version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
- @lilypond[verbatim,quote,ragged-right]
+ @lilypond[verbatim,quote]
or
- @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+ @lilypond[verbatim,quote,relative=2]
Don't use any other relative=X commands (make it a non-fragment
example), and don't use fragment without relative=2.
the result looks like this:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
@example
lilypond test.ly
-GNU LilyPond 2.12.0
+GNU LilyPond @version{}
Processing `test.ly'
Parsing...
Interpreting music...
next example, we have only specified four pitches, but LilyPond
has added a clef, time signature, and rhythms.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
c' e' g' e'
}
elementary piece of music, a @notation{scale}, in which every note
is within just one staff space of the previous note.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' { % set the starting point to middle C
c d e f
g a b c
closest D to the previous note. We can create melodies which have
larger intervals, still using only @code{\relative} mode:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
d f a g
c b f d
the @w{@code{\relative c' @{}} command, we can change the starting
octave:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' { % one octave above middle C
e c a c
}
if the note following a B is a C, D or E it will be assumed to be
above the B, and an A, G or F will be assumed to be below.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
b c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
apostrophe) to the note name. We can lower the octave by adding a
comma @code{,} to the note name.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a, c' f,
g g'' a,, f'
for the next note. The duration of the first note defaults to a
quarter.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a1
a2 a4 a8 a
duration number. The duration of a dotted note must be stated
explicitly (i.e., with a number).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a a4. a8
a8. a16 a a8. a8 a4.
A @notation{rest} is entered just like a note with the name
@code{r}@tie{}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
The @notation{time signature} can be set with the @code{\time}
command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\time 3/4
a4 a a
The @notation{clef} can be set using the @code{\clef} command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
\clef treble
c1
Here is a small example showing all these elements together:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c, {
\time 3/4
\clef bass
are ignored, since they are in a
block comment.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@w{@code{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
input files}. For the rest of this manual, most examples will
omit this. To replicate the examples, you may copy and paste the
-displayed input but you @strong{must} add the
+displayed input, but you @strong{must} add the
@w{@code{\relative c'' @{ @}}} like this:
@example
this image:
@c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
\relative c'' {
c-\markup { \bold \huge { Click here. } }
}
@seealso
-
There are more tips for constructing input files in
@ref{Suggestions for writing LilyPond input files}. But it might be
best to read through the rest of the tutorial first.
like German and Dutch. To use other names for
@notation{accidentals}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ees fisis, aeses
@end lilypond
The @notation{key signature} is set with the command @code{\key}
followed by a pitch and @code{\major} or @code{\minor}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
a1
\key c \minor
In this example:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
d cis fis
@end lilypond
No note has a printed accidental, but you must still add
@code{is} and type @code{cis} and @code{fis} in the input file.
-The code @code{e} does not mean @qq{print a black dot just below
+The code @code{e} does not mean @qq{print a black dot just on
the first line of the staff.} Rather, it means @qq{there is a
note with pitch E-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key aes \major
e
@end lilypond
A @notation{tie} is created by appending a tilde @code{~} to the
first note being tied.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
g4~ g c2~
c4 ~ c8 a8 ~ a2
@end lilypond
starting note and ending note are marked with @code{(} and
@code{)} respectively.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
and phrasing slurs at the same time, but you cannot have
simultaneous slurs or simultaneous phrasing slurs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
indicate the @notation{articulation} of notes, and can be used on
larger groups of notes. Slurs and ties can be nested.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
articulations on the same note. However, in most cases it is best
to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
@notation{Dynamic} signs are made by adding the markings (with a
backslash) to the note:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c\ff c\mf c\p c\pp
@end lilypond
example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
Text may be added to your scores:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^"espr" a_"legato"
@end lilypond
Extra formatting may be added with the @code{\markup} command:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^\markup{ \bold espr}
a1_\markup{
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
@cindex beams, by hand
All @notation{beams} are drawn automatically:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8 ais d ees r d c16 b a8
@end lilypond
-@noindent
If you do not like the automatic beams, they may be overridden
-manually. Mark the first note to be beamed with @code{[} and the
-last one with @code{]}.
+manually. To correct just an occasional beam mark the first note
+to be beamed with @code{[} and the last one with @code{]}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8[ ais] d[ ees r d] a b
@end lilypond
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+to turn off automatic beaming and @code{\autoBeamOn} to turn it
+on again.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+
@seealso
Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@code{\partial}. It is followed by a duration: @code{\partial 4}
is a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\partial 8
f8 c2 d
@end lilypond
Triplets make notes occupy 2/3 of their notated duration, so a
@notation{triplet} has 2/3 as its fraction
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
\times 2/3 { f,8 g16[ a g a] }
although they can also be created by prefixing a music expression
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2 \grace { a32[ b] } c2
c2 \appoggiatura b16 c2
c2 \acciaccatura b16 c2
than one voice on the same staff.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Staff groups::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4
@end lilypond
expression}. Here we have created a compound music expression
with two notes:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ a4 g4 }
@end lilypond
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ { a4 g } f g }
@end lilypond
following example, three sequences (all containing two separate
notes) are combined simultaneously:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
{ a4 g }
is one staff; if there is a simultaneous expression, there is more
than one staff.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 <<c e>>
<< { e f } { c <<b d>> } >>
@code{Staff} elements are then combined in parallel with @code{<<}
and @code{>>}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble c }
is because scores with transposing instruments are more common
than polyrhythmic scores.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble \key d \major \time 3/4 c }
Here is a small example:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\new PianoStaff <<
\new Staff { \time 2/4 c4 e g g, }
all the notes in a chord must have the same duration, and that the
duration is placed after the closing bracket.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>4 <c f a>2
@end lilypond
brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
(with @w{@code{@{...@}}}) and combining these simultaneously,
separating the voices with @code{\\}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 }
same example with a spacer rest (@code{s}) instead of a normal
rest (@code{r}),
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 }
@noindent
Again, these expressions can be nested arbitrarily.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
This section introduces vocal music and simple song sheets.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
Music Glossary: @rglos{lyrics}.
Here is the start of the melody to a nursery
-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key g \major
\time 6/8
with the @code{\addlyrics} keyword. Lyrics are entered by
separating each syllable with a space.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
@cindex hyphens
@cindex underscore
-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}. Let's extend it:
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}. Let's extend it:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c b a d4 b8 g4.
}
\addlyrics {
@end lilypond
We see the extra lyrics do not align properly with the notes. The
-word @q{shine} should be sung on two notes, not one. This is
-called a @notation{melisma}, a single syllable sung to more than
-one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them (see
-@ref{Ties and slurs}):
+word @notation{shine} should be sung on two notes, not one. This
+is called a @notation{melisma}, a single syllable sung to more
+than one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them, for
+details, see @ref{Ties and slurs}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c( b) a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine as bright as day;
}
->>
+>>
@end lilypond
-Here we have also used manual beaming (the square brackets
-@code{[]} ) to generate the beaming which is customarily used with lyrics
-(see @ref{Automatic and manual beams}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b]) a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
As an alternative to using slurs, the melismata may be indicated
-in just the lyrics by using an underscore, @code{_}, for each
-note that should be included in the melisma:
+in just the lyrics by using an underscore @code{_} for each note
+that should be included in the melisma:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c[ b] a d4 b8 g4.
}
\addlyrics {
Girls and boys come out to play,
The moon doth shine _ as bright as day;
}
->>
+>>
@end lilypond
If a syllable extends over several notes or a single very long
note an @notation{extender line} is usually drawn from the
syllable extending under all the notes for that syllable. It is
entered as two underscores @code{__}. Here is an example from the
-first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+first three bars of @notation{Dido's Lament}, from Purcell's
+@notation{Dido and Æneas}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
\time 3/2
- g2 a bes bes( a)
+ g2 a bes bes( a)
b c4.( bes8 a4. g8 fis4.) g8 fis1
}
\addlyrics {
- When I am laid,
+ When I am laid,
am laid __ in earth,
}
>>
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
+ d4 g4 g a8( b) g4 g4
b8( c) d4 d e4 c2
}
\addlyrics {
- A -- way in a __ man -- ger,
+ A -- way in a __ man -- ger,
no __ crib for a bed, __
}
>>
Some lyrics, especially those in Italian, require the opposite:
setting more than one syllable to a single note. This is
achieved by linking the syllables together with a single
-underscore @code{_} (with no spaces), or enclosing them in
-quotes. Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
\key c \major
\time 6/8
- c4.~ c8 d b c([ d)] b c d b c
+ c4.~ c8 d b c([ d]) b c d b c
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
The simple approach using @code{\addlyrics} can be used for
placing lyrics under more than one staff. Here is an
-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
+
+@c TODO \partial has not been previously explained
+@c Change example or add explanation earlier
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
{
\time 6/8
}
\relative c'' {
\key f \major
- c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
\relative c' {
\key f \major
- r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
introduction to the rest of the manual.
@menu
-* Organizing pieces with variables::
-* Version number::
-* Adding titles::
-* Absolute note names::
-* After the tutorial::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
later by placing a backslash in front of the name
(@code{\namedMusic}, just like a normal LilyPond command).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
violin = \new Staff { \relative c'' {
a4 b c b
}}
of another variable, giving a way of shortening the input if a
section of music is repeated many times.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
tripletA = \times 2/3 { c,8 e g }
barA = { \tripletA \tripletA \tripletA \tripletA }
@code{g,} will always mean the note on the bottom staff of the
bass clef.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c' b g, g,
Here is a four-octave scale:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c, d, e, f,
As you can see, writing a melody in the treble clef involves a lot
of quote @code{'} marks. Consider this fragment from Mozart:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\key a \major
\time 6/8
of errors. With @code{\relative}, the previous example is much
easier to read and type:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key a \major
\time 6/8