@end menu
Operating lilypond is done through text files: to print a piece of
-music, you enter the music in a file. When you run lilypond, that
-file is read, and after some computations, the program produces a file
-containing the sheet music that you can print or view.
+music, you enter the music in a file. When you run lilypond on that
+file, the program produces another file which contains sheet music that
+you can print or view.
This tutorial starts with a small introduction to the LilyPond music
language. After this first contact, we will show you how to run
@node First steps
@section First steps
-We tsart off with showing how very simple music is entered in
-LilyPond: you get a simple note by typing its note name, from
+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
@separate
A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
-(@texiflat{}) by adding ``@code{es}'':
+(@texiflat{}) by adding ``@code{es}''. As you would expect, a
+double-sharp or double-flat is made by adding ``@code{isis}'' or
+``@code{eses}'':
@quotation
@example
@c what is more common name treble or violin?
@c in Dutch, its violin.
+@c in English its definately treble.
@quotation
@example
-\clef violin
+\clef treble
\clef bass
\clef alto
\clef tenor
@end quotation
@separate
-From these commands and notes, a piece of music can be formed. A piece
-of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
-LilyPond then knows that music follows (and not lyrics, for example):
+@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:
+With these commands you can now write a piece of music. The next step
+is to enclose your music inside ``@code{\notes @{ .. @}}''.
+This lets LilyPond know that music (and not lyrics, for example) follows:
@quotation
@example
@end quotation
@separate
-At this point, the piece of music is ready to be printed. This is done
-by combining the music with a printing command.
+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. You
-will see later that the @code{\paper} block is necessary to customize
+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:
@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,
+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 view or print the output. If you have not used LilyPond
-before, want to test your setup of LilyPond, or try to run an example
-file yourself, then read this section. The instructions that follow
+before, want to test your setup of LilyPond, or want to run an example
+file yourself, read this section. Most of 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.
-You begin with opening a terminal window, and start up a text editor.
-For example, open an xterm and execute @code{joe}. In your text editor,
-enter the following input, and save the file as @file{test.ly}:
+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
@quotation
@example
-GNU LilyPond 1.4.0
+GNU LilyPond 1.6.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
kghostview test.ps
@end example
@end quotation
-If you are satisfied with the looks of the music displayed on your
-screen, you can print the PS file by clicking File/Print inside
-ghostview.
+If the music on your screen looks good, you can print it by clicking
+File/Print inside ghostview.
The DVI file (@file{test.dvi}) contains the same sheet music in a
different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. Execute @code{xdvi test.dvi}
-to view the DVI file.
+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}.
@c volgende alinea schrappen?
-If you can't get the examples to print, then you should look into
-installing and configuring ghostscript. Refer to GhostScript's website
-at @uref{http://www.ghostscript.com}.
+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 start the terminal by clicking on the LilyPond or Cygwin
-icon. Notepad is sufficient for editing the LilyPond file. Viewing
-the PS file can be done with:
+Windows users can start the terminal by clicking on the LilyPond or
+Cygwin icons. You can use any text editor (such as Notepad) to edit
+the LilyPond file. Viewing the PS file can be done with:
@quotation
@example
@code{gsview32 test.ps}
@strong{SUMMARY}
-To run LilyPond, enter a file, and run the command @code{ly2dvi} on
-that file. The resulting files are either DVI or PostScript, and can
+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
+respectively. The following table summarizes the constructs that were
discussed in the previous two sections.
@multitable @columnfractions .3 .3 .4
@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). The central C is @code{c'}:
+(a comma). Middle C is @code{c'}:
@quotation
@example
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, but just makes the first note sound longer:
+played separately; it just makes the first note sound longer:
@quotation
@lilypond[fragment,verbatim]
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 type
-no octavation quotes, relative mode chooses the note that is closest
-to the previous one, which is often just the one you need.
+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:
@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 a large interval by adding octavation quotes. Note that
+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
@separate
+Here's an example of the difference between relative mode and
+``normal'' (non-relative) mode:
+
+@quotation
+@example
+\relative a @{
+\clef bass
+ a d a e d c' d'
+@}
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative a {
+\clef bass
+ a d a e d c' d'
+}
+@end lilypond
+@end quotation
+@separate
+
+@quotation
+@example
+\clef bass
+ a d a e d c' d'
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef bass
+ a d a e d c' d'
+@end lilypond
+@end quotation
+@separate
+
@strong{SUMMARY}
-The following table summarizes the syntax learned in this section.
+The following table summarizes the syntax learned so far in this section.
@multitable @columnfractions .3 .3 .4
example above) in a bunch of stacked staves.
@end ignore
-Of course, you can combine beams and ties with chords. Notice that
+You can combine beams and ties with chords. Notice that
beam and tie markings must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
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{< >}:
+means that they have to be inside the @code{< >}. Don't get confused
+by the chord @code{< >} and the dynamic @code{\< \>}!
@quotation
@end quotation
@separate
-There is one golden rule that you should keep in mind when writing
-LilyPond input:
-@quotation
-@strong{DO NOT START A PIECE WITH A CHORD}
-@end quotation
-Of course, it is a allowed, but the result might not be what you expect:
+@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 quotation
@separate
-If you have a piece that starts with a chord, then you must explicitly
+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} for
-the notes:
+the same voice. This is done by specifying @code{\context Staff} or
+@code{\context Voice} for the notes:
@quotation
@lilypond[verbatim,singleline]
@separate
-
@strong{SUMMARY}
@multitable @columnfractions .3 .3 .4
@end multitable
-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 to type some
+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, then you might want to read
-the rest of this chapter. It also a manual in tutorial-style, but it
+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 output,
+lyrics, chords, orchestral scores and parts, fine tuning of output,
polyphonic music, and integrating text and music.
\property LyricsVoice . stanza = "Ernie"
@end example
+The convention for naming @code{LyricsVoice} and @code{Voice} must
+also be used to get melismata on rests correct.
+
+
@node More movements
@section More movements
the layout of different versions can be compared using archived
print-outs (that include a version number).
-Many people find the default tagline too droll. If that is the case,
-assign something else to @code{tagline}, as shown above.
+@cindex Lily was here
+@cindex signature line
+@cindex tag line
+
+Many people find the default tagline (``Lily was here'') too droll.
+If that is the case, assign something else to @code{tagline}, as shown
+above.
@separate
@example
projects / lilypond.git / blobdiff