@c -*-texinfo-*-
-@node Tutorial
-@chapter Tutorial
+@c TODO: LilyPond Lilypond lilypond
+@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
-chapter is a gentle introduction to that language.
-
-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/}@footnote{When we refer
-to filenames, they are relative to the top directory of the source
-package.
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
-
@menu
-* Introduction::
* Running LilyPond:: Getting started
+* First steps::
* The first tune:: The first tune
* Lyrics and chords:: Lyrics and chords
* More movements ::
* A piano excerpt:: Piano music
* An orchestral score::
-* Part extraction::
-* Latex and texinfo integration::
+* Other ways to run LilyPond::
+* Integrating text and music::
* end of tutorial:: The end
-* Pre-cooked makefile::
@end menu
@node Running LilyPond
@section Running LilyPond
-
-[describe all programs involved in one list.]
-
-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
-
+You make music notation with LilyPond as follows: first you edit a text
+file containing a description of the notes. Then you run LilyPond on the
+file. This leaves you with an output file, which you can view or print.
+
+In this section we explain how to run LilyPond, and view or print the
+output. If you want to test your setup of LilyPond, or try to run an
+example file yourself, then read this section. Otherwise, you can skip
+to the next section, which explains how to
+write LilyPond input.
+
+The instructions that follow are for Unix. Windows instructions are
+given at the end of this section. Start with opening a terminal window,
+and start up a text editor. For example, start an xterm and execute
+@code{joe}. Enter the following
+input, and save the file as @file{test.ly}.
@example
-\header @{
- title = "Test";
-@}
-
\score @{
- \notes @{ c'4 e'4 g'4 @}
- \paper @{ @}
+ \notes @{ c'4 e' g' @}
@}
@end example
+If this code looks intimidating you, then don't worry, we explain all
+about it in the next section.
-@unnumberedsubsec Unix
+@cindex ly2dvi
-@cindex Unix, Running lilypond on
+@c dit is dus raar, dat je ly2dvi draait om lelie te draaien
+@c (therefore name change proposal)
-If you run Unix, proceed as follows: run lilypond on the file, i.e.,
+Invoke the program @code{ly2dvi} to run lilypond on your source file:
@example
- lilypond test
+ly2dvi -P test
@end example
+
You will see the following on your screen:
@example
-GNU LilyPond 1.3.125.
-Now processing: `input/tutorial/test.ly'
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
@end example
-Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
-especially suited for typesetting mathematics.}. The result should
-resemble this:
-@example
-This is TeX, Version 3.14159 (Web2C 7.3.1)
-(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
-(/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
-LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
-(/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
-(/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
-Output written on test.dvi (1 page, 3716 bytes).
-Transcript written on test.log.
-@end example
-The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
-(@file{test.dvi}).
@cindex DVI file
-@cindex @TeX{}
-
@cindex Viewing music
-@cindex @code{xdvi}
-To view the output, run Xdvi, i.e.
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can
+print. You can view the PS file using the program ghostview. If a
+version of ghostview is installed on your system, one of these commands
+will produce a window with some music notation on your screen.
@example
- xdvi test
+kghostview test.ps
+ggv test.ps
+ghostview test.ps
+gv test.ps
@end example
-You should see the following in a window next to some buttons.
-@lilypond
-\header {
- title = "Test";
-}
+When you're satisfied with the result, you can print the PS file by
+clicking File/Print inside ghostview.
-\score {
- \notes { c'4 e'4 g'4 }
- \paper { }
-}
-@end lilypond
+The DVI file (@file{test.dvi}) contains the same sheet music in a
+different format. DVI files are more easily processed by the computer,
+so viewing them usually is quicker. Execute @code{xdvi test}
+to view the DVI file.
-@cindex postscript, converting to
-When you're satisfied with the result, you can print it. For printing,
-you have to generate a postscript file:
-@example
- dvips -o test.ps test.dvi
-@end example
-which looks like this:
-@example
-This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
-' TeX output 2001.01.27:1806' -> test.ps
-<texc.pro><special.pro>. [1]
-@end example
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
+
+@c volgende alinea schrappen?
+
+If you can't get the examples to print, then you should look into
+installing and configuring ghostscript. Refer to GhostScript's website
+at @uref{http://www.ghostscript.com}.
-@cindex PostScript
-@cindex Printing output
@cindex GhostScript
@cindex @code{lpr}
-PostScript is a page description language, similar to PDF. Some printers
-can understand a postscript file directly, but the cheaper ones need the
-intervention of GhostScript, an emulator that runs PostScript on your
-computer instead of your printer. Most Linux distributions nowadays have
-GhostScript running ``in the background'', so any configured printer
-will act as a PostScript printer. Assuming this, the following command
-will print the file
-@example
- lpr test.ps
-@end example
-If this does not make your printer produce a page of music, then you
-should look into installing and configuring ghostscript. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
+@cindex Printing output
+@cindex PostScript
-There are three other routes: firstly, you can add titling to the
-output. This is done by a separate program called @file{ly2dvi}: this
-program first calls LilyPond to process the @file{.ly} file, and then
-runs @TeX{} on it to produce a @file{.dvi} file with proper margin
-settings and titling.
-@cindex titles, adding
-@cindex ly2dvi
+Windows users start the terminal by clicking on the lilypond icon.
+Notepad is sufficient for editing the lilypond file. Viewing the PS file
+can be done with @code{gsview32 test.ps}. Viewing DVI files can be done
+with @code{yap test}. The "print" button in Yap will print files. You
+can also print from the command line by executing @code{gsview32 /s
+test.ps}
+
+
+@c titel?
+@node First steps
+@section First steps
+
+The basics of any piece of music are notes. Notes are entered
+with letters @code{a} to @code{g}, followed by a
+number that represents the duration: a @code{2} is a half note, a
+@code{4} is a quarter note. A period adds a dot to the note, so
+entering @code{2.} gives a dotted half note.
+@example
+ c2 e4 g2.
+@end example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+\clef bass c2 e4 g2.
+@end lilypond
+If you don't specify a duration, then the duration last entered is used:
+@c
@example
- ly2dvi test.ly
+ f4 e d c2.
@end example
-After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the @ref{ly2dvi}.
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+\clef bass f4 e d c2.
+@end lilypond
+The time signature can be set with a command of the form @code{\time},
+and the clef with @code{\clef} as follows:
+@example
+ \time 3/4
+ \clef bass
+@end example
+@lilypond[fragment]
+ \time 3/4
+ \clef bass
+ s2_" "
+@end lilypond
-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 PS output, invoke LilyPond as follows:
-@cindex PostScript output
+The commands together with the notes are combined to form a snippet of
+music. They are combined by enclosing them with @code{\notes @{ @}}.
@example
- lilypond -f ps test.ly
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
@end example
-You have to set some environment variables to view or print this
-output. More information can be found in the @ref{Invoking
-LilyPond}.
+This snippet is ready to be printed. This is done by combining the music
+with a printing command. The printing command is the so-called
+@code{\paper} block. You will see later that the \paper block is
+necessary to customize all kinds of printing specifics. The music and
+paper block are combined by enclosing them in @code{\score}.
+
+@lilypond[verbatim]
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { }
+}
+@end lilypond
+
+@ignore
+The @code{\paper} block looks empty, which means that we get default. That is because we did not contains page layout settings, such as the linewidth and
+the staff size. For now, we'll use standard settings, hence the paper
+block is empty (its braces enclose a blank space).
+@end ignore
+
+Rests are entered just like notes with the name @code{r}
+@lilypond[fragment,verbatim]
+r4 r8 r16
+@end lilypond
+
+Octaves are entered by adding apostrophes or commas to note names. For
+example, the central C is entered as @code{c'}.
+
+Pitches can be octaviated by adding apostrophes or commas. The central C is
+@code{c'}. Going up octave by octave we get @code{c''},
+@code{c'''}. Going down from central C, we get @code{c} @code{c,}
+@code{c,,} etc.
+
+@lilypond[verbatim,fragment]
+c'4 c'' c''' c c,
+@end lilypond
+
+LilyPond uses Dutch note names: you can make a note sharp by appending
+@code{is} to the name, and flat by appending @code{es} to the name.
+@lilypond[verbatim,fragment]
+fis'4 bes'4 aeses'4
+@end lilypond
+
+Ties are created by entering a tilde (@code{~}) between the notes to be
+tied:
+@lilypond[fragment,verbatim]
+ g'4 ~ g' a'2 ~ a'4
+@end lilypond
+Ties look almost the same as slurs, but they are different. Ties can
+only indicate the extension of a note. Ties connect two note heads with
+the same pitch. Slurs on the other hand, can be drawn across many
+notes, and indicate bound articulation.
+
+The key signature is set with the command @code{\key}:
+@lilypond[fragment,verbatim]
+ \key d \major
+ g'1
+ \key c \minor
+ g'
+@end lilypond
+
+The next example shows octave marks, ties, and rests in action.
+@lilypond[verbatim]
+\score {
+ \notes {
+ \time 4/4
+ \clef treble
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ }
+ \paper { }
+}
+@end lilypond
+There is one interesting point to note in this example: accidentals
+don't have to be marked explicitly. You just enter the pitch, and
+LilyPond determines wether or not to print an accidental.
+
+If you look at the last piece, it is already apparent that entering
+octaves using quotes is not very convenient. A score written in high
+register will be encoded using lots quotes. This makes the input file
+unreadable, and it also is a source of many errors.
+
+This problem is solved by relative octave mode. In this mode, the quotes
+are used to mark large jumps in the melody. Without any quotes or
+commas, the interval between a note and its predecessor is assumed to be
+a fourth or less. Quotes and commas add octaves in up and down
+direction.
+@lilypond[fragment,verbatim]
+\relative c'' { c4 d4 b4 e4 a,4 f'4 g,4 a'4 }
+@end lilypond
+You can enter a piece in relative mode, by putting @code{\relative} in
+front. You also have to enter a starting pitch, in this case @code{c''}.
+
+
+Slurs (not to be confused with ties) are entered with parentheses. You
+mark the starting note and ending note with a @code{(} and a
+@code{)} respectively.
+
+@lilypond[fragment,relative 1, verbatim]
+c8( cis d ) e
+@end lilypond
+
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
+
+@c lousy example
+@lilypond[fragment,relative 1, verbatim]
+a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@end lilypond
+
+Beams are drawn automatically, but if you don't like the choices, you
+can enter beams by hand. Surround the notes to be grouped with @code{[}
+and @code{]}:
+@lilypond[fragment,relative 1, verbatim]
+[a8 ais] [d es r d]
+@end lilypond
+
+You can make more than one staff, by specifying @code{\context Staff} before
+snippets of music, and combining those snippets in @code{<} and
+@code{>}, as is demonstrated here:
+
+@lilypond[fragment,verbatim]
+< \context Staff = staffA { \clef treble c'' }
+ \context Staff = staffB { \clef bass c }
+>
+@end lilypond
+Here, @code{staffA} and @code{staffB} are names that you give them to
+the staff. For now, it doesn't matter what names you give them, as long
+as they are different.
+
+We can typeset a melody with two staffs now:
+
+@lilypond[verbatim]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef treble
+ \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
+@end lilypond
+
+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 staffs.
+
+Dynamic signs are made by adding the markings after the note
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
-Finally, 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}.
+Crescendi are started with the commands @code{\<} and @code{\>}. The
+command @code{\!} finishes a crescendo on the following.
+@lilypond[verbatim,relative 1]
+c2 \< \! c2-\ff \> c2 \! c2
+@end lilypond
-@unnumberedsubsec Windows
+Chords can be made by surrounding notes with @code{<} and @code{>}:
+@lilypond[relative 0, fragment,verbatim]
+ r4 <c e g> <c f a>
+@end lilypond
-@strong{[TODO]}
+@c te diepzinnig?
-* setting of env vars (TFMINPUTS,MFINPUTS,TEXINPUTS)
+In general, @code{ < @var{stuff} > } is used when @var{stuff} all
+happens at the same time, like in chords, or (like in the two-staff
+example above) in a bunch of stacked staffs.
+
+Of course, you can combine beams and ties with chords:
+@lilypond[relative 0, fragment,verbatim]
+ r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+@end lilypond
+
+When you want to combine chords with slurs and dynamics, an annoying
+technical detail crops up: you have type these commands next to the
+notes, which means that they have to be inside the @code{< >}:
+
+@lilypond[relative 0, fragment,verbatim]
+ r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@end lilypond
+
+A nasty technical detail also crops up when you start a score with a
+chord:
+@lilypond[verbatim,singleline]
+\score { \notes <c'1 e'1> }
+@end lilypond
+The program can not guess that you want the notes on only one staff. To
+force the chord on a staff, add @code{\context Staff} like this:
+@lilypond[verbatim,singleline]
+\score { \notes \context Staff <c'1 e'1> }
+@end lilypond
+
+
+
+
+@ignore
+[TODO add some more here
+
+* lyrics, chords (?)
+
+* \header
+
+* identifiers?
+
+]
+@end ignore
+
+This is the end of the simple tutorial. You know the basic ingredients
+of a music file, so this is the right moment to try your at hand at
+doing it yourself: try to type some simple examples, and experiment a
+little.
+
+When you're comfortable with the basics, then you might want to read the
+rest of this chapter. It also a manual in tutorial-style, but it is much
+more in-depth. It will also be very intimidating if you're not familiar
+with the basics. It deals with some of the more advanced features of
+lilypond. Topics include lyrics, chords, orchestral scores and parts,
+fine tuning output, polyphonic music, and integrating text and music.
-* dvi viewer doesn't display postscript
@node The first tune
@section The first tune
+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.
+
+The examples discussed are included in the distribution, in the
+subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
+they are relative to the top directory of the source package. }
+
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{Klavierb@"uchlein}. The file
-is included in the distribution as @file{menuet.ly}.
+of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
+is included in the distribution as @file{minuet.ly}.
@cindex Bach, Johann Sebastian
@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
+% 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 \major;
+ \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 lilypond
-We will analyse the input, line by line.
+We will analyse the input, line by line.
+@separate
@example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
+ % all text after a percent sign is a comment
+ % and is ignored by Lilypond
@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{%@}}
+Percent signs introduce comments: everything after a percent sign is
+ignored. You can use this to write down mental notes to yourself. You
+can also make longer comments by enclosing text in @code{%@{} and
+@code{%@}}.
@cindex comment
@cindex block comment
@cindex line comment
-
+@separate
@example
\include "paper16.ly"
@cindex @code{\include}
@cindex point, printer's
@cindex staff size setting
-By default, LilyPond will use definitions for a staff that 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.
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 point (0.7 cm, or 0.27 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
-Music is printed by combining a chunk of music with directions for
+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
-
-@cindex octaves, choosing
-@cindex pitch
-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
+@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.
-@cindex relative
-For pitches in a long piece you might have to type many quotes. It is
-easy to make typing errors with this, so LilyPond has a special entry
-mode to remedy this. 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. The lowered quote (a comma) will
-subtract an extra octave. Because the first note has no predecessor,
+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 @{
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
@cindex time signature, setting
@cindex @code{\time}
- This command changes the time signature of the current piece: a 3/4
-sign is printed. The time signature setting is also used to generate
-bar lines in the right spots.
+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 \major;
+ \key g \major
@end example
@cindex key signature, setting
@cindex @code{\key}
- This command changes the current key signature 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.
+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. The first argument indicates the type of repeat. In this
-case, @code{"volta"} means that volta brackets are 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
@{
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.
+@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''}. A number designates the duration of the note, so
-the @code{4} here represents a quarter note.
+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
+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 |
@cindex bar check
@cindex @code{|}
@cindex errors, finding
- Three more notes. The @code{|} character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
+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
-So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond 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.
+@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 put between the slurred notes.
+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 the notes you want beamed.
+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
@cindex augmentation dot
-@cindex dot
-A period adds an augmentation dot to the note.
+@cindex dotted note
+A period adds a dot to the note.
+@separate
@example
@}
@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
+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 of the bar will be printed with an accidental,
-the second one without.
+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
@cindex articulation
-You can enter articulation signs either in a verbose form using a
+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 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}.
+@separate
@example
d2.-\fermata
@end example
- All articulations have a verbose form, like @code{\fermata}. The
+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}
-@example
-
+@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 5.5 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
@}
@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;
- \key c \minor;
+ \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 @{
\score @{
\simultaneous @{
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
@}
\context Lyrics \text
@}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
@}
@end example
@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;
- \key c \minor;
+ \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 {
\score {
\simultaneous {
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
}
\context Lyrics \text
}
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
@end lilypond
Again, we will dissect the file line by line.
+@separate
@example
\header @{
@code{\header} block. The information in this block is not used by
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 (?)";
+ title = "The river is flowing"
+ composer = "Traditional (?)"
@end example
@cindex assignments
@cindex identifier assignment
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign. 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. Each
-assignment is finished with a semicolon.
+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.
+@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
@cindex @code{\partial}
@cindex anacrusis
The piece starts with an anacrusis of one eighth.
+@separate
@example
- \key c \minor;
+ \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
@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.
+This ends the definition of @code{melody}.
+
+@separate
@example
text = \lyrics @{
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 @{}.
+@separate
@example
The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
@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.
+@separate
@example
accompaniment =\chords @{
@end example
@cindex chords
@cindex mode, chords
-We'll put chords over the music. To enter them, there is a special mode
+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 the notes comprising the
-chord.
+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.
+@separate
@example
c2:3- f:3-.7
@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.
+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
Some modifiers have predefined names, eg. @code{min} is the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
+@separate
@example
c2:min f:min7 g:7^3.5 c:min @}
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.
+@separate
@example
\score @{
accompaniment have to sound at the same time, so they should be
@code{\simultaneous}.
@cindex @code{\simultaneous}
+@separate
@example
%\accompaniment
notation: they will be printed as note heads on a separate
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
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
-contexts'. Interpretation contexts (or `Notation contexts') only exist
-during a run of LilyPond.
+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 context for you. If you would
remove the @code{%} sign in the previous line, you would see that
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
@cindex lyrics and melody, combining
@cindex combining lyrics and melody
-The lyrics need to be aligned with the melody. This is done by
+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, 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 the 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.
+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 = ##t
@cindex \property
@cindex context variables
@cindex setting context variables
-An interpretation context has variables that tune its behaviour. One of
-the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
-the boolean value @var{true}, LilyPond will not try to put automatic beaming
-on the current staff.
-
+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 accessinng Scheme
+@cindex accessing Scheme
@cindex evaluating Scheme
@cindex LISP
+@separate
@example
\property Staff.automaticMelismata = ##t
@cindex melismata
@cindex @code{\addlyrics} and slurs
Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under notes
-while there is a slur.
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
+@separate
@example
\melody
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
processed.
+@separate
@example
\context Lyrics \text
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc. This context is called
Lyrics.
+@separate
@example
- @}
+ \midi @{ \tempo 4=72@}
@end example
-This ends @code{\simultaneous}.
-@example
-
- \midi @{ \tempo 4=72;@}
-
-@end example
-MIDI (Musical Instrument Digitial Interface) is a standard for
+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.
-Syntactally, @code{\midi} is similar to @code{\paper @{ @}}, since it
+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
@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
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{minatures.ly})
+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; @}
+\version "1.3.124"
+\header @{
+ title = "Two miniatures"
+ tagline = "small is beautiful"
+@}
- \score @{
+#(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 @}
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
\header @{
- opus = "Opus 2.";
- piece = "Down"; @}
- @}
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
@end example
The titling in this manual was not generated by ly2dvi, so we can't
@lilypond
\score {
\notes { c'4 d'4 }
- \paper {
- linewidth = -1.0; }
+ \paper { linewidth = -1.0 }
}
@end lilypond
@flushright
@lilypond
\score {
\notes { d'4 c'4 }
- \paper {
- linewidth = -1.0; }
+ \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 notes. @code{ly2dvi} completes its task by deleting the two
-temporary files, leaving only @file{miniatures.dvi}.
+formatting tools. LilyPond produces two output files,
+@file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
+only graphical music notation. @file{ly2dvi} looks at what output
+LilyPond produces, and adds page layout and titling to those files. The
+result is a DVI file called @file{miniatures.dvi}.
-Next, now we'll look at the examples line by line to explain new things.
+Next, now we'll look at the example line by line to explain new things.
+@separate
@example
-\version "1.3.124";
+\version "1.3.124"
@end example
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
is too old.
This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it update the file to the latest lily
+@ref{convert-ly}), which uses it to update the file to the latest lily
version.
+@separate
@example
- \header @{ title = "Two miniatures"; @}
+ \header @{
+ title = "Two miniatures" @}
@end example
This sets the titling information for the entire file.
-
+@separate
+@example
+ tagline = "small is beautiful"
+@end example
+A signature line is printed at the bottom of the last page.
+ This signature is produced from the @code{tagline} field of
+@code{\header}. Many people find the default "Lily was here,
+@var{version number}" too droll. If that is the case, assign
+something else to @code{tagline}, as shown above.
+@separate
@example
#(set! point-and-click line-column-location)
@end example
-This is Scheme code. It sets the variable @code{point-and-click} to the
-value @var{line-column-location} (which itself is a Scheme procedure).
+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. More information is in in @ref{Point and click}
+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
paper block, at top-level, i.e. not in a @code{\score} block sets the
default page layout.
+@separate
@example
- linewidth = -1.0; @}
+ linewidth = -1.0 @}
@end example
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 @}
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.
+easily spotted. However, if you write LilyPond input directly, either by
+hand (i.e. composing) or by computer, absolute octaves are easier to use.
+@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 a excercise book), you can put different @code{\score}
+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"; @}
+ 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 third subject is a piece of piano music. The fragment in the input
+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. It's in the source package
under the name @file{sammartini.ly}.
@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-\arpeggio g' c>
- \stemDown 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.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,>
+ \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 = \repeat unfold 8
- \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
+hoomPah = \repeat unfold 8 \notes
+ \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
bassvoices = \notes \relative c' {
- 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 } >
+ 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 = up < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = down < \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 lilypond
-If it looks like incomprehensible gibberish to you, then you are right.
+If this looks like incomprehensible gibberish to you, you are right.
This example has been doctored to have as many quirks as possible.
-@example
- stemDown = \property Voice.Stem \override #'direction = #-1
-@end example
-
-As you can see, this example features more voices on one staff. To make
-room for those voices, their notes have to be stemmed in opposite
-directions. These are the commands to make that happen.
+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, etc. The initial values of these settings are set in the Scheme
file @file{scm/grob-description.scm}.
-This statement adds a the setting 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
+ 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
-This statement reverts the old setting. If you do this, the effect of
-precisely one @code{\stemDown} or @code{\stemUp} is neutralised.
+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 more often used formatting instructions, but to explain how it
-works, we wrote our own here. Of course, you should use predefined
+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
precisely one @code{Voice} context, so we give it an unique name
(`@code{viola}').
+@separate
@example
<c4-\f-\arpeggio g' c>
@end example
arpeggio are attached to a note, so here we attach them to the first
note.
-@code{\arpeggio} draws an vertical wavy line before the chord,
-signifying an arpeggio.
+@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
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
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
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}.
+@separate
@example
\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
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
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
@cindex crescendo
@cindex @code{\<}
+@separate
@example
<
@end example
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:
+@separate
@example
@{ \times 2/3 @{ a8 g c @} \! c2 @}
@end example
The crescendo is ended at the half note by the escaped exclamation
mark @code{\!}.
+@separate
@example
\context Voice = oboeTwo @{
\stemDown
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.
+@separate
@example
\grace @{
@end example
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] @}
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.
+@separate
@example
\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
The bass has a little hoom-pah melody to demonstrate parts switching
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.
+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;
+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 stay at central C.
+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
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"}.
+staffs must be called @code{"up"} and @code{"down"}.
+@separate
@example
\translator Staff = down
@end example
@cindex staff switch
@cindex cross staff voice
-The rest of this melody must be in the lower staff, so we do a manual
-staff switch here.
+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
note heads of the same pitch, whereas a slur can connect many chords
with one curve.
+@separate
@example
\context PianoStaff
@end example
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;
+\context Staff = bottom < \time 2/2 \clef bass
@end example
The bottom staff must have a different clef.
+@separate
@example
-indent = 0.0;
+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 very cramped, but that is due
* Simple part combining in a Hymn
@end ignore
+
@node An orchestral score
@section An orchestral score
-[explain why declarative nature of lily makes making scores rel. easy]
+@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.
-We will not go through the
-input line by line, but only indicate and explain the new elements.
+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. If you run lilypond on this file, no output will be produced.
+parts.
+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";
+ title = "Zo, goed lieverd?"
+ subtitle = "How's, this babe?"
+ composer = "JCN"
+ opus = "1"
+ piece = "Laid back"
@}
global = @{
- \time 2/4;
- \skip 2*4; \bar "|.";
+ \time 2/4
+ \skip 2*4 \bar "|."
@}
-Key = \notes \key as \major;
+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
as8 bes as bes R1 d4 ~ d
@}
tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 R1*1/2 es4
+ c4. c8 c8 c4. es4 r as, r
@}
tromboII = \notes\relative c'' @{
as4. as8 as8 as4. R1*1/2 as4 es'
@}
@end example
-Things to note here are the definition of @code{\global} where we define
-the time signature, and set the end bar. And the separate definition of
-@code{\Key} that we will use all staffs except staffs for transposing
-instruments.
+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";
+\include "os-music.ly"
+\include "paper13.ly"
#(set! point-and-click line-column-location)
#(define text-flat '((font-relative-size . -2)
\score @{
<
\global
+ \property Score.BarNumber \override #'padding = #3
\context StaffGroup = woodwind <
\context Staff = flauti <
\property Staff.midiInstrument = #"flute"
\property Staff.midiInstrument = #"timpani"
\property Staff.instrument = #'(lines "Timpani" "(C-G)")
\property Staff.instr = #"Timp."
- \clef bass;
+ \clef bass
\Key
\timpani
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
\property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
+ (columns "(E" ,text-flat ")"))
\property Staff.instr = #`(lines "Cor."
- (rows "(E" ,text-flat ")"))
+ (columns "(E" ,text-flat ")"))
\property Staff.transposing = #3
- \notes \key bes \major;
+ \notes \key bes \major
\context Voice=one \corno
>
>
>
\paper @{
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
- textheight = 90 * \staffspace;
- \translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+ textheight = 90 * \staffspace
\translator@{
\VoiceContext
- \remove "Rest_engraver";
- \consists "Multi_measure_rest_engraver";
- \consists "Bar_engraver";
+ \consists "Multi_measure_rest_engraver"
@}
\translator@{
\HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver";
- \remove "Bar_engraver";
- @}
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
+ \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
@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
-\include "os-music.ly";
+#(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.
-@example
-#(set! point-and-click line-column-location)
-@end example
-
-[what is markup text?]
-We need a flat sign in text to name the tuning of the french horn, so we
-predefine it with bit of scheme markup text (See @ref{Text markup}).
+@separate
@example
#(define text-flat '((font-relative-size . -2)
(music "accidentals--1")))
@end example
-Of course, all staffs are simultaneous and use the same global settings.
+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.
-Then, we 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 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.
-We specify the intrument for MIDI output (see @ref{MIDI instrument
-names}).
+@separate
@example
\property Staff.midiInstrument = #"flute"
@end example
+Specify the instrument for MIDI output (see @ref{MIDI instrument
+names}).
-And define the intrument 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
\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.
-The flutes play in the default key.
+@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.
-@example
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
-@end example
-We close the flutes staff and woodwind staff group.
+@separate
@example
>
>
@end example
+Close the flutes staff and woodwind staff group.
-The timpani staff only shows a new piece of scheme markup, it sets two
-lines of text.
+@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.
-[what is thread, why is distinction thread/voice necessary?]
+@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
+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
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
+ \property Staff.instrument = #`(lines "Corno"
+ (columns "(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}
+lines of text. The second line has two elements (columns), the @code{E}
and the flat sign @code{text-flat} that we defined before.
+
+@separate
@example
- \property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
+ \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 \transpose and transposing.]
+Note how we can choose different tuning for entering, printing and
+playing, using @code{\transpose} and the MIDI Staff proprerty
+@var{transposing}.
+@separate
@example
- \property Staff.transposing = #3
+ \notes \key bes \major
@end example
-
Therefore, it has a different key.
-@example
- \notes \key bes \major;
-@end example
-We specify a big indent for the first line and a small linewith for this
-tuturial.
+@separate
@example
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
@end example
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
-[explain about overriding contexts.]
+@separate
-Because we have a Thread representing one instrument, we need to move
-the @code{Rest_engraver} from Voice to Thread level. Similarly, we need
-to move the @code{Multi_measure_rest_engraver} from Staff to Voice
-level.
-
-[todo: should put Rest_engraver in threadcontext by default.]
-
-@example
- \translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
- \translator@{
- \VoiceContext
- \remove "Rest_engraver";
- \consists "Multi_measure_rest_engraver";
- \consists "Bar_engraver";
- @}
-@end example
+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.
-@example
- \translator@{
- \HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver";
- \remove "Bar_engraver";
- @}
-@end example
-
-We want bar numbering at score level and want to move the bar number a
-few staff spaces up.
-
-@ignore
-[note how you can use \override in \translator]
-[explain what padding is.]
-[note that : (ly/engraver.ly) OrchestralScoreContext is for compatibility.
-
-OrchestralScoreContext= \translator {
- \ScoreContext
-}
-
-]
-
-@end ignore
-
-
-@example
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
- @}
-@end example
-
-@node Part extraction
-@section Part extraction
+@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";
+\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";
+ instrument = "Flauto II"
@}
\paper @{
- linewidth = 80 * \staffspace;
- textheight = 200 * \staffspace;
- \translator @{
- \OrchestralScoreContext %%%%junkme
- skipBars = ##t
- @}
+ linewidth = 80 * \staffspace
+ textheight = 200 * \staffspace
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
the second flute. This then is the part for the second flute player.
Of course, we make separate parts for all individual instruments.
-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
\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.
-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
\header @{
- instrument = "Flauto II";
+ 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.
-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.
+@separate
@example
- skipBars = ##t
+ \property Score.skipBars = ##t
@end example
-
-[Waarom moet skipBars in \translator, waarom niet \property Score.skipBars]
-
-
-
-@node Latex and texinfo integration
-@section Latex and texinfo integration
+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.
-[TODO: rewrite completely.]
+@node Other ways to run LilyPond
+@section Other ways to run LilyPond
-@menu
-* Songs with additional verses::
-@end menu
+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}.
-So what does this look like? Well, here is an example:
-@lilypond[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:
+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
-\include "paper16.ly"
-\paper@{ \paper_sixteen
- linewidth = 390.\pt;
- castingalgorithm = \Gourlay;
-@}
+lilypond -f ps test.ly
@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} will be included.
-
-If you want to make the music not so wide, you can insert a
-@code{\paper} statement that set the linewidth:
-
-@lilypond[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:
-@lilypond[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,
-@lilypond[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.
+You have to set some environment variables to view or print this
+output. More information can be found in @ref{Invoking
+LilyPond}.
-The code used look like this:
-@example
-@@lilypond[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,
-@lilypond[eps]
-\score{
- \notes{s}
- \paper{ linewidth = 5.\cm;}
-}
-@end lilypond
-was created with this code:
+Thirdly, if you want to do special things with your output, you can run
+invoke lilypond directly:
@example
-@@lilypond[eps]
-\score@{
- \notes@{s@}
- \paper@{ linewidth = 5.\cm;@}
-@}
-@@end lilypond
+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.
-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} (on a separate line, FIXME), to
-include another file.
-
-@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
-@@lilypond[13pt, eps]
-<c' e g>
-@@end lilypond
-@end example
-
-The following options set the fontsize:
-@itemize
-@item @code{11pt}
-@lilypond[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}
-@lilypond[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}
-@lilypond[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}
-@lilypond[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}
-@lilypond[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
+@cindex @TeX{}
-@itemize
-@item The @code{singleline} option set @code{linewidth} to -1.0.
-@item The @code{multiline} option set @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.
+@node Integrating text and music
+@section Integrating text and music
-@lilypond
-\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
+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.
-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 marging if you set floatingfigure width and lilypond linewidth
-to the same value. The code looks like this:
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
-@lilypond[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
+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 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.
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
-Lilypond-book does know about @code{\onecolumn} and @code{\twocolumn}.
-So the music will be adjusted to the new linewith:
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
-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)
+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:
-@node Songs with additional verses
-@subsection Songs with additional verses
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ c'4 f bes es
+\end@{lilypond@}
-With lilypond-book, you can typeset songs with additional verses. To
-make lilypond-book print titles like ly2dvi, add
+\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.
-[TODO: merge with lilypond-book 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
-\input titledefs.tex
-\def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
-@end 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.
-just before the music fragment.
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
-@c urg: can't show, won't work for .texi docs
+@lilypond
+ c'4
+@end lilypond
-@example
-% generate standard lilypond titles
-\input titledefs.tex
-\def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
+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:
-\begin@{lilypond@}
-\header @{
- title = "Title";
- subtitle = "Subtitle";
- subsubtitle = "Subsubtitle";
- opus = "Opus 1";
- piece = "Piece";
- composer = "Composer";
- enteredby = "JCN";
- instrument = "instrument";
-@}
-\paper @{ linewidth = -1.; @}
-\score @{
- \notes \relative c'' @{ a b c d @}
-@}
-\end@{lilypond@}
+@lilypond[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]
+ c'4 f bes es
+@end lilypond
-\begin@{enumerate@}
-\item Verse one. aaa aaa aaa aaa aaa aaa aaa aaa aaa aaa
-\item Verse two. bbb bbb bbb bbb bbb bbb bbb bbb bbb bbb
-\end@{enumerate@}
-@end example
+@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. You can find more example
-files in @file{input} and @file{input/test}. You can also look at Real
-Music (TM), have a look at the @ref{Mutopia project}.
+files in @file{input} and @file{input/test}. You can also look at some
+real music. The website @uref{http://www.mutopiaproject.org} has many
+examples of real music typeset by LilyPond.
]
-@node Pre-cooked makefile
-@section Pre-cooked makefile
-
@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 ouptut. It will
-produce all output in @file{out}, generate and track dependencies.
-Also, it helps in preparing your submission to the @ref{Mutopia
+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}
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
+cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
+make minuet
[..]
-Generated out/menuet.ps for target menuet.
+Generated out/minuet.ps for target minuet.
@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
+
@end ignore
projects / lilypond.git / blobdiff