+\version "2.1.22"
@c -*-texinfo-*-
+@c This file is part of lilypond.tely
@c TODO:
@c * more details about running lilypond; error messages,
@node Tutorial
@chapter Tutorial
-@html
-<!--- @@WEB-TITLE@@=Tutorial --->
-@end html
-@menu
-* First steps:: Music language of LilyPond.
-* Running LilyPond:: Printing music.
-* More about pitches and accidentals::
-* Octave entry::
-* Relative octave entry::
-* Combining music into compound expressions::
-* Adding articulation marks to notes::
-* Combining notes into chords::
-* Printing lyrics::
-* A lead sheet::
-* Listening to output::
-* Titling::
-* Single staff polyphony::
-* Piano staffs::
-* Setting variables::
-* Fine tuning layout::
-* Organizing larger pieces::
-* An orchestral part::
-* Integrating text and music:: Integrating text and music.
-@end menu
Using LilyPond comes down to encoding music in an input file. After
entering the music, the program is run on the file producing output
which can be viewed or printed. In this tutorial, we will show step
-by step how to enter such files, by showing fragments of input and the
-corresponding output. At the end of every section, a paragraph will
-list where to find further information on the topics discussed.
+by step how to enter such files, and illustrate the process with
+fragments of input and the corresponding output. At the end of every
+section, a paragraph will list where to find further information on
+the topics discussed.
Many people learn programs by trying and fiddling around with the
program. This is also possible with LilyPond. If you click on a
picture in the HTML version of this manual, you will see the exact
LilyPond input that was used to generate that image.
@ifhtml
-For example, consider the following input
-@c TODO: intertext fixme
-@lilypond[relative 1,singleline,verbatim,intertext="with the following output"]
+For example, consider the following input:
+@example
+ c'^\markup @{ \bold \huge @{ Click on this image! @} @}
+@end example
+@c @lily pond[relative=1,raggedright,with the following output:]
+with the following output:
+@lilypond[relative=1,raggedright]
c'^\markup { \bold \huge { Click on this image! } }
@end lilypond
This tutorial starts with a short introduction to the LilyPond music
language. After this first contact, we will show you how to to
-produce printed output, normally using the program @code{ly2dvi}. You
-should then be able to create and print your first sheets of music.
+produce printed output. You should then be able to create and print
+your first sheets of music.
+
+@menu
+* First steps::
+* Running LilyPond::
+* More about pitches::
+* Octave entry::
+* Combining music into compound expressions::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Basic rhythmical commands::
+* Commenting input files::
+* Printing lyrics::
+* A lead sheet::
+* Listening to output::
+* Titling::
+* Single staff polyphony::
+* Piano staves::
+* Setting variables::
+* Fine tuning layout::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music::
+@end menu
@node First steps
@section First steps
We start off by showing how very simple music is entered in LilyPond:
-you get a note simply by typing its @htmlref{note name}, from @samp{a}
+you get a note simply by typing its note name, from @samp{a}
through @samp{g}. So if you enter
@example
@noindent
then the result looks like this:
-@c ?
-@c \transpose c c' { c d e f g a b }
-@c @lily pond[notime]
-@c \property Score.timing = ##f
-@lilypond[notime, relative=2]
+@lilypond[notime,relative]
c d e f g a b
@end lilypond
@end example
@lilypond[notime]
-\property Score.timing = ##f
-\property Staff.autoBeaming = ##f
+\set Score.timing = ##f
+\set Staff.autoBeaming = ##f
\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a a a2 a s16_" " }
@end lilypond
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.Clef = \turnOff
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.Clef = \turnOff
+\set Staff.TimeSignature = \turnOff
r2 r4 r8 r16
s16_" "
@end lilypond
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
@c a clef here may lead to confusion
@lilypond
-\property Staff.Clef \set #'transparent = ##t
+\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
\time 6/8
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\clef violin
s4_" "
\clef bass
s16_" "
@end lilypond
-Notes and commands like @code{\clef} and @code{\time} , are enclosed
+Notes and commands like @code{\clef} and @code{\time}, are enclosed
in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
to @rglos{lyrics}) follows:
Now the piece of music is almost ready to be printed. The final step is to
combine the music with a printing command.
-The printing command is the so-called @code{\paper} block. The
-@code{\paper} block is used to customize printing specifics, but we
-accept the defaults for now. The music and the @code{\paper} block
-are combined by enclosing them in @code{\score @{ ... @}}. The
-following is a complete and valid input file.
+The printing command is the so-called @code{\paper} block:
+
+@example
+\paper @{ @}
+@end example
+
+The @code{\paper} block is used to customize printing specifics. The
+customization commands go between @code{@{} and @code{@}}, but for
+now, we accept the defaults. The music and the @code{\paper} block
+are combined by enclosing them in @code{\score @{ ... @}}, so the
+following is a complete and valid input file:
@example
\score @{
}
@end lilypond
-During the rest of the tutorial, we will often leave out @code{\score}
-and @code{\paper}, for clarity. However, both must be present when
+In the rest of the tutorial we will often leave out @code{\score}
+and @code{\paper} for clarity. However, both must be present when
feeding the file to LilyPond.
-More elaborate information on entering pitches and durations is in
-@ref{Pitches} and @ref{Durations}. Clefs are fully explained in
-@ref{Clef}. Time signatures and other timing commands are described
-in @ref{Time signature}.
+For more elaborate information on
+@table @asis
+@item entering pitches and durations
+see
+@ref{Pitches} and @ref{Durations}.
+@item Clefs
+see @ref{Clef}
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@end table
@node Running LilyPond
@section Running LilyPond
@end example
@end quotation
-@cindex ly2dvi
-
-@c now this is weird, running ly2dvi to run LilyPond
-@c (therefore name change proposal)
-
-LilyPond is the program that computes the sheet music. All other
-things, such as adding titles, page breaking and other page layout,
-are done by a small wrapper program called
-@code{ly2dvi}. @code{ly2dvi} calls LilyPond to render the music, and
-then adds the titling and page layout instructions. To process
-@file{test.ly} with @code{ly2dvi}, proceed as follows:
+To process @file{test.ly}, proceed as follows:
@quotation
@example
-ly2dvi -p test.ly
+lilypond test.ly
@end example
@end quotation
@cindex Viewing music
@cindex xdvi
-The result of the ly2dvi is the file @file{test.pdf}.@footnote{ For
-@TeX{} afficionados, there is also a (@file{test.dvi}) file. It can be
-viewed with @code{xdvi}. The DVI uses a lot of PostScript specials,
-which do not show up in the magnifying glass. The specials also mean
-that the DVI file cannot be processed with @code{dvilj}. Use
-@code{dvips} for printing.
+The result is the file @file{test.pdf}.@footnote{For @TeX{}
+afficionados: there is also a @file{test.dvi} file. It can be viewed
+with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
+not show up in the magnifying glass. The specials also mean that the
+DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
+printing.
@cindex dvips
@cindex dvilj
@cindex DVI driver
-} One the following commands should put the PDF on your
-screen.
-@c eeek
+} One of the following commands should put the PDF on your
+screen:
@quotation
@example
gv test.pdf
xpdf test.pdf
gpdf test.pdf
acroread test.pdf
+ gsview32 test.pdf
@end example
@end quotation
+
+@noindent
If the music on your screen looks good, you can print it by clicking
File/Print inside your viewing program.
@cindex PDF
-On Windows, the terminal is started by clicking on the LilyPond or
-Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
-used to edit the LilyPond file. If you have a PDF viewer installed,
-use that for viewing the PDF
-@c where on file system for double-click people?
-If you have no viewer, then you can download @code{GSView} from
-@uref{http://www.cs.wisc.edu/~ghost}. With @code{GSView},
-the PDF file can viewed with
-@quotation
-@example
-@code{gsview32 test.pdf}
-@end example
-@end quotation
-Printing may be done with
-@quotation
-@example
-@code{gsview32 /s test.pdf}
-@end example
-@end quotation
+On Windows, the same procedure should work, the terminal is started by
+clicking on the LilyPond or Cygwin icon. Any text editor (such as
+NotePad, Emacs or Vim) may be used to edit the LilyPond file.
-The commands for formatting and printing music are detailed in
-@ref{Invoking LilyPond}.
+To view the PDF file, try the following:
+@itemize
+@item
+If your system has a PDF viewer installed, open
+@file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
+@file{test.pdf}.
+@item
+If you prefer the keyboard, you can try to enter one of the commands
+from the list shown before in the terminal. If none work, go to
+@uref{http://www.cs.wisc.edu/~ghost/} to install the proper software.
+@end itemize
-@node More about pitches and accidentals
-@section More about pitches and accidentals
+The commands for formatting and printing music on all platforms are
+detailed in @ref{Invoking LilyPond}.
-A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
-@rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
-a @rglos{double sharp} or @rglos{double flat} is made by adding
-@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
-naming conventions in Nordic and Germanic languages, like German and
-Dutch.}
+@node More about pitches
+@section More about pitches
+
+A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
+the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+you might expect, a @rglos{double sharp} or @rglos{double flat} is
+made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
+derived from note naming conventions in Nordic and Germanic languages,
+like German and Dutch.}
@example
cis1 ees fisis aeses
@end example
@lilypond[notime]
-\property Score.timing = ##f
+\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
@cindex key signature, setting
The key signature is set with the command ``@code{\key}'', followed by
-a pitch and @code{\major} or @code{\minor}:
+a pitch and @code{\major} or @code{\minor}:
@quotation
@example
\key d \major
@end example
@lilypond[fragment]
-\property Staff.TimeSignature = \turnOff
+\set Staff.TimeSignature = \turnOff
\key d \major
g'1
\key c \minor
@end quotation
+Key signatures together with the pitch (including alterations) are
+used together to determine when to print accidentals. This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail:
+
+
+LilyPond has a sharp distinction between musical content and
+layout. The alteration (flat, natural or sharp) of a note is part of
+the pitch, and is therefore musical content. Whether an accidental (a
+flat, natural or sharp @emph{sign}) is a printed in front of the
+corresponding note is a question of layout. Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
+
+For example, in this example:
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key d \major
+d' cis' fis'
+@end lilypond
+
+@noindent
+no note gets an explicit accidental, but still you enter
+
+@example
+\key d \major
+d cis fis
+@end example
+
+The code @code{d} does not mean ``print a black dot just below the
+staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
+of A-flat, it gets an accidental:
+
+@lilypond[fragment]
+\set Staff.TimeSignature = \turnOff
+\key as \major
+d'
+@end lilypond
+
+@noindent
+@example
+\key as \major
+d
+@end example
+
+Adding all alterations explicitly might require some more effort when
+typing, but the advantage is that transposing is easier, and music can
+be printed according to different conventions. See @ref{Accidentals}
+for some examples how accidentals can be printed according to
+different rules.
+
+
@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied.
+being tied:
@quotation
-@lilypond[fragment,verbatim,relative 2]
-g4-~ g a2-~ a4
+@lilypond[fragment,verbatim,relative=2]
+g4~ g a2~ a4
@end lilypond
@end quotation
@separate
-This example shows the key signature, accidentals and ties in action.
+This example shows the key signature, accidentals and ties in action:
@quotation
@example
\key g \minor
\clef violin
r4 r8 a8 gis4 b
- g8 d4.-~ d' e'8
- fis4 fis8 fis8 eis4 a8 gis-~
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
@}
\paper @{ @}
\key g \minor
\clef violin
r4 r8 a8 gis4 b
- g8 d4.-~ d e8
- fis4 fis8 fis8 eis4 a8 gis-~
+ g8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
}}
\paper { linewidth = #(* 50 staffspace) }
relevant: in the printout, these are ordered according to standard
notation conventions.
-Accidentals (sharps and flats) do not have to be marked explicitly:
-you just enter the pitch of the note, and an accidental is printed
-only when necessary. The flip side of this mechanism, is that you have
-to mark notes as sharp or flat, even when they do not get accidentals.
-For example, in this example,
-@lilypond[fragment]
-\clef bass
-\property Staff.TimeSignature = #'()
-\key cis \major
-cis dis eis fis gis ais bis
+
+@cindex beams, by hand
+Beams are drawn automatically, but if you do not like where they are
+put, they can be entered by hand. Mark the first note to be beamed
+with @code{[} and the last one with @code{]}:
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+a8[ ais] d[ es r d]
@end lilypond
-no note gets an explicit accidental, but still you enter
-@example
-\clef bass
-\key cis \major
-cis dis eis fis gis ais bis
-@end example
+@end quotation
+@separate
-Adding all alterations explicitly might require some more effort when
-typing, but the advantage is that transposing is easier. It also makes
-it possible to use different conventions for when to print
-accidentals.
+For more information on
+@table @asis
+@item Rests
+see @ref{Rests}.
+
+@item Ties
+see @ref{Ties}.
-@node Octave entry
+@item Accidentals
+see @ref{Accidentals}
+
+@item Key signature
+see @ref{Key signature}
+
+@item Beams
+see @ref{Beaming}
+@end table
+
+
+@node Octave entry
@section Octave entry
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
c'4 c'' c''' \clef bass c c,
@end lilypond
@end quotation
@separate
-An example of the use of quotes is in the following Mozart fragment.
-@lilypond[singleline,fragment,verbatim]
+An example of the use of quotes is in the following Mozart fragment:
+@lilypond[raggedright,fragment,verbatim]
\key a \major
\time 6/8
cis''8. d''16 cis''8 e''4 e''8
most convenient way to copy existing music. To use relative mode, add
@code{\relative} before the piece of music. You must also give a note
from which relative starts, in this case @code{c''}. If you do not
-use octavation quotes (i.e. do not add ' or , after a note), relative
-mode chooses the note that is closest to the previous one.
-For example, @code{c f} goes up while @code{c g} goes down.
+use octavation quotes (i.e. do not add @code{'} or @code{,} after a
+note), relative mode chooses the note that is closest to the previous
+one. For example, @code{c f} goes up while @code{c g} goes down:
@quotation
@example
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f c g c
}
@separate
-Since most music has small intervals, in relative mode pieces can be
-written almost without using octavation quotes. In relative mode, the
-Mozart example is entered as
+Since most music has small intervals, pieces can be written almost
+without octavation quotes in relative mode. The previous example is
+entered as
@c
-@lilypond[singleline,fragment,verbatim]
+@lilypond[raggedright,fragment,verbatim]
\relative c'' {
\key a \major
\time 6/8
@c added another example below.
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
-Larger intervals are made by adding octavation quotes. Quotes or
-commas do not determine the absolute height of a note; the height of a
-note is relative to the previous one.
-@c do not use commas or quotes in this sentence
-For example: @code{c f,} goes down; @code{f, f} are both the same;
-@code{c' c} are the same; and @code{c g'} goes up:
-
+Larger intervals are made by adding octavation quotes.
@quotation
@example
\relative c'' @{
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative c'' {
c f, f c' c g' c,
}
@end quotation
@separate
+Quotes or commas do not determine the absolute height of a note; the
+height of a note is relative to the previous one.
+@c do not use commas or quotes in this sentence
+For example: @code{c f,} goes down; @code{f, f} are both the same;
+@code{c' c} are the same; and @code{c g'} goes up:
+
+
Here is an example of the difference between relative mode and
``normal'' (non-relative) mode:
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\relative a {
\clef bass
a d a e d c' d'
@end example
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
+\set Score.timing = ##f
+\set Staff.TimeSignature = \turnOff
\clef bass
a d a e d c' d'
@end lilypond
@separate
+For more information on Relative octaves see @ref{Relative octaves}
+and @ref{Octave check}.
-@node Relative octave entry
-@section Relative octave entry
-
-@c lousy example
-@c ? --hwn
-@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
-@c chromatic thing pasted in front. (admittedly the original does not
-@c have a phrasing slur. The problem is that we do not want the slur
-@c and the Phrasing slur to collide. We are trying to make a good
-@c impression here.
-
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
-@end lilypond
-@end quotation
-@separate
-
-@cindex beams, by hand
-Beams are drawn automatically, but if you do not like where they are
-put, they can be entered by hand. Mark the first note to be beamed
-with @code{[} and the last one with @code{]}:
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-[ ais-] d-[ es r d-]
-@end lilypond
-@end quotation
-@separate
-
-Rests are described in full detail in @ref{Rests}.
-
-The notation manual discusses ties in @ref{Ties}.
@quotation
@lilypond[fragment,verbatim]
\simultaneous {
- \context Staff = staffA { \clef violin c'' }
- \context Staff = staffB { \clef bass c }
+ \new Staff { \clef violin c'' }
+ \new Staff { \clef bass c }
}
@end lilypond
@end quotation
In this example, @code{\simultaneous } indicates that both music
fragments happen at the same time, and must be printed stacked
-vertically. The notation @code{< .. >} can also be used as a
+vertically. The notation @code{<< .. >>} can also be used as a
shorthand for @code{\simultaneous @{ .. @}}.
-@code{\context} introduces a ``notation context''. To understand this
-concept, imagine that you are performing a piece of music. When you
-perform the music, you combine the symbols printed at a certain point
-with contextual information. For example, without knowing the current
-clef, and the accidentals in the last measure, it would be impossible
-to determine the pitch of a note. In other words, this information
-forms context that helps you decipher a score. LilyPond produces
-notation from music, so in effect, it does the inverse of reading
-scores. Therefore, it also needs to keep track of contextual
-information. This information is maintained in ``notation contexts.''
-There are several types of contexts, e.g. @code{Staff}, @code{Voice}
-and @code{Score}, but also @code{Lyrics} and
-@code{ChordNames}. Prepending @code{\context} to a chunk of music
-indicates what kind of context to use for interpreting it.
-
-By specifying different names (in this case @code{staffA} and
-@code{staffB}), two different contexts are created, leading to two
-staves. It does not matter which names they are given, as long as they
-are different. If they get the same name, the chunks of music are
-assumed to belong on the same staff, and will be printed like that.
+The command @code{\new} introduces a ``notation context''. To
+understand this concept, imagine that you are performing a piece of
+music. When you are playing, you combine the symbols printed at a
+certain point with contextual information. For example, without
+knowing the current clef, and the accidentals in the last measure, it
+would be impossible to determine the pitch of a note. In other words,
+this information forms context that helps you decipher a
+score. LilyPond produces notation from music, so in effect, it does
+the inverse of reading scores. Therefore, it also needs to keep track
+of contextual information. This information is maintained in
+``notation contexts.'' There are several types of contexts,
+e.g. @code{Staff}, @code{Voice} and @code{Score}, but also
+@code{Lyrics} and @code{ChordNames}. Prepending @code{\new} to a chunk
+of music indicates what kind of context to use for interpreting it,
+and ensures that the argument is interpreted with a fresh instance of
+the context indicated.
+
@separate
We can now typeset a melody with two staves:
@quotation
-@lilypond[verbatim,singleline]
+@lilypond[verbatim,raggedright]
\score {
\notes
- < \context Staff = staffA {
+ << \new Staff {
\time 3/4
\clef violin
\relative c'' {
- e2-( d4 c2 b4 a8-[ a-]
- b-[ b-] g-[ g-] a2.-) }
+ e2( d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.) }
}
- \context Staff = staffB {
+ \new Staff {
\clef bass
c2 e4 g2.
f4 e d c2.
}
- >
+ >>
\paper {}
}
@end lilypond
@end quotation
-The example shows how small chunks of music, for example the notes
+The example shows how small chunks of music, for example, the notes
@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
larger chunk by enclosing it in braces. Again, a larger chunk is
-formed by prefix @code{\context Staff} to it, and that chunk is
-combined with @code{< >}. This mechanism is similar with mathematical
-formulas: in a formula, a so-called expression is formed by combining
-simpler expressions into larger expressions. For example,
+formed by prefix @code{\new Staff} to it, and that chunk is combined
+with @code{<< >>}. This mechanism is similar with mathematical
+formulas: a big formula is created by composing small formulas. Such
+formulas are called expressions, and their definition is recursive, so
+you can make arbitrarily complex and large expressions. For example,
@quotation
1
@end quotation
@cindex expression
@cindex music expression
-is a sequence of expressions, where each expression is contained in
-the next one. The simplest expressions are numbers and operators
-(like +, * and /). Parentheses are used to group expressions. In
-LilyPond input, a similar mechanism is used. Here, the simplest
-expressions are notes and rests. By enclosing expressions in @code{<
->} and @code{@{ @}}, more complex music is formed. The @code{\context}
-also forms new expressions; prepending it to a music expression yields
-a new expression.
+This example shows a sequence of expressions, where each expression is
+contained in the next one. The simplest expressions are numbers and
+operators (like +, * and /). Parentheses are used to group
+expressions. In LilyPond input, a similar mechanism is used. Here,
+the simplest expressions are notes and rests. By enclosing
+expressions in @code{<< >>} and @code{@{ @}}, more complex music is
+formed. The @code{\new} command also forms new expressions; prepending
+it to a music expression yields a new expression.
Like mathematical expressions, music expressions can be nested
arbitrarily deep, e.g.
-@lilypond[verbatim,relative 1]
- { c <c e>
- < { e f } { c <b d> }
- >
+@lilypond[verbatim,relative=1]
+ { c <<c e>>
+ << { e f } { c <<b d>> }
+ >>
}
@end lilypond
When spreading expressions over multiple lines, it is customary to use
an indent that indicates the nesting level. Formatting music like this
eases reading, and helps you insert the right amount of closing
-braces at the end of an expression. For example
+braces at the end of an expression. For example,
@example
\score @{
- \notes <
+ \notes <<
@{
@dots{}
@}
@{
@dots{}
@}
- >
+ >>
@}
@end example
+For more information on context see the Technical manual description
+in @ref{Interpretation context}.
+
@node Adding articulation marks to notes
Common accents can be added to a note using a dash (`@code{-}') and a
single character:
@quotation
-@lilypond[verbatim,relative 1]
+@lilypond[verbatim,relative=1]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
@cindex fingering
Similarly, fingering indications can be added to a note using a dash
-(`@code{-}') and the digit to be printed.
+(`@code{-}') and the digit to be printed:
@c
-@lilypond[verbatim,relative 1]
+@lilypond[verbatim,relative=1]
c-3 e-5 b-2 a-1
@end lilypond
Dynamic signs are made by adding the markings to the note:
@quotation
-@lilypond[verbatim,relative 1]
-c-\ff c-\mf
+@lilypond[verbatim,relative=1]
+c\ff c\mf
@end lilypond
@end quotation
@separate
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to.
+is attached to:
@quotation
-@lilypond[verbatim,relative 1]
-c2-\< c2-\!-\ff c2-\> c2-\!
+@lilypond[verbatim,relative=1]
+c2\< c2\!\ff\> c2 c2\!
@end lilypond
@end quotation
@separate
``@code{(}'' and a ``@code{)}'' respectively:
@quotation
-@lilypond[fragment,relative 1, verbatim]
-d4-( c16-)-( cis d e c cis d e-)-( d4-)
+@lilypond[fragment,relative=1,verbatim]
+d4( c16)( cis d e c cis d e)( d4)
@end lilypond
@end quotation
@separate
@cindex slurs versus ties
-A slur is different from a tie. A tie simply makes the first note
-sound longer, and can only be used on pairs of notes with the same
-pitch. Slurs indicate the articulations of notes, and can be used on
-larger groups of notes. Slurs and ties are also nested in practice:
-@lilypond[fragment, relative=1]
-c2-~-( c8 fis fis4 ~ fis2 g2-)
+A slur looks like a tie, but it has a different meaning. A tie simply
+makes the first note sound longer, and can only be used on pairs of
+notes with the same pitch. Slurs indicate the articulations of notes,
+and can be used on larger groups of notes. Slurs and ties are also
+nested in practice:
+@c
+@lilypond[fragment,relative=1]
+c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
@cindex phrasing slurs
phrasing), you can also make a phrasing slur with @code{\(} and
@code{\)}.
-More information on fingering, articulation, slurs, phrasing slurs,
-and dynamics can be found in @ref{Fingering instructions},
-@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs} @ref{Dynamics}
-respectively.
+@quotation
+@lilypond[fragment,relative=1,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@end lilypond
+@end quotation
+
+
+For more information on
+@table @asis
+@item fingering
+ see @ref{Fingering instructions}
+@item articulations
+ see @ref{Articulations}
+@item slurs
+ see @ref{Slurs}
+@item phrasing slurs
+ see @ref{Phrasing slurs}
+@item dynamics
+ see @ref{Dynamics}
+@item fingering
+@end table
@node Combining notes into chords
@section Combining notes into chords
@cindex chords
Chords can be made by
-surrounding pitches with @code{<<} and @code{>}>:
+surrounding pitches with @code{<} and @code{>}:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>4 <<c f a>>8
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>4 <c f a>8
@end lilypond
@end quotation
@separate
You can combine beams and ties with chords. Beam and tie markings
must be placed outside the chord markers:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
+@lilypond[relative,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
@end lilypond
@end quotation
@quotation
@example
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-@lilypond[relative 0, fragment]
+@lilypond[relative,fragment]
\slurUp
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end lilypond
@end quotation
@separate
-@menu
-* Basic rhythmical commands::
-* Commenting input files::
-@end menu
@node Basic rhythmical commands
-@subsection Basic rhythmical commands
+@section Basic rhythmical commands
@cindex pickup
@cindex anacruse
@cindex partial measure
A pickup (or upstep) is entered with the keyword @code{\partial}. It
is followed by a duration: @code{\partial 4} is a quarter note upstep
-and @code{\partial 8} an eighth note.
-@lilypond[relative 1,verbatim,fragment]
+and @code{\partial 8} an eighth note:
+@lilypond[relative=1,verbatim,fragment]
\partial 8
f8 c2 d e
@end lilypond
Tuplets are made with the @code{\times} keyword. It takes two
arguments: a fraction and a piece of music. The duration of the piece
of music is multiplied by the fraction. Triplets make notes occupy
-2/3 of their notated duration, so a triplet has 2/3 as its fraction.
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
@c
-@lilypond[relative 0,verbatim,fragment]
+@lilypond[relative,verbatim,fragment]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
@end lilypond
@cindex grace notes
@cindex accacciatura
Grace notes are also made by prefixing a note, or a set of notes with
-a keyword. In this case, the keyword is @code{\grace}.
-@lilypond[relative 1, verbatim,fragment]
- c4 \grace b16-( c4-)
- \grace { d16-( e } d4-)
+a keyword. In this case, the keywords are @code{\appoggiatura}
+and @code{\acciaccatura}
+@cindex appoggiatura
+@cindex acciaccatura
+
+@lilypond[relative=1,verbatim,fragment]
+ c4 \appoggiatura b16 c4
+ c4 \acciaccatura b16 c4
@end lilypond
@noindent
-More information on grace notes, tuplets and upsteps are in @ref{Grace
-notes}, @ref{Tuplets} and @ref{Partial measures}.
+
+For more information on
+@table @asis
+@item grace notes
+see @ref{Grace notes},
+@item tuplets
+see @ref{Tuplets},
+@item upsteps
+see @ref{Partial measures}.
+@end table
@node Commenting input files
-@subsection Commenting input files
+@section Commenting input files
@cindex comments
@cindex line comment
that, the rest of that line is ignored. Block comments span larger
sections of input. Anything that is enclosed in @code{%@{} and
@code{%@}} is ignored too. The following fragment shows possible uses
-for comments.
+for comments:
@example
% notes for twinkle twinkle follow:
@cindex Lyrics
@cindex Songs
Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
@example
\lyrics @{ I want to break free @}
@end example
Like notes, lyrics are also a form of music, but they must not be
printed on a staff, which is the default way to print music. To print
-them as lyrics, they must be marked with @code{ \context Lyrics}:
+them as lyrics, they must be marked with @code{ \new Lyrics}:
@example
- \context Lyrics \lyrics @{ I want to break free @}
+ \new Lyrics \lyrics @{ I want to break free @}
@end example
-The melody for this song is as follows
+The melody for this song is as follows:
@lilypond[fragment,relative=1]
\partial 8
c8
- \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword:
+@code{\lyricsto} keyword:
@example
- \addlyrics
- \notes @{ @dots{} @}
- \context Lyrics @dots{}
+ \lyricsto "@var{name}" \new Lyrics @dots{}
@end example
+where @var{name} identifies to which melody the lyrics should be
+aligned. In this case, there is only one melody, so we can leave it
+empty.
The final result is
-@lilypond[verbatim,linewidth=6.0cm]
+@lilypond[verbatim,fragment]
\score {
- \notes {
- \addlyrics
- \relative c' {
+ \notes <<
+ \relative c' \new Voice {
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) }
}
- \context Lyrics \lyrics { I want to break free }
- }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free }
+ >>
\paper{ }
}
@end lilypond
@cindex extender line
@c synonyms?
This melody ends on a @rglos{melisma}, a single syllable (``free'')
-sung to more than one note. This is indicated with a @emph{extender
-line}. It is entered as two underscores, i.e.,
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores, i.e.
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[]
+@lilypond[raggedright]
\score {
- \notes {
- \addlyrics
- \relative c' {
- \partial 8
+ \notes <<
+ \relative c' \new Voice {
+ \partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
-
- %% ugh, this is to deal with bugs in the extender implementation
- \hideNotes
- c32
- }
- \context Lyrics \lyrics { I want to break free __ }
- }
- \paper{ linewidth = 9.0 \cm }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
+ >>
+ \paper{ }
}
@end lilypond
Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables.
+resulting in a centered hyphen between two syllables:
@example
Twin -- kle twin -- kle
@end example
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \addlyrics \notes \relative f' { \time 2/4
+ << \notes \relative f' { \time 2/4
f4 f c' c' }
- \context Lyrics \lyrics { Twin -- kle twin -- kle
+ \new Lyrics \lyrics { Twin -- kle twin -- kle }
+ >>
+ \paper { raggedright = ##t }
}
-\paper { linewidth = 6.0 \cm }
- }
-
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
In popular music, it is common to denote accompaniment as chord-names.
Using them in LilyPond has two parts, just like lyrics: entering the
-chords (with @code{\chords}), and printing them (with @code{\context
+chords (with @code{\chords}), and printing them (with @code{\new
ChordNames}).
Chord names are entered by starting chords mode (with @code{\chords}).
In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that.
+root of the chord), and a durations following that:
@c
@lilypond[verbatim]
\chords { c2 f4. g8 }
@noindent
The result of @code{\chords} is a list of chords, and is equivalent
-to entering chords with @code{<<@dots{}>>}.
+to entering chords with @code{<@dots{}>}.
Other chords can be created by adding modifiers, after a colon. The
-following example shows a few common modifiers
+following example shows a few common modifiers:
@c
@lilypond[verbatim]
\chords { c2 f4:m g4:maj7 gis1:dim7 }
before the chords thus entered:
@c
@lilypond[verbatim]
- \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+ \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-@cindex lead sheet
+@cindex lead sheet
+@separate
When put together, chord names, lyrics and a melody form
a lead sheet, for example,
@example
\score @{
- <
+ <<
\context ChordNames \chords @{ @emph{chords} @}
- \addlyrics
- \notes @emph{the melody}
- \context Lyrics \lyrics @{ @emph{the text} @}
- >
+ \notes @emph{the melody}
+ \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
+ >>
\paper @{ @}
@}
@end example
@lilypond[]
\score {
- <
+ <<
\context ChordNames \chords { r8 c2:sus4 f }
- \addlyrics
\notes \relative c' {
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
- \context Lyrics \lyrics { I want to break free __ }
- >
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
+ \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
+ >>
\paper{ raggedright = ##t }
}
@end lilypond
the musical transcription.
@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example
+example,
@example
\score @{
@var{..music..}
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc. are
-entered as assignment, within @code{\header @{ @dots{} @}}. For
+entered as an assignment, within @code{\header @{ @dots{} @}}. For
example,
@example
\header @{
@cindex bibliographic information
@cindex titles
@cindex composer
-@cindex ly2dvi
-
+@cindex Engraved by LilyPond
-When the file is processed by @code{ly2dvi}, the title and composer
-specified are printed above the music. The `tagline' is a short line
-printed at bottom of the last page, which normally says ``Lily was
-here, version @dots{}''. In the example above, it is replaced by the
-line ``small is beautiful.''
+When the file is processed by the @code{lilypond} wrapper script, then
+the title and composer specified are printed above the music. The
+`tagline' is a short line printed at bottom of the last page, which
+normally says ``Engraved by LilyPond, version @dots{}''. In the
+example above, it is replaced by the line ``small is
+beautiful.''@footnote{Nicely printed parts are good PR for us, so do
+us a favor, and leave the tagline if you can.}
Normally, the @code{\header} is put at the top of the file. However,
-for a document that contains multiple pieces (e.g. a etude book, or
-part with multiple movements), then the header can be put into the
-@code{\score} block as follows In this case, the name of each piece
-will be printed before each movement.
+for a document that contains multiple pieces (e.g. an etude book, or
+an orchestral part with multiple movements), then the header can be
+put into the @code{\score} block as follows; in this case, the name of
+each piece will be printed before each movement:
-@cindex Lily was here
+@cindex Engraved by LilyPond
@cindex signature line
@cindex tag line
@}
@end example
-More information on titling can be found in @ref{Invoking ly2dvi}.
+More information on titling can be found in @ref{Invoking lilypond}.
@node Single staff polyphony
@cindex voices, more -- on a staff
When different melodic lines are combined on a single staff, these are
-printed as polyphonic voices: each voice has its own stems, slurs
-and beams, and the top voice has the stems up, while the bottom voice
-has stems down.
+printed as polyphonic voices: each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
Entering such parts is done by entering each voice as a sequence (with
@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}:
@example
- < @{ a4 g2 f4-~ f4 @} \\
- @{ r4 g4 f2 f4 @} >
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ r4 g4 f2 f4 @} >>
@end example
-@lilypond[relative 1]
-\context Staff < { a4 g2 f4-~ f4 } \\
- { r4 g4 f2 f4 } >
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
@end lilypond
For polyphonic music typesetting, spacer rests can also be convenient: these
are rests that do not print. It is useful for filling up voices that
temporarily do not play:
@example
- < @{ a4 g2 f4-~ f4 @} \\
- @{ s4 g4 f2 f4 @} >
+ << @{ a4 g2 f4~ f4 @} \\
+ @{ s4 g4 f2 f4 @} >>
@end example
-@lilypond[relative 1]
-\context Staff < { a4 g2 f4-~ f4 } \\
- { s4 g4 f2 f4 } >
+@lilypond[relative=1]
+\context Staff << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
@end lilypond
-Again, these expressions can be nested arbitrarily.
+Again, these expressions can be nested arbitrarily:
@lilypond[fragment]
-<
- \context Staff = staffA
+<<
+ \new Staff
\relative c''
- < { a4 g2 f4-~ f4 } \\
- { s4 g4 f2 f4 } >
- \context Staff = staffB
- < { \clef bass <<c g>>1 } \\
- { f4 d e2 }
- >
->
+ << { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
+ \new Staff
+ << { \clef bass <c g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
+ >>
+>>
@end lilypond
More features of polyphonic typesetting are in the notation manual
in @ref{Polyphony}.
-@node Piano staffs
-@section Piano staffs
+@node Piano staves
+@section Piano staves
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
-Piano music is always typeset in two staffs connected by a brace.
+Piano music is always typeset in two staves connected by a brace.
Printing such a staff is done similar to the polyphonic example in
@ref{Combining music into compound expressions}:
@example
- < \context Staff = up @{ @dots{} @}
- \context Staff = down @{ @dots{} @}
- >
+ << \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @}
+ >>
@end example
but now this entire expression must be interpreted as a
@code{PianoStaff}:
@example
- \context PianoStaff < \context Staff @dots{} >
+ \new PianoStaff << \new Staff @dots{} >>
@end example
Here is a full-fledged example:
-@lilypond[relative 0,fragment]
-\context PianoStaff
- < \context Staff = up { \time 2/4
+@lilypond[relative,fragment]
+\new PianoStaff
+ << \new Staff { \time 2/4
c4 c g' g }
- \context Staff = down {
+ \new Staff {
\clef bass c,, c' e c }
- >
+ >>
@end lilypond
More information on formatting piano music is in @ref{Piano music}.
from left-to-right order, similar to what happens when we read
music. During this step, context-sensitive information, such as the
accidentals to print, and where barlines must be placed, are stored in
-variables. These variables are called @emph{translation properties}.
+variables. These variables are called @emph{context properties}.
The properties can also be manipulated from input files. Consider this input:
@example
-\property Staff.autoBeaming = ##f
+\set Staff.autoBeaming = ##f
@end example
-It sets the property named @code{autoBeaming} in the current staff to
-@code{##f}, which means `false'. This property controls whether beams
-are printed automatically:
-@lilypond[relative 1,fragment,verbatim]
+
+@noindent
+It sets the property named @code{autoBeaming} in the current staff at
+this point in the music to @code{##f}, which means `false'. This
+property controls whether beams are printed automatically:
+@c
+@lilypond[relative=1,fragment,verbatim]
c8 c c c
- \property Staff.autoBeaming = ##f
+ \set Staff.autoBeaming = ##f
c8 c c c
@end lilypond
expression in that language. The first hash-mark signals that a piece
of Scheme code follows. The second hash character is part of the
boolean value true (@code{#t}). Values of other types may be
-entered as follows
+entered as follows:
@itemize @bullet
-@item a string, enclosed in double quotes, for example
+@item a string, enclosed in double quotes, for example,
@example
- \property Staff.instrument = #"French Horn"
+ \set Staff.instrument = #"French Horn"
@end example
@item a boolean: either @code{#t} or @code{#f}, for true and false
respectively, e.g.
@example
- \property Voice.autoBeaming = ##f
- \property Score.skipBars = ##t
+ \set autoBeaming = ##f
+ \set Score.skipBars = ##t
@end example
-@item a number
+@item a number, such as
@example
- \property Score.currentBarNumber = #20
+ \set Score.currentBarNumber = #20
@end example
-@item a symbol, which is introduced by a quote character,
+@item a symbol, which is introduced by a quote character, as in
@example
- \property Staff.crescendoSpanner = #'dashed-line
+ \set Staff.crescendoSpanner = #'dashed-line
@end example
-@item a pair, which is also introduced by a quote character.
-The following statements set properties to the pairs (-7.5, 6) and
-(3, 4) respectively.
+@item a pair, which is also introduced by a quote character, like in
+the following statements, which set properties to the pairs (-7.5, 6)
+and (3, 4) respectively:
+
+@example
+ \set Staff.minimumVerticalExtent = #'(-7.5 . 6)
+ \set Staff.timeSignatureFraction = #'(3 . 4)
+@end example
+@item a list, which is also introduced by a quote character. In the
+following example, the @code{breakAlignOrder} property is set to a
+list of symbols:
@example
- \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
- \property Staff.timeSignatureFraction = #'(3 . 4)
+ \set Score.breakAlignOrder =
+ #'(left-edge time-signature key-signatures)
@end example
@end itemize
There are many different properties, and not all of them are listed in
-this manual. However, the internal documentation lists them all in the
-@internalsref{All translation properties}, and most properties
-are demonstrated in one of the
+this manual. However, the program reference lists them all in the
+section @internalsref{Context-properties}, and most properties are
+demonstrated in one of the
@ifhtml
@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
@end ifhtml
example, every clef and every note head is represented by a layout
object. These layout objects also carry variables, which we call
@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score.
+values, we can alter the look of a formatted score:
-@lilypond[verbatim,relative 0]
+@lilypond[verbatim,relative]
c4
- \property Voice.Stem \override #'thickness = #3.0
+ \override Stem #'thickness = #3.0
c4 c4 c4
@end lilypond
@noindent
In the example shown here, the layout property @code{thickness} (a
symbol) is set to 3 in the @code{Stem} layout objects of the current
-Voice. As a result, the notes following @code{\property} have thicker
+ As a result, the notes following @code{\property} have thicker
stems.
In most cases of manual overrides, only a single object must be
changed. This can be achieved by prefixing @code{\once} to the
-@code{\property} statement, i.e.,
+@code{\property} statement, i.e.
@example
- \once \property Voice.Stem \set #'thickness = #3.0
+ \once \override Stem #'thickness = #3.0
@end example
-@lilypond[relative 0]
+@lilypond[relative]
c4
- \once \property Voice.Stem \set #'thickness = #3.0
+ \once \override Stem #'thickness = #3.0
c4 c4 c4
@end lilypond
respectively.
The exact tuning possibilities for each type of layout object are
-documented in the internal documentation of the respective
+documented in the program reference of the respective
object. However, many layout objects share properties, which can be
used to apply generic tweaks. We mention a couple of these:
@itemize @bullet
-@cindex @code{extra-offset}
@item The @code{extra-offset} property, which
+@cindex @code{extra-offset}
has a pair of numbers as value, moves around objects in the printout.
The first number controls left-right movement; a positive number will
move the object to the right. The second number controls up-down
low-level feature: the formatting engine is completely oblivious to
these offsets.
-In the following example example, the second fingering is moved a
-little to the left, and 1.8 staff space downwards.
+In the following example, the second fingering is moved a little to
+the left, and 1.8 staff space downwards:
@cindex setting object properties
-@lilypond[relative 1,verbatim]
+@lilypond[relative=1,verbatim]
\stemUp
f-5
-\once \property Voice.Fingering
- \set #'extra-offset = #'(-0.3 . -1.8)
+\once \override Fingering
+ #'extra-offset = #'(-0.3 . -1.8)
f-5
@end lilypond
The following example demonstrates how to connect different voices
using ties. Normally ties only happen between notes of the same
voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices.
+in that voice, the tie appears to cross voices:
-@lilypond[fragment,relative 1,verbatim]
-\context Staff < {
- \once \property Voice.Stem \set #'transparent = ##t
+@lilypond[fragment,relative=1,verbatim]
+ c4 << {
+ \once \override Stem #'transparent = ##t
b8~ b8
} \\ {
- b-[ g8-]
- } >
+ b[ g8]
+ } >>
@end lilypond
@item
The @code{padding} property for objects with
+@cindex @code{padding}
@code{side-position-interface} can be set to increase distance between
symbols that are printed above or below notes. We only give an
example; a more elaborate explanation is in @ref{Constructing a
-tweak}.
+tweak}:
-@lilypond[relative 1]
- c2-\fermata
- \property Voice.Script \set #'padding = #3
- b2-\fermata
+@lilypond[relative=1,verbatim]
+ c2\fermata
+ \override Script #'padding = #3
+ b2\fermata
@end lilypond
@end itemize
When all of the elements discussed earlier are combined to produce
larger files, the @code{\score} blocks get a lot bigger, because the
music expressions are longer, and, in the case of polyphonic and/or
-orchestral pieces, more deeply nested.
+orchestral pieces, more deeply nested. Such large expressions can
+become unwieldy.
By using variables, also known as identifiers, it is possible to break
-up complex music expressions.
-An identifier is assigned as follows
+up complex music expressions. An identifier is assigned as follows:
+@c
@example
namedMusic = \notes @{ @dots{}
@end example
The contents of the music expression @code{namedMusic}, can be used
later by preceding the name with a backslash, i.e. @code{\namedMusic}.
-In the next example, a two note motive is repeated thrice by using
+In the next example, a two note motive is repeated two times by using
variable substitution:
-@lilypond[singleline,verbatim]
+@lilypond[raggedright,verbatim]
seufzer = \notes {
dis'8 e'8
}
\score { \notes {
- \seufzer \seufzer \seufzer
+ \seufzer \seufzer
} }
@end lilypond
-The name of an identifier should only have alphabetic characters only,
-and no numbers, underscores or dashes. The assignment should be
-outside of the @code{\score} block.
+The name of an identifier should have alphabetic characters only, and
+no numbers, underscores or dashes. The assignment should be outside of
+the @code{\score} block.
It is possible to use variables for many other types of objects in the
input. For example,
@}
@end example
-Then, an individual part is made by putting the following in a file
+Then, an individual part is made by putting the following in a file:
@example
-\include "horn-music.ly"
+\include "horn-music.lyinc"
\header @{
instrument = "Horn in F"
@}
\score @{
- \notes \transpose c' f \hornNotes
+ \notes \transpose f c' \hornNotes
@}
@end example
The @code{\include} command substitutes the contents of the file at
this position in the file, so that @code{hornNotes} is defined
-afterwards. Since the horn is tuned in F, the @code{\transpose}
-command is used. The code @code{\transpose c' f} indicates that the
+afterwards. The code @code{\transpose f c'} indicates that the
argument, being @code{\hornNotes}, should be transposed by a fifth
-downwards: the @code{c'} becomes a @code{f}. The transposition can be
-seen in the following output:
+downwards: sounding @code{f} is denoted by notated @code{c'}, which
+corresponds with tuning of a normal French Horn in F. The
+transposition can be seen in the following output:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
- \notes \transpose c' f \notes \relative c' {
+ \notes \transpose f c' \notes \relative c {
\time 2/4
r4 f8 a cis4 f e d
}
rest. It is entered with a capital R, and followed by a duration (1
for a whole note, 2 for a half note, etc.) By multiplying the
duration, longer rests can be constructed. For example, the next rest
-takes 3 measures in 2/4 time.
+takes 3 measures in 2/4 time:
@example
R2*3
@end example
When printing the part, the following @code{skipBars} property must be
set to false, to prevent the rest from being expanded in three one bar
-rests.
+rests:
@example
- \property Score.skipBars = ##t
+ \set Score.skipBars = ##t
@end example
Prepending the rest and the property setting above, leads to the
-following result.
+following result:
-@lilypond[singleline]
-\score {\notes { \transpose c' f \relative c' { \time 2/4
-\property Score.skipBars = ##t
+@lilypond[raggedright]
+\score {\notes { \transpose f c' \relative c { \time 2/4
+\set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d } }}
@end lilypond
block, assuming that the other voice is in @code{bassoonNotes}, in the
file @file{bassoon-music.ly}:
@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
+\include "bassoon-music.lyinc"
+\include "horn-music.lyinc"
\score @{
\simultaneous @{
- \context Staff = hornStaff \hornNotes
- \context Staff = bsnStaff \bassoonNotes
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
@} @}
@end example
-This would lead to the simple score depicted below.
+This would lead to the simple score depicted below:
-@lilypond[singleline]
+@lilypond[raggedright]
\score {
\notes \relative c \simultaneous {
- \context Staff = hornStaff { \time 2/4
+ \new Staff { \time 2/4
R2*3
r4 f8 a cis4 f e d }
- \context Staff = fagStaff { \clef bass
+ \new Staff { \clef bass
r4 d,8 f | gis4 c | b bes |
a8 e f4 | g d | gis f }
} }
@cindex Texinfo, music in
Sometimes you might want to use music examples in a text that you are
-writing (for example a musicological treatise, a songbook, or (like us)
+writing (for example, 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 word processor. However,
there is an automated procedure to reduce the amount of work.
code. A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This program is fully described in @ref{lilypond-book manual}. Here
-we show a small example. Since the example also contains explanatory
-text, we will not comment it further.
+we show a small example. The example contains also explanatory text,
+so we will not comment it further:
@example
\documentclass[a4paper]@{article@}
@} @}
\end@{lilypond@}
-Notice that the music line length matches the margin settings of the
-document.
-
If you have no \verb+\score+ block in the fragment,
\texttt@{lilypond-book@} will supply one:
\verb+\score+ block was added, and the line width was set to natural
length. You can specify options by putting them in brackets:
-\begin[26pt,verbatim]@{lilypond@}
+\begin[staffsize=26,verbatim]@{lilypond@}
c'4 f16
\end@{lilypond@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows:
@example
$ cd input/tutorial
$ mkdir -p out/
-$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.7.23
-Reading `input/tutorial/lilbook.tex'
-Reading `input/screech-boink6.ly'
+$ lilypond-book --output=out/ lilybook.tex
+lilypond-book (GNU LilyPond) 2.1.19
+Reading `input/tutorial/lilybook.tex'
+Reading `input/screech-boink.ly'
@var{lots of stuff deleted}
-Writing `out/lilbook.latex'
+Writing `out/lilybook.latex'
$ cd out
-$ latex lilbook.latex
+$ latex lilybook.latex
@var{lots of stuff deleted}
-$ xdvi lilbook
+$ xdvi lilybook
+@end example
+
+To convert the file into a nice PDF document, run the following
+commands:
+@example
+$ dvips -Ppdf -u +lilypond lilybook
+$ ps2pdf lilybook.ps
@end example
+
Running lilypond-book and running latex creates a lot of temporary
files, and you would not want those to clutter up your working
directory. The @code{outdir} option to lilypond-book creates the
}
@end lilypond
-Notice that the music line length matches the margin settings of the
-document.
-
If you have no @code{\score} block in the fragment,
@code{lilypond-book} will supply one:
In the example you see here, two things happened: a
@code{score} block was added, and the line width was set to natural
-length. You can specify options by putting them in brackets:
+length. You can specify options by putting them in brackets:
-@lilypond[26pt,verbatim]
+@lilypond[staffsize=26,verbatim]
c'4 f16
@end lilypond
projects / lilypond.git / blobdiff