version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@ignore
Tutorial guidelines: (different from policy.txt!)
or
@lilypond[verbatim,quote,relative=2]
- Don't use any other relative=X commands (make it a non-fragment
- example), and don't use fragment without relative=2.
+ Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
until we get to the Basic notation chapter.
-- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
portions of the tutorial.
@end ignore
@node Compiling a file
@subsection Compiling a file
+@cindex compiling
+@cindex first example
+@cindex example, first
+@cindex case sensitive
+
@qq{Compiling} is the term used for processing an input file
in LilyPond format to produce a file which can be printed and
(optionally) a MIDI file which can be played. LilyPond input
in your own music! For more information about the display of
examples in the manual, see @ref{How to read the manual}.}
-@cindex case sensitive
In addition, LilyPond input is @strong{case sensitive}.
@w{@code{@{ c d e @}}} is valid input; @w{@code{@{ C D E @}}} will
produce an error message.
@cindex PDF file
@cindex viewing music
+@cindex text editors
+@cindex running LilyPond under MacOS X
+@cindex MacOS X, running LilyPond
+@cindex running LilyPond under Windows
+@cindex Windows, running LilyPond
+@cindex running LilyPond under Unix
+@cindex Unix, running LilyPond
In this section we will explain what commands to run and how to
view or print the output.
@example
lilypond test.ly
-GNU LilyPond 2.12.0
+GNU LilyPond @version{}
Processing `test.ly'
Parsing...
Interpreting music...
@node Simple notation
@subsection Simple notation
+@cindex simple notation
+@cindex notation, simple
+
LilyPond will add some notation elements automatically. In the
next example, we have only specified four pitches, but LilyPond
has added a clef, time signature, and rhythms.
@subheading Pitches
+@cindex pitches
+@cindex relative mode
+@cindex quote, single
+@cindex comma
+@cindex accidentals and relative mode
+@cindex relative mode, and accidentals
+
+@funindex \relative
+@funindex relative
+@funindex '
+@funindex ,
+
Music Glossary: @rglos{pitch}, @rglos{interval},
@rglos{scale}, @rglos{middle C}, @rglos{octave},
@rglos{accidental}.
is within just one staff space of the previous note.
@lilypond[verbatim,quote]
-\relative c' { % set the starting point to middle C
+% set the starting point to middle C
+\relative c' {
c d e f
g a b c
}
octave:
@lilypond[verbatim,quote]
-\relative c'' { % one octave above middle C
+% one octave above middle C
+\relative c'' {
e c a c
}
@end lilypond
@subheading Durations (rhythms)
+@cindex note durations
+@cindex durations
+@cindex rhythms
+@cindex whole note
+@cindex half note
+@cindex quarter note
+@cindex dotted note
+@cindex notating durations
+
Music Glossary: @rglos{beam}, @rglos{duration},
@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
@rglos{dotted note}.
@subheading Rests
+@cindex rest
+@cindex notating rests
+
Music Glossary: @rglos{rest}.
A @notation{rest} is entered just like a note with the name
@subheading Time signature
+@cindex time signature
+
+@funindex \time
+@funindex time
+
Music Glossary: @rglos{time signature}.
The @notation{time signature} can be set with the @code{\time}
@subheading Clef
+@cindex clef
+@cindex treble
+@cindex alto
+@cindex tenor
+@cindex bass
+
+@funindex \clef
+@funindex clef
+
Music Glossary: @rglos{clef}.
The @notation{clef} can be set using the @code{\clef} command:
@node Working on input files
@subsection Working on input files
+@cindex curly braces
+@cindex braces, curly
+@cindex comments
+@cindex line comment
+@cindex comment, line
+@cindex block comment
+@cindex comment, line
+@cindex case sensitive
+@cindex whitespace insensitive
+@cindex expressions
+
+@funindex { ... }
+@funindex %
+@funindex %@{ ... %@}
+
LilyPond input files are similar to source files in many common
programming languages. They are case sensitive, and white-space
is generally ignored. Expressions are formed with curly braces
@itemize
-@cindex case sensitive
@item
@strong{Case sensitive}:
it matters whether you enter a letter in lower case (e.g.
c4 c g' g a a g2
%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+ This line, and the notes below are ignored,
+ since they are in a block comment.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@node How to read the manual
@subsection How to read the manual
+@cindex how to read the manual
+@cindex manual, reading
+@cindex reading the manual
+@cindex examples, clickable
+@cindex clickable examples
+@cindex tips for constructing files
+@cindex templates
+@cindex constructing files, tips
+@cindex files, tips for constructing
+
LilyPond input must be surrounded by @{ @} marks or a
@w{@code{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
input files}. For the rest of this manual, most examples will
omit this. To replicate the examples, you may copy and paste the
-displayed input but you @strong{must} add the
+displayed input, but you @strong{must} add the
@w{@code{\relative c'' @{ @}}} like this:
@example
@seealso
-
There are more tips for constructing input files in
@ref{Suggestions for writing LilyPond input files}. But it might be
best to read through the rest of the tutorial first.
@subheading Accidentals
+@cindex accidentals
+@cindex accidentals and key signatures
+@cindex sharp
+@cindex double sharp
+@cindex sharp, double
+@cindex flat
+@cindex double flat
+@cindex flat, double
+
+@funindex es
+@funindex is
+@funindex eses
+@funindex isis
+
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
@cindex key signature, setting
@subheading Key signatures
+@cindex key signature
+@cindex major
+@cindex minor
+@cindex accidentals and key signature
+@cindex content vs. layout
+@cindex layout vs. content
+
+@funindex \key
+@funindex key
+@funindex \major
+@funindex major
+@funindex \minor
+@funindex minor
+
Music Glossary: @rglos{key signature}, @rglos{major},
@rglos{minor}.
@node Ties and slurs
@subsection Ties and slurs
-@cindex ties
+@cindex tie
+@cindex slur
+@cindex slur, phrasing
+@cindex phrasing slur
+
+@funindex ~
+@funindex ( ... )
+@funindex \( ... \)
+
@subheading Ties
+
Music Glossary: @rglos{tie}.
A @notation{tie} is created by appending a tilde @code{~} to the
c4 ~ c8 a8 ~ a2
@end lilypond
-@cindex slurs
@subheading Slurs
+
Music Glossary: @rglos{slur}.
A @notation{slur} is a curve drawn across many notes. The
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@cindex slurs, phrasing
-@cindex phrasing slurs
@subheading Phrasing slurs
Music Glossary: @rglos{slur}, @rglos{phrasing}.
@node Articulation and dynamics
@subsection Articulation and dynamics
+
+@subheading Articulations
+
@cindex articulation
-@cindex accents
+@cindex accent
@cindex staccato
-@subheading Articulations
Music Glossary: @rglos{articulation}.
c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@cindex fingering
@subheading Fingerings
-Music Glossary: @rglos{fingering}.
+@cindex fingering
+
+@funindex ^
+@funindex _
+Music Glossary: @rglos{fingering}.
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
@subheading Dynamics
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
+
+@funindex \f
+@funindex \ff
+@funindex \mp
+@funindex \p
+@funindex \mf
+@funindex \pp
+@funindex \<
+@funindex <
+@funindex \>
+@funindex >
+@funindex \!
+@funindex !
+
Music Glossary: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
c\ff c\mf c\p c\pp
@end lilypond
-@cindex dynamics
-@cindex decrescendo
-@cindex crescendo
@notation{Crescendi} and @notation{decrescendi} are started with
the commands @code{\<} and @code{\>}. The next dynamics sign, for
@node Adding text
@subsection Adding text
+@cindex text, adding
+@cindex adding text
+@cindex markup
+
+@funindex \markup
+@funindex markup
+
Text may be added to your scores:
@lilypond[verbatim,quote,relative=2]
@node Automatic and manual beams
@subsection Automatic and manual beams
+@cindex beaming
+@cindex automatic beams
+@cindex manual beams
+@cindex beams, automatic
+@cindex beams, manual
+@cindex beams, by hand
+
+@funindex [ ... ]
+@funindex [
+@funindex ]
+@funindex \autoBeamOff
+@funindex autoBeamOff
+@funindex \autoBeamOn
+@funindex autoBeamOn
+
Music Glossary: @rglos{beam}.
-@cindex beams, by hand
All @notation{beams} are drawn automatically:
@lilypond[verbatim,quote,relative=2]
extended section of music, use the command @code{\autoBeamOff}
to turn off automatic beaming and @code{\autoBeamOn} to turn it
on again.
-@c It will usually be necessary to manually beam music
-@c with lyrics.
@lilypond[verbatim,quote,relative=2]
\autoBeamOff
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
+@subheading Partial measure
+
@cindex pickup
@cindex anacrusis
@cindex partial measure
-@subheading Partial measure
+
+@funindex \partial
+@funindex partial
Music Glossary: @rglos{anacrusis}.
f8 c2 d
@end lilypond
+@subheading Tuplets
+
@cindex tuplets
@cindex triplets
-@subheading Tuplets
+
+@funindex \times
+@funindex times
Music Glossary: @rglos{note value}, @rglos{triplet}.
\times 2/3 { d4 a8 }
@end lilypond
+@subheading Grace notes
+
@cindex grace notes
@cindex acciaccatura
@cindex appoggiatura
-@subheading Grace notes
+
+@funindex \grace
+@funindex grace
+@funindex \acciaccatura
+@funindex acciaccatura
+@funindex \appoggiatura
+@funindex acciaccatura
Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
@rglos{appoggiatura}.
@node Music expressions explained
@subsection Music expressions explained
+@cindex music expression
+@cindex expression, music
+@cindex compound music expression
+@cindex music expression, compound
+
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
{ { 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
@subheading Simultaneous music expressions: multiple staves
+@cindex multiple staves
+@cindex staves, multiple
+@cindex polyphony
+@cindex combining expressions in parallel
+@cindex parallel expressions
+@cindex expressions, parallel
+@cindex relative notes and simultaneous music
+@cindex relative notes and parallel expressions
+@cindex simultaneous music and relative notes
+@cindex parallel expressions and relative notes
+
+@funindex <<
+@funindex >>
+@funindex << ... >>
+
Music Glossary: @rglos{polyphony}.
This technique is useful for @notation{polyphonic} music. To
@node Multiple staves
@subsection Multiple staves
+@cindex multiple staves
+@cindex staves, multiple
+@cindex context
+@cindex context, notation
+@cindex notation context
+
+@funindex \new Staff
+@funindex new Staff
+@funindex Staff
+@funindex \new
+@funindex new
+@funindex Score
+@funindex Voice
+@funindex Lyrics
+@funindex ChordNames
+
LilyPond input files are constructed out of music expressions, as
we saw in @ref{Music expressions explained}. If the score begins
with simultaneous music expressions, LilyPond creates multiples
@subsection Staff groups
@cindex piano staff
+@cindex staff, piano
@cindex choir staff
+@cindex staff, choir
@cindex grand staff
+@cindex staff, grand
+@cindex staff group
+
+@funindex PianoStaff
+@funindex GrandStaff
+@funindex ChoirStaff
Music Glossary: @rglos{brace}.
@subsection Combining notes into chords
@cindex chords
+@cindex note durations in chords
+
+@funindex <
+@funindex >
+@funindex < ... >
Music Glossary: @rglos{chord}.
@cindex polyphony
@cindex multiple voices
-@cindex voices, more -- on a staff
+@cindex voices, more on one staff
+@cindex single staff polyphony
+@cindex spacer rest
+@cindex rest, spacer
+
+@funindex << ... \\ ... >>
+@funindex <<
+@funindex \\
+@funindex >>
+
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
@cindex lyrics
@cindex songs
+@funindex \addlyrics
+@funindex addlyrics
+
Music Glossary: @rglos{lyrics}.
Here is the start of the melody to a nursery
-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:
@lilypond[verbatim,quote]
\relative c'' {
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
-Music Glossary: @rglos{melisma}, @rglos{extender line}.
-
@cindex melisma
@cindex extender line
@cindex hyphens
@cindex underscore
+@cindex lyrics, aligning
+@cindex aligning lyrics
+@cindex lyrics, multi-syllable words
+@cindex words with multiple syllables in lyrics
+
+Music Glossary: @rglos{melisma}, @rglos{extender line}.
-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}. Let's extend it:
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}. Let's extend it:
@lilypond[verbatim,quote]
<<
@end lilypond
We see the extra lyrics do not align properly with the notes. The
-word @q{shine} should be sung on two notes, not one. This is
-called a @notation{melisma}, a single syllable sung to more than
-one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them:
-
-@c marking the start of the slur with a left bracket, (, and the
-@c end with a right bracket, ), for details, see @ref{Ties and slurs}:
+word @notation{shine} should be sung on two notes, not one. This
+is called a @notation{melisma}, a single syllable sung to more
+than one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them, for
+details, see @ref{Ties and slurs}:
@lilypond[verbatim,quote]
<<
@end lilypond
The words now line up correctly with the notes, but the automatic
-beaming for the notes above @qq{shine as} does not look right. We
-can correct this by inserting manual beaming commands to override
-the automatic beaming here.
-
-@ignore
- We mark the start of the beam with a
-left square bracket, [, and the end with a right square bracket, ],
-for details, see @ref{Automatic and manual beams}. Note that the
-slur and beam indications do not need to @qq{nest}, i.e., the order
-in which they appear is not important, see @ref{On the
-un-nestedness of brackets and ties}.
-@end ignore
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
@lilypond[verbatim,quote]
<<
\key g \major
\time 6/8
d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ g8 a4 b8 c([ b]) a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
note an @notation{extender line} is usually drawn from the
syllable extending under all the notes for that syllable. It is
entered as two underscores @code{__}. Here is an example from the
-first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+first three bars of @notation{Dido's Lament}, from Purcell's
+@notation{Dido and Æneas}:
@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
\time 3/2
- g2 a bes bes( a)
+ g2 a bes bes( a)
b c4.( bes8 a4. g8 fis4.) g8 fis1
}
\addlyrics {
- When I am laid,
+ When I am laid,
am laid __ in earth,
}
>>
Here is an example showing this and everything we have learned so
far about aligning lyrics to notes.
-@c FIXME: noragged-right
-@lilypond[verbatim,quote]
+@c no ragged-right here because otherwise the hyphens get lost,
+@c but the example is long enough to avoid looking strange.
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
+ d4 g4 g a8( b) g4 g4
b8( c) d4 d e4 c2
}
\addlyrics {
- A -- way in a __ man -- ger,
+ A -- way in a __ man -- ger,
no __ crib for a bed, __
}
>>
Some lyrics, especially those in Italian, require the opposite:
setting more than one syllable to a single note. This is
achieved by linking the syllables together with a single
-underscore @code{_} (with no spaces), or enclosing them in
-quotes. Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
\key c \major
\time 6/8
- c4.~ c8 d b c([ d)] b c d b c
+ c4.~ c8 d b c([ d]) b c d b c
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
@node Lyrics to multiple staves
@subsection Lyrics to multiple staves
+@cindex lyrics and multiple staves
+@cindex multiple staves and lyrics
+
The simple approach using @code{\addlyrics} can be used for
placing lyrics under more than one staff. Here is an
-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
@lilypond[verbatim,quote]
<<
- {
- \time 6/8
- \partial 8
- }
\relative c'' {
\key f \major
- c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ \time 6/8
+ \partial 8
+ c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
\relative c' {
\key f \major
- r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ \time 6/8
+ \partial 8
+ r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
>>
@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 in @ref{Organizing pieces with variables}.
+Scores any more complex than this simple example are better
+produced by separating out the score structure from the notes and
+lyrics with variables. These are discussed in @ref{Organizing
+pieces with variables}.
@seealso
introduction to the rest of the manual.
@menu
-* Organizing pieces with variables::
-* Version number::
-* Adding titles::
-* Absolute note names::
-* After the tutorial::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
@node Organizing pieces with variables
@subsection Organizing pieces with variables
+@cindex variables
+@cindex variables, defining
+@cindex identifiers
+@cindex macros
+@cindex assigning variables
+@cindex using variables
+@cindex variables, using
+@cindex variables, characters allowed in
+@cindex characters allowed in 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
(@code{\namedMusic}, just like a normal LilyPond command).
@lilypond[verbatim,quote]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
+violin = \new Staff {
+ \relative c'' {
+ a4 b c b
+ }
+}
+cello = \new Staff {
+ \relative c {
+ \clef bass
+ e2 d
+ }
+}
{
<<
\violin
\aFivePaper
line-width = \width
@}
-@{ c4^\name @}
+@{
+ c4^\name
+@}
@end example
@subsection Version number
@cindex versioning
+@cindex version
+@cindex version number
+@cindex upgrades
+@cindex future upgrades
+@cindex updating files
+@cindex files, updating
+
+@funindex \version
+@funindex version
+@funindex convert-ly
+
The @code{\version} statement records the version of LilyPond that
was used to write the file:
These annotations make future upgrades of LilyPond go more
smoothly. Changes in the syntax are handled with a special
-program, @file{convert-ly}, and it uses @code{\version} to
+program, @command{convert-ly}, and it uses @code{\version} to
determine what rules to apply. For details, see
@rprogram{Updating files with convert-ly}.
@node Adding titles
@subsection Adding titles
+@cindex title
+@cindex headers
+@cindex header block
+
+@funindex \header
+@funindex header
+
The title, composer, opus number, and similar information are
entered in the @code{\header} block. This exists outside of the
main music expression; the @code{\header} block is usually placed
-underneath the @ref{Version number}.
+underneath the version number.
@example
\version @w{"@version{}"}
@node Absolute note names
@subsection Absolute note names
+@cindex note names
+@cindex note names, absolute
+@cindex absolute mode
+@cindex absolute values for pitches
+@cindex pitches, absolute values
+@cindex absolute note names
+
So far we have always used @code{\relative} to define pitches.
This is the easiest way to enter most music, but another way of
defining pitches exists: absolute mode.
@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
wish to skim these chapters right now, and come back to them after
you have more experience.
-
-
+In this tutorial and in the rest of the Learning Manual, there is a
+paragraph @strong{See also} at the end of each section, which contains
+cross-references to other sections: you should not follow these
+cross-references at first reading; when you have read all of the
+Learning Manual, you may want to read some sections again and follow
+cross-references for further reading.
+
+If you have not done so already, @emph{please} read @ref{About the
+documentation}. There is a lot of information about LilyPond, so
+newcomers often do not know where they should look for help. If
+you spend five minutes reading that section carefully, you might
+save yourself hours of frustration looking in the wrong places!
projects / lilypond.git / blobdiff