@chapter Tutorial
This tutorial starts with an introduction to the LilyPond music
-language and how to produce printed music. After this first
-contact we will explain how to create common musical notation.
+language and explains how to produce printed music. After this first
+contact we will explain how to create beautiful printed music
+containing common musical notation.
@menu
* First steps::
* Compiling a file::
* Simple notation::
* Working on text files::
-* How to read the tutorial::
+* How to read the manual::
@end menu
@node Compiling a file
@subsection Compiling a file
-The first example demonstrates how to start working with LilyPond.
+@qq{Compiling} is the term used for processing an input text file
+in LilyPond format to produce a file which can be printed and
+(optionally) a MIDI file which can be played. The first example
+shows what a simple input text file looks like.
+
To create sheet music, we write a text file that specifies the
notation. For example, if we write:
}
@end lilypond
-@warning{Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input. The braces
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @strong{@{ curly braces @}}. The braces
should also be surrounded by a space unless they are at the
beginning or end of a line to avoid ambiguities. The braces may
be omitted in some examples in this manual, but don't forget them
in your own music! For more information about the display of
-examples in the manual, see @ref{How to read the tutorial}.}
+examples in the manual, see @ref{How to read the manual}.}
@cindex case sensitive
In addition, LilyPond input is @strong{case sensitive}. @code{
better support for LilyPond. For more information, see
@rprogram{Text editor support}.
-@warning{the first time you ever run LilyPond, it may take a
+@warning{The first time you ever run LilyPond, it may take a
minute or two because all of the system fonts have to be analyzed
first. After this, LilyPond will be much faster!}
To edit an existing @file{.ly} file, right-click on it and
select @qq{Edit source}. To get an empty file to start from, run
the editor as described above and use @qq{New} in
-the @qq{File} menu.
+the @qq{File} menu, or right-click on the desktop and select
+@qq{New..Text Document}, change its name to a name of your choice
+and change the file extension to @code{.ly}. Double-click the
+icon to type in your LilyPond source code as before.
Double-clicking the file does not only result in a PDF file, but
also produces a @file{.log} file that contains some information on
@subsubheading Unix
-Create a file (such as @file{test.ly}) and enter:
+Create a text file called @file{test.ly} and enter:
@example
@{
b c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
b e % e is 3 up or 4 down, so is the e above
- b a % a is 4 up or 3 down, so is the a below
+ b a % a is 6 up or 1 down, so is the a below
b g % g is 5 up or 2 down, so is the g below
- b f % f is 6 up or 1 down, so is the f below
+ b f % f is 4 up or 3 down, so is the f below
}
@end lilypond
quotes @code{''} and not one double quote @code{"}@tie{}! The
initial value in @code{\relative c'} may also be modified like
this.
-
+@c " - keeps quotes in order for context-sensitive editor -td
@subheading Durations (rhythms)
LilyPond input files are similar to source files in many common
programming languages. They are case sensitive, and white-space
-is generally equivalent. Expressions are formed with curly braces
+is generally ignored. Expressions are formed with curly braces
@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
%@}}.
space unless they are at the beginning or end of a line to avoid
ambiguities.
-A function (such as @code{\relative @{ @}}) also counts as a
-single music expression.
+A LilyPond command followed by a simple expression in braces (such
+as @code{\relative @{ @}}) also counts as a single music
+expression.
@cindex comments
@cindex line comment
is ignored while parsing, so it has no effect on the printed
output. There are two types of comments. The percent symbol
@code{%} introduces a line comment; anything after @code{%} on
-that line is ignored. A block comment marks a whole section of
-music input as a comment. Anything that is enclosed in @code{%@{}
-and @code{%@}} is ignored. (Comments do not nest.) The following
-fragment shows possible uses for comments:
+that line is ignored. By convention, a line comment is placed
+@emph{above} the code it refers to.
+
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
+
+A block comment marks a whole section of music input as a comment.
+Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
+However, block comments do not @q{nest}. This means that you
+cannot place a block comment inside another block comment. If you
+try, the first @code{%@}} will terminate @emph{both} block
+comments. The following fragment shows possible uses for
+comments:
@example
% notes for twinkle twinkle follow
@end itemize
-@node How to read the tutorial
-@subsection How to read the tutorial
+@node How to read the manual
+@subsection How to read the manual
LilyPond input must be surrounded by @{ @} marks or a
@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}.
+@ref{Suggestions for writing LilyPond files}. But it might be
+best to read through the rest of the tutorial first.
confusion to newcomers, so let us explain it in more detail.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural} or
+layout. The alteration (@notation{flat}, @notation{natural sign} or
@notation{sharp}) of a note is part of the pitch, and is therefore
musical content. Whether an accidental (a @emph{printed} flat,
natural or sharp sign) is printed in front of the corresponding
@end lilypond
@noindent
-No note has a printed accidental, but you must still add the
-@code{is} to @code{cis} and @code{fis}.
+No note has a printed accidental, but you must still add
+@code{is} and type @code{cis} and @code{fis} in the input file.
The code @code{e} does not mean @qq{print a black dot just below
the first line of the staff.} Rather, it means @qq{there is a
@cindex phrasing slurs
@subheading Phrasing slurs
-Music Glossary: @rglos{phrasing}, @rglos{legato}.
+Music Glossary: @rglos{slurs}, @rglos{phrasing}.
Slurs to indicate longer @notation{phrasing} can be entered with
-@code{\(} and @code{\)}. You can have both @notation{legato}
-slurs and phrasing slurs at the same time, but you cannot have
-simultaneous legato slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}. You can have both @notation{slurs}
+and phrasing slurs at the same time, but you cannot have
+simultaneous slurs or simultaneous phrasing slurs.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@cindex crescendo
@notation{Crescendi} and @notation{decrescendi} are started with
-the commands @code{\<} and @code{\>}. An ending dynamic, for
-example @code{\f}, will finish the (de)crescendo, or the command
+the commands @code{\<} and @code{\>}. The next dynamics sign, for
+example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
@seealso
-Notation Reference: @ruser{Articulations},
+Notation Reference: @ruser{Articulations and ornamentations},
@ruser{Fingering instructions}, @ruser{Dynamics}.
@cindex appoggiatura
@subheading Grace notes
-Music Glossary: @rglos{grace notes}, @rglos{acciacccatura},
+Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
@rglos{appoggiatura}.
@notation{Grace notes} are created with the @code{\grace} command,
@menu
* Music expressions explained::
* Multiple staves::
-* Piano staves::
+* Staff groups::
* Combining notes into chords::
* Single staff polyphony::
@end menu
{ { a4 g } f g }
@end lilypond
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
+This mechanism is similar to mathematical formulas: a big formula
+is created by composing small formulas. Such formulas are called
+expressions, and they can contain other expressions, so you can
+make arbitrarily complex and large expressions. For example,
+
+@example
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
+@end example
+
+This is a sequence of expressions, where each expression is
+contained in the next (larger) one. The simplest expressions are
+numbers, and larger ones are made by combining expressions with
+operators (like @code{+}, @code{*} and @code{/}) and parentheses.
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, which is necessary for complex music like
+polyphonic scores.
+
+
@subheading Simultaneous music expressions: multiple staves
Music Glossary: @rglos{polyphony}.
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
+@c FIXME: number of backslashes?! works in html but not pdf.
@warning{each note is relative to the previous note in
the input, not relative to the @code{c''} in the initial
@code{\\relative} command.}
@subheading Simultaneous music expressions: single staff
To determine the number of staves in a piece, LilyPond looks at
-the first expression. If it is a single note, there is one staff;
-if there is a simultaneous expression, there is more than one
-staff.
+the beginning of the first expression. If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
}
@end lilypond
-@cindex expression
-@cindex music expression
-@subheading Analogy: mathematical expressions
-
-This mechanism is similar to mathematical formulas: a big formula
-is created by composing small formulas. Such formulas are called
-expressions, and they can contain other music expressions, so you
-can make arbitrarily complex and large expressions. For example,
-
-@example
-1
-
-1 + 2
-
-(1 + 2) * 3
-
-((1 + 2) * 3) / (4 * 5)
-@end example
-
-This is a sequence of expressions, where each expression is
-contained in the next (larger) one. The simplest expressions are
-numbers, and larger ones are made by combining expressions with
-operators (like @code{+}, @code{*} and @code{/}) and parentheses.
-Like mathematical expressions, music expressions can be nested
-arbitrarily deep, which is necessary for complex music like
-polyphonic scores.
-
-
@node Multiple staves
@subsection Multiple staves
minus sign in mathematics. The formula @math{(4+5)} is an
expression, so @math{-(4+5)} is a bigger expression.
-Time signatures entered in one staff affect all other
-staves@footnote{This behavior may be changed if desired; for
-details, see @ruser{Polymetric notation}.}. On the other hand,
-the key signature of one staff does @emph{not} affect other
-staves.
+Time signatures entered in one staff affects all other staves by
+default. On the other hand, the key signature of one staff does
+@emph{not} affect other staves. This different default behaviour
+is because scores with transposing instruments are more common
+than polyrhythmic scores.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
-@node Piano staves
-@subsection Piano staves
+@node Staff groups
+@subsection Staff groups
-@cindex staff switch, manual
-@cindex cross staff voice, manual
+@cindex piano staff
+@cindex choir staff
+@cindex grand staff
Music Glossary: @rglos{brace}.
}
@end lilypond
+Other staff groupings are introduced with
+@code{\new GrandStaff,} suitable for orchestral
+scores, and @code{\new ChoirStaff,} suitable for
+vocal scores. These staff groups each form another
+type of context, one that generates the brace at the
+left end of every system and also controls the extent
+of bar lines.
+
@seealso
-Notation Reference: @ruser{Piano music}.
+Notation Reference: @ruser{Piano music},
+@ruser{Displaying staves}.
@node Combining notes into chords
Music Glossary: @rglos{chord}.
-@notation{Chords} can be made by surrounding pitches with single
-angle brackets. Angle brackets are the symbols @code{<} and
-@code{>}.
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets. However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets. Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
r4 <c e g>4 <c f a>2
@end lilypond
-You can combine markings like beams and ties with chords. They
-must be placed outside the angle brackets.
+Think of chords as almost equivalent to single notes:
+almost everything you can attach to a single note can be attached
+to a chord, and everything must go @emph{outside} the angle
+brackets. For example, you can combine markings like beams and
+ties with chords. They must be placed outside the angle brackets.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
-@end lilypond
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
@end lilypond
Note the curly brackets delimiting both the music and the lyrics,
-and the angle brackets @code{<< ... >>} around the whole piece to
-show that the music and lyrics are to occur at the same time.
+and the double angle brackets @code{<< ... >>} around the whole
+piece to show that the music and lyrics are to occur at the same
+time.
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
]} ) to generate the beaming which is customarily used with lyrics
(see @ref{Automatic and manual beams}).
+As an alternative to using slurs, the melismata may be indicated
+in just the lyrics by using an underscore, @code{_}, for each
+note that should be included in the melisma:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c[ b] a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine _ as bright as day;
+ }
+>>
+@end lilypond
+
If a syllable extends over several notes or a single very long
note an @notation{extender line} is usually drawn from the
syllable extending under all the notes for that syllable. It is
>>
@end lilypond
+@noindent
but scores any more complex than this simple example are
better produced by separating out the staff structure
from the notes and lyrics with variables. These are
-discussed later (see @ref{Organizing pieces with variables}).
+discussed in @ref{Organizing pieces with variables}.
@seealso
Notation Reference: @ruser{Vocal music}.
+
@node Final touches
@section Final touches
introduction to the rest of the manual.
@menu
+* Organizing pieces with variables::
* Version number::
* Adding titles::
* Absolute note names::
-* Organizing pieces with variables::
* After the tutorial::
-* How to read the manual::
@end menu
+@node Organizing pieces with variables
+@subsection Organizing pieces with variables
+
+When all of the elements discussed earlier are combined to produce
+larger files, the music expressions get a lot bigger. In
+polyphonic music with many staves, the input files can become very
+confusing. We can reduce this confusion by using
+@emph{variables}.
+
+With variables (also known as identifiers or macros), we can break
+up complex music expressions. A variable is assigned as
+follows:
+
+@example
+namedMusic = @{ @dots{} @}
+@end example
+
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command).
+
+@lilypond[verbatim,quote,ragged-right]
+violin = \new Staff { \relative c'' {
+ a4 b c b
+}}
+cello = \new Staff { \relative c {
+ \clef bass
+ e2 d
+}}
+{
+ <<
+ \violin
+ \cello
+ >>
+}
+@end lilypond
+
+@noindent
+The name of a variable must have alphabetic characters only, no
+numbers, underscores, or dashes.
+
+Variables must be defined @emph{before} the main music
+expression, but may be used as many times as required anywhere after
+they have been defined. They may even be used in a later definition
+of another variable, giving a way of shortening the input if a
+section of music is repeated many times.
+
+@lilypond[verbatim,quote,ragged-right]
+tripletA = \times 2/3 { c,8 e g }
+barA = { \tripletA \tripletA \tripletA \tripletA }
+
+\relative c'' {
+ \barA \barA
+}
+@end lilypond
+
+Variables may be used for many other types of objects in
+the input. For example,
+
+@example
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
+
+Depending on its contents, the variable can be used in different
+places. The following example uses the above variables:
+
+@example
+\paper @{
+ \aFivePaper
+ line-width = \width
+@}
+@{ c4^\name @}
+@end example
+
+
@node Version number
@subsection Version number
was used to write the file:
@example
-\version "2.11.23"
+\version "2.11.38"
@end example
@noindent
underneath the @ref{Version number}.
@example
-\version "2.11.23"
+\version "2.11.38"
\header @{
title = "Symphony"
composer = "Me"
}
@end lilypond
-All these quotes makes the input less readable and it is a source
+All these quotes makes the input less readable and they are a source
of errors. With @code{\relative}, the previous example is much
-easier to read:
+easier to read and type:
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
files.
-@node Organizing pieces with variables
-@subsection Organizing pieces with variables
-
-When all of the elements discussed earlier are combined to produce
-larger files, the music expressions get a lot bigger. In
-polyphonic music with many staves, the input files can become very
-confusing. We can reduce this confusion by using
-@emph{variables}.
-
-With variables (also known as identifiers or macros), we can break
-up complex music expressions. A variable is assigned as
-follows:
-
-@example
-namedMusic = @{ @dots{} @}
-@end example
-
-The contents of the music expression @code{namedMusic} can be used
-later by placing a backslash in front of the name
-(@code{\namedMusic}, just like a normal LilyPond command).
-Variables must be defined @emph{before} the main music
-expression.
-
-@lilypond[verbatim,quote,ragged-right]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
-{
- <<
- \violin
- \cello
- >>
-}
-@end lilypond
-
-@noindent
-The name of a variable must have alphabetic characters only, no
-numbers, underscores, or dashes.
-
-It is possible to use variables for many other types of objects in
-the input. For example,
-
-@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@end example
-
-Depending on its contents, the variable can be used in different
-places. The following example uses the above variables:
-
-@example
-\paper @{
- \aFivePaper
- line-width = \width
-@}
-@{ c4^\name @}
-@end example
-
@node After the tutorial
@subsection After the tutorial
+FIXME: rewrite slightly after the rest of the LM has been
+stabilized. Translators, ignore this section for now.
+
After finishing the tutorial, you should probably try writing a
piece or two. Start by adding notes to one of the
@ref{Templates}. If you need any notation that was not covered in
you have more experience.
-@node How to read the manual
-@subsection How to read the manual
-Many examples in the tutorial omitted a @code{\relative c'' @{
-... @}} around the printed example, as we saw in
-@ref{How to read the tutorial}.
-
-In the rest of the manual, we are much more lax about the printed
-examples: sometimes they may have omitted a @code{\relative c'' @{
-... @}}, but other times a different initial pitch may be used
-(such as @code{c'} or @code{c,,}), and in some cases the whole
-example is in absolute note mode! However, ambiguities like this
-only exist where the pitches are not important. In any example
-where the pitch matters, we have explicitly stated
-@code{\relative} or absolute-mode @code{@{ @}}.
-
-If you are still confused about the exact LilyPond input that was
-used in an example, read the HTML version (if you are not already
-doing so) and click on the picture of the music. This will
-display the exact input that LilyPond used to generate this
-manual.
-
-For information about the structure of the rest of the manual, see
-@ref{About this manual}.
projects / lilypond.git / blobdiff