* Printing lyrics::
* A lead sheet::
* Listening to output::
-* More movements :: Joining separate pieces of music
+* Titling ::
* Single staff polyphony ::
-* Piano music::
+* Piano staffs::
* Organising larger pieces::
* Fine tuning a piece::
-* An orchestral score:: Conductor's score and individual parts
+* An orchestral part::
* Integrating text and music:: Integrating text and music
@end menu
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.
+your first sheets of music. When starting out, it will be convenient
+to print out
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for
+convenient reference.
+
@node First steps
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
+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.
@unnumberedsubsec Windows users
-Windows users can start the terminal by clicking on the LilyPond or
+On Windows, the terminal is started 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
@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{]}:
+Beams are drawn automatically, but if you do not like where they 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-]
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
+@code{Staff}'s are then grouped inside @code{\simultaneous @{} and @code{@}}, as is
demonstrated here:
@quotation
@lilypond[fragment,verbatim]
-<
+\simultaneous {
\context Staff = staffA { \clef violin c'' }
\context Staff = staffB { \clef bass c }
->
+}
@end lilypond
@end quotation
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.
+that. @code{\simultaneous } indicates that both fragments happen at
+the same time, and must be printed stacked vertically.
@separate
@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.
+The time signature is specified in one melody staff only
+(the top staff), but is printed on both, since common practice
+dictates that all staves have the same time signature.
@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.
+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
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]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
@end lilypond
+Grace notes are also made by prefixing a note, or a set of notes with
+a keyword. In this case, the keyword is @code{\grace}.
+@lilypond[relative 1, verbatim,fragment]
+ \grace b16-( c4-)
+ \grace { d16-( e } d4-)
+@end lilypond
+@noindent
+More information on the use of grace notes is in @ref{Grace notes}.
Comments are pieces of the input that are ignored. There are two
-
@node Printing lyrics
@section Printing lyrics
@cindex lyrics
\context Lyrics \lyrics @{ I want to break free @}
@end example
The melody for this song is as follows
+
@lilypond[fragment,relative=1]
\partial 8
c8
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[singleline]
+@lilypond[]
\score {
\notes {
\addlyrics
\partial 8
c8
\times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+
+ %% ugh, this is to deal with bugs in the extender implementation
+ \blankNotes
+ c8
}
\context Lyrics \lyrics { I want to break free __ }
}
- \paper{ }
+ \paper{ linewidth = 9.0 \cm }
}
@end lilypond
\addlyrics \notes \relative f' { \time 2/4
f4 f c' c' }
\context Lyrics \lyrics { Twin -- kle twin -- kle
- }}
+ }
+\paper { linewidth = 6.0 \cm }
+ }
+
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
@lilypond[verbatim]
\chords { c2 f4. g8 }
@end lilypond
+
+@noindent
The result of @code{\chords} is a list of chords, and is equivalent
to entering chords with @code{<<@dots{}>>}.
@cindex lead sheet
When put together, chord names, lyrics and a melody form
-a lead sheet, for example:
-@lilypond[singleline,verbatim]
+a lead sheet, for example,
+
+@example
+\score @{
+ <
+ \context ChordNames \chords @{ @emph{chords} @}
+ \addlyrics
+ \notes @emph{the melody}
+ \context Lyrics \lyrics @{ @emph{the text} @}
+ >
+ \paper @{ @}
+@}
+@end example
+@lilypond[]
\score {
<
\context ChordNames \chords { r8 c2:sus4 f }
\times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
\context Lyrics \lyrics { I want to break free __ }
>
- \paper{ }
+ \paper{ raggedright = ##t }
}
@end lilypond
@example
\score @{
@var{..music..}
- \midi @{ \tempo 4=72@}
+ \midi @{ \tempo 4=72 @}
\paper @{ @}
@}
@end example
Here, the tempo is specified using the @code{\tempo} command. In this
-case the tempo of quarter notes is set to 72 beats per minute.
-
-
-@node More movements
-@section More movements
-
-The program @code{lilypond} only produces sheet music. Titles,
-subtitles, and the composer's name are created by a separate program,
-called use @code{ly2dvi}. @code{ly2dvi} creates the titles, then
-calls @code{lilypond} to format the sheet music. In this section, we
-show you how to create titles like this:
-
-@center @strong{Two miniatures}
-@flushright
-F. Bar Baz
-
-Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
-@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper { raggedright = ##t }
- }
-@end lilypond
-@flushright
-Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
+case the tempo of quarter notes is set to 72 beats per minute. More
+information on auditory output is in the @ref{Sound} section in the
+notation manual.
-For example, consider the following file (@file{miniatures.ly})
-
-@example
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
+@node Titling
+@section Titling
-The information for the global titling is in a so-called header block.
-The information in this block is not used by LilyPond, but it is
-passed into @code{ly2dvi}, which uses this information to print titles
-above the music.
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. The header block for this file looks like
-this
-@cindex @code{\header}
+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
+example,
@example
\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
tagline = "small is beautiful"
@}
+
+ \score @{ @dots{} @}
@end example
-When you process a file with ly2dvi, a signature line is printed at
-the bottom of the last page. Many people find the default (``Lily was
-here'' with a version number) too droll. If that is the case, you can
-change @code{tagline} in the @code{\header}, as shown above.
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex ly2dvi
+
+
+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.''
+
+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.
+
@cindex Lily was here
@cindex signature line
@cindex tag line
-
-@separate
-@example
- \header @{
+@example
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+ @}
+
+ \score @{ @dots{}
+ \header @{ piece = "Adagio" @}
+ @}
+ \score @{ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
@end example
-The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different
-pieces from one file (for example, if there are multiple movements, or
-if you are making an exercise book), you can put different
-@code{\score} blocks into the input file. @code{ly2dvi} will assemble
-all LilyPond output files into a one document. The contents of
-@code{\header} blocks specified within each score is used for the
-title of that movement.
-@separate
-@example
- opus = "Opus 1."
- piece = "Up" @}
-@end example
-For example, the Opus number is put at the right, and the "piece" string
-will be at the left.
+More information on titling can be found in @ref{Invoking ly2dvi}.
@node Single staff polyphony
< { a4 g2 f4-~ f4 } \\
{ r4 g4 f2 f4 } >
@end lilypond
-
-More features of polyphonic typesetting are in the notation manual,
-@ref{Polyphony}.
+The notation @code{< .. >} is a shorthand for @code{\simultaneous @{
+.. @}}.
+
+For polyphonic 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:
+@lilypond[verbatim,relative]
+ < { a4 g2 f4-~ f4 } \\
+ { s4 g4 f2 f4 } >
+@end lilypond
+
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
@node Piano staffs
@section Piano staffs
@cindex cross staff voice, manual
@cindex @code{\translator}
+Piano music is always typeset in two staffs connected by a brace.
+Printing such a staff is done similar to the polyphonic example in
+@ref{More basics}:
+@example
+ < \context Staff = up @{ @dots{} @}
+ \context Staff = down @{ @dots{} @}
+ >
+@end example
+but now this entire expression must be interpreted as a
+@code{PianoStaff}:
+@example
+ \context PianoStaff < \context Staff @dots{} >
+@end example
+
+Here is a complete-fledged example:
+@lilypond[relative 0,fragment]
+\context PianoStaff
+ < \context Staff = up {
+ c4 c g g }
+ \context Staff = down {
+ \clef bass c, c' e c }
+ >
+@end lilypond
+
+More information on formatting piano music is in @ref{Piano music}.
+
+@node Setting variables
+@section Setting variables
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
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''.
+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
@end example
-(TODO: huh? what's this: )
-
-This command resembles the one for setting slur attachments, but
-subtly differs in its details. Grob properties can be manipulated
-with two commands: @code{\override} extends the definition of a grob
-with one setting, and @code{\revert} releases this setting. This has
-a theoretical appeal: the operations are simple and symmetric. For
-practical use, it can be cumbersome. The commands act like
-parentheses: you should carefully balance the use of @code{\override}
-and @code{\revert}. The @code{\set} command is more friendly: it
-first does a @code{\revert} followed by @code{\override}.
-
@separate
Brahms uses music notation is a slightly unorthodox way. Ties
@lilypondfile[verbatim]{brahms-tweaked.ly}
-@node An orchestral score
-@section An orchestral score
-
-@menu
-* The full score::
-* Extracting an individual part::
-@end menu
-
-
-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).
-
-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"}.
-
-@example
-% os-music.ly
-\header @{
- title = "Zo, goed lieverd?"
- subtitle = "How's, this babe?"
- composer = "JCN"
- opus = "1"
- piece = "Laid back"
-@}
-global = @{
- \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
-@}
-@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.
-
-
-@separate
-@example
-global = @{
- \time 2/4
- \skip 2*4 \bar "|."
-@}
-@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
- @}
-@}
-@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.
+@node An orchestral part
+@section An orchestral part
-@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.
+TODO:
-@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{,}''.
-
-@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.
-
-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}.
-
-@separate
-@example
- \notes \key bes \major
-@end example
-Since the horn is transposing, it is in a different key.
-
-@separate
-@example
- indent = 15 * \staffspace
- linewidth = 55 * \staffspace
-@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
-
-In orchestral scores it often happens that one instrument only has
-rests during one line of the score. @code{HaraKiriStaffContext} can
-be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staves -- so if the strings are the
-only instruments playing for a line, LilyPond will only print the string
-parts for that line of the score. This reduces the number of page turns
-(and the number of dead trees!) required in a score.
-
-@node Extracting an individual part
-@subsection Extracting an individual part
-
-The third file, @file{os-flute-2.ly} also reads the definitions of the
-first (@file{os-music.ly}), and defines the @code{\score} block for the
-second flute part.
-
-@example
-\include "os-music.ly"
-\include "paper16.ly"
-
-\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
- @}
-@}
-@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.
-
-@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.
-
-@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}).
+\markup, mmrest, transposing, cue notes, identifiers?.
@node Integrating text and music
If you want to include large examples into the text, it may be more
convenient to put the example in a separate file:
-\lilypondfile[printfilename]@{sammartini.ly@}
+\lilypondfile[printfilename]@{screech-boink.ly@}
The \texttt@{printfilename@} option adds the file name to the output.
$ lilypond-book --outdir=out/ lilbook.tex
lilypond-book (GNU LilyPond) 1.7.16
Reading `input/tutorial/lilbook.tex'
-Reading `input/tutorial/sammartini.ly'
+Reading `input/screech-boink6.ly'
@var{lots of stuff deleted}
Writing `out/lilbook.latex'
$ cd out
If you include large examples into the text, it may be more convenient
to put the example in a separate file:
-@lilypondfile[printfilename]{sammartini.ly}
+@lilypondfile[printfilename]{screech-boink.ly}
The @code{printfilename} option adds the file name to the output.
projects / lilypond.git / blobdiff