
+the height of a note is relative to the previous one.
+@c don't 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:
+
+@quotation
+@example
+\relative c'' @{
+ c f, f c' c g' c,
+@}
+@end example
-We will analyse the input, line by line.
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@end quotation
+@separate
+
+
+Here's an example of the difference between relative mode and
+``normal'' (non-relative) mode:
+
+@quotation
@example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
-@end example
-The percent sign, @code{%}, introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by @code{%@{} and @code{%@}}
-@cindex comment
-@cindex block comment
-@cindex line comment
+\relative a @{
+\clef bass
+ a d a e d c' d'
+@}
+@end example
-@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
- \include "paper16.ly"
-
+@quotation
+@example
+\clef bass
+ a d a e d c' d'
@end example
-@cindex @code{\include}
-@cindex point, printer's
-@cindex staff size setting
-By default, LilyPond will use definitions for a staff that is 20
-point@footnote {A point is the standard measure of length for printing;
-one point is 1/72.27 inch. [TODO: mm vs. pt]} high. We want smaller
-output (16 point staff height), so we must import the settings for that
-size, which is done here.
-@example
- \score @{
-
-@end example
-A lilypond file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
-@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
- \notes
-
-@end example
- This makes LilyPond ready for accepting notes.
-@example
+@strong{SUMMARY}
- \relative c''
-
-@end example
+The following table summarizes the syntax learned so far in this section.
-@cindex octaves, choosing
-@cindex pitch
-As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (@code{'}) and ``lowered'' quotes (commas:
-@code{,}). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
-@cindex relative
-For pitches in a long piece you might have to type many quotes. It is
-easy to make typing errors with this, so LilyPond has a special entry
-mode to remedy this. In this ``relative'' octave mode, octaves of notes
-without quotes are chosen such that a note is as close as possible
-(graphically, on the staff) to the the preceding note. If you add a
-high-quote an extra octave is added. The lowered quote (a comma) will
-subtract an extra octave. Because the first note has no predecessor,
-you have to give the (absolute) pitch of the note to start with.
-@example
+@c Is it possible to avoid page breaks directly after the
+@c table head? /Mats
- \sequential @{
-
-@end example
-What follows is sequential music, i.e.,
-@cindex sequential music
-notes that are to be played and printed after each other.
-@example
+@multitable @columnfractions .3 .3 .4
- \time 3/4;
-
-@end example
-@cindex time signature, setting
-@cindex @code{\time}
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.
-@example
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
- \key g \major;
-
-@end example
-@cindex key signature, setting
-@cindex @code{\key}
- This command changes the current key signature to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions.
-@example
+@item @code{r4 r8}
+@tab rest
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+r4 r8
+@end lilypond
- \repeat "volta" 2
-
-@end example
- This command tells LilyPond that the following piece of music must be
-played twice. The first argument indicates the type of repeat. In this
-case, @code{"volta"} means that volta brackets are be used for
-alternatives---if there were any.
-@example
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same.
-@example
+@item @code{~}
+@tab tie
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+d ~ d
+@end lilypond
- d4
-
-@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note).
-@example
- a b
-
-@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, e.g. @code{a4 b4})
-@example
+@item @code{\key es \major }
+@tab key signature
+@tab
+@lilypond[fragment]
+\property Staff.TimeSignature \set #'transparent = ##t
+\clef treble
+\key es \major
+s4
+@end lilypond
- d4 g, g |
-
-@end example
-@cindex bar check
-@cindex @code{|}
-@cindex errors, finding
- Three more notes. The @code{|} character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
-
-@cindex alteration, chromatic
-@cindex chromatic alteration
-So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
-@example
+@item @var{note}@code{'}
+@tab raise octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a a'
+@end lilypond
- c8 d e fis
-
-@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
-@example
+@item @var{note}@code{,}
+@tab lower octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c c,
+@end lilypond
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
- The next line shows how to make a slur: the beginning and ending note
-of the slur is marked with an opening and closing parenthesis
-respectively. In the line shown above, this is done for two slurs.
-Slur markers (parentheses) are put between the slurred notes.
-@example
+@end multitable
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around the notes you want beamed.
-@example
+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:
- g2. |
-
-@end example
-@cindex augmentation dot
-@cindex dot
-A duration with augmentation dot is notated
-with the duration number followed by a period.
-@example
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+d4( )c16( cis d e c cis d )e( )d4
+@end lilypond
+@end quotation
+@separate
+
+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 doesn't
+@c have a phrasing slur. The problem is that we don't want the slur
+@c and the Phrasing slur to collide. We're 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
+
+Beams are drawn automatically, but if you don't like the choices, you
+can enter beams by hand. Surround the notes to be grouped with @code{[}
+and @code{]}:
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+[a8 ais] [d es r d]
+@end lilypond
+@end quotation
+@separate
+
+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{<} and @code{>}, as is
+demonstrated here:
+
+@quotation
+@lilypond[fragment,verbatim]
+<
+ \context Staff = staffA { \clef violin c'' }
+ \context Staff = staffB { \clef bass c }
+>
+@end lilypond
+@end quotation
- @}
-
-@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
-@example
+In this example, @code{staffA} and @code{staffB} are names that are
+given to the staves. It doesn't matter what names you give, as long
+as each staff has a different name.
- cis'4 b8 cis a4 |
-
-@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
-the second one without.
-@example
+@separate
- a8-. b-. cis-. d-. e-. fis-.
-
+We can now typeset a melody with two staves:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef violin
+ \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
+@end lilypond
+@end quotation
+
+Notice that the time signature is specified in one melody staff only
+(the top staff), but is printed on both. LilyPond knows that the time
+signature should be the same for all staves.
+
+@separate
+
+Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+@quotation
+@lilypond[verbatim,relative 1]
+c-. c-- c->
+@end lilypond
+@end quotation
+@separate
+
+Dynamic signs are made by adding the markings to the note:
+@quotation
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
+@end quotation
+@separate
+
+Crescendi and decrescendi are started with the commands @code{\<} and
+@code{\>}. The command @code{\!} finishes a crescendo on the following
+note.
+@quotation
+@lilypond[verbatim,relative 1]
+c2\< \!c2-\ff \>c2 \!c2
+@end lilypond
+@end quotation
+@separate
+
+Chords can be made by surrounding notes with @code{<} and @code{>}:
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 <c e g> <c f a>
+@end lilypond
+@end quotation
+@separate
+
+@ignore
+@c te diepzinnig?
+@c hmm, te losjes, iig
+In general, @code{ < @var{stuff} > } is used when @var{stuff} all
+happens at the same time, like in chords, or (like in the two-staff
+example above) in a bunch of stacked staves.
+@end ignore
+
+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 [<c8 e g> <c8 f a>] ~ <c8 f a>
+@end lilypond
+@end quotation
+
+When you want to combine chords with slurs and dynamics, technical
+detail crops up: you have type these commands next to the notes, which
+means that they have to be inside the @code{< >}. Don't get confused
+by the chord @code{< >} and the dynamic @code{\< \>}!
+
+
+@quotation
+@example
+r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
@end example
-@cindex articulation
-You can enter articulation signs either in a verbose form using a
-shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the character for the articulation to use, e.g. @code{-.} for
-staccato as shown above.
-@example
+@lilypond[relative 0, fragment]
+\slurUp
+r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@end lilypond
+@end quotation
+@separate
+
+@c this example is a bit too strongly worded -- there's nothing wrong
+@c with starting a piece with a chord; you just have to be careful when
+@c you do so. I've rephrased this example below.
+@c There is one golden rule that you should keep in mind when writing
+@c LilyPond input:
+@c @quotation
+@c @strong{DO NOT START A PIECE WITH A CHORD}
+@c @end quotation
+@c Of course, it is a allowed, but the result might not be what you expect:
+
+@c rephrased "don't start with a chord"
+There is one caution when using chords: if you use a chord at the very
+beginning of the piece, LilyPond might not understand what you want:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes <c'2 e'2> }
+@end lilypond
+@end quotation
+@separate
- fis a, r8 cis8
-
-@end example
-
-Rests are denoted by the special notename @code{r}.
-@example
+If you have a piece that begins with a chord, you must explicitly
+state that the notes of the chord are to be put on the same staff, in
+the same voice. This is done by specifying @code{\context Staff} or
+@code{\context Voice} for the notes:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes \context Voice <c'2 e'2> }
+@end lilypond
+@end quotation
+@separate
+
+
+@strong{SUMMARY}
+
+@multitable @columnfractions .3 .3 .4
+
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
+
+
+@item @code{( )}
+@tab slur
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c( d )e
+@end lilypond
+
+
+@item @code{\( \)}
+@tab phrasing slur
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c\( c() d \)e
+@end lilypond
+
+
+@item @code{[ ]}
+@tab beam
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+[a8 b]
+@end lilypond
+
+
+@item @code{< \context Staff ... >}
+@tab more staffs
+@tab
+@lilypond[fragment]
+< \context Staff = SA { c'1 }
+ \context Staff = SB { c'1 } >
+@end lilypond
+
+
+@item @code{-> -.}
+@tab articulations
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c-> c-.
+@end lilypond
+
+
+@item @code{-\mf -\sfz}
+@tab dynamics
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c-\mf c-\sfz
+@end lilypond
+
+
+@item @code{\< \!}
+@tab crescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a\< a \!a
+@end lilypond
+
+@item @code{\> \!}
+@tab decrescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a\> a \!a
+@end lilypond
+
+
+@item @code{< >}
+@tab chord
+@tab
+@lilypond[fragment, relative 1]
+\context Voice <c e>
+@end lilypond
+
+@end multitable
+
+Now you know the basic ingredients of a music file, so this is the right
+moment to try your at hand at doing it yourself: try typing some
+simple examples, and experiment a little.
+
+When you're comfortable with the basics, you might want to read
+the rest of this chapter. It continues in tutorial-style, but it
+is much more in-depth, dealing with more advanced topics such as
+lyrics, chords, orchestral scores and parts, fine tuning of output,
+polyphonic music, and integrating text and music.
+
+
+
+
+
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
+
+In this section we shall explain how to typeset the following
+fragment of The Free Software Song:
+
+@lilypond[singleline]
+\score { \notes { \addlyrics
+ \notes \relative c' {
+ \time 7/4
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 }
+ \context Lyrics \lyrics {
+ Join us now __ and
+ share the soft -- ware; }
+}
+\paper { linewidth = -1. }
+}
+@end lilypond
+
+
+@cindex lyric mode
+@cindex @code{\lyrics}
+
+
+To print lyrics, you must enter them and then instruct lilypond to
+print the lyrics.
+You can enter lyrics in a special input mode of LilyPond. This mode is
+called Lyrics mode, and it is introduced by the keyword @code{\lyrics}.
+The purpose of this mode is that you can enter lyrics as plain text,
+punctuation, and accents without any hassle.
+
+Syllables are entered like notes, but with pitches replaced by text. For
+example, @code{Twin- kle twin- kle} enters four syllables. Note that
+the hyphen has no special meaning for lyrics, and does not introduce
+special symbols.
+
+Spaces can be introduced into a lyric either by using quotes:
+@code{"He could" not} or by using an underscore without quotes:
+@code{He_could not}. All unquoted underscores are converted to
+spaces.
+
+These are the lyrics for the free software song:
- d2.-\fermata
-
-@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command @code{\fermata} is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an identifier.
-@cindex identifier
-@cindex @code{\fermata}
@example
+ \lyrics @{
+ Join us now __ and
+ share the soft -- ware; @}
+@end example
- @}
+As you can see, extender lines are entered as @code{__}. This will
+create an extender, which is a line that extends over the entire
+duration of the lyric. This line will run all the way to the start
+of the next lyric, so you may want to shorten it by using a blank
+lyric (using @code{_}).
+
+
+You can use ordinary hyphens at the end of a syllable, i.e.
+@example
+ soft- ware
+@end example
+but then the hyphen will be attached to the end of the first syllable.
-@end example
+If you want them centered between syllables you can use the special
+`@code{-}@code{-}' lyric as a separate word between syllables. The
+hyphen will have variable length depending on the space between
+the syllables and it will be centered between the syllables.
-Here the music ends.
-@example
+Normally the notes that you enter are transformed into note heads.
+Note heads alone make no sense, so they need surrounding information: a
+key signature, a clef, staff lines, etc. They need @emph{context}. In
+LilyPond, these symbols are created by objects called `interpretation
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist while LilyPond is executing.
- \paper @{
- linewidth = 14.0\cm;
- @}
-
-@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 5.5 inches).
-@example
+When LilyPond interprets music, it will create a Staff context.
+We don't want that default here, because we want lyric. The
+command
+@example
+ \context Lyrics
+@end example
+explicitly creates an interpretation context of
+@code{Lyrics} type to interpret the song text that we entered.
- @}
-
-@end example
-The last brace ends the @code{\score} block.
+The melody of the song doesn't offer anything new:
+@example
+ \notes \relative c' @{
+ \time 7/4
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 @}
+@end example
+Both can be combined with the @code{\addlyrics}:
+@example
+\addlyrics
+ \notes \relative c' @dots{}
+ \context Lyrics \lyrics @dots{}
+@end example
+The lyrics are also music expressions, similar to notes. Each syllable
+of the lyrics is put under a note of the melody.
+The complete file is listed here:
+
+@example
+\score @{ \notes @{ \addlyrics
+ \notes \relative c' @{
+ \time 7/4
+ d'2 c4 b16 ( a g a b a b ) c a2
+ b2 c4 b8 ( a16 g ) a4 g2 @}
+ \context Lyrics \lyrics @{
+ Join us now __ and
+ share the soft -- ware; @}
+@}
+\paper @{ linewidth = -1. @}
+@}
+@end example
-@node Lyrics and chords
-@section Lyrics and chords
-In this section we show how to typeset a song. This file is
-included as @file{flowing.ly}.
+@node A melody with chords
+@section A melody with chords
+
+In this section we show how to typeset a melody with chord
+accompaniment. This file is included as @file{input/tutorial/flowing.ly}.
@example
-\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
-@}
\include "paper16.ly"
melody = \notes \relative c' @{
- \partial 8;
- \key c \minor;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-@}
-
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
+ \bar "|."
@}
accompaniment =\chords @{
\score @{
\simultaneous @{
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
-
- \addlyrics
\context Staff = mel @{
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
\melody
@}
- \context Lyrics \text
+
@}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
@}
@end example
-The result would look this.@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}
-
-@center @strong{The river is flowing}
-@center Traditional
+The result would look this.
@lilypond[center]
-\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
-}
\include "paper16.ly"
melody = \notes \relative c' {
- \partial 8;
- \key c \minor;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
-}
-
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
+ \bar "|."
}
accompaniment =\chords {
\score {
\simultaneous {
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
- \addlyrics
\context Staff = mel {
- \property Staff.noAutoBeaming = ##t
- \property Staff.automaticMelismata = ##t
- \melody
+ \property Staff.autoBeaming = ##f
+ \melody
}
- \context Lyrics \text
}
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
@end lilypond
-Again, we will dissect the file line by line.
-@example
+We will dissect this file line by line.
- \header @{
-
-@end example
-@cindex @code{\header}
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is passed into the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@example
-
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
+@separate
@example
\include "paper16.ly"
@end example
-Smaller size for inclusion in a book.
+Smaller size (suitable for inclusion in a book).
+@separate
@example
melody = \notes \relative c' @{
@end example
-The structure of the file will be the same as the previous one, a
+The structure of the file will be the same as the previous one: a
@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
+give different names to the different parts of music, and use the names
+to construct the music within the score block.
+@separate
@example
- \partial 8;
+ \partial 8
@end example
@cindex @code{\partial}
@cindex anacrusis
-The piece starts with an anacrusis of one eighth.
-@example
- \key c \minor;
-@end example
-The key is C minor: we have three flats.
+The piece starts with an anacrusis (or ``pickup'') of one eighth.
+@separate
+@separate
@example
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
@end example
@cindex manual beaming
@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.
+We use explicit beaming. Since this is a song, we turn automatic
+beams off and use explicit beaming where needed.
+@separate
@example
@}
@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.
+This ends the definition of @code{melody}.
+
+@separate
@example
text = \lyrics @{
@cindex lyrics
@cindex identifier assignment
@cindex syllables, entering
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}.
-@example
+This defines the lyrics, similar to what we have seen before.
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
-@}
-
-@end example
-@cindex extenders, lyric
-@cindex hyphens, lyric
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering @code{__}, and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
-in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
+@separate
@example
accompaniment =\chords @{
@end example
@cindex chords
@cindex mode, chords
-We'll put chords over the music, to enter them, there is a special mode,
-called @code{\chords}. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
+We'll put chords over the music. To enter them, we use a special mode
+analogous to @code{\lyrics} and @code{\notes} mode, where you can give
+the names of the chords you want instead of listing the notes
+comprising the chord.
+@separate
@example
r8
@end example
There is no accompaniment during the anacrusis.
+@separate
@example
- c2:3- f:3-.7
+ c2:3-
@end example
@cindex tonic
@cindex chord modifier
@cindex modifier, chord
-A chord is started by the tonic of the chord. The
-first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.
+This is a c minor chord, lasting for a half note. Chords are entered using
+the tonic. Notes can be changed to create different chords. In this case,
+a lowered third is used (making a C major chord into a C minor chord).
+The code for this is @code{3-}.
+
+@separate
+@example
+f:3-.7
+@end example
+Similarly, @code{7} modifies (adds) a seventh, which is small by
+default to create the @code{f a c es} chord. Multiple modifiers must be
+separated by dots.
+@separate
@example
d:min es4 c8:min r8
@end example
-
-Some modifiers have predefined names, eg. @code{min} is the same as
+Some modifiers have predefined names, e.g. @code{min} is the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
+@separate
@example
c2:min f:min7 g:7^3.5 c:min @}
to be separated by a dot. Tones from a chord are removed with chord
subtractions. Subtractions are started with a caret, and they are
also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh. The brace ends the sequential music.
+minor seventh (a G7 chord without the third or the fifth). The
+brace ends the sequential music.
+@separate
@example
\score @{
accompaniment have to sound at the same time, so they should be
@code{\simultaneous}.
@cindex @code{\simultaneous}
+@separate
@example
%\accompaniment
Chord mode generates notes grouped in @code{\simultaneous} music. If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
-staff.
+staff. To print them as chords names, they have to be interpreted as
+being chords, not notes. This is done with the following command:
+@separate
@example
\context ChordNames \accompaniment
@cindex context
@cindex interpretation context
@cindex notation context
-Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
+
+
+Normally the notes that you enter are transformed into note heads.
+Note heads alone make no sense, so they need surrounding information: a key
+signature, a clef, staff lines, etc. They need @emph{context}. In
LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation contexts'.
-
-By default, LilyPond will create a Staff context for you. If you
-removed the @code{%} sign in the previous line, you would see that
-mechanism in action.
-
-We don't want that default here, because we want chord names, not note heads.
-An interpretation context can also created upon explicit request. The
-keyword for such a request is @code{\context}. It takes two arguments.
-The first is the name of an interpretation context. The name is a
-string, it can be quoted with double quotes). The second argument is
-the music that should be interpreted in this context. For the previous
-line, we could have written @code{\context Staff \accompaniment}, and
-get the same effect.
-@example
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist while LilyPond is executing.
- \addlyrics
-
-@end example
-@cindex @code{\addlyrics}
-@cindex lyrics and melody, combining
-@cindex combining lyrics and melody
-
-The lyrics need to be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)
+When LilyPond interprets music, it will create a Staff context. If
+the @code{%} sign in the previous line were removed, you could see
+that mechanism in action.
+
+We don't want that default here, because we want chord names. The
+command above explicitly creates an interpretation context of
+@code{ChordNames} type to interpret the music @code{\accompaniment}.
+
+@separate
@example
\context Staff = mel @{
@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove the comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.
+We place the melody on a staff called @code{mel}. We give it a name to
+differentiate it from the one that would contain note heads for the
+chords, if you would remove the comment before the ``note heads''
+version of the accompaniment. By giving this staff a name, it is
+forced to be different.
+@separate
@example
- \property Staff.noAutoBeaming = ##t
+ \property Staff.autoBeaming = ##f
@end example
@cindex \property
@cindex context variables
@cindex setting context variables
-An interpretation context has variables that tune its behaviour. One of
-the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
-the boolean value @var{true}, LilyPond will not try to put automatic beaming
-on the current staff.
-
-@cindex GUILE
-@cindex Scheme
-@cindex accessinng Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond internally uses GUILE, a Scheme-interpreter@footnote{Scheme is
-a language from the LISP family. You can learn more about Scheme at
-@uref{http://www.scheme.org}.} to represent data throughout the whole
-program. The hash-sign (@code{#}) accesses GUILE directly: the code
-following the hash-sign is evaluated as Scheme. The boolean value
-@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
-@code{##t}
+An interpretation context has variables, called properties, that tune
+its behavior. One of the variables is @code{autoBeaming}. Setting
+this @code{Staff}'s property to @code{##f}, which is the boolean value
+@var{false}, turns the automatic beaming mechanism off for the current
+staff.
-@example
- \property Staff.automaticMelismata = ##t
-
-@end example
-@cindex automaticMelismata
-@cindex melismata
-@cindex @code{\addlyrics} and slurs
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under notes
-while there is a slur.
+@separate
@example
\melody
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
processed.
-@example
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.
+@separate
@example
- @}
+ \midi @{ \tempo 4=72@}
@end example
-This ends @code{\simultaneous}.
-@example
-
- \midi @{ \tempo 4=72;@}
-
-@end example
-This makes the music go to a MIDI file. MIDI is great for checking
-music you enter. You listen to the MIDI file: if you hear something
-unexpected, it's probably a typing error. @code{\midi} starts an output
-definition, a declaration that specifies how to output music analogous
-to @code{\paper @{ @}}. You can specify the tempo using the
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and recording digital instruments. So a MIDI file is like a
+tape recording of an instrument. The @code{\midi} block makes the
+music go to a MIDI file, so you can listen to the music you entered. It
+is great for checking the music. Whenever you hear something weird, you
+probably hear a typing error.
+
+Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
+also specifies an output method. You can specify the tempo using the
@code{\tempo} command, in this case the tempo of quarter notes is set to
72 beats per minute.
+@separate
@example
- \paper @{ linewidth = 10.0\cm; @}
+ \paper @{ linewidth = 10.0\cm @}
@end example
-We also want notation output. The linewidth is short so the piece
+We also want notation output. The linewidth is short so that the piece
will be set in two lines.
-@example
- @}
-
-@end example
-End the score block.
+@node More stanzas
+@section More stanzas
-@node More movements
-@section More movements
-You probably ran @file{ly2dvi} on the last example, and ended up with a
-viewable @file{.dvi} file. However, between there are a few steps of
-which LilyPond is only one. To enhance your understanding of what's
-happening under the hood when you run @code{ly2dvi}, we explain what
-programs are run.
+@cindex phrasing
-@code{ly2dvi} is a program that calls a number of programs in sequence.
-The first thing it does, is running LilyPond on the input file. After
-some calculations, a @file{.tex} is produced. The contents
-of this file are very low-level instructions.
+If you have multiple stanzas printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. LilyPond can
+do this if you tell it which lyric lines belong to which melody.
+We show how you can do this by showing how you could print a frivolous
+fragment of a fictional Sesame Street duet.
-For example, the following file (@file{layout.ly})
+@lilypond[singleline,verbatim]
+\score {
+\addlyrics
+ \notes \relative c'' \context Voice = duet { \time 3/4
+ g2 e4 a2 f4 g2. }
+ \lyrics \context Lyrics <
+ \context LyricsVoice = "duet-1" {
+ \property LyricsVoice . stanza = "Bert"
+ Hi, my name is bert. }
+ \context LyricsVoice = "duet-2" {
+ \property LyricsVoice . stanza = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >
+}
+@end lilypond
+To this end, give the Voice context an identity, and set the
+LyricsVoice to a name starting with that identity followed by a dash.
+In the following example, the Voice identity is @code{duet},
@example
- \version "1.3.124";
- \header @{ title = "Two miniatures"; @}
-
- #(set! point-and-click #t)
-
- \paper @{
- linewidth = -1.0; @}
+\context Voice = duet @{
+ \time 3/4
+ g2 e4 a2 f4 g2. @}
+@end example
+and the
+identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
+@example
+ \context LyricsVoice = "duet-1" @{
+ Hi, my name is bert. @}
+ \context LyricsVoice = "duet-2" @{
+ Ooooo, ch\'e -- ri, je t'aime. @}
+@end example
- \score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1.";
- piece = "Up"; @}
- @}
- \score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2.";
- piece = "Down"; @}
- @}
+We add the names of the singers. This can be done by setting
+@code{LyricsVoice.Stanza} (for the first system) and
+@code{LyricsVoice.stz} for the following systems. Note that you must
+surround dots with spaces in @code{\lyrics} mode.
+
+@example
+ \property LyricsVoice . stanza = "Bert"
+ @dots{}
+ \property LyricsVoice . stanza = "Ernie"
@end example
- results in something like this@footnote{The titling in this manual was
-not generated by ly2dvi, so details will differ.}
+
+The convention for naming @code{LyricsVoice} and @code{Voice} must
+also be used to get melismata on rests correct.
+
+
+@c I think we need to change the name of this section, but that
+@c would probably involve a lot of changes in other places too.
+@node More movements
+@section More movements
+
+The program @code{lilypond} only produces sheet music and does not
+create titles, subtitles, or print the composer's name. To do that,
+you need to use @code{ly2dvi}, which comes with LilyPond. @code{ly2dvi}
+creates the title, then calls @code{lilypond} to format the sheet music.
+In this section, we show you how to create titles like this:
+
+@c Old version of the above paragraph.
+@c LilyPond only produces sheet music; it doesn't concern itself with
+@c producing titles. Titles are produced using a simply wrapper program
+@c This is the jobs of a simple wrapper
+@c program called ly2dvi. @code{ly2dvi} calls LilyPond to do the
+@c sheet music formatting. Then it produces titles, and ties together all
+@c inputs into a single @file{dvi} file. In this section, we show some of
+@c the options for titling. We will show how you can produce a file
+@c that looks like this:
@center @strong{Two miniatures}
@flushright
@lilypond
\score {
\notes { c'4 d'4 }
- \paper {
- linewidth = -1.0; }
+ \paper { linewidth = -1.0 }
}
@end lilypond
@flushright
@lilypond
\score {
\notes { d'4 c'4 }
- \paper {
- linewidth = -1.0; }
+ \paper { linewidth = -1.0 }
}
@end lilypond
-This file is produced by ly2dvi in a few stages, with the help of text
-formatting tools. LilyPond produces two output files, @file{layout.tex}
-and @file{layout-1.tex}. They both look like this:
-
-@example
- ...
- \placebox@{-5 \outputscale @}%
- @{ 8.7229 \outputscale @}%
- @{\magfontWXGEomMMBo\char90 @}%
-
- \placebox@{-4 \outputscale @}%
- @{ 81.0647 \outputscale @}%
- ...
-@end example
+For example, consider the following file (@file{miniatures.ly})
-@file{ly2dvi} analyses the progress indication that LilyPond spews out,
-and generates a file called @file{layout_ly1.tex}. This file contains
-formatting instructions for the title and page layout. A fragment might
-look like
@example
+\version "1.5.72"
+\header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful" @}
- \geometry@{width=540.602362pt,headheight=2mm, ...
- \renewcommand@{\@@oddfoot@}@{\parbox@{\textwidth@}@{\mbox@{@} ...
- \begin@{document@}
- \lilypondtitle@{foo@}%
- \makelilytitle
- \input@{ly2dvi.tex@}
-
-@end example
-
-@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
-built on top of @TeX{}. It's very popular in the academic world. If LaTeX
-is successful, this will produce a @file{.dvi} file, containing both the
-titling and notes. @code{ly2dvi} completes its task by deleting the two
-temporary files, leaving only @file{layout.dvi}.
+\paper @{ linewidth = -1.0 @}
-Next, now we'll look at the examples line by line to explain new things.
+%@{
-@example
-\version "1.3.124";
-@end example
-Lilypond and its language are still under development, and occasionally,
-details of the syntax are changed. This fragment indicates for which
-version the input file was written. When you compile this file, the
-version number will be checked, and you will get a warning when the file
-is too old.
+Mental note: discuss Schenkerian analysis of these key pieces.
-This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it update the file to the latest lily
-version.
+%@}
-@example
- \header @{ title = "Two miniatures"; @}
+\score @{
+ \notes @{ c'4 d'4 @}
+ \header @{
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
+ \header @{
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
@end example
-This sets the titling information for the entire file.
-@example
- #(set! point-and-click #t)
+
+The information for the global titling is in a so-called header block.
+The information in this block is not used by LilyPond, but it is
+passed into @code{ly2dvi}, which uses this information to print titles
+above the music.
+@cindex assignments
+@cindex identifier assignment
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. The header block for this file looks like
+this
+@cindex @code{\header}
+@example
+ \header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful"
+ @}
@end example
-This is Scheme code. It sets the variable @code{point-and-click} to the
-value @var{true}.
+When you process a file with ly2dvi, a signature line is printed at
+the bottom of the last page. This signature is produced from the
+@code{tagline} field of @code{\header}. The default "Lily was here,
+@var{version number}" is convenient for programmers: archiving the
+layouts of different versions allows programmers to compare the
+versions using old print-outs.
-Editing input files can be quite complicated if you're working with
-large files: if you're digitizing existing music, you have to
-synchronize the .ly file, the sheet music on your lap and the sheet
-music on the screen. The point-and-click mechanism makes it easy to
-find the origin of an error in the .ly file: @footnote{This feature is
-presently only available on X-windows using patched versions of Xdvi and
-emacs} when you view the file with Xdvi and click on a note using
-control-mousebutton 1@footnote{If you're using a patched xdvik, the
-command is control-mousebutton-2}, your editor will jump to the spot
-where that note was entered.
+@cindex Lily was here
+@cindex signature line
+@cindex tag line
-More information is in in @ref{Point and click}
+Many people find the default tagline (``Lily was here'') too droll.
+If that is the case, you can change @code{tagline} to somethign else,
+as shown above.
+@separate
@example
\paper @{
+ linewidth = -1.0 @}
@end example
-The @code{\score} blocks that follow in the file don't have
-@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
-default page layout.
+A paper block at top level (i.e. not in a @code{\score} block) sets the
+default page layout. The following @code{\score} blocks don't have
+@code{\paper} sections, so the settings of this block are used.
+
+The variable @code{linewidth} normally sets the length of the systems
+on the page. However, a negative value has a special meaning. If
+@code{linewidth} is less than 0, no line breaks are inserted into the
+score, and the spacing is set to natural length: a short phrase takes
+up little space, a longer phrase takes more space, all on the same line.
@example
- linewidth = -1.0; @}
-@end example
+%@{
+Mental note: discuss Schenkerian analysis of these key pieces.
+%@}
+@end example
-The variable @code{linewidth} normally sets the length of the systems on
-the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes up
-little space, a longer phrase more space.
+Mental notes to yourself can be put into comments. There are two types
+of comments. Line comments are introduced by @code{%}, and block
+comments are delimited by @code{%@{} and @code{%@}}.
+@separate
@example
\score @{
\notes @{ c'4 d'4 @}
@end example
-In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
-predecessor. Besides relative, there is also absolute octave
-specification, and it is turned on by default. In this input mode, the
-central C is denoted by @code{c'}. Going down, you get @code{c}
-@code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''} etc.
+In previous examples, most notes were specified in relative octaves
+(i.e. each note was put in the octave that is closest to its
+predecessor). Besides relative, there is also absolute octave
+specification, which you get when you don't include @code{\relative} in
+your input file. In this input mode, the middle C is denoted by
+@code{c'}. Going down, you get @code{c} @code{c,} @code{c,,} etc.
+Going up, you get @code{c''} @code{c'''} etc.
When you're copying music from existing sheet music, relative octaves
-are probably the easiest to use: it's less typing work and errors are
-easily spotted. However, if you write LilyPond input, either by hand
-(ie. composing) or by computer, absolute octaves are probably less work.
+are probably the easiest to use: you have to do less typing, and errors are
+easily spotted. However, if you write LilyPond input directly, either by
+hand (i.e. composing) or by computer, absolute octaves may be easier to use.
+@separate
@example
\header @{
@end example
The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different pieces
+values for the rest of the file. If you want to typeset different pieces
from one file (for example, if there are multiple movements, or if
-you're making a etude-book), you can put different @code{\score} blocks
-into the input file. ly2dvi will assemble all LilyPond output files into
-a big document. The contents of \header blocks specified within each
-score, are used for the titling of each movement.
+you're making an exercise book), you can put different @code{\score}
+blocks into the input file. @code{ly2dvi} will assemble all LilyPond
+output files into a big document. The contents of @code{\header} blocks
+specified within each score is used for the title of that movement.
+@separate
@example
- opus = "Opus 1.";
- piece = "Up"; @}
+ opus = "Opus 1."
+ piece = "Up" @}
@end example
-For example, the Opus number is put at the right, and the piece string
+For example, the Opus number is put at the right, and the "piece" string
will be at the left.
-@node A piano excerpt
-@section A piano excerpt
-
-Our third subject is a piece of piano music. The fragment in the input
-file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740. It's in the source package
-under the name @file{sammartini.ly}.
-
-@lilypond[verbatim]
-\include "paper16.ly";
-
-stemDown = \property Voice.Stem \override #'direction = #-1
-stemUp = \property Voice.Stem \override #'direction = #1
-stemBoth = \property Voice.Stem \revert #'direction
-
-viola = \notes \relative c' \context Voice = viola {
- <c4-\f-\arpeggio g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
-}
-
-oboes = \notes \relative c'' \context Voice = oboe {
- \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemDown
- \grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
- f8 e e2
- } >
- \stemBoth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
-}
-
-hoomPah = \repeat unfold 8
- \notes \transpose c' { c8 \stemDown c'8 \stemUp }
-
-bassvoices = \notes \relative c' {
- c4 g8. b,16
- \autochange Staff \hoomPah
- \translator Staff = down
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
-}
-
-\score {
- \context PianoStaff \notes <
- \context Staff = up < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = down < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
-}
-@end lilypond
+@example
+\version "1.5.72"
+\header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful" @}
-If it looks like incomprehensible gibberish to you, then you are right.
-This example has been doctored to have as many quirks as possible.
+\paper @{ linewidth = -1.0 @}
-@example
- stemDown = \property Voice.Stem \override #'direction = #-1
+\score @{
+ \notes @{ c'4 d'4 @}
+ \header @{
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
+ \header @{
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
@end example
-As you can see, this example features more voices on one staff. To make
-room for those voices, their notes have to be stemmed in opposite
-directions. These are the commands to make that happen.
-The symbols that are printed, are internally represented by so-called
-Graphical Objects (or more colloquially: Grobs). These statements
-concern the grob called `Stem'. Each grob is described by a bunch of
-settings. These setting determine the fonts, offsets, sub-routines to be
-called on the grob, etc. The initial values of these settings are set
-in the Scheme file @file{scm/grob-description.scm}.
+@separate
+@example
+\version "1.5.72"
+@end example
+Lilypond and its language are still under development, and
+occasionally details of the syntax are changed. The @code{version}
+fragment indicates which version of lilypond the input file was written
+for. When you compile this file, the version number will be checked
+and you will get a warning when the file is too old. This version
+number is also used by the @code{convert-ly} program (See
+@ref{Invoking convert-ly}), which can used to update the file to the
+latest lily version.
-This statement adds a the setting for all Stem grobs in the current
-Voice: @code{direction} is set to @code{-1}, which encodes down. The
-setting remains in effect until it is reverted.
-@example
- \property Voice.Stem \revert #'direction
-@end example
+@node A piano excerpt
+@section A piano excerpt
-This statement reverts the old setting. If you do this, the effect of a
-@code{\stemDown} or @code{\stemUp} is neutralised.
+Our eighth subject is a piece of piano music. The fragment in the
+input file is a piano reduction of the G major Sinfonia by Giovanni
+Battista Sammartini, composed around 1740. It's in the source
+package under the name @file{input/tutorial/sammartini.ly}.
-@code{\override} and @code{\revert} function like a stack: you can push
-values onto the grob-setting-stack with @code{\override} and you pop
-them with @code{\revert}.
+@lilypondfile[smallverbatim]{sammartini.ly}
+
+As you can see, this example features multiple voices on one staff. To
+make room for those voices, their notes should be stemmed in opposite
+directions.
LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some more often used formatting instructions, but to explain how it
-works, we wrote our own here. Of course, you should use predefined
-identifiers like these if possible: then you will be affected less by
-the implementation changes we occasionally make.
+with some other commonly used formatting instructions, but to explain how
+it works, we wrote our own here. Of course, you should use predefined
+identifiers like these if possible: you will be less affected by changes
+between different versions of LilyPond.
+@separate
@example
viola = \notes \relative c' \context Voice = viola @{
@end example
-In this example, you can see multiple parts on a staff. Each part is
+In this example you can see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
+stems and dynamics (among other things). The type name of this context
+is @code{Voice}. For each part we have to make sure that there is
+precisely one @code{Voice} context, so we give it a unique name
(`@code{viola}').
+@separate
@example
-<c4-\f-\arpeggio g' c>
+<c4-\arpeggio g' c>
@end example
The delimiters @code{<} and @code{>} are shorthands for
@code{\simultaneous @{} and @code{@}}. The expression enclosed in
@code{<} and @code{>} is a chord.
-@cindex dynamics
-@cindex loudness
-@cindex forte
@cindex arpeggio
-@code{\f} places a forte symbol under the chord. The forte applies to
-the whole chord, but the syntax requires that commands like forte and
-arpeggio are attached to a note, so here we attach them to the first
-note.
-
-@code{\arpeggio} draws an vertical wavy line before the chord,
-signifying an arpeggio.
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
+the chord.
+@separate
@example
- \stemDown
+ \voiceTwo
@end example
+We want the viola to have stems down, and have all the other
+characteristics of a second voice. This is enforced using the
+@code{\voiceTwo} command: it inserts instructions that makes stem,
+ties, slurs, etc. go down.
+
+
+@separate
@example
g'8. b,16
@end example
the @code{g} gets an octave up quote: it is a fifth above the starting
note of the previous chord (the central C).
+@separate
@example
s1 s2. r4
@end example
temporarily don't play. In this case, the viola doesn't come until one
and a half measure later.
+@separate
@example
oboes = \notes \relative c'' \context Voice = oboe @{
@end example
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
@code{\context}.
+@separate
@example
-\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemUp} is a reference to the @code{\property \override} command
-defined above. .
+\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
+@end example
+
+The oboes should have stems up to keep them from interfering with
+the staff-jumping bass figure. To do that, we use @code{\voiceOne}.
+
+@separate
@example
-\grace <e8 g> < d4 f> <c2 e>
+\grace <e8( g> < d4 )f> <c2 e>
@end example
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-
@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord.
+case a chord. A slur is introduced starting from the @code{\grace}
+ending on the following chord.
-@ignore
-The slur started on the @code{e} of the chord
-will be attached to the next note.@footnote{LilyPond will squirm
-about unended Slurs. In this case, you can ignore the warning}.
-@end ignore
+@separate
@example
\times 2/3
@end example
arguments: a fraction and a piece of music. The duration of the piece
of music is multiplied by the fraction. Triplets make notes occupy 2/3
of their notated duration, so in this case the fraction is 2/3.
+@separate
@example
-@{ <d8 \< f> <e g> <f a> @}
+@{ <d8 f> <e g> <f a> @}
@end example
The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord, a crescendo is started with
-@code{\<}. To be precise, the crescendo start is syntactically attached
-to the preceding note, the @code{d}.
-
-@cindex dynamics
-@cindex crescendo
-@cindex @code{\<}
+three chords.
+@separate
@example
<
@end example
At this point, the homophonic music splits into two rhythmically
different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
+we make a "chord of sequences" to do it. We start with the upper
voice, which continues with upward stems:
+@separate
@example
- @{ \times 2/3 @{ a8 g c @} \! c2 @}
+ @{ \times 2/3 @{ a8 g c @} c2 @}
@end example
-@cindex @code{\!}
-
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
-@example
-\context Voice = oboeTwo @{
-\stemDown
-@end example
-We can't share stems with the other voice, so we have to create a new
-@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice.
-@example
-\grace @{
+@separate
+@example
+\\
@end example
-@cindex Grace context
-When a grace section is processed, a @code{Grace} context is
-created. This context acts like a miniature score of its own. It has
-its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here we fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.
-
-@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
-@end example
-
-Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+The easiest way to enter multiple voices is demonstrated
+here. Separate the components of the voice (single notes or entire
+sequences) with @code{\\} in a simultaneous music expression. The
+@code{\\} separators split first voice, second voice, third voice, and
+so on.
As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
the @code{f}.
+@separate
@example
- f8 e e2
+ f,8 e e2
@} >
@end example
This ends the two-part section.
+@separate
@example
\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
@cindex trill
@cindex stemBoth
-@code{\stemBoth} ends the forced stem directions. From here, stems are
+@code{\stemBoth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.
The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use repeats:
+between staves. Since it is repetitive, we use repeats:
+@separate
@example
hoomPah = \repeat unfold 8
@end example
@cindex unfolded @code{\repeat}
-This repeat print the following sequence notes eight times.
+The unfolded repeat prints the notes in its argument as if they were
+written out in full eight times.
+@separate
@example
\notes \transpose c' @{
@end example
@cindex transposing
@cindex relative mode and transposing
-Transposing can be done with @code{\transpose}. It takes two arguments;
-the first specifies what central C should be transposed to. The second
+Transposing can be done with @code{\transpose}, which takes two arguments.
+The first specifies what central C should be transposed to. The second
is the to-be-transposed music. As you can see, in this case, the
-transposition is a no-op, as central C stay at central C.
+transposition has no effect, as central C stays at central C.
+
+The purpose of this no-op is to protect it from being interpreted as
+relative notes. Relative mode can not be used together with
+transposition, so @code{\relative} will leave the contents of
+@code{\hoomPah} alone. We can use it without having to worry about
+getting the motive in a wrong octave.
+@separate
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\translator}
+
+@example
+ \translator Staff = down
+ \stemUp
+ c8
+ \translator Staff = up
+ \stemDown
+ c'8 @}
+@end example
+Voices can switch between staves. Here you see two staff switching
+commands. The first one moves to the lower staff, the second one to
+the lower one. If you set the stem directions explicitly
+(using the identifiers @code{\stemUp} and @code{\stemDown}, the notes
+can be beamed together (despite jumping between staffs).
-The purpose of this no-op is circumventing relative mode. Relative mode
-can not be used together with transposition, so @code{\relative} will
-leave the contents of @code{\hoomPah} alone. We can use it without
-having to worry about getting the motive in a wrong octave.
+@separate
@example
bassvoices = \notes \relative c' @{
c4 g8. b,16
-\autochange Staff \hoomPah
+\autochange Staff \hoomPah \context Voice
@end example
-@cindex staff switch, automatic
-@cindex cross staff voice, automatic
-@cindex @code{\autochange}
-Voices can switch between staffs. The easiest way to get this, is to use
-@code{\autochange}. This command looks at the pitch of each note, and if
-necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
+@separate
@example
\translator Staff = down
@end example
@cindex staff switch
@cindex cross staff voice
-The rest of this melody must be in the lower staff, so we do a manual
-staff switch here.
+We want the remaining part of this melody on the lower staff, so we do a
+manual staff switch here.
+@separate
@example
\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
@end example
@cindex tie
@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties.
+After skipping some lines, we see @code{~}. This mark makes ties. Note
+that ties and slurs are different things. A tie can only connect two
+note heads of the same pitch, whereas a slur can connect many notes
+with one curve.
+
+@separate
@example
\context PianoStaff
@end example
A special context is needed to get cross staff beaming right. This
context is called @code{PianoStaff}.
+@separate
@example
-\context Staff = bottom < \time 2/2; \clef bass;
+\context Staff = bottom < \time 2/2 \clef bass
@end example
The bottom staff must have a different clef.
+@separate
@example
-indent = 0.0;
+indent = 0.0
@end example
To make some more room on the line, the first (in this case the only)
line is not indented. The line still looks very cramped, but that is due
to the page layout of this document.
+@ignore
[TODO:
-* arpeggio, glissando,
+* font-size, multi-stanza.
-* \apply, \outputproperty, \translator @{@}, \molecule hacking.
+* Simple part combining in a Hymn
+@end ignore
-* font-size, cadenza. rhythmic staff, multi-stanza.
-* Simple part combining in a Hymn
+@node Fine tuning a piece
+@section Fine tuning a piece
+
+In this section we show some ways to fine tune the final output of a
+piece. We do so using a single measure of a moderately complex piano
+piece: a Brahms intermezzo (opus 119, no. 1). Both fragments (the
+tuned and the untuned versions) are in @file{input/tutorial/}.
+
+The code for the untuned example shows us some new things.
+
+@lilypondfile[verbatim]{brahms-original.ly}
+
+
+@cindex dynamics
+@cindex loudness
+@cindex forte
+@cindex crescendo
+@cindex @code{\<}
+@cindex @code{\!}
+
+Hairpin dynamics can be easily added to Lilypond scores. Beginning a
+crescendo is indicated with @code{\<} and ending a crescendo is indicated
+with @code{\!}. A decrescendo can be indicated with @code{\>} and
+@code{\!}. Absolute dynamics (sometimes called ``Letter dynamics'') can
+be entered using @code{\p}, @code{\mf}, etc. All these dynamics will
+apply to the whole chord where they are entered, but for syntactical
+reasons they must be attached to one of the notes of the chord.
+
+@cindex fingering instructions
+
+Fingering indications are entered with @code{-@var{N}}, where
+@var{N} is a digit.
+
+Now that we have the basic piece of music entered, we want to fine
+tune it so that we get something that resembles the original printed
+edition by Schott/Universal Edition:
+
+@lilypondfile{brahms-tweaked.ly}
+
+@cindex tuning graphical objects
+
+Fine tuning involves overriding the defaults of the printing system.
+We do this by setting variables which control how Lilypond prints
+symbols. Printed symbols are called graphical objects (often
+abbreviated to @emph{grob}). Each object is described by a bunch of
+settings. Every setting is a variable: it has a name and a value
+which you can change. These values determine the fonts, offsets,
+sub-routines to be called on the object, etc. The initial values of
+these settings are set in the Scheme file
+@file{scm/grob-description.scm}.
+
+@cindex slur attachments
+
+We start with the slur in the upper part, running from F sharp to A. In
+the printed edition, this slur runs from stem to stem; in our version,
+the slur begins at the note head of the F sharp. The following property
+setting forces all slurs to run from stem to stem (not from or to note
+heads!).
+
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+
+More precisely, this command modifies the definition of the @code{Slur}
+object in the current @code{Voice}. The variable @code{attachment} is
+set to the pair of symbols @code{'(stem . stem)}.
+
+Although this fixes the slur, it isn't very helpful for fine tuning in
+general: the lilypond back-end supports approximately 240 variables
+like @code{attachment}, each with their own meaning and own type
+(eg. number, symbol, list, etc). Besides slur, LilyPond has 80
+different types of graphical objects, that may be created in 14
+different context types besides Voice.
+
+@cindex internal documentation
+@cindex finding graphical objects
+@cindex graphical object descriptions
+
+The interesting information is how you can figure out which properties
+to tune for your own scores. To discover this, you must have a copy of
+the internals document. This is a set of HTML pages which should be
+included if you installed a binary distribution@footnote{You can also
+compile them by executing @code{make -C Documentation/user/
+out/lilypond-internals.html} in the source package.}. These HTML pages
+are also available on the web: go to the lilypond website, click
+``Documentation: Index'' on the side bar, look in the ``Information for
+uses'' section, and click on ``Documentation of internals''.
+
+You might want to bookmark either the HTML files on your disk, or the one
+on the web (the HTML on your hard drive will load much faster than the
+ones on the web!). One word of caution: the internals documentation is
+generated from the definitions that lily uses. For that reason, it is
+strongly tied to the version of LilyPond that you use. Before you
+proceed, please make sure that you are using the documentation that
+corresponds to the version of LilyPond that you are using.
+
+@c TODO: the quote is incorrect, although that shouldn't be a big
+@c problem for the reader.
+Suppose that you wanted to tune the behavior of the slur. The first
+step is to get some general information on slurs in lilypond. Turn to
+the index, and look up ``slur''. The section on slurs says
+@quotation
+The grob for this object is @internalsref{Slur}, generally in
+@internalsref{Voice} context.
+@end quotation
+
+So the graphical object for this object is called @code{Slur}, and
+slurs are created in the @code{Voice} context. If you are reading
+this tutorial in the HTML version, then you can simply click Slur,
+otherwise, you should look it up the internal documentation: click
+``grob overview'' and select ``slur'' (the list is alphabetical).
+
+Now you get a list of all the properties that the slur object
+supports, along with their default values. Among the properties we
+find the @code{attachment} property with its default setting.
+The property documentation explains that the following setting will
+produce the desired effect:
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+
+If you ran the previous example, you have unknowingly already used
+this kind of command. The @file{ly/property-init.ly} contains the
+definition of @code{\stemUp}:
+@example
+ stemUp = \property Voice.Stem \set #'direction = #1
+@end example
+
+@c this is a long section, and adding an extra space here helps to
+@c break it into smaller subsections and thus is easier to understand.
+@separate
+
+Next we want to move the fingering `3'. In the printed edition it is
+not above the stem, but a little lower and slightly left of the stem.
+From the user manual we find that the associated graphical object is
+called @code{Fingering}, but how do we know if we should use
+@code{Voice} or @code{Staff}? In many cases, @code{Voice} is a safe
+bet, but you can also deduce this information from the internals
+documentation: if you visit the documentation of @code{Fingering}, you
+will notice
+@example
+Fingering grobs are created by: Fingering_engraver
+@end example
+
+Clicking @code{Fingering_engraver} will show you the documentation of
+the module responsible for interpreting the fingering instructions and
+translating them to a @code{Fingering} object. Such a module is called
+an @emph{engraver}. The documentation of the @code{Fingering_engraver}
+says
+@example
+Fingering_engraver is part of contexts: Voice and TabVoice
+@end example
+so tuning the settings for Fingering should be done using either
+@example
+ \property Voice.Fingering \set @dots{}
+@end example
+or
+@example
+ \property TabVoice.Fingering \set @dots{}
+@end example
+
+Since the @code{TabVoice} is only used for tab notation, we see that
+the first guess @code{Voice} was indeed correct.
+
+@cindex setting object properties
+@cindex @code{extra-offset}
+
+For shifting the fingering, we use the property @code{extra-offset}.
+The following command manually adds an offset to the object. We move
+it a little to the left, and 1.8 staff space downwards.
+@example
+ \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
+@end example
+The @code{extra-offset} is a low-level feature: it moves around
+objects in the printout; the formatting engine is completely oblivious
+to these offsets. 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.
+
+@cindex reverting object properties
+@cindex undoing object properties
+
+We only want to offset a single object, so after the F-sharp we must
+undo the setting. The technical term is to revert the property.
+@example
+ \property Voice.Fingering \revert #'extra-offset
+@end example
+
+@cindex property types
+@cindex translator properties
+@cindex grob properties
+@cindex music properties
+@separate
+
+There are three different types of variables in LilyPond, something
+which can be confusing at first (and for some people it stays confusing
+:). Variables such as @code{extra-offset} and @code{attachment} are
+called grob properties. They are not the same as translator properties,
+like @code{autoBeaming}. Finally, music expressions are internally
+stored using properties (so-called music properties). You will encounter
+music properties if you run Scheme functions on music using @code{\apply}.
+
+The second fingering instruction should be moved up a little to avoid
+a collision with the slur. This could be achieved with
+@code{extra-offset}, but in this case, a simpler mechanism also
+works. We insert an empty text between the 5 and the note. The empty
+text pushes the fingering instruction away:
+@example
+ a^" "^#'(finger "5")
+@end example
+
+Lilypond tries to put fingering instructions as close to the notes as
+possible. To make sure that Lilypond doesn't do that, we disguise the
+fingering as text: @code{(finger "5")}.
+
+@separate
+
+Normally one would specify all dynamics in the same voice, so that
+dynamics (such as @b{f} and @b{p}) will be aligned with hairpins. But
+in this case, we don't want the decrescendo to be aligned with the
+piano sign. We achieve this by putting the dynamic markings in different
+voices. The crescendo should be above the upper staff. This can be
+forced by using the precooked command
+@example
+ \dynamicsUp
+@end example
+
+However, if you do that the decrescendo will be too close to the
+upper voice and collide with the stems. Looking at the manual for
+dynamics, we notice that ``Vertical positioning of these symbols is
+handled by the @internalsref{DynamicLineSpanner} grob.''. If we turn
+to the documentation of @code{DynamicLineSpanner}, we find that
+@code{DynamicLineSpanner} supports several so-called `interfaces'. This
+object not only puts dynamic objects next to the staff
+(@code{side-position-interface}), but it also groups dynamic objects
+(@code{axis-group-interface}), is considered a dynamic sign
+itself (@code{dynamic-interface}), and is an object. It has the standard
+@code{grob-interface} with all the variables that come with it.
+
+For the moment we are interested in side positioning:
+@quotation
+ side-position-interface
+
+ Position a victim object (this one) next to other objects (the
+ support). In this case, the direction signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+Between the object and its support (in this case the notes in the voice
+going down), there should be more space. This space is controlled by
+@code{padding}, so we increase it.
+@example
+ \property Voice.DynamicLineSpanner \override #'padding = #5.0
+@end example
+
+This command is almost like the command for setting slur attachments,
+but subtly different in its details. Grob properties can be
+manipulated with two commands: @code{\override} extends the
+variables with a setting, and @code{\revert} releases this
+setting. This has a certain theoretical appeal: the operations are
+simple and symmetric. But for practical use, it can be cumbersome. The
+commands act like parentheses: you should carefully balance the use of
+@code{\override} and @code{\revert}. The @code{\set} command is more
+friendly: it first does a @code{\revert} followed by @code{\override}.
+
+@separate
+
+Brahms uses music notation is a slightly unorthodox way. Ties
+usually happen only within one voice. In this piece, the composer
+gladly produces ties that jump voices. We deal with this by faking
+these ties: whenever we need such a tie, we insert a notehead in a
+different voice, and blank the stem. This is done in the following
+snippet of code.
+
+@example
+ \property Voice.Stem \set #'transparent = ##t
+ d'
+@end example
+Blanking the stem should be done for only one object. One of the ways
+to achieve that, is by setting the property before a note. Reverting
+it afterwards is tedious, so for setting a property only once, we have
+the syntax @code{\once}: it reverts the property directly before
+proceeding to the next step in time.
+
+The @code{\once} keyword is added to @code{\property}.
+
+
+Finally, the last tie is forced up using @code{\tieUp}.
+
+@separate
+
+Here's the complete ``fine tuned'' version, which includes all the
+modifications we discussed in this section:
+
+@lilypondfile[verbatim]{brahms-tweaked.ly}
@node An orchestral score
@section An orchestral score
-If you've come this far, you should have seen enough LilyPond source to
-feel comfortable with an orchestral score. We will not go through the
-input line by line, but only indicate and explain the new elements.
+@menu
+* The full score::
+* Extracting an individual part::
+@end menu
-This orchestral score example consists of three input files. In the
-first file, @file{os-music.ly}, we define the music for all instruments.
-This file is to be used by the other two files, as you will see below.
-If you run lilypond on this file, no output will be produced.
+Our next two examples demonstrate one way to create an orchestral score
+in LilyPond. When typesetting a piece for several instruments, you'll
+want to create a full score (for the conductor) along with several
+individual parts (for the players).
+
+LilyPond is well suited for this task. We will declare the music for
+each instrument individually, giving the music of each instrument its
+own name. These pieces of music are then combined in different
+@code{\score} blocks to produce different combinations of instruments
+(for example, one @code{\score} block may only include the cello part;
+another @code{\score} block may be for all the strings, and yet another
+@code{\score} block may be for all parts together).
+
+This orchestral score example consists of three input files. In the
+first file, @file{os-music.ly}, we define the music for all
+instruments. This file will be used for producing the score and
+the separate parts, but the file doesn't produce any sheet music
+itself. Other files reference this file by doing @code{\include
+"os-music.ly"}.
@example
% os-music.ly
\header @{
- title = "Zo, goed lieverd?";
- subtitle = "How's, this babe?";
- composer = "JCN";
- opus = "1";
- piece = "Laid back";
+ title = "Zo, goed lieverd?"
+ subtitle = "How's, this babe?"
+ composer = "JCN"
+ opus = "1"
+ piece = "Laid back"
@}
global = @{
- \time 2/4;
- \skip 2*4; \bar "|.";
+ \time 2/4
+ \skip 2*4 \bar "|."
@}
-Key = \notes \key as \major;
+Key = \notes \key as \major
flautoI = \notes\relative c'' @{
f8 g f g f g f g
bes as bes as bes as bes as
as8 bes as bes R1 d4 ~ d
@}
tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 R1*1/2 es4
+ c4. c8 c8 c4. es4 r as, r
@}
tromboII = \notes\relative c'' @{
as4. as8 as8 as4. R1*1/2 as4 es'
timpani = \notes\relative c, @{
\times 2/3 @{ f4 f f @}
\times 4/5 @{ as8 as as as as @}
+ R1
@}
corno = \notes\relative c' @{
bes4 d f, bes d f, bes d
@}
@end example
-Things to note here are the definition of @code{\global} where we define
-meter, and set the end bar. And the separate definition of @code{\Key}
-that we will use all staffs except staffs for transposing instruments.
+We will not examine this example line by line, since you already know
+most of it. We'll examine a few lines which contain new elements.
+
+
+@separate
+@example
+global = @{
+ \time 2/4
+ \skip 2*4 \bar "|."
+@}
+@end example
+
+Declare setting to be used globally. The @code{\skip} command produces
+no output, but moves forward in time: in this case, the duration of a
+half note (@code{2}), and that four times (@code{*4}). This brings us
+to the end of the piece, and we can set the end bar. You can use @code{s}
+as a shortcut for @code{\skip} (the last line of this section would
+be @code{s2*4 \bar"|."}).
+
+@separate
+@example
+Key = \notes \key as \major
+@end example
+Declare the key signature of the piece and assign it to the identifier
+@var{Key}. Later on we'll use @code{\Key} for all staves except those
+for transposing instruments.
+
+@node The full score
+@subsection The full score
-The second file, @file{os-score.ly} reads the definitions of the first
-(@file{os-music.ly}), and defines the @code{\score} block for the full
+
+The second file, @file{input/tutorial/os-score.ly}, reads the definitions of the first
+(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
conductor's score.
+
@example
% os-score.ly
-\include "os-music.ly";
-\include "paper13.ly";
+\include "os-music.ly"
+\include "paper13.ly"
-#(set! point-and-click #t)
+#(set-point-and-click! 'line-column)
#(define text-flat '((font-relative-size . -2)
(music "accidentals--1")))
\score @{
<
\global
+ \property Score.BarNumber \override #'padding = #3
\context StaffGroup = woodwind <
\context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.midiInstrument = #"flute"
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
\Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
>
>
\context StaffGroup = timpani <
\context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass;
+ \property Staff.midiInstrument = #"timpani"
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \property Staff.instr = #"Timp."
+ \clef bass
\Key
- \timpani
+ \timpani
>
>
\context StaffGroup = brass <
\context Staff = trombe <
\property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
+ \property Staff.instrument = #`(lines "2 Trombe" "(C)")
+ \property Staff.instr = #`(lines "Tbe." "(C)")
\Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (rows "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major;
- \context Voice=one \corno
+ \property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
+ \property Staff.instr = #`(lines "Cor."
+ (columns "(E" ,text-flat ")"))
+ \property Staff.transposing = #3
+ \notes \key bes \major
+ \context Voice=one \corno
>
>
>
\paper @{
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
- textheight = 90 * \staffspace;
- \translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
- \translator@{
- \VoiceContext
- \remove "Rest_engraver";
- @}
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+ textheight = 90 * \staffspace
\translator@{
\HaraKiriStaffContext
@}
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
- @}
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
@lilypondfile{os-score.ly}
-First, we need to include the music definitions we made in
-@file{os-music.ly}.
+@separate
@example
-\include "os-music.ly";
+\include "os-music.ly"
@end example
+First we need to include the music definitions we made in
+@file{os-music.ly}.
-In a large orchestral score like this you're bound to make some small
-mistakes, so we enable point and click (See @ref{Point and click})
-editing.
+@separate
@example
-#(set! point-and-click #t)
+#(set-point-and-click! 'line-column)
@end example
-We need a flat sign in text to name the tuning of the french horn, so we
-predefine it with bit of scheme markup text (See @ref{Text markup}).
+This piece of Scheme code executes the function
+@code{set-point-and-click!} with the argument
+@code{line-column}. Editing input files can be complicated if you're
+working with large files: if you're digitizing existing music, you have
+to synchronize the .ly file, the sheet music on your lap and the sheet
+music on the screen. The point-and-click mechanism makes it easy to
+find the origin of an error in the LY file: when you view the file with
+Xdvi and click on a note, your editor will jump to the spot where that
+note was entered. For more information, see @ref{Point and click}.
+
+
+@separate
@example
#(define text-flat '((font-relative-size . -2)
(music "accidentals--1")))
@end example
-Of course, all staffs are simultaneous and use the same global settings.
+To name the transposition of the french horn, we will need a piece of
+text with a flat sign. LilyPond has a mechanism for font selection and
+kerning called Scheme markup text (See @ref{Text markup}). The flat
+sign is taken from the music font, and its name is @code{accidentals--1}
+(The natural sign is called @code{accidentals-0}). The default font is
+too big for text, so we select a relative size of @code{-2}.
+
+@separate
@example
<
\global
@end example
+All staves are simultaneous and use the same global settings.
-Then, we start a new staff group for the woodwind section (just the
-flutes in this case). Immediately after that, we start the staff for
-the two flutes, that also play simultaneously.
+@separate
+@example
+ \property Score.BarNumber \override #'padding = #3
+@end example
+LilyPond prints bar numbers at the start of each line, but
+unfortunately they end up a bit too close to the staff in this
+example. In LilyPond, a bar number is called @var{BarNumber}.
+BarNumber objects can be manipulated through their
+@var{side-position-interface}. One of the properties of a
+@var{side-position-interface} that can be tweaked is @var{padding}:
+the amount of extra space that is put between this and other objects.
+We set the padding to three staff spaces.
+
+You can find information on all these kind of properties in LilyPond's
+automatically generated documentation in
+@ifnottex
+@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}
+or in @ref{Fine tuning a piece}.
+@end ifnottex
+@iftex
+the online documentation or in the previous section of the tutorial.
+@end iftex
+
+@c REFERENCE MAO
+
+@separate
@example
\context StaffGroup = woodwind <
\context Staff = flauti <
@end example
+A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
+hold one or more @code{Staff}'s, and will print a big bracket at the
+left of the score. This starts a new staff group for the woodwind
+section (just the flutes in this case). Immediately after that, we
+start the staff for the two flutes, who also play simultaneously.
-We specify the intrument for MIDI output (see @ref{MIDI instrument
-names}).
+@separate
@example
- \property Staff.midiInstrument = #"flute"
+ \property Staff.midiInstrument = #"flute"
@end example
+Specify the instrument for MIDI output (see @ref{MIDI instrument
+names}).
-And define the intrument names to be printed in the margin,
-@code{instrument} for the first line of the score, @code{instr} for the
-rest of the score.
+@separate
@example
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
@end example
+This defines the instrument names to be printed in the
+margin. @code{instrument} specifies the name for the first line
+of the score, @code{instr} is used for the rest of the score.
-The flutes play in the default key.
+@separate
@example
\Key
@end example
+The flutes play in the default key.
+@separate
+@example
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
+@end example
Last come the actual flute parts. Remember that we're still in
simultaneous mode. We name both voices differently, so that LilyPond
-will actually create two Voice contexts. The flute parts are simple, so
+will create two Voice contexts. The flute parts are simple, so
we specify manually which voice is which: @code{\voiceOne} forces the
direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
directions down.
-@example
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
-@end example
-We close the flutes staff and woodwind staff group.
+@separate
@example
>
>
@end example
+Close the flutes staff and woodwind staff group.
-The timpani staff only shows a new piece of scheme markup, it sets two
+@separate
+@example
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+@end example
+The timpani staff demonstrates a new piece of scheme markup, it sets two
lines of text.
+
+@separate
@example
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
@end example
+You have seen the notation contexts Staff and Voice, but here's a new
+one: Thread. One or more Threads can be part of a Voice. Thread
+takes care of note heads and rests; Voice combine note heads onto a
+stem.
For the trumpets we use the automatic part combiner (see @ref{Automatic
part combining}) to combine the two simultaneous trumpet parts onto the
named @code{one} and @code{two}). The part combiner makes these two
threads share a Voice when they're similar, and splits the threads up
when they're different.
-@example
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
-@end example
-The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has two elements (rows), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
+@separate
@example
\property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
+ (columns "(E" ,text-flat ")"))
@end example
+The french horn (``Corno'') has the most complex scheme markup name, made
+up of two lines of text. The second line has three elements (columns) --
+the @code{(E}, the flat sign @code{text-flat} that we defined previously,
+and a final @code{")"}. Note that we use a backquote instead of an
+ordinary quote at the beginning of the Scheme expression to be able to
+access the @code{text-flat} identifier, `unquoting' it with a ``@code{,}''.
-The french horn is to be tuned in E-flat, so we tell the MIDI backend to
-transpose this staff by three steps.
+@separate
@example
- \property Staff.transposing = #3
+ \property Staff.transposing = #3
@end example
+The french horn is to be tuned in E-flat, so we tell the MIDI back-end to
+transpose this staff by three steps.
-Therefore, it has a different key.
-@example
- \notes \key bes \major;
-@end example
+Note how we can choose different tunings for the text input, sheet music
+output and, and MIDI output, using @code{\transpose} and the MIDI Staff
+property @var{transposing}.
-We specify a big indent for the first line and a small linewith for this
-tuturial.
+@separate
@example
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
+ \notes \key bes \major
@end example
+Since the horn is transposing, it's in a different key.
-Because we have a Thread representing one instument, we move the
-need the @code{Rest_engraver} from Voice to Thread level.
+@separate
@example
- \translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
- \translator@{
- \VoiceContext
- \remove "Rest_engraver";
- @}
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
@end example
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
+
+@separate
+
+Usually LilyPond's default setup of notation contexts (Thread,
+Voice, Staff, Staffgroup, Score) is just fine. But in this case we
+want a different type of Staff context.
-In orchestral scores, it often happens that one instrument has only
-rests during one line of the score. The @code{HaraKiriStaffContext} can
-be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staffs.
@example
\translator@{
\HaraKiriStaffContext
@}
@end example
-We want bar numbering at score level and want to move the bar number a
-few staff spaces up.
-@example
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
- @}
-@end example
+In orchestral scores it often happens that one instrument only has
+rests during one line of the score. @code{HaraKiriStaffContext} can
+be used as a regular @code{StaffContext} drop-in and will take care of
+the automatic removing of empty staves -- so if the strings are the
+only instruments playing for a line, LilyPond will only print the string
+parts for that line of the score. This reduces the number of page turns
+(and the number of dead trees!) required in a score.
-@node Part extraction
-@section Part extraction
+@node Extracting an individual part
+@subsection Extracting an individual part
The third file, @file{os-flute-2.ly} also reads the definitions of the
first (@file{os-music.ly}), and defines the @code{\score} block for the
second flute part.
@example
-\include "os-music.ly";
-\include "paper16.ly";
+\include "os-music.ly"
+\include "paper16.ly"
\score @{
\context Staff <
+ \property Score.skipBars = ##t
\property Staff.midiInstrument = #"flute"
\global
\Key
\flautoII
>
\header @{
- instrument = "Flauto II";
+ instrument = "Flauto II"
@}
\paper @{
- linewidth = 80 * \staffspace;
- textheight = 200 * \staffspace;
- \translator @{
- \OrchestralScoreContext
- skipBars = ##t
- @}
+ linewidth = 80 * \staffspace
+ textheight = 200 * \staffspace
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
-the second flute. This then is the part for the second flute player.
-Of course, we make separate parts for all individual instruments.
+instantiations, we can easily define a second score with the music of
+the second flute. This is the part for the second flute player. Of
+course, we would make separate parts for all individual instruments if
+we were preparing the score for an orchestra.
-In this individual part the second flute has a whole staff for itself,
-so we don't want to force stem or tie directions.
+@separate
@example
\flautoII
@end example
+In this individual part the second flute has a whole staff for itself,
+so we don't want to force stem or tie directions.
-The @code{\header} definitions were also read from @file{os-music.ly},
-but we need to set the instrument for this particular score.
+@separate
@example
\header @{
- instrument = "Flauto II";
+ instrument = "Flauto II"
@}
@end example
+The @code{\header} definitions were also read from @file{os-music.ly},
+but we need to set the instrument for this particular score.
+@separate
+@example
+ \property Score.skipBars = ##t
+@end example
In the conductor's full score, all bars with rests are printed, but for
-the individual parts, we want to contract pieces of consecutive empty
-bars.
+the individual parts, we want to print one multimeasure rest instead of
+many consecutive empty bars. LilyPond will do this if
+@code{Score.skipBars} is set to true (@code{##t}).
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+
+@cindex La@TeX{}, music in
+@cindex HTML, music in
+@cindex Texinfo, music in
+
+Sometimes you might want to use music examples in a text that you are
+writing (for example a musicological treatise, a songbook, or (like us)
+the LilyPond manual). You can make such texts by hand, simply by
+importing a PostScript figure into your word processor. However,
+there is an automated procedure to reduce the amount of work.
+
+If you use HTML, La@TeX{}, or texinfo, you can mix text and LilyPond
+code. A script called @code{lilypond-book} will extract the music
+fragments, run LilyPond on them, and put back the resulting
+notation. This program is fully described in the chapter
+@ref{Integrating text and music with lilypond-book}. Here we show a
+small example. Since the example also contains explanatory text, we
+won't comment on the contents.
+
@example
- skipBars = ##t
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+\begin@{lilypond@}
+ \score @{ \notes \relative c' @{
+ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
+ @} @}
+\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:
+
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+
+In the example you see here, two things happened: a
+\verb+\score+ block was added, and the line width was set to natural
+length. You can specify many more options using \LaTeX style options
+in brackets:
+
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ c'4 f bes es
+\end@{lilypond@}
+
+\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 into the text, it may be more
+convenient to put the example in a separate file:
+
+\lilypondfile[printfilename]@{sammartini.ly@}
+
+The \texttt@{printfilename@} option adds the file name to the output.
+
+\end@{document@}
@end example
-@node end of tutorial
-@section The end
+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) 1.6.1
+Reading `input/tutorial/lilbook.tex'
+Reading `input/tutorial/sammartini.ly'
+@var{lots of stuff deleted}
+Writing `out/lilbook.latex'
+$ cd out
+$ latex lilbook.latex
+@var{lots of stuff deleted}
+$ xdvi lilbook
+@end example
+
+Notice the @code{outdir} option to lilypond-book. Running lilypond-book
+and running latex creates a lot of temporary files, and you wouldn't want
+those to clutter up your working directory. Hence, we have them created
+in a separate subdirectory.
+
+The result looks more or less like this:
+
+@separate
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+@lilypond
+ \score { \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ } }
+@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:
+
+@lilypond
+ 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:
+
+@lilypond[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]
+ c'4 f bes es
+@end lilypond
+
+@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]{sammartini.ly}
+
+The @code{printfilename} option adds the file name to the output.
+@node End of tutorial
+@section End of tutorial
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
+This is the end of the tutorial. If you read everything until this point
+(and understood everything!) then you're now an accomplished lilypond
+hacker. From here you should try fiddling with input files or making your
+own input files. Come back to the reference manual for more information
+if you get stuck!
+
+Don't forget to check out the
+@ifhtml
+@uref{../../templates/out-www/templates.html,templates},
+@uref{../../test/out-www/test.html,example} and
+@uref{../../regression/out-www/regression.html,feature test}
+snippets.
+@end ifhtml
+@ifnothtml
+templates, example and feature test snippets.
+@end ifnothtml
+If you want to see real action lilypond then head over to
+@uref{http://www.mutopiaproject.org}, which has many examples of
+classical music typeset with LilyPond.
+
projects / lilypond.git / blobdiff