@c -*-texinfo-*-
+@c This file is part of lilypond.tely
@c TODO:
-@c * LilyPond Lilypond lilypond (sometimes: the program)
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
-@html
-<!--- @@WEB-TITLE@@=Tutorial --->
-@end html
+
+
+Using LilyPond comes down to encoding music in an input file. After
+entering the music, the program is run on the file producing output
+which can be viewed or printed. In this tutorial, we will show step
+by step how to enter such files, and illustrate the process with
+fragments of input and the corresponding output. At the end of every
+section, a paragraph will list where to find further information on
+the topics discussed.
+
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+@ifhtml
+For example, consider the following input:
+@example
+ c'^\markup @{ \bold \huge @{ Click on this image! @} @}
+@end example
+@c @lily pond[relative=1,raggedright,with the following output:]
+with the following output:
+@lilypond[relative=1,raggedright]
+ c'^\markup { \bold \huge { Click on this image! } }
+@end lilypond
+
+@end ifhtml
+By cutting and pasting the full input into a test file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for quick
+reference.
+
+
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact, we will show you how to to
+produce printed output. You should then be able to create and print
+your first sheets of music.
@menu
-* First steps:: Music language of LilyPond
-* Running LilyPond:: Printing music
-* More basics::
+* First steps::
+* Running LilyPond::
+* More about pitches::
+* Entering ties::
+* Automatic and manual beams::
+* Octave entry::
+* Music expressions explained::
+* More staves::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Basic rhythmical commands::
+* Commenting input files::
* Printing lyrics::
* A lead sheet::
* Listening to output::
-* Titling ::
-* Single staff polyphony ::
-* Piano staffs::
-* Organising larger pieces::
-* Fine tuning a piece::
-* An orchestral score:: Conductor's score and individual parts
-* Integrating text and music:: Integrating text and music
+* Titling::
+* Single staff polyphony::
+* Piano staves::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music::
@end menu
-Operating is done through text files: To print a piece of music, you
-enter the music in a file. When LilyPond is run (normally using the
-program @code{ly2dvi}) on that file, another file containing formatted
-sheet music, is produced. That file may be printed or viewed.
-
-This tutorial starts with a small introduction to the LilyPond music
-language. After this first contact, we will show which commands to
-run to produce printed output, so you should then be able to create
-your first sheets of music. The tutorial continues with more and more
-complex examples.
-
@node First steps
@section First steps
-We start off by showing how very simple music is entered in LilyPond:
-you get a note simply by typing its @htmlref{note name}, from @samp{a}
-through @samp{g}. So if you enter
-
+The first example demonstrates how to enter the very simple piece of
+music, a scale. A note can be entered by typing its name, from
+@samp{a} through @samp{g}. So, if you enter
+
@example
c d e f g a b
@end example
@noindent
-then the result looks like this:
+the result looks like this:
-@c ?
-@c \transpose c c' { c d e f g a b }
-@c @lily pond[notime]
-@c \property Score.timing = ##f
-@lilypond[notime, relative=2]
+@lilypond[notime,relative]
c d e f g a b
@end lilypond
-We will continue with this format: First we show a snippet of input,
-then the resulting output.
-
-The length of a note is specified by adding a number, @samp{1} for a
-@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
+The duration of a note is specified by a number after the note name.
+@samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
+and so on
@example
a1 a2 a4 a16 a32
@end example
@lilypond[notime]
-\property Score.timing = ##f
-\property Staff.autoBeaming = ##f
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-If you do not specify a @rglos{duration}, the previous one is used:
+If you do not specify a @rglos{duration}, then the duration last
+entered is used, and the first note will be a quarter
@example
-a4 a a2 a
+a a8 a a2 a
@end example
@lilypond[notime]
-\property Score.timing = ##f
-\transpose c c' { a a a2 a s16_" " }
+\set Score.timing = ##f
+\transpose c c' { a a8 a a2 a s16_" " }
@end lilypond
-A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
-@rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
-a @rglos{double sharp} or @rglos{double flat} is made by adding
-@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
-naming conventions in Nordic and Germanic languages, like German and
-Dutch}
+Rests are entered just like notes, but with the name ``@code{r}'':
+
+@cindex rests
+@quotation
@example
-cis1 ees fisis aeses
+r2 r4 r8 r16
@end example
-@lilypond[notime]
-\property Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.Clef = \turnOff
+\set Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
@end lilypond
+@end quotation
+@separate
+
Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
-Entering pitches and durations is fully explained in @ref{Pitches} and
-@ref{Durations}.
-
The @rglos{meter} (or @rglos{time signature}) can be set with the
@code{\time} command:
@c a clef here may lead to confusion
@lilypond
-\property Staff.Clef \set #'transparent = ##t
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
s16_" "
@end lilypond
-Time signatures and other timing commands are described in @ref{Time
-signature}.
-
The @rglos{clef} can be set using the @code{\clef} command:
@c what is more common name treble or violin?
-@c in Dutch, its violin.
-@c in English its definitely treble.
+@c in Dutch, it is violin.
+@c in English it is definitely treble.
@example
\clef treble
\clef bass
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\clef violin
s4_" "
\clef bass
s16_" "
@end lilypond
-Clefs are fully explained in @ref{Clef}.
+To recognize names like @code{c} and @code{d} as pitches, they have to
+be entered inside a so-called @code{\notes} block. This block is
+formed by enclosing notes and commands are enclosed in curly braces,
-
-When you enter these commands in a file, you must to enclose them in
-@code{\notes @{@dots{}@}}. This lets LilyPond know that music (as
-opposed to @rglos{lyrics}) follows:
+@example
+@{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
+@}
+@end example
+and adding the keyword @code{\notes} before the opening brace
+@code{@{}, for example,
@example
\notes @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
@}
@end example
-Now the piece of music is almost ready to be printed. The final step is to
-combine the music with a printing command.
-The printing command is the so-called @code{\paper} block. Later on
-you will see that the @code{\paper} block is used to customize
-printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in @code{\score @{ ... @}}. This is what a full source file looks like:
+Now the piece of music is almost ready to be printed. When this
+enclosed a @code{\score} block, i.e. braces @code{@{ @dots{} @}} with
+keyword @code{\score} in front, like
@example
\score @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
@}
- \paper @{ @}
@}
@end example
+then the music will be converted to printable output:
+
@lilypond[noindent]
\score {
\notes {
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
}
\paper {
linewidth = 55 * \staffspace
}
@end lilypond
+In many examples in this manual, both @code{\score} and @code{\notes}
+and accompanying braces are left out for brevity. However, they must
+be present when feeding the file to LilyPond.
+
+For more elaborate information on
+
+@table @asis
+@item Entering pitches and durations
+see
+@ref{Pitches} and @ref{Durations}.
+@item Clefs
+see @ref{Clef}
+@item Rests
+see @ref{Rests}.
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@end table
@node Running LilyPond
@section Running LilyPond
In the last section we explained what kind of things you could enter
-in a LilyPond file. In this section we explain what commands to run
+in a LilyPond file. In this section we will explain what commands to run
and how to view or print the output. If you have not used LilyPond
before, want to test your setup, or want to run an example file
yourself, read this section. The instructions that follow are for
-Unix-like systems. Some additional instructions for MS Windows are given
-at the end of this section.
-
-Begin by opening a terminal window and starting a text editor.
-For example, you could open an xterm and execute @code{joe}. In your
-text editor, enter the following input and save the file as
+Unix-like systems. Some additional instructions for Microsoft Windows
+are given at the end of this section.
+
+Begin by opening a terminal window and starting a text editor. For
+example, you could open an xterm and execute
+@code{joe}.@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+installed already, then refer to the file @file{INSTALL.txt}}. In
+your text editor, enter the following input and save the file as
@file{test.ly}:
@quotation
@end example
@end quotation
-@cindex ly2dvi
-
-@c now this is weird, running ly2dvi to run LilyPond
-@c (therefore name change proposal)
-
-LilyPond is the program that computes the sheet music. All other
-things, such as adding titles, page breaking and other page layout,
-are done by a small wrapper program called
-@code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
-then adds the titling and page layout instructions. To process
-@file{test.ly} with @code{ly2dvi}, proceed as follows:
+To process @file{test.ly}, proceed as follows:
@quotation
@example
-ly2dvi -p test.ly
+lilypond test.ly
@end example
@end quotation
-You will see the following on your screen:
+You will see something resembling:
@quotation
@example
-GNU LilyPond 1.7.16
+GNU LilyPond 1.8.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
@cindex Viewing music
@cindex xdvi
-The results of the ly2dvi run are two files, @file{test.dvi} and
-@file{test.pdf}. The PDF file (@file{test.pdf}) is the one you can
-print or view. For example, viewing PDF can be done with ghostview.
-If a version of ghostview is installed on your system, one of these
-commands will produce a window with some music notation on your
-screen:
-@c eeek
-@quotation
-@example
- gv test.pdf
- ghostview test.pdf
- ggv test.pdf
- kghostview test.pdf
- xpdf test.pdf
- gpdf test.pdf
-@end example
-@end quotation
-If the music on your screen looks good, you can print it by clicking
-File/Print inside ghostview.
-
-The DVI file (@file{test.dvi}) contains the same sheet music in a
-different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. You can run @code{xdvi test.dvi}
-@c KDVI doesn't grok the PS specials.
-@c or
-@c @code{kdvi test.dvi}
-@c
-to view the DVI file. In Xdvi, the mouse buttons
-activate magnifying glasses. Unfortunately, variable symbols (such as
-beams and slurs) are not displayed in the magnifying glasses.
-
-
-@cindex Ghostscript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
-@cindex PDF
-
-If you are familiar with @TeX{}, be warned: do not use other DVI
-drivers like @code{dvilj}. LilyPond DVI use embedded PostScript code
-and will not render correctly with other DVI drivers besides
-@code{dvips}.
-
+The result is the file @file{test.pdf}@footnote{For @TeX{}
+aficionados: there is also a @file{test.dvi} file. It can be viewed
+with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
+not show up in the magnifying glass. The specials also mean that the
+DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
+printing.
@cindex dvips
@cindex dvilj
@cindex DVI driver
+} which you can print or with the standard facilities of your
+operating system.@footnote{If your system does not have any tools
+installed, you can try @uref{Ghostscript,
+http://www.cs.wisc.edu/~ghost/}, a freely available package for
+viewing and printing PDF and PostScript files.}
+On Windows, start up a text-editor@footnote{Any programmer-oriented
+editor will do, for example Notepad. Do not use word processor. Its
+formatting codes will confuse LilyPond} and enter
-Various commands for formatting and printing music are detailed in
-@ref{Invoking LilyPond}.
-
-
-@unnumberedsubsec Windows users
-Windows users can start the terminal by clicking on the LilyPond or
-Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
-used to edit the LilyPond file. When Cygwin's @code{XFree86} X11
-window system is installed along with @code{tetex-x11} and
-@code{ghostscript-x11} packages, then the @code{dvi} output may be
-viewed with @code{xdvi test.dvi} as described above. If you have
-installed a PostScript/PDF viewer, such as @code{GSView} from
-@uref{http://www.cs.wisc.edu/~ghost}, viewing the PDF file can be done
-with:
@quotation
@example
-@code{gsview32 test.pdf}
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
@end example
@end quotation
-Printing may be done by executing
-@quotation
+
+Save it on the desktop as @file{test.ly} and make sure that it is not
+called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
+the file and show the resulting PDF file.
+
+
+@node More about pitches
+@section More about pitches
+
+A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
+the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+you might expect, a @rglos{double sharp} or @rglos{double flat} is
+made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
+derived from note naming conventions in Nordic and Germanic languages,
+like German and Dutch.}
+
@example
-@code{gsview32 /s test.pdf}
+cis1 ees fisis aeses
@end example
-@end quotation
-
-@node More basics
-@section More basics
+@lilypond[notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
+@end lilypond
-We continue with the introduction of more musical constructs. Normal
-rests are entered just like notes with the name ``@code{r}'':
+
+@cindex key signature, setting
+The key signature is set with the command ``@code{\key}'', followed by
+a pitch and @code{\major} or @code{\minor}:
@quotation
@example
-r2 r4 r8 r16
+\key d \major
+g1
+\key c \minor
+g
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.Clef = \turnOff
-\property Staff.TimeSignature = \turnOff
-r2 r4 r8 r16
-s16_" "
+\set Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
@end lilypond
@end quotation
-@separate
-Rests are described in full detail in @ref{Rests}.
+Key signatures together with the pitches (including alterations) are
+used together to determine when to print accidentals. This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail:
-@c Tim wants to move this quotes example just before the: quotes-do not-work
-@c score, but we'd need to remove quotes from the other two (key and
-@c tie) examples...
-@c better to have this just before the `octaves are bad' snipped
-@c but we'd need to remove the ', from \key and tie
-To raise a note by an octave, add a high quote @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a ``low quote'' @code{,}
-(a comma). Middle C is @code{c'}:
+LilyPond makes a sharp distinction between musical content and
+layout. The alteration (flat, natural or sharp) of a note is part of
+the pitch, and is therefore musical content. Whether an accidental (a
+flat, natural or sharp @emph{sign}) is a printed in front of the
+corresponding note is a question of layout. Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
+
+In this example
+
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
+@end lilypond
+
+@noindent
+no note gets an explicit accidental, but still you enter
-@quotation
@example
-c'4 c'' c''' \clef bass c c,
+\key d \major
+d cis fis
@end example
+The code @code{d} does not mean ``print a black dot just below the
+staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
+of A-flat, it does get an accidental:
+
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-c'4 c'' c''' \clef bass c c,
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
@end lilypond
-@end quotation
-@separate
+@noindent
+@example
+\key as \major
+d
+@end example
+
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+music can be printed according to different conventions. See
+@ref{Accidentals} for some examples how accidentals can be printed
+according to different rules.
+
+
+For more information on
+
+@table @asis
+@item Accidentals
+see @ref{Accidentals}
+
+@item Key signature
+see @ref{Key signature}
+@end table
+
+@node Entering ties
+@section Entering ties
+
+@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied.
+being tied:
@quotation
-@lilypond[fragment,verbatim]
-g'4-~ g' a'2-~ a'4
+@lilypond[fragment,verbatim,relative=2]
+g4~ g a2~ a4
@end lilypond
@end quotation
@separate
-A tie is different from a slur. A tie simply makes the first note
-sound longer, and can only be used on pairs of notes with the same
-pitch. Slurs indicate the articulations of notes, and can be used on
-larger groups of notes. Slurs and ties are also nested in practice:
-@lilypond[fragment, relative=1]
-c2-~-( c8 fis fis4 ~ fis2 g2-)
-@end lilypond
-The notation manual discusses ties in @ref{Ties}.
-The key signature is set with the command ``@code{\key}'', followed by
-a pitch and @code{\major} or @code{\minor}:
+For more information on Ties, see @ref{Ties}.
+
+
+
+@node Automatic and manual beams
+@section Automatic and manual beams
+
+@cindex beams, by hand
+Beams are drawn automatically
+
+
@quotation
-@example
-\key d \major
-g'1
-\key c \minor
-g'
-@end example
+@lilypond[fragment,relative=1,verbatim]
+ a8 ais d es r d
+@end lilypond
+@end quotation
+@separate
-@lilypond[fragment]
-\property Staff.TimeSignature = \turnOff
-\key d \major
-g'1
-\key c \minor
-g'
+If you do not like where beams are put, they can be entered by
+hand. Mark the first note to be beamed with @code{[} and the last one
+with @code{]}.
+
+
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+ a8[ ais] d[ es r d]
@end lilypond
@end quotation
+@separate
+For more information on beams, see @ref{Beaming}.
-@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.
+Here are key signatures, accidentals and ties in action:
@quotation
@example
\score @{
\notes @{
\time 4/4
- \key d \minor
+ \key g \minor
\clef violin
- r4 r8 d''8 cis''4 e''
- d''8 a'4.-~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis''-~
- cis''2 r2
+ r4 r8 a8 gis4 b
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
@}
- \paper @{ @}
@}
@end example
@lilypond
\score {
- \notes {
+ \notes { \transpose c c' {
\time 4/4
+ \key g \minor
\clef violin
- \key d \minor
- r4 r8 d''8 cis''4 e''
- d''8 a'4.-~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis''-~
- cis''2 r2
- }
- \paper { linewidth = 50*\staffspace }
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+ }}
+ \paper { linewidth = #(* 50 staffspace) }
}
@end lilypond
@end quotation
+@cindex accidentals
+
+There are some interesting points to note in this example. Bar lines
+and beams are drawn automatically. Line breaks are calculated
+automatically; it does not matter where the line breaks are in the
+source file. Finally, the order in which time, key and clef changes
+are entered is not relevant: in the printout, these are ordered
+according to standard notation conventions.
+
+
+
+@node Octave entry
+@section Octave entry
+
+
+@c Tim wants to move this quotes example just before the: quotes-do not-work
+@c score, but we'd need to remove quotes from the other two (key and
+@c tie) examples...
+
+@c better to have this just before the `octaves are bad' snipped
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a ``low quote'' @code{,}
+(a comma). Middle C is @code{c'}:
+
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
+
+@lilypond[fragment]
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
+
+An example of the use of quotes is in the following Mozart fragment:
+@lilypond[raggedright,fragment,verbatim]
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8
+ b'8. cis''16 b'8 d''4 d''8
+@end lilypond
-@c accidentals...
-There are some interesting points to note in this example.
-Accidentals (sharps and flats) do not have to be marked explicitly:
-you just enter the note name, and an accidental is printed
-automatically, only when necessary. Bar lines and beams are drawn
-automatically. Line breaks are calculated automatically; it does not
-matter where the lines breaks are in the source file. Finally, the
-order of time, key and clef changes is not relevant: in the printout,
-these are ordered using standard notation conventions.
-
-The example also indicates that a piece of music written in a high
-register needs lots of quotes. This makes the input less readable,
-and is also a potential source of errors.
-
-The solution is to use ``relative octave'' mode. In practice, this is
-the most convenient way to copy existing music. To use relative mode,
-add @code{\relative} before the piece of music. You must also give a
-note from which relative starts, in this case @code{c''}. If you do
-not use octavation quotes (i.e. do not add ' or , after a note),
-relative mode chooses the note that is closest to the previous one.
-@c do not use commas or quotes in this sentence
-For example: @code{c f} goes up; @code{c g} goes down:
+This example shows that music in a high register needs lots of quotes.
+This makes the input less readable, and it is a source of errors. The
+solution is to use ``relative octave'' mode. In practice, this is the
+most convenient way to copy existing music. To use relative mode, add
+@code{\relative} before the piece of music. You must also give a note
+from which relative starts, in this case @code{c''}. If you do not
+use octavation quotes (i.e. do not add @code{'} or @code{,} after a
+note), relative mode chooses the note that is closest to the previous
+one. For example, @code{c f} goes up while @code{c g} goes down:
@quotation
@example
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f c g c
}
@separate
-Since most music has small intervals, in relative mode pieces can be
-written almost without using octavation quotes.
+Since most music has small intervals, pieces can be written almost
+without octavation quotes in relative mode. The previous example is
+entered as
+@c
+@lilypond[raggedright,fragment,verbatim]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
+@end lilypond
+
@c needed better, maybe even redundant explanation
@c added another example below.
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
-Larger intervals are made by adding octavation quotes. Quotes or
-commas do not determine the absolute height of a note; the height of a
-note is relative to the previous one.
-@c do not use commas or quotes in this sentence
-For example: @code{c f,} goes down; @code{f, f} are both the same;
-@code{c' c} are the same; and @code{c g'} goes up:
-
+Larger intervals are made by adding octavation quotes.
@quotation
@example
\relative c'' @{
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f, f c' c g' c,
}
@end quotation
@separate
+In @code{\relative} mode, quotes or commas no longer determine the
+absolute height of a note. Rather, the height of a note is relative to
+the previous one, and changing the octave of a single note shifts all
+following notes an octave up or down.
-Here is an example of the difference between relative mode and
-``normal'' (non-relative) mode:
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
-@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
+@node Music expressions explained
+@section Music expressions explained
-@quotation
-@example
-\clef bass
- a d a e d c' d'
-@end example
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\clef bass
- a d a e d c' d'
-@end lilypond
-@end quotation
-@separate
+In input files, music is represent by so-called @emph{music
+expression}. We have already seen in the previous examples;
+a single note is a music expression:
-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:
+@lilypond[verbatim,relative=2]
+a4
+@end lilypond
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-d4-( c16-)-( cis d e c cis d e-)-( d4-)
+Enclosing group of notes in braces creates a new music
+expression:
+
+@lilypond[verbatim,relative=2]
+ { a4 g4 }
@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{\(} and
-@code{\)}.
+Putting a bunch of music expressions (notes) in braces, means that
+they should be played in sequence. The result again is a music
+expression, which can be grouped with other expressions sequentially.
+Here, the expression from the previous example is combined with two
+notes:
-@c lousy example
-@c ? --hwn
-@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
-@c chromatic thing pasted in front. (admittedly the original does not
-@c have a phrasing slur. The problem is that we do not want the slur
-@c and the Phrasing slur to collide. We are trying to make a good
-@c impression here.
+@lilypond[verbatim,relative=2]
+ { { a4 g } f g }
+@end lilypond
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
+This technique becomes useful for non-monophonic music. To enter music
+with more voices or more staves, we also combine expressions in
+parallel. Two voices that should play at the same time, are entered as
+a simultaneous combination of two sequences. A ``simultaneous'' music
+expression is formed by enclosing expressions in @code{<<} and
+@code{>>}. In the following example, three sequences (all containing
+two notes) are combined simultaneously:
+
+@lilypond[verbatim,relative=2]
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
@end lilypond
-@end quotation
-@separate
-Beams are drawn automatically, but if you do not like the choices, you
-can enter beams by hand. Mark the first note to be beamed with
-@code{[} and the last one with @code{]}:
+This mechanism is similar to mathematical
+formulas: a big formula is created by composing small formulas. Such
+formulas are called expressions, and their definition is recursive, so
+you can make arbitrarily complex and large expressions. For example,
+
@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-[ ais-] d-[ es r d-]
-@end lilypond
+ 1
+
+ 1 + 2
+
+ (1 + 2) * 3
+
+ ((1 + 2) * 3) / (4 * 5)
@end quotation
-@separate
+@cindex expression
+@cindex music expression
+This example shows a sequence of expressions, where each expression is
+contained in the next one. The simplest expressions are numbers and
+operators (like +, * and /). Parentheses are used to group
+expressions.
+
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, e.g.
+@lilypond[verbatim,relative=1]
+ { c <<c e>>
+ << { e f } { c <<b d>> }
+ >>
+ }
+@end lilypond
+
+
+
+@cindex indent
+When spreading expressions over multiple lines, it is customary to use
+an indent that indicates the nesting level. Formatting music like this
+eases reading, and helps you insert the right number of closing
+braces at the end of an expression. For example,
+
+@example
+\score @{
+ \notes <<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ >>
+@}
+@end example
-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:
+Some editors have special support for entering LilyPond, and can help
+indenting source files. See @ref{Editor support} for more information.
+
+
+
+@node More staves
+@section More staves
+
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it. These
+@code{Staff}'s are then combined parallel with @code{<<} and
+@code{>>}, as demonstrated here:
@quotation
@lilypond[fragment,verbatim]
-<
- \context Staff = staffA { \clef violin c'' }
- \context Staff = staffB { \clef bass c }
->
+<<
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
+>>
@end lilypond
@end quotation
-In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. It does not matter what names you give, as long
-as each staff has a different name. If you give them the same name,
-they are assumed to belong on the same staff, and will be printed like
-that.
-@separate
+The command @code{\new} introduces a ``notation context.'' A notation
+context is an environment in which musical events (like notes or
+@code{\clef} commands) are interpreted. For simple pieces, such
+notation contexts are created implicitly. For more complex pieces, it
+is best to mark contexts explicitly. This ensures that each fragment
+gets its own stave.
+
+There are several types of contexts: @code{Staff}, @code{Voice} and
+@code{Score} handle normal music notation. Other staves are also
+@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
+printing chord names).
+
+
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression. In this way it resembles the minus
+sign in mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
+expression.
We can now typeset a melody with two staves:
+@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
+
+
@quotation
-@lilypond[verbatim,singleline]
+@lilypond[verbatim,raggedright]
\score {
\notes
- < \context Staff = staffA {
+ << \new Staff {
\time 3/4
\clef violin
\relative c'' {
- e2-( d4 c2 b4 a8-[ a-]
- b-[ b-] g-[ g-] a2.-) }
+ e2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2. }
}
- \context Staff = staffB {
+ \new Staff {
\clef bass
c2 e4 g2.
f4 e d c2.
}
- >
- \paper {}
+ >>
}
@end lilypond
@end quotation
-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.
+For more information on context see the description in
+@ref{Interpretation contexts}.
+
-@separate
-Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
+
+@cindex articulation
+@cindex accents
+@cindex staccato
+
+Common accents can be added to a note using a dash (`@code{-}') and a
+single character:
@quotation
-@lilypond[verbatim,relative 1]
-c-. c-- c->
+@lilypond[verbatim,relative=1]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
@separate
-Similarly, fingering indications can be added to a note using @code{-}
-and the digit to be printed.
-@lilypond[verbatim,relative 1]
+@cindex fingering
+Similarly, fingering indications can be added to a note using a dash
+(`@code{-}') and the digit to be printed:
+@c
+@lilypond[verbatim,relative=1]
c-3 e-5 b-2 a-1
@end lilypond
-
-
-
-Dynamic signs are made by adding the markings to the note:
+Dynamic signs are made by adding the markings (with a backslash) to
+the note:
@quotation
-@lilypond[verbatim,relative 1]
-c-\ff c-\mf
+@lilypond[verbatim,relative=1]
+c\ff c\mf
@end lilypond
@end quotation
@separate
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
+
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to.
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+crescendo, or the command @code{\!} can be used:
@quotation
-@lilypond[verbatim,relative 1]
-c2-\< c2-\!-\ff c2-\> c2-\!
+@lilypond[verbatim,relative=1]
+c2\< c2\ff\> c2 c2\!
@end lilypond
@end quotation
@separate
-Chords can be made by
-surrounding pitches with @code{<<} and @code{>}>:
+
+
+@cindex slur
+
+A slur is a curve drawn across many notes, and indicates legato
+articulation. The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
+
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>4 <<c f a>>8
+@lilypond[fragment,relative=1,verbatim]
+d4( c16)( cis d e c cis d e)( d4)
@end lilypond
@end quotation
@separate
+@cindex slurs versus ties
+A slur looks like a tie, but it has a different meaning. A tie simply
+makes the first note sound longer, and can only be used on pairs of
+notes with the same pitch. Slurs indicate the articulations of notes,
+and can be used on larger groups of notes. Slurs and ties are also
+nested in practice:
+
+@lilypond[fragment,relative=1]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+@cindex phrasing slurs
+Slurs to indicate phrasing can be entered with @code{\(} and
+@code{\)}, so you can have both legato slurs and phrasing slurs at the
+same time.
-You can combine beams and ties with chords. Beam and tie markings
-must be placed outside the chord markers:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
+@lilypond[fragment,relative=1,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
@end lilypond
@end quotation
+
+For more information on
+@table @asis
+@item Fingering
+ see @ref{Fingering instructions}
+@item Articulations
+ see @ref{Articulations}
+@item Slurs
+ see @ref{Slurs}
+@item Phrasing slurs
+ see @ref{Phrasing slurs}
+@item Dynamics
+ see @ref{Dynamics}
+@item Fingering
+@end table
+
+@node Combining notes into chords
+@section Combining notes into chords
+
+@cindex chords
+Chords can be made by surrounding pitches with angled brackets.
+Angled brackets are the symbols @code{<} and @code{>}.
+
@quotation
-@example
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>4 <c f a>8
+@end lilypond
+@end quotation
+@separate
+
+
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets:
+@quotation
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
+@end lilypond
+@end quotation
+
+@quotation
+@example
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-@lilypond[relative 0, fragment]
+@lilypond[relative,fragment]
\slurUp
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end lilypond
@end quotation
@separate
-A pickup (or upstep) is entered with the keyword @code{\partial}. It
-is followed by a duration: @code{\partial 4} is a quarter note upstep.
-@lilypond[relative 1,verbatim,fragment]
+
+
+@node Basic rhythmical commands
+@section Basic rhythmical commands
+
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+A pickup is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep
+and @code{\partial 8} an eighth note:
+@lilypond[relative=1,verbatim,fragment]
\partial 8
f8 c2 d e
@end lilypond
+@cindex tuplets
+@cindex triplets
Tuplets are made with the @code{\times} keyword. It takes two
arguments: a fraction and a piece of music. The duration of the piece
of music is multiplied by the fraction. Triplets make notes occupy
-2/3 of their notated duration, so for a triplet, the fraction is 2/3.
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
@c
-@lilypond[relative 0,verbatim,fragment]
+@lilypond[relative,verbatim,fragment]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
@end lilypond
+@cindex grace notes
+@cindex accacciatura
+Grace notes are also made by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
+@cindex appoggiatura
+@cindex acciaccatura
+
+@lilypond[relative=1,verbatim,fragment]
+ c4 \appoggiatura b16 c4
+ c4 \acciaccatura b16 c4
+@end lilypond
+
+@noindent
+
+For more information on
+@table @asis
+@item Grace notes
+see @ref{Grace notes},
+@item Tuplets
+see @ref{Tuplets},
+@item Pickups
+see @ref{Partial measures}.
+@end table
+
+@node Commenting input files
+@section Commenting input files
+@cindex comments
+@cindex line comment
+@cindex block comment
Comments are pieces of the input that are ignored. There are two
-types of comments. A line comments are introduced by @code{%}: after
-that, the rest of that line is ignored. Block comments span larger
+types of comments. The percent symbol @code{%} introduces a line
+comment; the rest of the line is ignored. Block comments span larger
sections of input. Anything that is enclosed in @code{%@{} and
@code{%@}} is ignored too. The following fragment shows possible uses
-for comments.
+for comments:
@example
% notes for twinkle twinkle follow:
@section Printing lyrics
@cindex lyrics
-Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+@c TODO: (c) status of the Queen fragment.
+
+@cindex Lyrics
+@cindex Songs
+Lyrics are entered by separating each syllable with a space,
+
+@example
+ I want to break free
+@end example
+
+To prevent certain words (for example ``as'') as being read as a
+pitch, the input-mode must be switched. This is done with
+@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
+syllables.
@example
\lyrics @{ I want to break free @}
@end example
-Like notes, lyrics are also a form of music, but they must not be
-printed on a staff, which is the default way to print music. To print
-them as lyrics, they must be marked with @code{ \context Lyrics}:
+@noindent
+Again, the braces @code{@{@}} signify that the syllables are sung in
+sequence.
+
+By default, music expressions are interpreted in @code{Staff} context. For
+lyrics, this is obviously not desirable, so it is necessary
+to explicitly specify a @code{Lyrics} context,
+
@example
- \context Lyrics \lyrics @{ I want to break free @}
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
-The melody for this song is as follows
+
+The melody for this song is as follows:
+
@lilypond[fragment,relative=1]
- \partial 8
- c8
- \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
+ c4
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword:
+@code{\lyricsto} keyword:
@example
- \addlyrics
- \notes @{ @dots{} @}
- \context Lyrics @dots{}
+ \lyricsto "@var{name}" \new Lyrics @dots{}
@end example
+where @var{name} identifies to which melody the lyrics should be
+aligned. In this case, there is only one melody, so we can leave it
+empty.
The final result is
-@lilypond[singleline,verbatim]
+@lilypond[verbatim,fragment,raggedright]
\score {
- \notes {
- \addlyrics
+ \notes <<
+ \partial 4
\relative c' {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ c4
+ \times 2/3 { f g g } \times 2/3 { g4( a2) }
}
- \context Lyrics \lyrics { I want to break free }
- }
- \paper{ }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
+ >>
}
@end lilypond
+@cindex melisma
+@cindex extender line
+@c synonyms?
This melody ends on a @rglos{melisma}, a single syllable (``free'')
-sung to more than one note. This is indicated with a @emph{extender
-line}. It is entered as two underscores, i.e.,
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores, i.e.
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \notes {
- \addlyrics
- \relative c' {
- \partial 8
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
- }
- \context Lyrics \lyrics { I want to break free __ }
- }
- \paper{ }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
+ >>
}
@end lilypond
Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables.
+resulting in a centered hyphen between two syllables:
@example
Twin -- kle twin -- kle
@end example
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \addlyrics \notes \relative f' { \time 2/4
+ << \notes \relative f'
+ \context Voice = bla { \time 2/4
f4 f c' c' }
- \context Lyrics \lyrics { Twin -- kle twin -- kle
- }}
+ \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
+ >>
+ \paper { raggedright = ##t }
+ }
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.
+
@node A lead sheet
@section A lead sheet
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
+
In popular music, it is common to denote accompaniment as chord-names.
-Using them in LilyPond has two parts, just like lyrics: entering the
-chords (with @code{\chords}), and printing them (with @code{\context
-ChordNames}).
+Such chords can be entered like notes,
+
+@example
+ c2 f4. g8
+@end example
+
+@noindent
+but now, each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chords}:
-Chord names are entered by starting chords mode (with @code{\chords}).
-In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that.
-@c
@lilypond[verbatim]
- \chords { c2 f4. g8 }
+\score {
+ \chords { c2 f4. g8 }
+}
@end lilypond
-The result of @code{\chords} is a list of chords, and is equivalent
-to entering chords with @code{<<@dots{}>>}.
-Other chords can be created by adding modifiers, after a colon. The
-following example shows a few common modifiers
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers:
@c
@lilypond[verbatim]
\chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
-Printing chords is done by adding @code{\context ChordNames}
-before the chords thus entered:
-@c
+For lead sheets, chords are not printed on staves, but as names on a
+line of themselves. Hence, we have to override the context with
+@code{\new}, rendering the music expression in a @code{ChordNames}
+context
+
@lilypond[verbatim]
- \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+ \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-A complete list of modifiers, and other options for layout are in the
-reference manual section @ref{Chords}.
-
-@cindex lead sheet
+@cindex lead sheet
+@separate
When put together, chord names, lyrics and a melody form
a lead sheet, for example,
@example
\score @{
- <
- \context ChordNames \chords @{ @emph{chords} @}
- \addlyrics
- \notes @emph{the melody}
- \context Lyrics \lyrics @{ @emph{the text} @}
- >
- \paper @{ @}
+ <<
+ \new ChordNames \chords @{ @emph{chords} @}
+ \notes @emph{the melody}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
+ >>
@}
@end example
@lilypond[]
\score {
- <
- \context ChordNames \chords { r8 c2:sus4 f }
- \addlyrics
+ <<
+ \partial 4
+ \new ChordNames \chords { r8 c2:sus4 f }
\notes \relative c' {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
- \context Lyrics \lyrics { I want to break free __ }
- >
+ c4
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
+ >>
\paper{ raggedright = ##t }
}
@end lilypond
+A complete list of modifiers and other options for layout are in the
+reference manual section @ref{Chords}.
+
@node Listening to output
@section Listening to output
+@cindex sound
+@cindex MIDI
+
MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and recording digital instruments. A MIDI file is like a
-tape recording of a MIDI instrument. The @code{\midi} block makes the
-music go to a MIDI file, so you can listen to the music you entered.
-It is great for checking the music: octaves that are off, or
-accidentals that were mistyped, stand out very much when listening to
-the musical transcription.
-
-@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example
+connecting and controlling digital instruments. A MIDI file is like a
+tape recording of a MIDI instrument.
+
+To create a MIDI from a music piece of music, add a
+@code{\midi} block causes LilyPond to create a MIDI file, so you
+can listen to the music you entered. It is great for checking the
+music: octaves that are off or accidentals that were mistyped stand
+out very much when listening to the musical transcription.
+
+The @code{\midi} block is added to @code{\score}, for example,
@example
\score @{
@var{..music..}
\midi @{ \tempo 4=72 @}
- \paper @{ @}
@}
@end example
information on auditory output is in the @ref{Sound} section in the
notation manual.
+If there is a @code{\midi} command in a @code{\score}, then only MIDI
+will be produced. If notation is needed too, then a @code{\paper}
+block must be added too:
+
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
+@end example
+
+@cindex paper block
-@node Titling
+@node Titling
@section Titling
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc. are
-entered as assignment within @code{\header @{ @dots{} @}}. For
+entered as an assignment, within @code{\header @{ @dots{} @}}. For
example,
@example
\header @{
@cindex bibliographic information
@cindex titles
@cindex composer
-@cindex ly2dvi
-
+@cindex Engraved by LilyPond
-When the file is processed by @code{ly2dvi}, the title and composer
-specified are printed above the music. The `tagline' is a short line
-printed at bottom of the last page, which normally says ``Lily was
-here, version @dots{}''. In the example above, it is replaced by the
-line ``small is beautiful.''
+When the file is processed the title and composer are printed above
+the music. The `tagline' is a short line printed at bottom of the last
+page which normally says ``Engraved by LilyPond, version @dots{}''. In
+the example above it is replaced by the line ``small is
+beautiful.''@footnote{Nicely printed parts are good PR for us, so
+please leave the tagline if you can.}
Normally, the @code{\header} is put at the top of the file. However,
-for a document that contains multiple pieces (e.g. a etude book, or
-part with multiple movements), then the header can be put into the
-@code{\score} block as follows In this case, the name of each piece
-will be printed before each movement.
+for a document that contains multiple pieces (e.g. an etude book, or
+an orchestral part with multiple movements), the header can be
+put in the @code{\score} block as follows; in this case, the name of
+each piece will be printed before each movement:
-@cindex Lily was here
+@cindex Engraved by LilyPond
@cindex signature line
@cindex tag line
@}
@end example
-More information on titling can be found in @ref{Invoking ly2dvi}.
+More information on titling can be found in @ref{Invoking lilypond}.
-@node Single staff polyphony
+@node Single staff polyphony
@section Single staff polyphony
-When different melodic lines are combined on a single staff, these are
-printed as polyphonic voices: each voice has its own stems, slurs
-and beams, and the top voice has the stems up, while the bottom voice
-has stems down.
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices: each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{ .. @}}), and combing those simultaneously, separating the
+@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}:
-@lilypond[verbatim,relative]
- < { a4 g2 f4-~ f4 } \\
- { r4 g4 f2 f4 } >
+@lilypond[verbatim,relative=1]
+ << { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
@end lilypond
-
-More features of polyphonic typesetting are in the notation manual,
-@ref{Polyphony}.
-
-@node Piano staffs
-@section Piano staffs
-
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-@cindex @code{\translator}
-
-
-
-
-@node Organising larger pieces
-@section Organising larger pieces
-TODO: discuss identifiers, p&c, .
-
-@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 LilyPond version the input file was written
-for. When you compile this file, the version number will be
-checked. When the file is too old, a warning is issued. The version
-number is also used by the @code{convert-ly} program (See
-@ref{Invoking convert-ly}), which updates the file to the latest
-version automatically.
-
-
-@separate
-@example
-s1 s2. r4
-@end example
-@code{s} is a spacer rest. It does not print anything, but it does have
-the duration of a rest. It is useful for filling up voices that
-temporarily do not play. In this case, the viola does not come until one
-and a half measure later.
-
-@separate
-@example
-\grace <<e g>>-( <<d f>>4-) <<c e>>2
-@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. A slur is introduced starting from the @code{\grace}
-ending on the following chord.
-
-@separate
-@example
-\times 2/3
-@end example
-@cindex tuplet
-@cindex triplets
-
-@separate
-@example
-@{ <<d f>>8 <<e g>> <<f a>> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three chords.
-
-
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staves. Since it is repetitive, we use repeats:
-@separate
-@example
-hoomPah = \repeat unfold 8
-@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-
-@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
-
-
-
-
-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:
+For polyphonic music typesetting, spacer rests can also be convenient: these
+are rests that do not print. It is useful for filling up voices that
+temporarily do not play. Here is the same example with a spacer rest
+instead of a normal rest
+@lilypond[relative=1]
+ << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+@end lilypond
-@lilypondfile{brahms-tweaked.ly}
+Again, these expressions can be nested arbitrarily:
+
+@lilypond[fragment,relative=2]
+<<
+ \new Staff
+ << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff
+ << \clef bass
+ { <c, g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
+@end lilypond
-@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}.
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
-@cindex slur attachments
+@node Piano staves
+@section Piano staves
-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!).
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+@cindex @code{\context}
+Piano music is always typeset in two staves connected by a brace.
+Printing such a staff is similar to the polyphonic example in
+@ref{More staves}:
@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)}.
-
-@cindex internal documentation
-@cindex finding graphical objects
-@cindex graphical object descriptions
-
-This command fixes one particular problem with a slur. The rest of
-this section explains how to 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. [TODO: revise for
-new site.] 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 the program uses.
-Hence, the internals documentation is strongly tied to the version you
-use. Before you proceed, make sure that the program and documentation
-have matching version numbers.
-
-@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)
+ << \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @}
+ >>
@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
+but now this entire expression must be interpreted as a
+@code{PianoStaff}:
@example
-Fingering grobs are created by: Fingering_engraver
+ \new PianoStaff << \new Staff @dots{} >>
@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
+Here is a full-fledged example:
-Since the @code{TabVoice} is only used for tab notation, we see that
-the first guess @code{Voice} was indeed correct.
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
+ c4 c g' g }
+ \new Staff {
+ \clef bass c,, c' e c }
+ >>
+@end lilypond
-@cindex setting object properties
-@cindex @code{extra-offset}
+More information on formatting piano music is in @ref{Piano music}.
-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
- \once \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.
-We only want to offset a single object, so this statement is adorned
-with @code{\once}.
-
-@cindex property types
-@cindex translator properties
-@cindex grob properties
-@cindex music properties
-@separate
+@node Organizing larger pieces
+@section Organizing larger pieces
-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:
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic pieces,
+more deeply nested. Such large expressions can become unwieldy.
+
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions. An identifier is assigned as follows:
+@c
@example
- a-)^" "^\markup @{ \finger "5" @}
+ namedMusic = \notes @{ @dots{}
@end example
-A fingering instruction, which would be entered as @code{^5}, is put
-as close to the notes as possible, closer than the space entered to
-push away the 5. Hence, the 5 is entered as a normal text, with the
-formatting of fingering instructions.
-
-@separate
+The contents of the music expression @code{namedMusic}, can be used
+later by preceding the name with a backslash, i.e. @code{\namedMusic}.
+In the next example, a two note motive is repeated two times by using
+variable substitution:
-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 do not 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
+@lilypond[raggedright,verbatim]
+seufzer = \notes {
+ e'4( dis'4)
+}
+\score { \notes {
+ \seufzer \seufzer
+} }
+@end lilypond
-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 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 spanning object
-(@code{spanner-interface}). It also 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
+The name of an identifier should have alphabetic characters only;
+no numbers, underscores or dashes. The assignment should be outside of
+the @code{\score} block.
- 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 descending
-notes), there should be more space. This space is controlled by
-@code{padding}, so we increase it.
+It is possible to use variables for many other types of objects in the
+input. For example,
@example
- \property Voice.DynamicLineSpanner \override #'padding = #5.0
+ width = 4.5\cm
+ name = "Wendy"
+ aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
-
-
-@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.
-
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables:
@example
-\property Voice.Stem \set #'transparent = ##t
-d'
+ \score @{
+ \notes @{ c4^\name @}
+ \paper @{
+ \aFivePaper
+ linewidth = \width
+ @}
+ @}
@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 is 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
-
-@menu
-* The full score::
-* Extracting an individual part::
-@end menu
+More information on the possible uses of identifiers is in the
+technical manual, in TODO.
-Our next two examples demonstrate one way to create an orchestral
-score in LilyPond. When typesetting a piece for several instruments,
-you will want to create a full score (for the conductor) along with
-several individual parts (for the players).
- 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).
+@node An orchestral part
+@section An orchestral part
-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 does not produce any sheet music itself.
-Other files reference it by stating @code{\include "os-music.ly"}.
+In orchestral music, all notes are printed twice: both in a part for
+the musicians, and in a full score for the conductor. Identifiers can
+be used to avoid double work: the music is entered once, and stored in
+a variable. The contents of that variable is then used to generate
+both the part and the score.
+It is convenient to define the notes in a special file, for example,
+suppose that the @file{horn-music.ly} contains the following part of a
+horn/bassoon duo,
@example
-% os-music.ly
-\header @{
- title = "Zo, goed lieverd?"
- subtitle = "How's, this babe?"
- composer = "JCN"
- opus = "1"
- piece = "Laid back"
-@}
-global = @{
+hornNotes = \notes \relative c @{
\time 2/4
- \skip 2*4 \bar "|."
-@}
-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
-@}
-flautoII = \notes\relative c'' @{
- as8 bes as bes R1 d4 ~ d
-@}
-tromboI = \notes\relative c'' @{
- 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
+ r4 f8 a cis4 f e d
@}
@end example
-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.
-
+Then, an individual part is made by putting the following in a file
-@separate
@example
-global = @{
- \time 2/4
- \skip 2*4 \bar "|."
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
@}
-@end example
-
-This declares settings 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
-This declares the key signature of the piece and assign it to the
-identifier @var{Key}. Later on we will use @code{\Key} for all staves
-except those for transposing instruments.
-
-@node The full score
-@subsection The full score
-
-
-The second file, @inputfileref{input/tutorial,os-score.ly}, reads the
-definitions of the first (@inputfileref{input/tutorial,os-music.ly}), and
-defines the @code{\score} block for the full conductor's score.
-
-@example
-\version "1.7.6"
-
-\include "os-music.ly"
-\include "paper13.ly"
-
-textFlat = \markup @{\smaller \musicglyph #"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."
- \Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
- >
- >
- \context StaffGroup = timpani <
- \context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = \markup @{ \column << "Timpani" "(C-G)" >> @}
- \property Staff.instr = #"Timp."
- \clef bass
- \Key
- \timpani
- >
- >
- \context StaffGroup = brass <
- \context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = \markup @{ \column << "2 Trombe" "(C)" >> @}
- \property Staff.instr = \markup@{ \column << "Tbe." "(C)">> @}
- \Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
- >
- \context Staff = corni <
- \property Staff.midiInstrument = #"french horn"
- \property Staff.instrument
- = \markup @{ \column << "Corno" @{ "(E" \textFlat ")" @} >> @}
- \property Staff.instr =
- \markup @{ \column << "Cor." @{ "(E" \textFlat ")" @} >> @}
- \property Staff.transposing = #3
- \notes \key bes \major
- \context Voice=one \corno
- >
- >
- >
- \paper @{
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
- textheight = 90 * \staffspace
- \translator@{
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
- \translator@{
- \HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
- @}
- @}
- \midi @{
- \tempo 4 = 75
- @}
+ \notes \transpose f c' \hornNotes
@}
@end example
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-
-@lilypondfile{os-score.ly}
-
-@separate
-@example
-\include "os-music.ly"
-@end example
-First we need to include the music definitions we made in
-@file{os-music.ly}.
-
-@ignore
-
-[TODO: mention in a more relevant place]
-
-@separate
-@example
-#(ly:set-point-and-click 'line-column)
-@end example
-
-This piece of Scheme code executes the function
-@code{ly:set-point-and-click} with the argument
-@code{line-column}. Editing input files can be complicated if you are
-working with large files: if you are 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}.
-@end ignore
-
-
-@separate
-@example
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-@end example
-
-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.
-
-@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.
-
-@separate
-@example
- \property Staff.midiInstrument = #"flute"
-@end example
-Specify the instrument for MIDI output (see @ref{MIDI instrument
-names}).
-
-@separate
-@example
- \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.
-
-@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 are still in
-simultaneous mode. We name both voices differently, so that LilyPond
-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.
-
-@separate
-@example
- >
- >
-@end example
-Close the flutes staff and woodwind staff group.
-
-@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
- \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 is 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
-trumpet staff. Each trumpet gets its own Thread context, which must be
-named @code{one} and @code{two}). The part combiner makes these two
-threads share a Voice when they are similar, and splits the threads up
-when they are different.
-
-@separate
-@example
-\property Staff.instrument = #`(lines "Corno"
- (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{")"}. 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 line
-@separate
-@example
- \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.
+@verbatim
+ \include "horn-music.ly"
+@end verbatim
-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}.
+@noindent
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards. The command
+@code{\transpose f c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth downwards: sounding
+@code{f} is denoted by notated @code{c'}, which corresponds with
+tuning of a normal French Horn in F. The transposition can be seen in
+the following output:
+
+@lilypond[raggedright]
+\score {
+ \notes \transpose f c' \notes \relative c {
+ \time 2/4
+ r4 f8 a cis4 f e d
+}
+}
+@end lilypond
-@separate
+In ensemble pieces, one of the voices often does not play for many
+measures. This is denoted by a special rest, the multi-measure
+rest. It is entered with a capital @code{R} followed by a duration (1
+for a whole note, 2 for a half note, etc.) By multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes 3 measures in 2/4 time:
@example
- \notes \key bes \major
+ R2*3
@end example
-Since the horn is transposing, it is in a different key.
-@separate
+When printing the part, multi-rests
+must be condensed. This is done by setting a run-time variable:
@example
- indent = 15 * \staffspace
- linewidth = 55 * \staffspace
+ \set Score.skipBars = ##t
@end example
-We specify a big indent for the first line and a small linewidth for this
-tutorial.
-
-@separate
-Usually the 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.
-@example
- \translator@{
- \HaraKiriStaffContext
- @}
-@end example
+This commands sets the property @code{skipBars} property in the
+@code{Score} context to true (@code{##t}). Prepending the rest and
+this option to the music above, leads to the following result:
-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.
+@lilypond[raggedright]
+\score {\notes { \transpose f c' \relative c { \time 2/4
+\set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d } }}
+@end lilypond
-@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.
+The score is made by combining all of the music in a @code{\score}
+block. Assuming that the other voice is in @code{bassoonNotes} in the
+file @file{bassoon-music.ly}, a score is made with
@example
-\include "os-music.ly"
-\include "paper16.ly"
+\include "bassoon-music.ly"
+\include "horn-music.ly"
\score @{
- \context Staff <
- \property Score.skipBars = ##t
- \property Staff.midiInstrument = #"flute"
- \global
- \Key
- \flautoII
- >
- \header @{
- instrument = "Flauto II"
- @}
- \paper @{
- linewidth = 80 * \staffspace
- textheight = 200 * \staffspace
- @}
- \midi @{
- \tempo 4 = 75
- @}
-@}
+ \simultaneous @{
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+ @} @}
@end example
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@center @emph{Flauto II}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-@lilypondfile{os-flute-2.ly}
-
-
-Because we separated the music definitions from the @code{\score}
-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.
-
-@separate
-@example
- \flautoII
-@end example
-In this individual part the second flute has a whole staff for itself,
-so we do not want to force stem or tie directions.
+leading to
-@separate
-@example
- \header @{
- 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.
+@lilypond[raggedright]
+\score {
+ \notes \relative c \simultaneous {
+ \new Staff { \time 2/4
+ R2*3
+ r4 f8 a cis4 f e d }
+ \new Staff { \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f }
+ } }
+@end lilypond
-@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 print one multimeasure rest instead of
-many consecutive empty bars. LilyPond will do this if
-@code{Score.skipBars} is set to true (@code{##t}).
+More in-depth information on preparing parts and scores is in the
+notation manual, in @ref{Orchestral music}.
+Setting run-time variables (``properties'') is discussed in ref-TODO.
@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.
+Some texts include music examples. Examples are musicological
+treatises, songbooks or manuals like this. Such texts can be made by
+hand, simply by importing a PostScript figure into the word processor.
+However, there is an automated procedure to reduce the amount of work
+involved HTML, La@TeX{}, and Texinfo documents.
-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 @ref{lilypond-book manual}. Here
-we show a small example. Since the example also contains explanatory
-text, we will not comment it further.
+
+A script called @code{lilypond-book} will extract the music fragments,
+run format them, and put back the resulting notation. This program is
+fully described in @ref{lilypond-book manual}. Here we show a small
+example. The example also contains explanatory text, so we will not
+comment on it further:
@example
\documentclass[a4paper]@{article@}
\begin@{document@}
-In a lilypond-book document, you can freely mix music and text. For
-example:
+Documents for lilypond-book may 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:
+If there is 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
+In this example two things happened: a
\verb+\score+ block was added, and the line width was set to natural
-length. You can specify many more options using \LaTeX style options
-in brackets:
+length.
-\begin[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]@{lilypond@}
- c'4 f bes es
-\end@{lilypond@}
+Options are put in brackets.
-The option \texttt@{verbatim@} prints the LilyPond code in addition to
-the graphical score, \texttt@{11pt@} selects the default music size,
-\texttt@{fragment@} adds a score block, \texttt@{relative@} uses
-relative mode for the fragment, and \texttt@{intertext@} specifies
-what to print between the \texttt@{verbatim@} code and the music.
+\begin[staffsize=26,verbatim]@{lilypond@}
+ c'4 f16
+\end@{lilypond@}
-If you want to include large examples into the text, it may be more
-convenient to put the example in a separate file:
-\lilypondfile[printfilename]@{screech-boink.ly@}
+Larger examples can be put in a separate file, and introduced with
+\verb+\lilypondfile+.
-The \texttt@{printfilename@} option adds the file name to the output.
+\lilypondfile@{screech-boink.ly@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows:
@example
$ cd input/tutorial
$ mkdir -p out/
-$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.7.16
-Reading `input/tutorial/lilbook.tex'
-Reading `input/screech-boink6.ly'
+$ lilypond-book --output=out/ lilybook.tex
+lilypond-book (GNU LilyPond) 2.1.19
+Reading `input/tutorial/lilybook.tex'
+Reading `input/screech-boink.ly'
@var{lots of stuff deleted}
-Writing `out/lilbook.latex'
+Writing `out/lilybook.tex'
$ cd out
-$ latex lilbook.latex
+$ latex lilybook
@var{lots of stuff deleted}
-$ xdvi lilbook
+$ xdvi lilybook
+@end example
+
+To convert the file into a nice PDF document, run the following
+commands:
+@example
+$ dvips -Ppdf -u +lilypond lilybook
+$ ps2pdf lilybook.ps
@end example
-Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you would not 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:
+Running lilypond-book and running latex creates a lot of temporary
+files, which would clutter up the working directory. To remedy this,
+use the @code{output} option. It will create the files in a separate
+subdirectory @file{out}.
+
+The result looks more or less like
@separate
-In a lilypond-book document, you can freely mix music and text. For
-example:
+Documents for lilypond-book may freely mix music and text. For
+example,
+
@lilypond
\score {
\notes \relative c' {
}
@end lilypond
-Notice that the music line length matches the margin settings of the
-document.
-
If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one:
c'4
@end lilypond
-In the example you see here, a number of things happened: a
-@code{\score} block was added, and the line width was set to natural
-length. You can specify many more options using La@TeX{} style options
-in brackets:
-
-@lilypond[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]
- c'4 f bes es
-@end lilypond
+In this example two things happened: a
+@code{score} block was added, and the line width was set to natural
+length.
-The option @code{verbatim} also shows the LilyPond code, @code{11pt} selects
-the default music size, @code{fragment} adds a score block,
-@code{relative} uses relative mode for the fragment, and
-@code{intertext} specifies what to print between the
-@code{verbatim} code and the music.
+Options are put in brackets.
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
-
-@lilypondfile[printfilename]{screech-boink.ly}
+@lilypond[staffsize=26,verbatim]
+ c'4 f16
+@end lilypond
-The @code{printfilename} option adds the file name to the output.
+Larger examples can be put in a separate file, and introduced with
+@code{\lilypondfile}.
+@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff