+@c -*-texinfo-*-
-@chapter Tutorial
-
+@c TODO: LilyPond Lilypond lilypond
-@node Tutorial, , , Top
-@menu
-* Introduction:: Introduction
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* end of tutorial:: The end
-@end menu
-
-@node Introduction, , , Tutorial
-@section Introduction
+@node Tutorial
+@chapter Tutorial
LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-document is a gentle introduction to that language, which is called
-Mudela, an acronym of Music Definition Language.
+You have to give that specification using a textual @emph{language}.
+This chapter is a gentle introduction to that language.
-This tutorial will demonstrate how to use Mudela by presenting
+This tutorial will demonstrate how to use Lilypond by presenting
examples of input along with resulting output. We will use English
terms for notation. In case you are not familiar with those, you may
consult the glossary that is distributed with LilyPond.
+@cindex examples, tutorial
+
The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}. It is recommended that you
-experiment with writing Mudela input yourself, to get a feel for
-how LilyPond behaves.
+subdirectory @file{input/tutorial/}@footnote{When we refer
+to filenames, they are relative to the top directory of the source
+package. In binary installations you should look in your doc section,
+eg, @code{/usr/share/doc/lilypond1.3/examples/input/tutorial}
+@cindex file names
+}. We recommend that you experiment with writing Lilypond input
+yourself, to get a feel for how the program behaves.
+
+@menu
+* Running LilyPond:: Getting started
+* The first tune:: The first tune
+* Lyrics and chords:: Lyrics and chords
+* More movements ::
+* A piano excerpt:: Piano music
+* An orchestral score::
+* Other ways to run LilyPond::
+* Integrating text and music::
+* end of tutorial:: The end
+@end menu
+
+
+@node Running LilyPond
+@section Running LilyPond
+
+Before we dive into describing the input language of LilyPond, we first
+show you through the procedure for getting notes on your screen and out
+of your printer.
+
+The first step is creating an input file. Using your favorite
+text-editor, create @file{test.ly} containing
+
+@ignore
+
+NOTE: if you're reading this, ie, the Texinfo source itself, test.ly
+should of course contain:
+
+ \score{
+ \notes { c'4 e' g' }
+ }
+
+@end ignore
+
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
+
+@unnumberedsubsec Unix
+@cindex Unix, Running lilypond on
+@cindex ly2dvi
+
+On unix, you invoke ly2dvi to compile your lilypond source file (you can
+omit the @code{.ly}):
-@node The first tune, , , Tutorial
+@example
+ly2dvi -P test
+@end example
+
+You will see the following on your screen:
+
+@example
+GNU LilyPond 1.3.145
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+Preprocessing elements...
+Calculating column positions... [2]
+paper output to test.tex...
+
+Analyzing test.tex...
+Running LaTeX...
+Running dvips...
+PS output to test.ps...
+DVI output to test.dvi...
+@end example
+
+The results of the ly2dvi run are a ``DeVice Independent'' file
+(@file{test.dvi}) and a PostScript file (@file{test.ps}).
+
+@cindex DVI file
+
+@cindex Viewing music
+@cindex xdvi
+@cindex .dvi
+
+To view the @code{test.dvi} output, run Xdvi (you may omit the
+@code{.dvi}):
+
+@example
+xdvi test
+@end example
+
+You should see the following in a window next to some buttons.
+@lilypond
+\score {
+ \notes { c'4 e' g' }
+}
+@end lilypond
+
+When you're satisfied with the result, you can print the
+PostScript file:
+
+@example
+lpr test.ps
+@end example
+If this does not make your printer produce a page of music, you should
+look into installing and configuring ghostscript. Refer to
+GhostScript's website at @uref{http://www.ghostscript.com}.
+@cindex GhostScript
+@cindex @code{lpr}
+@cindex Printing output
+
+@cindex PostScript
+@cindex .ps
+
+@unnumberedsubsec Windows
+
+@strong{[TODO]}
+
+* setting of env vars (TFMFONTS,MFINPUTS,TEXINPUTS)
+
+* dvi viewer doesn't display postscript
+
+
+@node The first tune
@section The first tune
To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
-
-@mudela[verbatim]
-% lines preceded by a percent are comments.
+full-fledged, yet simple example. It is a convoluted version
+of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
+is included in the distribution as @file{menuet.ly}.
+@cindex Bach, Johann Sebastian
+
+@lilypond[verbatim]
+% all text after a percent sign is a comment
+% and is ignored by Lilypond
\include "paper16.ly"
\score {
\notes
- \relative c'' \sequential{
- \time 3/4;
- \key g;
+ \relative c'' \sequential {
+ \time 3/4
+ \key g \major
\repeat "volta" 2 {
d4 g,8 a b c d4 g, g |
e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
+ c4 d8( )c b a( )b4 c8 b a g |
a4 [b8 a] [g fis] g2. |
}
g4 fis e |
fis a, r8 cis8
d2.-\fermata
- \bar "|.";
+ \bar "|."
}
\paper {
% standard settings are too wide for a book
- linewidth = 14.0 \cm;
+ linewidth = 14.0 \cm
}
}
-@end mudela
+@end lilypond
-Enter it (or copy it, the filename is @file{menuet.ly}), compile it
-with LilyPond and view the output. Details of this procedure may vary
-from system to system. To create the output, one would issue the
-command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
-the job of running LilyPond and TeX, handling of titles and
-adjusting of page margins.
-
-If all goes well, the file @file{menuet.dvi} will be created.
-To view this output, issue the command `@code{xdvi menuet}'.
-
-Now that we are familiar with the procedure of producing output, we
-will analyse the input, line by line.
-@ignore
-Let's try to redo this
+We will analyse the input, line by line.
+@separate
@example
-
- % lines preceded by a percent are comments.
-
-@end example
-The percent sign, `@code{%}', introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by `@code{%@{}' and `@code{%@}}'
-@end ignore
-@multitable @columnfractions .60 .39
-@item
-@noindent
-@c @example urg: no tt font
-@c @exdent % lines preceded by a percent are comments.
-@exdent @code{% lines preceded by a percent are comments.}
-@c @end example
-@tab
-The percent sign, `@code{%}', introduces a line comment. If you
-want to make larger comments, you can use block comments. These
-are delimited by `@code{%@{}' and `@code{%@}}'
-@end multitable
+ % all text after a percent sign is a comment
+ % and is ignored by Lilypond
+@end example
+The percent sign, @code{%}, introduces a line comment. You can also
+comment out a block of several lines, by enclosing them in
+@code{%@{} and @code{%@}}.
+@cindex comment
+@cindex block comment
+@cindex line comment
+@separate
@example
- \input "paper16.ly"
+ \include "paper16.ly"
-@end example
-By default, LilyPond will use definitions for a 20
-point@footnote{A point is the standard measure of length for
-printing. One point is 1/72.27 inch.} high staff. We want smaller
-output (16 point staff height), so we must import the settings for
-that size, which is done.@example
+@end example
+@cindex @code{\include}
+@cindex point, printer's
+@cindex staff size setting
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 point@footnote{A point is the standard measure of length for
+printing; one point is 1/72.27 inch.} high. We want smaller
+output (16 point staff height), so we must import the settings for that
+size, which is done here.
+@separate
+@example
\score @{
@end example
- A mudela file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
+Music is printed by combining a piece of music with directions for
+outputting it. This combination is formed in the @code{\score} block.
+@separate
@example
\notes
@end example
- This makes LilyPond ready for accepting notes.
+Prepare LilyPond for accepting notes.
+@cindex octaves, choosing
+@cindex pitch
+@separate
@example
\relative c''
-@end example
- As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
-`@code{,}'). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
+@end example
+@cindex relative
+As we will see, each note is described by its note name, duration,
+octave and possibly a chromatic alteration. In this setup, the octave
+is indicated by using high quotes (@code{'}) and ``lowered quotes''
+(commas: @code{,}). The central C is denoted by @code{c'}. The C one
+octave higher is @code{c''}. One and two octaves below the central C is
denoted by @code{c} and @code{c,} respectively.
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.@example
+Even though a piece of music often spans a range of several octaves, it
+mostly moves in small intervals. LilyPond has a special entry mode to
+save typing in this situation. In this ``relative'' octave mode,
+octaves of notes without quotes are chosen such that a note is as close
+as possible (graphically, on the staff) to the preceding note. If you
+add a high-quote an extra octave is added. A lowered quote (a comma)
+will subtract an extra octave.
+
+Because the first note has no predecessor,
+you have to give the (absolute) pitch of the note to start with.
+@separate
+@example
\sequential @{
@end example
- What follows is sequential music, i.e.,
-notes that are to be played and printed after each other.@example
+What follows is sequential music, i.e.,
+@cindex sequential music
+notes that are to be played and printed after each other.
+@separate
+@example
- \time 3/4;
+ \time 3/4
-@end example
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.@example
+@end example
+@cindex time signature, setting
+@cindex @code{\time}
+Set (or change) the time signature of the current piece: a 3/4 sign is
+printed. The time signature setting is also used to generate bar lines
+at the right spots.
+@separate
+@example
- \key g;
+ \key g \major
-@end example
- This command changes the current key to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions. @example
+@end example
+@cindex key signature, setting
+@cindex @code{\key}
+Set (or change) the current key signature to G-major. Although in this
+example, the @code{\key} command happened to be entered after the
+@code{\time} command, in the output the time signature will be printed
+after the key signature; LilyPond knows about music typesetting
+conventions.
+@separate
+@example
\repeat "volta" 2
@end example
- This command tells LilyPond that the following piece of music must
-be played twice; @code{"volta"} volta brackets should be used for
-alternatives---if there were any.
+The following piece of music is played twice. The first argument
+indicates the type of repeat. In this case, @code{"volta"} means that
+prima volta/secunda volta brackets are used for the alternative
+endings---if there were any.
+@separate
@example
@{
@end example
The subject of the repeat is again sequential music. Since
@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same. @example
+just leave off @code{\sequential}, and the result is the same.
+@separate
+@example
- d4
+ d4 g,8
@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note). @example
+Two notes. The first note is a quarter note with relative pitch
+@code{d}. The relative music was started with a @code{c''}, so the real
+pitch of this note is @code{d''}. The duration of a note is designated
+by a number; the @code{4} here represents a quarter note.
+
+The second note is an eight note with relative pitch @code{g,}. The
+pitch is taken relative to the previous @code{d''}, making this
+note have real pitch @code{g'}. The @code{8} represents an eight note.
+@separate
+@example
a b
@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, eg. @code{a4 b4}) @example
+Two more notes, with pitch @code{a} and @code{b}. Because their
+duration is the same as the @code{g,8}, there is no need to enter the
+duration, but you may enter it anyway, i.e., @code{a4 b4}
+@separate
+@example
d4 g, g |
-@end example
- Three more notes. The `@code{|}' character is a `barcheck'. When
-processing the music, LilyPond will verify that barchecks are found at
-the start of a measure. This can help you track down errors.
-
- So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Mudela by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
+@end example
+@cindex bar check
+@cindex @code{|}
+@cindex errors, finding
+Three more notes. The @code{|} character is a ``bar check''. LilyPond
+will verify that bar checks are found at the start of a measure. This can
+help you track down typing errors.
+
+@cindex alteration, chromatic
+@cindex chromatic alteration
+@separate
@example
c8 d e fis
-
+
@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
+So far, no notes were chromatically altered. Here is the first one that
+is: @code{fis}. Lilypond by default uses Dutch@footnote{Note names are
+available in several languages, but we find the Dutch names quite
+convenient.} note names, and ``Fis'' is the Dutch note name for ``F
+sharp''. However, there is no sharp sign in the output. The program
+keeps track of key signatures, and will only print accidentals if they
+are needed.
+
+For groups of eighth notes and shorter, LilyPond can determine how the
+notes should form a beam. In this case, the 4 eights are automatically
+printed as a beam.
+@separate
@example
c4 d8( )c b a( )b4 c8 b a g |
@end example
- The next line shows how to make a slur:
-the beginning and ending note of the slur is marked with an opening and
-closing parenthesis respectively. In the line shown above this is
-done for two slurs. Slur markers (parentheses) are between
-the notes.@example
+The beginning and ending notes of a slur are marked with parentheses,
+@code{(} and @code{)} for start and end respectively. The line above
+indicates two slurs. These slur markers (parentheses) are entered
+between the slurred notes.
+@separate
+@example
a4 [b8 a] [g fis]
@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around notes you want beamed.@example
+Automatic beaming can be overridden by inserting beam marks, @code{[}
+and @code{]}. These beam markers (brackets) are put around the notes
+you want beamed.
+@separate
+@example
g2. |
-@end example
-A duration with augmentation dot is notated
-with the duration number followed by a period.@example
+@end example
+@cindex augmentation dot
+@cindex dot
+A period adds an augmentation dot to the note.
+@separate
+@example
@}
@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar. @example
+The end of the sequential music to be repeated. LilyPond will typeset a
+repeat bar.
+@separate
+@example
cis'4 b8 cis a4 |
@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp will be printed with an accidental, the
-second one without. @example
+Accidentals are printed whenever necessary: the first C sharp of the bar
+will be printed with an accidental, the second one without.
+@separate
+@example
a8-. b-. cis-. d-. e-. fis-.
-@end example
-You can enter articulation signs either in a verbose form using a
+@end example
+@cindex articulation
+You can enter articulation signs either in a verbose form or using a
shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the the character for the articulation to use, e.g. `@code{-.}' for
-staccato as shown above. @example
+and the character for the articulation to use, e.g. @code{-.} for
+staccato as shown above.
+@separate
+@example
fis a, r8 cis8
@end example
-Rests are denoted by the special notename `@code{r}'. You can also enter
-an invisible rest by using the special notename `@code{s}'.
+Rests are denoted by the special notename @code{r}.
+@separate
@example
d2.-\fermata
@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command `@code{\fermata}' is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an @emph{identifier}. @example
-
+All articulations have a verbose form, like @code{\fermata}. The
+command @code{\fermata} is not part of the core of the language, but it
+is a shorthand for a more complicated description of a fermata symbol.
+@code{\fermata} names that description and is therefore called an
+identifier.
+@cindex identifier
+@cindex @code{\fermata}
+@separate
+@example
+ \bar "|."
@}
-
@end example
-
-Here the music ends.
+Here the music ends. LilyPond does not automatically typeset and end
+bar, we must explicitely request one, using @code{"|."}.
+
+@separate
@example
\paper @{
- linewidth = 14.0\cm;
+ linewidth = 14.0\cm
@}
@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 6 inches).
+The @code{\paper} block specifies how entered music should be converted
+to notation output. Most of the details of the conversion (font sizes,
+dimensions, etc.) have been taken care of, but to fit the output in this
+document, it has to be narrower. We do this by setting the line width
+to 14 centimeters (approximately 5.5 inches).
+@separate
@example
@}
@end example
The last brace ends the @code{\score} block.
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Therefore Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
-
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
-
-@node Lyrics and chords, , , Tutorial
+
+
+
+@node Lyrics and chords
@section Lyrics and chords
-In this section we show how to typeset a song of unknown
-origin.@footnote{The author would welcome information about the origin
-of this song.}.
+In this section we show how to typeset a song. This file is
+included as @file{flowing.ly}.
@example
\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
@}
\include "paper16.ly"
melody = \notes \relative c' @{
- \partial 8;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
@}
text = \lyrics @{
accompaniment =\chords @{
r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min @}
+ c2:3- f:3-.7 d:min es4 c8:min r8
+ c2:min f:min7 g:7^3.5 c:min @}
\score @{
\simultaneous @{
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
\context Staff = mel @{
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
+ \property Staff.noAutoBeaming = ##t
+ \property Staff.automaticMelismata = ##t
\melody
@}
\context Lyrics \text
@}
- \midi @{ @}
- \paper @{ linewidth = 10.0\cm; @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
@}
@end example
-The result would look this@footnote{The titling and font size shown
+The result would look this.@footnote{The titling and font size shown
may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
+@code{ly2dvi}.}
@center @strong{The river is flowing}
@center Traditional
-@mudela[center]
+@lilypond[center]
\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
}
\include "paper16.ly"
melody = \notes \relative c' {
- \partial 8;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
}
text = \lyrics {
accompaniment =\chords {
r8
- c2-3- f-3-.7 d-min es4 c8-min r8
- c2-min f-min7 g-7^3.5 c-min }
+ c2:3- f:3-.7 d:min es4 c8:min r8
+ c2:min f:min7 g:7^3.5 c:min }
\score {
\simultaneous {
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
\context Staff = mel {
- \property Staff.noAutoBeaming = "1"
- \property Staff.automaticMelismata = "1"
+ \property Staff.noAutoBeaming = ##t
+ \property Staff.automaticMelismata = ##t
\melody
}
\context Lyrics \text
}
- \midi { }
- \paper { linewidth = 10.0\cm; }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
-@end mudela
+@end lilypond
-Again, we will dissect the file line by line.@example
+Again, we will dissect the file line by line.
+@separate
+@example
\header @{
-@end example
+@end example
+@cindex @code{\header}
Information about the music you are about to typeset goes into a
@code{\header} block. The information in this block is not used by
-LilyPond, but it is included in the output. @file{ly2dvi} uses this
+LilyPond, but it is passed into the output. @file{ly2dvi} uses this
information to print titles above the music.
+@separate
@example
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign `@code{=}'. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. The
-assignment is finished with a semicolon.@example
+ title = "The river is flowing"
+ composer = "Traditional (?)"
+@end example
+@cindex assignments
+@cindex identifier assignment
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. Lexically, both the variable name and the
+assigned value are strings. The values have to be quoted here, because
+they contain spaces, the variable names could also be put within quotes
+but it is not necessary.
+@separate
+@example
\include "paper16.ly"
-@end example
-Smaller size for inclusion in a book.@example
+@end example
+Smaller size for inclusion in a book.
+@separate
+@example
melody = \notes \relative c' @{
give names to the different parts of music, and use the names to
construct the music within the score block.
+@separate
@example
-
- \partial 8;
-
+ \partial 8
@end example
-The piece starts with an anacrusis of one eighth. @example
+@cindex @code{\partial}
+@cindex anacrusis
+The piece starts with an anacrusis of one eighth.
+@separate
+@example
+ \key c \minor
+@end example
+The key is C minor: we have three flats.
+
+@separate
+@example
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
@end example
-We use explicit beaming. Since this is a song, we will turn automatic
-beams off, and use explicit beaming where needed.@example
+
+@cindex manual beaming
+@cindex automatic beaming, turning off
+We use explicit beaming. Since this is a song, we turn automatic
+beams off, and use explicit beaming where needed.
+@separate
+@example
@}
@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.@example
+This ends the definition of @code{melody}.
+
+@separate
+@example
text = \lyrics @{
-@end example
+@end example
+@cindex lyrics
+@cindex identifier assignment
+@cindex syllables, entering
Another identifier assignment. This one is for the lyrics.
Lyrics are formed by syllables that have duration, and not by
notes. To make LilyPond parse words as syllables, switch it into
lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}. @example
+is a shorthand for @code{\sequential @{}.
+@separate
+@example
- The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
- @}
+ The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
+ ri- ver is flo- __ wing down to the sea.
+@}
-@end example
+@end example
+@cindex extenders, lyric
+@cindex hyphens, lyric
The syllables themselves are separated by spaces. You can get syllable
-extenders by entering `@code{__}', and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
+extenders by entering @code{__}, and centered hyphens with
+@code{-}@code{-}. We enter the syllables as if they are all quarter notes
in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
+syllables to the music, which obviously isn't all quarter notes.
+@separate
@example
accompaniment =\chords @{
-@end example
-We'll put chords over the music. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
+@end example
+@cindex chords
+@cindex mode, chords
+We'll put chords over the music. To enter them, there is a special mode
+analogous to @code{\lyrics} and @code{\notes} mode, where you can give
+the names of the chords you want, instead of listing the notes
+comprising the chord.
+@separate
@example
r8
@end example
-There is no accompaniment during the anacrusis.@example
+There is no accompaniment during the anacrusis.
+@separate
+@example
- c2-3- f-3-.7
+ c2:3- f:3-.7
-@end example
+@end example
+
+@cindex tonic
+@cindex chord modifier
+@cindex modifier, chord
A chord is started by the tonic of the chord. The
first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.@example
+triad. Since a minor triad is wanted, @code{3-} is added to modify the
+third to be small. @code{7} modifies (adds) a seventh, which is small by
+default to create the @code{f a c es} chord. Multiple modifiers must be
+separated by dots.
+@separate
+@example
- d-min es4 c8-min r8
+ d:min es4 c8:min r8
-@end example
+@end example
+
Some modifiers have predefined names, eg. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.@example
+@code{3-}, so @code{d-min} is a minor @code{d} chord.
+@separate
+@example
- c2-min f-min7 g-7^3.5 c-min @}
+ c2:min f:min7 g:7^3.5 c:min @}
-@end example
+@end example
+@cindex named modifier
+
A named modifier @code{min} and a normal modifier @code{7} do not have
to be separated by a dot. Tones from a chord are removed with chord
subtractions. Subtractions are started with a caret, and they are
-also separated by dots. In this example, @code{g-7^3.5} produces a
-minor seventh. The brace ends the sequential music. @example
+also separated by dots. In this example, @code{g:7^3.5} produces a
+minor seventh. The brace ends the sequential music.
+@separate
+@example
\score @{
\simultaneous @{
@end example
We assemble the music in the @code{\score} block. Melody, lyrics and
accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.@example
+@code{\simultaneous}.
+@cindex @code{\simultaneous}
+@separate
+@example
%\accompaniment
Chord mode generates notes grouped in @code{\simultaneous} music. If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
-staff. @example
+staff. To print them as chords names, they have to be interpreted as
+being chords, not notes. This is done with the following command:
+@separate
+@example
\context ChordNames \accompaniment
-@end example
+@end example
+@cindex context
+@cindex interpretation context
+@cindex notation context
+
+
Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
+Note heads alone make no sense, they need surrounding information: a key
+signature, a clef, staff lines, etc. They need @emph{context}. In
LilyPond, these symbols are created by objects called `interpretation
-context'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation context'.
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist during a run of LilyPond.
-By default, LilyPond will create a Staff contexts for you. If you
-would remove the @code{%} sign in the previous line, you can see that
+By default, LilyPond will create a Staff context for you. If you would
+remove the @code{%} sign in the previous line, you would see that
mechanism in action.
-We don't want default contexts here, because we want names, not note
-heads. An interpretation context can also created upon explicit
-request. The keyword for such a request is @code{\context}. It takes
-two arguments. The first is the name of a interpretation context.
-The name is a string, it can be quoted with double quotes). The
-second argument is the music that should be interpreted in this
-context. For the previous line, we could have written @code{\context
-Staff \accompaniment}, and get the same effect.@example
+We don't want that default here, because we want chord names. The
+command above explicitly creates an interpretation context of
+@code{ChordNames} type to interpret the music @code{\accompaniment}.
+@separate
+@example
\addlyrics
-@end example
-The lyrics need to be aligned with the melody. This is done by
+@end example
+@cindex @code{\addlyrics}
+@cindex lyrics and melody, combining
+@cindex combining lyrics and melody
+
+The lyrics should be aligned with the melody. This is done by
combining both with @code{\addlyrics}. @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)@example
+aligned on the lyrics, which is not very useful, and looks
+silly.
+@separate
+@example
\context Staff = mel @{
-@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.@example
+@end example
+
+The second argument of @code{\addlyrics} is the melody. We instantiate
+a @code{Staff} context explicitly: should you choose to remove the
+comment before the ``note heads'' version of the accompaniment, the
+accompaniment will be on a nameless staff. The melody has to be on
+staff different from the accompaniment. This is accomplished by giving
+the melody and accompaniment staffs different names.
+@separate
+@example
- \property Staff.noAutoBeaming = "1"
+ \property Staff.noAutoBeaming = ##t
-@end example
-An interpretation context has variables that tune its behaviour. One
-of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
-true) LilyPond will not try to put automatic beaming on the current
-staff.@example
+@end example
+@cindex \property
+@cindex context variables
+@cindex setting context variables
+An interpretation context has variables, called properties, that tune
+its behaviour. One of the variables is @code{noAutoBeaming}. Setting
+this Staff's property to @code{##t}, which is the boolean value @var{true},
+turns the automatic beaming mechanism off for the current staff.
+@cindex GUILE
+@cindex Scheme
+@cindex accessing Scheme
+@cindex evaluating Scheme
+@cindex LISP
+
+LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
+language from the LISP family. You can learn more about Scheme at
+@uref{http://www.scheme.org}. It is used to represent data throughout
+the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
+code following the hash-sign is evaluated as Scheme. The boolean value
+@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
+@code{##t}.
+
+If Scheme scares you, don't worry. You don't need to know Scheme to
+create beautiful sheet music.
+
+
+
+@separate
+@example
- \property Staff.automaticMelismata = "1"
+ \property Staff.automaticMelismata = ##t
-@end example
+@end example
+@cindex automaticMelismata
+@cindex melismata
+@cindex @code{\addlyrics} and slurs
Similarly, we don't want to print a syllable when there is
-a slur. This sets up the Staff context to signal slurs while
-@code{\addlyrics} is processed. @example
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
+@separate
+@example
\melody
@}
Finally, we put the melody on the current staff. Note that the
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
-processed. @example
+processed.
+@separate
+@example
\context Lyrics \text
The second argument of @code{\addlyrics} is the text. The text also
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc. This context is called
-Lyrics.@example
-
- @}
-
-@end example
-This ends @code{\simultaneous}.@example
+Lyrics.
+@separate
+@example
- \midi @{ @}
+ \midi @{ \tempo 4=72@}
@end example
-This makes the music go to a MIDI file. MIDI is great for
-checking music you enter. You listen to the MIDI file: if you hear
-something unexpected, it's probably a typing error. @code{\midi} is an
-`output definition', a declaration that specifies how to output music
-analogous to @code{\paper @{ @}}.@example
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and recording digital instruments. So a MIDI file is like a
+tape recording of an instrument. The @code{\midi} block causes makes the
+music go to a MIDI file, so you can listen to the music you entered. It
+is great for checking the music. Whenever you hear something weird, you
+probably hear a typing error.
+
+Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
+also specifies an output method. You can specify the tempo using the
+@code{\tempo} command, in this case the tempo of quarter notes is set to
+72 beats per minute.
+@separate
+@example
- \paper @{ linewidth = 10.0\cm; @}
+ \paper @{ linewidth = 10.0\cm @}
@end example
We also want notation output. The linewidth is short so the piece
-will be set in two lines. @example
+will be set in two lines.
- @}
-
+@node More movements
+@section More movements
+
+[FIXME: merge here with, or move this to: Other ways to run LilyPond]
+
+You probably ran @file{ly2dvi} on the last example, and ended up with a
+viewable @file{.dvi} file. However, between there are a few steps of
+which LilyPond is only one. To enhance your understanding of what's
+happening under the hood when you run @code{ly2dvi}, we explain what
+programs are run.
+
+@code{ly2dvi} is a program that calls a number of programs in sequence.
+The first thing it does, is running LilyPond on the input file. After
+some calculations, a @file{.tex} is produced. The contents
+of this file are very low-level instructions.
+
+For example, the following file (@file{miniatures.ly})
+
+@example
+\version "1.3.124"
+\header @{ title = "Two miniatures" @}
+
+#(set! point-and-click line-column-location)
+
+\paper @{ linewidth = -1.0 @}
+
+\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
+
+The titling in this manual was not generated by ly2dvi, so we can't
+exactly show it would look, but the result should resemble this:
+
+@center @strong{Two miniatures}
+@flushright
+Opus 1.
+@end flushright
+@flushleft
+@var{Up}
+@end flushleft
+@lilypond
+ \score {
+ \notes { c'4 d'4 }
+ \paper { linewidth = -1.0 }
+ }
+@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
+
+This file is produced by ly2dvi in a few stages, with the help of text
+formatting tools. LilyPond produces two output files, @file{miniatures.tex}
+and @file{miniatures-1.tex}. They both look like this:
+
+@example
+ ...
+ \placebox@{-5 \outputscale @}%
+ @{ 8.7229 \outputscale @}%
+ @{\magfontWXGEomMMBo\char90 @}%
+
+ \placebox@{-4 \outputscale @}%
+ @{ 81.0647 \outputscale @}%
+ ...
+@end example
+
+@file{ly2dvi} looks at what output LilyPond produces, and generates a
+file called @file{ly2dvi.out.tex}. This file contains formatting
+instructions for the title and page layout. A fragment might look like
+
+@example
+
+ \def\lilypondopus@{Opus 1.@}
+ \def\lilypondpiece@{Up@}
+ \def\mustmakelilypondtitle@{@}
+ \input miniatures.tex
+ \def\lilypondtitle@{Two miniatures@}
+
+@end example
+
+@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
+built on top of @TeX{}. It's very popular in the academic world. If LaTeX
+is successful, this will produce a @file{.dvi} file, containing both the
+titling and the actual music. @code{ly2dvi} completes its task by
+deleting the two temporary files, leaving only @file{miniatures.dvi}.
+
+Next, now we'll look at the example line by line to explain new things.
+
+@separate
+@example
+\version "1.3.124"
@end example
-End the score block.
+Lilypond and its language are still under development, and occasionally,
+details of the syntax are changed. This fragment indicates for which
+version the input file was written. When you compile this file, the
+version number will be checked, and you will get a warning when the file
+is too old.
+
+This version number is also used by the @code{convert-ly} program (See
+@ref{convert-ly}), which uses it to update the file to the latest lily
+version.
+
+@separate
+@example
+ \header @{ title = "Two miniatures" @}
+@end example
+This sets the titling information for the entire file.
+
+@separate
+@example
+ #(set! point-and-click line-column-location)
+@end example
+
+This piece of Scheme code sets the Scheme variable
+@code{point-and-click} to the value @var{line-column-location} (which
+itself is a Scheme procedure).
+
+Editing input files can be quite complicated if you're working with
+large files: if you're 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}.
+
+@separate
+@example
+ \paper @{
+@end example
+
+The @code{\score} blocks that follow in the file don't have
+@code{\paper} sections, so the settings of this block are substituted: A
+paper block, at top-level, i.e. not in a @code{\score} block sets the
+default page layout.
+
+@separate
+@example
+ linewidth = -1.0 @}
+@end example
+
+
+
+The variable @code{linewidth} normally sets the length of the systems on
+the page. However, a negative value has a special meaning. If
+@code{linewidth} is less than 0, no line breaks are inserted into the
+score, and the spacing is set to natural length: a short phrase takes up
+little space, a longer phrase more space.
+
+@separate
+@example
+ \score @{
+ \notes @{ c'4 d'4 @}
+@end example
+
+In previous examples, notes were specified in relative octaves,
+i.e. each note was put in the octave that would put it closest to its
+predecessor. Besides relative, there is also absolute octave
+specification, which you get when you don't specify @code{\relative}. In
+this input mode, the central C is denoted by @code{c'}. Going down, you
+get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
+@code{c'''} etc.
-@node Piano music, , , Tutorial
-@section Piano music
+When you're copying music from existing sheet music, relative octaves
+are probably the easiest to use: it's less typing work and errors are
+easily spotted. However, if you write LilyPond input, either by hand
+(ie. composing) or by computer, absolute octaves are probably less work.
-Our third subject is a piece piano music. The fragment in the input
+
+@separate
+@example
+ \header @{
+@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're making an exercise book), you can put different @code{\score}
+blocks into the input file. ly2dvi will assemble all LilyPond output
+files into a big document. The contents of \header blocks specified
+within each score, are used for the titling of each 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.
+
+
+
+@node A piano excerpt
+@section A piano excerpt
+
+Our fourth subject is a piece of piano music. The fragment in the input
file is a piano reduction of the G major Sinfonia by Giovanni Battista
-Sammartini. It was composed around 1740.
+Sammartini. It was composed around 1740. It's in the source package
+under the name @file{sammartini.ly}.
-@mudela[verbatim]
+@lilypond[verbatim]
+\include "paper16.ly"
-\include "paper16.ly";
+stemDown = \property Voice.Stem \override #'direction = #-1
+stemUp = \property Voice.Stem \override #'direction = #1
+stemBoth = \property Voice.Stem \revert #'direction
viola = \notes \relative c' \context Voice = viola {
- <c4-\f g' c>
- \property Voice.verticalDirection = \down g'8. b,16
- s1 s2. r4
- g
+ <c4-\f-\arpeggio g' c>
+ \stemDown g'8. b,16
+ s1 s2. r4
+ g
}
oboes = \notes \relative c'' \context Voice = oboe {
- \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemdown
- \grace {
- \property Grace.verticalDirection = \down
- [f,16 g] }
- f8 e e2
- } >
- \stemboth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
+ \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
+ \grace <e8( g> <d4 )f> <c2 e>
+ \times 2/3 { <d8 \< f> <e g> <f a> }
+ <
+ { \times 2/3 { a8 g c } \! c2 }
+ \context Voice = oboeTwo {
+ \stemDown
+ \grace {
+ \property Grace.Stem \override #'direction = #-1
+ [f,16 g] }
+ f8 e e2
+ }
+ >
+ \stemBoth
+ \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+ [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
+ [<c16( e> < )e8. g>] <c8 e,>
}
-hoomPah = \notes \transpose c' {
- c8 \translator Staff = top \stemdown
- c'8 \translator Staff = bottom \stemup }
-
-hoomPahHoomPah = { [\hoomPah \hoomPah] }
+hoomPah = \repeat unfold 8 \notes
+ \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
bassvoices = \notes \relative c' {
- c4 g8. b,16
- \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
- \stemdown [c8 c'8] r4
- <g d'> r4
- < {\stemup r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
+ c4 g8. b,16
+ \autochange Staff \hoomPah
+ \translator Staff = down
+ \stemDown [c8 c'8] r4
+ <g d'> r4
+ < {\stemUp r2 <e4 c'> <c8 g'> }
+ \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
}
\score {
- \context PianoStaff \notes <
- \context Staff = top < \time 2/2;
- \context Voice = viola \viola
- \oboes
- >
- \context Staff = bottom < \time 2/2; \clef bass;
- \bassvoices
- >
+ \context PianoStaff \notes <
+ \context Staff = up < \time 2/2
+ \viola
+ \oboes
>
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
+ \context Staff = down < \time 2/2 \clef bass
+ \bassvoices
+ >
+ >
+ \midi { }
+ \paper {
+ indent = 0.0
+ linewidth = 15.0 \cm }
}
-@end mudela
+@end lilypond
+
+If this looks like incomprehensible gibberish to you, you are right.
+This example has been doctored to have as many quirks as possible.
-If it looks like incomprehensible gibberish to you@dots{} Then you are
-right. The author has doctored this example to have as many quirks in
-one system as possible.@example
+As you can see, this example features multiple voices on one staff. To
+make room for those voices, their notes have to be stemmed in opposite
+directions.
+
+Printed symbols are internally represented by so-called Graphical
+Objects (more colloquially: Grobs). These statements concern the
+grob called `Stem'. Each grob is described by a bunch of settings. These
+setting determine the fonts, offsets, sub-routines to be called on the
+grob, etc. The initial values of these settings are set in the Scheme
+file @file{scm/grob-description.scm}.
+
+@separate
+@example
+ stemDown = \property Voice.Stem \override #'direction = #-1
+@end example
+
+Set a proprerty for all Stem grobs in the current Voice:
+@code{direction} is set to @code{-1}, which encodes down. The setting
+remains in effect until it is reverted.
+
+@separate
+@example
+ \property Voice.Stem \revert #'direction
+@end example
+
+Revert the to the previous setting. The effect of precisely one
+@code{\stemDown} or @code{\stemUp} is neutralised.
+
+
+LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
+with some other commonly used formatting instructions, but to explain how
+it works, we wrote our own here. Of course, you should use predefined
+identifiers like these if possible: then you will be affected less by
+the implementation changes we occasionally make.
+
+@separate
+@example
viola = \notes \relative c' \context Voice = viola @{
@end example
In this example, you can see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
stems and dynamics (among others). The name of this context is
@code{Voice}. For each part we have to make sure that there is
-precisely one Voice context@footnote{If @code{\context} would not
-have been specified explicitly, three @code{Voice} contexts would be
-created: one for each note in the first chord.}.@example
-<c4-\f g' c>
-@end example
-@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
-@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
-chord. @code{\f} places a forte symbol under the chord.@example
-\property Voice.verticalDirection = \down
-@end example
-@code{verticalDirection} is a property of the voice context. It
-controls the directions of stems, articulations marks and other
-symbols.
- If @code{verticalDirection} is set to @code{\down}
-(identifier for the integer -1) the stems go down,
-@code{\up} (identifier for the integer 1) makes the stems go up.@example
+precisely one @code{Voice} context, so we give it an unique name
+(`@code{viola}').
+
+@separate
+@example
+<c4-\f-\arpeggio g' c>
+@end example
+The delimiters @code{<} and @code{>} are shorthands for
+@code{\simultaneous @{} and @code{@}}. The expression enclosed in
+@code{<} and @code{>} is a chord.
+
+@cindex dynamics
+@cindex loudness
+@cindex forte
+@cindex arpeggio
+
+@code{\f} places a forte symbol under the chord. The forte applies to
+the whole chord, but the syntax requires that commands like forte and
+arpeggio are attached to a note, so here we attach them to the first
+note.
+
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
+the chord.
+
+@separate
+@example
+ \stemDown
+@end example
+
+
+@separate
+@example
g'8. b,16
@end example
Relative octaves work a little differently with chords. The starting
the @code{g} gets an octave up quote: it is a fifth above the starting
note of the previous chord (the central C).
+@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. @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 don't play. In this case, the viola doesn't come until one
+and a half measure later.
+
+@separate
+@example
oboes = \notes \relative c'' \context Voice = oboe @{
@end example
Now comes a part for two oboes. They play homophonically, so we
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
-@code{\context}.@example
-\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
-@end example
-@code{\stemup} is an identifier reference. It is shorthand for
-@code{\property Voice.verticalDirection = \up}. If possible, you
-should use predefined identifiers like these for setting properties.
-Your input will be less dependent upon the implementation of LilyPond.
+@code{\context}.
+@separate
@example
-\grace <e8( g> < )d4 f> <c2 e>
+\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
@end example
+@code{\stemUp} is a reference to the @code{\property \override} command
+defined above.
+@separate
+@example
+\grace <e8 g> < d4 f> <c2 e>
+@end example
+@cindex @code{\grace}
+@cindex ornaments
+@cindex grace notes
+
@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. The slur started on the @code{e} of the chord
+case a chord.
+
+@ignore
+The slur started on the @code{e} of the chord
will be attached to the next note.@footnote{LilyPond will squirm
about unended Slurs. In this case, you can ignore the warning}.
+@end ignore
+@separate
@example
\times 2/3
-@end example
+@end example
+@cindex tuplet
+@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
-second argument is multiplied by the first argument. Triplets make
-notes occupy 2/3 of their notated duration, so in this case the
-fraction is 2/3. @example
+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 in this case the fraction is 2/3.
+@separate
+@example
@{ <d8 \< f> <e g> <f a> @}
@end example
The piece of music to be `tripletted' is sequential music containing
-three notes. On the first chord (the @code{d}), a crescendo is started
-with @code{\<}.@example
+three notes. On the first chord, a crescendo is started with
+@code{\<}. To be precise, the crescendo start is syntactically attached
+to the preceding note, the @code{d}.
+
+@cindex dynamics
+@cindex crescendo
+@cindex @code{\<}
+
+@separate
+@example
<
@end example
At this point, the homophonic music splits into two rhythmically
different parts. We can't use a sequence of chords to enter this, so
we make a `chord' of sequences to do it. We start with the upper
-voice, which continues with upward stems: @example
+voice, which continues with upward stems:
+@separate
+@example
@{ \times 2/3 @{ a8 g c @} \! c2 @}
-@end example
+@end example
+
+@cindex @code{\!}
+
The crescendo is ended at the half note by the escaped exclamation
-mark `@code{\!}'. @example
+mark @code{\!}.
+@separate
+@example
\context Voice = oboeTwo @{
-\stemdown
+\stemDown
@end example
We can't share stems with the other voice, so we have to create a new
@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
-it from the other context. Stems go down in this voice. @example
+it from the other context. Stems go down in this voice.
+@separate
+@example
\grace @{
-@end example
+@end example
+@cindex Grace context
When a grace section is processed, a @code{Grace} context is
created. This context acts like a miniature score of its own. It has
its own time bookkeeping, and you can make notes, beams, slurs
-etc. Here fiddle with a property and make a beam. The argument of
-@code{\grace} is sequential music.@example
-\property Grace.verticalDirection = \down
-[f,16 g] @}
+etc. Here we fiddle with a property and make a beam. The argument of
+@code{\grace} is sequential music.
+
+@separate
+@example
+\property Grace.Stem \override #'direction = #-1
+[f,16 g] @}
@end example
+
Normally, grace notes are always stem up, but in this case, the upper
voice interferes. We set the stems down here.
As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
the @code{f}.
+@separate
@example
f8 e e2
@} >
@end example
-This ends the two-part section. @example
-\stemboth
+This ends the two-part section.
+@separate
+@example
+\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@code{\stemboth} ends the forced stem directions. From here, stems are
+@end example
+@cindex trill
+@cindex stemBoth
+
+@code{\stemBoth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.
The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use identifiers:@example
-hoomPah = \notes \transpose c' @{
-@end example
-Transposing can be done with @code{\transpose}. It takes two
-arguments; the first specifies what central C should be transposed to.
-The second is the to-be-transposed music. As you can see, in this
-case, the transposition is a no-op. Central C is transposed to
-central C.
-
-The purpose of this no-op is circumventing relative mode. Relative
-mode can not be used in conjunction with transposition, so relative
-mode will leave the contents of @code{\hoomPah} alone. We can use it
-without having to worry about getting the motive in a wrong
-octave@footnote{@code{hoomPah = \relative @dots{}} would be more
-intuitive to use, but that would not let me plug @code{\transpose}
-:-).}.@example
-c8 \translator Staff = top \stemdown
-@end example
-We assume that the first note will be put in the lower staff. After
-that note we switch to the upper staff with @code{\translator}. To be
-precise, this @code{\translator} entry switches the current voice to a
-@code{Staff} named @code{top}. So we have to name the upper staff
-`@code{top}'. Stem directions are set to avoid interfering with the
-oboe voices. @example
-c'8 \translator Staff = bottom \stemup @}
-@end example
-Then a note is put on the upper staff, and we switch again. We have
-to name the lower staff `@code{bottom}'. @example
-hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
-@end example
-Put two of these fragments in sequence, and beam them.@example
+between staffs. 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
+@example
+\notes \transpose c' @{
+@end example
+@cindex transposing
+@cindex relative mode and transposing
+
+Transposing can be done with @code{\transpose}. It takes two arguments
+the first specifies what central C should be transposed to. The second
+is the to-be-transposed music. As you can see, in this case, the
+transposition has no effect, as central C stays at central C.
+
+The purpose of this no-op is circumventing relative mode. Relative mode
+can not be used together with transposition, so @code{\relative} will
+leave the contents of @code{\hoomPah} alone. We can use it without
+having to worry about getting the motive in a wrong octave.
+@separate
+@example
bassvoices = \notes \relative c' @{
c4 g8. b,16
-\hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
-\hoomPahHoomPah
-@end example
-Entering the bass part is easy: the hoomPahHoomPah variable is
-referenced four times.@example
-\context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
-@end example
-After skipping some lines, we see @code{~}. This mark makes ties.@example
+\autochange Staff \hoomPah
+@end example
+@cindex staff switch, automatic
+@cindex cross staff voice, automatic
+@cindex @code{\autochange}
+
+Voices can switch between staffs. The easiest way to get this, is to use
+@code{\autochange}. This command looks at the pitch of each note, and if
+necessary, will cross to the other staff. For this to work, the two
+staffs must be called @code{"up"} and @code{"down"}.
+@separate
+@example
+ \translator Staff = down
+@end example
+@cindex staff switch
+@cindex cross staff voice
+We want the remaining part of this melody on the lower staff, so we do a
+manual staff switch here.
+
+
+@separate
+@example
+\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+@end example
+@cindex tie
+@cindex @code{~}
+After skipping some lines, we see @code{~}. This mark makes ties. Note
+that ties and slurs are different things. A tie can only connect two
+note heads of the same pitch, whereas a slur can connect many chords
+with one curve.
+
+@separate
+@example
\context PianoStaff
@end example
-For piano music, a special context is needed to get cross staff
-beaming right. It is called @code{PianoStaff}.@example
-\context Staff = bottom < \time 2/2; \clef bass;
+ A special context is needed to get cross staff beaming right. This
+context is called @code{PianoStaff}.
+@separate
+@example
+\context Staff = bottom < \time 2/2 \clef bass
@end example
-The bottom staff must have a different clef.@example
-indent = 0.0;
+The bottom staff must have a different clef.
+@separate
+@example
+indent = 0.0
@end example
To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks is very cramped, but that is due
-to the format of this tutorial.
+line is not indented. The line still looks very cramped, but that is due
+to the page layout of this document.
+
+
+@ignore
+[TODO:
+
+* font-size, multi-stanza.
+
+* Simple part combining in a Hymn
+@end ignore
-This example shows a lot of features, but the organisation isn't
-perfect. For example, it would be less confusing to use a chord
-containing sequential music than a sequence of chords for the oboe
+
+@node An orchestral score
+@section An orchestral score
+
+@menu
+* The full score::
+* Extracting an individual part::
+@end menu
+
+
+Our last two examples show a way to setup the music for an orchestral
+score. When typesetting a piece for several instruments, you'll want to
+create a conductor's full score, alongside several individual parts.
+
+LilyPond is well suited for this task. 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 the score.
+
+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 both for producing the score and the separate
parts.
-[TODO: demonstrate Hara-Kiri with scores and part extraction.]
+If you were to run lilypond on this file, no printable output would be
+produced.
+
+@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 go through the input line by line, but only indicate and
+explain the new elements.
+
+
+@separate
+@example
+global = @{
+ \time 2/4
+ \skip 2*4 \bar "|.";
+@}
+@end example
+
+Declare setting 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.
+
+@separate
+@example
+Key = \notes \key as \major
+@end example
+Declare the key signature of the piece and assign it to the identifier
+@var{Key}. Lateron, we'll use @code{\Key} for all staffs except those
+for transposing instruments.
+
+@node The full score
+@subsection The full score
+
+
+The second file, @file{os-score.ly} reads the definitions of the first
+(@file{os-music.ly}), and defines the @code{\score} block for the full
+conductor's score.
+
+
+@example
+% os-score.ly
+\include "os-music.ly"
+\include "paper13.ly"
+
+#(set! point-and-click line-column-location)
+#(define text-flat '((font-relative-size . -2)
+ (music "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 = #'(lines "Timpani" "(C-G)")
+ \property Staff.instr = #"Timp."
+ \clef bass
+ \Key
+ \timpani
+ >
+ >
+ \context StaffGroup = brass <
+ \context Staff = trombe <
+ \property Staff.midiInstrument = #"trumpet"
+ \property Staff.instrument = #`(lines "2 Trombe" "(C)")
+ \property Staff.instr = #`(lines "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 = #`(lines "Corno"
+ (rows "(E" ,text-flat ")"))
+ \property Staff.instr = #`(lines "Cor."
+ (rows "(E" ,text-flat ")"))
+ \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}.
+
+@separate
+@example
+#(set! point-and-click line-column-location)
+@end example
+In a large orchestral score like this you're bound to make some small
+mistakes, so we enable point and click (See @ref{Point and click})
+editing.
+
+@separate
+@example
+#(define text-flat '((font-relative-size . -2)
+ (music "accidentals--1")))
+@end example
+
+When naming the tuning of the french horn, we'll 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 sharp sign is called @code{accidentals-+1}). The default font is
+too big for text, so we select a relative size of @code{-2}.
+
+@separate
+@example
+ <
+ \global
+@end example
+Of course, all staffs 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.
+A bar number internally is a Grob called @var{BarNumber}. BarNumber
+Grobs can be manipulated through their @var{side-position-interface}. One
+of the properties of a @var{side-position-interface} that can be tweaked
+is the @var{padding}: the amount of extra space that is put between this
+Grob and other Grobs. We set the padding to three staff spaces.
+
+You can find all this kind of information in LilyPond's automatically
+generated documentation in
+@ifnottex
+@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
+@end ifnottex
+@iftex
+the online documentation.
+@end iftex
+
+@separate
+@example
+ \context StaffGroup = woodwind <
+ \context Staff = flauti <
+@end example
+A new notation context: the StaffGroup. StaffGroup can hold one or more
+Staffs, and will print a big bracket at the left of the score. Start 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, that 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
+And define the instrument names to be printed in the margin,
+@code{instrument} for the first line of the score, @code{instr} 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're still in
+simultaneous mode. We name both voices differently, so that LilyPond
+will actually 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 only shows 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's a new
+one: Thread. One or more Threads can be part of a Voice. The Thread
+takes care of note heads and rests, the 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're similar, and splits the threads up
+when they're different.
+
+@separate
+@example
+ \property Staff.instrument = #`(lines "Corno"
+ (rows "(E" ,text-flat ")"))
+@end example
+The french horn has the most complex scheme markup name, made up of two
+lines of text. The second line has two elements (rows), the @code{E}
+and the flat sign @code{text-flat} that we defined before.
+
+@separate
+@example
+ \property Staff.transposing = #3
+@end example
+The french horn is to be tuned in E-flat, so we tell the MIDI backend to
+transpose this staff by three steps.
+
+Note how we can choose different tuning for entering, printing and
+playing, using @code{\transpose} and the MIDI Staff proprerty
+@var{transposing}.
+
+@separate
+@example
+ \notes \key bes \major
+@end example
+Therefore, it has a different key.
+
+@separate
+@example
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+@end example
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
+
+@separate
+
+Usually, LilyPond's predefined setup of notation contexts (Thread,
+Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
+want a different type of Staff context.
+
+In orchestral scores, it often happens that one instrument has only
+rests during one line of the score. The @code{HaraKiriStaffContext} can
+be used as a regular @code{StaffContext} drop-in and will take care of
+the automatic removing of empty staffs.
+
+@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 from the music of
+the second flute. This then is the part for the second flute player.
+Of course, we make separate parts for all individual instruments.
+
+@separate
+@example
+ \flautoII
+@end example
+In this individual part the second flute has a whole staff for itself,
+so we don't 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 contract pieces of consecutive empty
+bars. LilyPond will do this if Score's @var{skipBars} property to
+true.
+
+
+@node Other ways to run LilyPond
+@section Other ways to run LilyPond
+
+Until now, you have been using @file{ly2dvi} to invoke LilyPond.
+There are three other routes. Firstly, there is a script called
+@code{lilypond-book}, that allows you to freely mix LilyPond input with
+Texinfo or LaTeX input. For example, this manual was written using
+@code{lilypond-book}. It is discussed in @ref{lilypond-book}.
+
+
+Secondly, you can generate PostScript directly. This is useful if you
+can not or do not want to run @TeX{} on your system. To obtain direct
+PostScript output, invoke LilyPond as follows:
+@cindex PostScript output
+@example
+lilypond -f ps test.ly
+@end example
+You have to set some environment variables to view or print this
+output. More information can be found in @ref{Invoking
+LilyPond}.
+
+
+Thirdly, if you want to do special things with your output, you can run
+invoke lilypond directly:
+@example
+lilypond test.ly
+@end example
+to produce plain @TeX{} output. Note that La@TeX{} will not work on the
+resulting @file{test.tex}. You must run plain @TeX{} on it.
+
+@cindex @TeX{}
+
+
+
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+Sometimes, you might want to use music examples in a text that you are
+writing. For example, if you are writing 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 wordprocessor.
+However, there is a also an automated procedure:
+
+If you use 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. lilypond-book is
+described fully in @ref{lilypond-book}, but here we show a small
+example. Since the example also contains explanatory text, we won't
+comment on the contents.
+
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+
+In a lilypond-book document, you can 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:
+
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+
+In the example you see here, a number of 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:
+
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ c'4 f bes es
+\end@{lilypond@}
+
+\texttt@{verbatim@} also shows the lilypond code, \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.
-@node end of tutorial, , , Tutorial
+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@}
+
+The \texttt@{printfilename@} option adds the file name to the output.
+
+\end@{document@}
+@end example
+
+Under Unix, you can view the results as follows.
+@example
+$ cd input/tutorial
+$ lilypond-book --outdir=out/ lilbook.tex
+lilypond-book (GNU LilyPond) 1.3.146
+Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
+Reading
+`/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
+@var{lots of stuff deleted}
+Writing `out/lilbook.latex'
+$ cd out
+$ latex lilbook.latex
+@var{lots of stuff deleted}
+$ xdvi lilbook
+@end example
+
+Notice the @code{outdir} option to lilypond-book. Running lilypond-book
+and running latex creates a lot of temporary files, and you wouldn't
+those to clutter up your working directory. Hence, we have them created
+in a separate subdirectory.
+
+The result more or less looks like this:
+
+@separate
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+@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 @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
+
+@lilypond
+ 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
+
+@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.
+
+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}
+
+The @code{printfilename} option adds the file name to the output.
+@node end of tutorial
@section The end
That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
+files, or you can read the reference manual. You can find more example
+files in @file{input} and @file{input/test}. You can also look at some
+real music. Have a look at the @uref{Mutopia project,
+http://www.mutopiaproject.org}.
+
+
+
+@ignore
+
+[TODO
+
+this should be on mutopia website.
+
+]
+
+
+@c waar deze info? is uiteindelijk wel handig, schat ik.
+[TODO: cut blabla]
+
+If you have a big music project, or just a lot of LilyPond input files,
+all generated output from LilyPond, @TeX{} and metafont will clutter
+your working directory. LilyPond comes with a one-size-fits-all
+pre-cooked makefile that helps you manage producing output. It will
+produce all output in the directory @file{out} , generate and track
+dependencies. Also, it helps in preparing your submission to @ref{Mutopia
+project}.
+
+@file{make/ly.make}
+@example
+mkdir my-project
+cd my-project
+cp /usr/share/lilypond/make/ly.make GNUmakefile
+cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
+make menuet
+[..]
+Generated out/menuet.ps for target menuet.
+@end example
+
+Type @samp{make help} to see possible targets.
+
+[TODO]
+@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
+
+
+
+
+
+[TODO: rewrite completely.]
+
+@menu
+* Songs with additional verses::
+@end menu
+
+
+So what does this look like? Well, here is an example:
+@li lypond[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+}
+@end lilypond
+If you are lucky, the above example show a nice feature of LilyPond
+and La@TeX{}. Since LilyPond can output the music as @TeX{} graphics,
+La@TeX{} can insert pagebreaks between the lines of music.
+
+Notice that there is no @code{\paper} statement in the example
+above. Lilypond-book will insert some code for you that defines the
+linewidth and the font to use. If you don't want to change the default,
+there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
+In the example above, something like this might be inserted before your code:
+@example
+\include "paper16.ly"
+\paper@{ \paper_sixteen
+ linewidth = 390.\pt
+@}
+@end example
+The actual values for linewidth will differ depending on papersize and
+number of columns. Also, if you use a different fontsize for the
+music, another file than @code{paper16.ly} should be included.
+
+If you want to make the music not so wide, you can insert a
+@code{\paper} statement to set the linewidth:
+
+@li lypond[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+ \paper{linewidth = 10.\cm }
+}
+@end lilypond
+
+Very often, if you mix music and text, the music is often only a
+few notes or at most a few bars. This music should be as short as
+possible and not stretched to be aligned to the right margin.
+
+If you only write voice-contents in the lilypond block, @command{lilypond-book}
+will set the @code{linewidth} variable to -1, so Lilypond
+will make the music as short as possible but without breaking the
+line. Here is a well know harmonic progression:
+@li lypond[veryverbatim, intertext="produce a well known harmonic progression:"]
+ \context Voice { <c' e g> <b d g> <c2 e g> }
+@end lilypond
+
+If you want to place music examples in the text,
+@li lypond[eps]
+ \context Voice { <c' e g> <b d g> <c2 e g> }
+@end lilypond
+, you can use the @code{eps} option. This will create the music as
+eps graphics and include it into the document with the
+@code{\includegraphics} command.
+
+The code used look like this:
+@example
+@@li lypond[eps]
+ \context Voice @{ <c' e g> <b d g> <c2 e g> @}
+@@end lilypond
+@end example
+
+You can also use the @code{eps} option if the block is a complete
+lilypond source. This 5 cm long empty line,
+@li lypond[eps]
+\score{
+ \notes{s}
+ \paper{ linewidth = 5.\cm }
+}
+@end lilypond
+was created with this code:
+@example
+@@li lypond[eps]
+\score@{
+ \notes@{s@}
+ \paper@{ linewidth = 5.\cm@}
+@}
+@@end lilypond
+@end example
+
+To avoid that La@TeX{} places the music on a line of its one, there should
+be no empty lines between the normal text and the lilypond
+environment.
+
+You can also use @code{lilypondfile}, to include another file:
+@example
+ @@li lypondfile[printfilename]@{foo.ly@}
+@end example
+
+@subsection Fontsize options
+
+You can use all lilypond fontsizes in @command{lilypond-book}. The
+default 16pt fontsize is probably to big to be included in the middle of
+the text, 11pt or 13pt is probably better.
+
+The code can look like this:
+@example
+@@li lypond[13pt, eps]
+<c' e g>
+@@end lilypond
+@end example
+
+The following options set the fontsize:
+@itemize
+@item @code{11pt}
+@li lypond[11pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end lilypond
+@item @code{13pt}
+@li lypond[13pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end lilypond
+@item @code{16pt}
+@li lypond[16pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end lilypond
+@item @code{20pt}
+@li lypond[20pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end lilypond
+@item @code{26pt}
+@li lypond[26pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ }
+@end lilypond
+@end itemize
+
+
+@subsection More options
+
+@itemize
+@item The @code{singleline} option sets @code{linewidth} to -1.0.
+@item The @code{multiline} option sets @code{linewidth} to a value letting
+the music be aligned to the right margin. The music can span several
+lines.
+@end itemize
+
+@subsection Just in case...
+The options @code{fragment} and @code{nofragment} will override
+@command{lilypond-book} when it scans the lilypond code to see if it is voice
+contents or complete code. This might be useful if @command{lilypond-book} choose
+wrong.
+
+Since there is no finder's fee which doubles every year, there is no
+need to wait for the price money to grow. So send a bug report today
+if you need this one of these options.
+
+@subsection Examples
+
+This was all options to @code{\begin}. The rest of the lilypond
+document will show some ways you can use lilypond in
+La@TeX{} documents. It will also act as a simple test-suite for
+lilypond-book. You can place @code{eps} lilypond in and marginspars just
+as any other included eps graphics.
+
+@li lypond
+\score{
+ \notes\relative c'{
+ \time 12/8
+ r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm}
+}
+@end lilypond
+
+
+To the right you can see some bars from the trumpet fanfara from the
+beginning of the fantastic street opera ``Houdini the Great'', by the
+Danish composer Andy Pape. The music is put inside a
+@code{floatingfigure} environment, and the music will be aligned by
+the right margin if you set floatingfigure width and lilypond linewidth
+to the same value. The code looks like this:
+
+@li lypond[verbatim]
+\score{
+ \notes\relative c'{
+ \time 12/8
+ r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8]
+ [g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm }
+}
+@end lilypond
+
+If you have a lot of small music examples like this in the middle of
+your text, you might get a nicer look by using ``double'' line
+spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
+your document. Then the line spacing will not be increased between the
+lines where you have music printed with the smallest font size.
+
+Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
+So the music will be adjusted to the new linewidth:
+
+Verbatim environments will also ignore the page margins. That is
+a feature of La@TeX{}. (But you usually put things inside a verbatim
+environment when you don't want La@TeX{} to do any linebreaking)
+
+@end ignore
+
projects / lilypond.git / blobdiff