@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@ignore
+Tutorial guidelines:
+- unless you have a really good reason, use either
+ @l ilypond[quote,ragged-right,verbatim]
+ or
+ @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
+ (without spaces)
+ Don't use any other relative=X commands (make it a non-fragment
+ example), and don't use fragment without relative=2.
+- use "aes" and "ees" instead of "as" and "aes". I know it's not
+ correct Dutch naming, but let's not confuse people with this until
+ we get to the Basic notation chapter.
+@end ignore
+
+
+@c old info that will probably be removed.
@c TODO:
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
@node Tutorial
@chapter Tutorial
-This tutorial starts with a short introduction to the LilyPond music
-language. After this first contact we will show you how to produce
-printed output. Then you will be able to create and print your own
-sheets of music.
+This tutorial starts with an introduction to the LilyPond music
+language and how to produce printed music. After this first contact we
+will explain how to create common musical notation.
@ifhtml
Many people learn programs by trying and fiddling around with the
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,ragged-right,relative=2]
-c-\markup { \bold \huge { Click here. } }
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
+}
@end lilypond
-@end ifhtml
-By cutting and pasting the full input into a test file, you have a
+By cutting and pasting everything in the @qq{ly snippet} section, you have a
starting template for experiments. If you like learning in this way,
-you will probably want to print out or bookmark
-@ifhtml
-the
+you will probably want to print out or bookmark the
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.
@end ifhtml
-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.
@menu
* First steps::
-* Running LilyPond for the first time::
-* More about pitches::
-* Entering ties::
-* Automatic and manual beams::
-* Octave entry::
-* Music expressions explained::
-* More staves::
-* Adding articulation marks to notes::
-* Combining notes into chords::
-* Advanced rhythmic commands::
-* Commenting input files::
-* Printing lyrics::
-* A lead sheet::
-* Adding titles::
-* Single staff polyphony::
-* Piano staves::
-* Organizing larger pieces::
-* An orchestral part::
+* Single staff notation::
+* Multiple notes at once::
+* Songs::
+* Final touches::
@end menu
@node First steps
@section First steps
-The first example demonstrates how to enter the most elementary piece
-of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
-name, from @samp{a} through @samp{g}. So, if you enter
+This section gives a basic introduction to working with LilyPond.
+
+@menu
+* Compiling a file::
+* Simple notation::
+* Working on text files::
+* How to read the tutorial::
+@end menu
+
+
+@node Compiling a file
+@subsection Compiling a file
+
+The first example demonstrates how to start working with LilyPond. To
+create sheet music, we write a text file that specifies the
+notation. For example, if we write
@example
@{
-c d e f g a b
+ c' e' g' e'
@}
@end example
@noindent
the result looks like this
-@lilypond[fragment,quote,notime,relative=1]
-c d e f g a b
+@c in this case we don't want verbatim
+@lilypond[quote,ragged-right]
+{
+ c' e' g' e'
+}
@end lilypond
-Every piece of LilyPond input needs to have @{curly braces@} placed
-around the input. For the rest of this manual, most examples will
-omit these braces, but don't forget them in your own music!
-
-In addition, many examples use @code{relative} mode. This is explained
-in @ref{Octave entry}; for now simply be aware that some examples
-should be placed inside @code{\relative @{ @emph{...music...} @}}
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input. The braces should also be
+surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities. These may be omitted in some examples in this
+manual, but don't forget them in your own music!
@cindex Case sensitive
-Finally, LilyPond input is case sensitive. @code{ @{ c d e @} } is
-valid input; @code{ @{ C D E @} } will produce an error message.
-
-The @rglos{duration} of a note is specified by a number after the note
-name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
-@samp{4} for a @rglos{quarter note} and so on
-
-@example
-a1 a2 a4 a16 a32
-@end example
-
-@lilypond[fragment,quote,notime,relative=2]
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
-
-If you do not specify a duration, the duration last entered is used
-for the next notes. The duration of the first note in input defaults
-to a quarter
-
-@example
-a a8 a a2 a
-@end example
-
-@lilypond[fragment,quote,notime,relative=2]
-{ a a8 a a2 a s16_" " }
-@end lilypond
-
-
-A @rglos{rest} is entered just like a note, but with the name @samp{r}
-
-@example
-r2 r4 r8 r16
-@end example
-
-@lilypond[fragment,quote,notime]
-r2 r4 r8 r16 s16_" "
-@end lilypond
-
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
-
-@example
-a2. a4 a8. a16
-@end example
-
-@lilypond[fragment,quote,notime,relative=1]
-{ a2. a4 a8. a16 s16_" " }
-@end lilypond
-
-The (or @rglos{time signature}) can be set with the @code{\time}
-command
-
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
-
-@c A clef here may lead to confusion, remove it.
-@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
-@end lilypond
+In addition, LilyPond input is @strong{case sensitive}. @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
-The @rglos{clef} can be set using the @code{\clef} command
-
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
-
-@lilypond[fragment,quote,notime]
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
-@end lilypond
-
-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
-
-@c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
-@lilypond[fragment,quote,noindent,verbatim]
-\time 3/4
-\clef bass
-c2 e4 g2.
-f4 e d c2 r4
-@end lilypond
-
-For more information on
-
-@quotation
-@table @asis
-@item Entering pitches and durations
-see
-@ref{Pitches}, and @ref{Durations}.
-@item Clefs
-see @ref{Clef}.
-@item Rests
-see @ref{Rests}.
-@item Time signatures and other timing commands
-see @ref{Time signature}.
-@end table
-@end quotation
+@sp 1
+@subheading Entering music and viewing output
-@node Running LilyPond for the first time
-@section Running LilyPond for the first time
+In this section we will explain what commands to run
+and how to view or print the output.
-@c cheesy title to avoid clash with chapter name.
-
-In the last section we explained what kind of things you can enter in
-a LilyPond file. In this section we will explain what commands to run
-and how to view or print the output. If you have not used LilyPond
-before, want to test your setup, or want to run an example file
-yourself, read this section.
-
-@unnumberedsubsec MacOS X
+@subsubheading MacOS X
If you double click LilyPond.app, it will open with an example
file. Save it, for example, to @file{test.ly} on your Desktop, and
then process it with the menu command @samp{Compile > Typeset File}.
The resulting PDF file will be displayed on your screen.
-Be warned that the first-ever run will take a minute or two, because
-all of the system fonts have to be analyzed first.
+Be warned that the first time you ever run lilypond will take a minute
+or two because all of the system fonts have to be analyzed first.
-@unnumberedsubsec Windows
+For future use of LilyPond, you should begin by selecting "New"
+or "Open".
+
+@subsubheading Windows
On Windows, start up a text-editor@footnote{Any simple or
-programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, since these insert formatting codes that will confuse
-LilyPond.} and enter
+programmer-oriented editor with UTF-8 support will do, for example
+Notepad. Do not use a word processor, since these insert formatting
+codes that will confuse LilyPond.} and enter
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
Save it on the desktop as @file{test.ly} and make sure that it is not
called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
the file and show the resulting PDF file.
-@unnumberedsubsec Unix
+@subsubheading Unix
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
-@code{joe}.@footnote{There are macro files for VIM addicts, and there
+@code{joe}@footnote{There are macro files for VIM addicts, and there
is a @code{LilyPond-mode} for Emacs addicts. If they have not been
-installed already, refer to the file @file{INSTALL.txt}.} In your
+installed already, refer to the file @file{INSTALL.txt}. These
+easiest editing environment is @file{LilyPondTool}. See
+@ref{Editor support} for more information.}. In your
text editor, enter the following input and save the file as
@file{test.ly}
-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
@noindent
To process @file{test.ly}, proceed as follows
@example
lilypond test.ly
-GNU LilyPond 2.6.0
+GNU LilyPond 2.10.0
Processing `test.ly'
Parsing...
Interpreting music... [1]
-Preprocessing graphical objects...
+Preprocessing graphical objects...
Calculating line breaks... [2]
Layout output to `test.ps'...
Converting to `test.pdf'...
@end example
-@cindex DVI file
+@cindex PDF file
@cindex Viewing music
-@cindex xdvi
+
@noindent
The result is the file @file{test.pdf} which you can print or view
with the standard facilities of your operating system.@footnote{If
-your system does not have any tools installed, you can try
+your system does not have any such tools installed, you can try
@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
available package for viewing and printing PDF and PostScript files.}
-@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[fragment,quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
-@end lilypond
+@node Simple notation
+@subsection Simple notation
-@cindex key signature, setting
-The key signature is set with the command @code{\key}, followed by
-a pitch and @code{\major} or @code{\minor}
-
-@example
-\key d \major
-g1
-\key c \minor
-g
-@end example
+LilyPond will add some notation elements automatically. In the next
+example, we have only specified four pitches, but LilyPond has
+added a clef, time signature, and rhythms.
-@lilypond[fragment,quote,notime,fragment]
-\key d \major
-g'1
-\key c \minor
-g'
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
@end lilypond
@noindent
-Key signatures together with the pitches (including alterations) are
-used to determine when to print accidentals. This is a
-feature that often causes confusion to newcomers, so let us explain it
-in more detail.
+This behavior may be altered, but in most cases these automatic values
+are useful.
-LilyPond makes 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 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.
+@subheading Pitches
-In this example
+The easiest way to enter notes is by using @code{\relative} mode. In
+this mode, the @rglos{interval} between the previous note and the
+current note is assumed to be within a @rglos{fourth}. We begin by
+entering the most elementary piece of music, a @rglos{scale}.
-@lilypond[quote,notime,fragment]
-\key d \major
-d' cis' fis'
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
@end lilypond
-@noindent
-no note has an explicit accidental, but you still must enter
+The initial note is @rglos{middle C}. Each successive note
+is within a fourth of the previous note -- in other words, the first
+@samp{c} is the closest C to middle C. This is followed by the closest
+D to the previous note. We can create melodies which have larger intervals:
-@example
-\key d \major
-d cis fis
-@end example
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
@noindent
-The code @samp{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 major, it does get an accidental
+As you may notice, this example does not start on middle C. The first
+note -- the @samp{d} -- is the closest D to middle C.
-@lilypond[quote,notime,fragment,relative=1,verbatim]
-\key as \major
-d
+To add intervals that are larger than a fourth, we can raise the octave
+by adding a single quote @code{'} (or apostrophe) to the note name. We can
+lower the octave by adding a comma @code{,} to the note name.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
@end lilypond
-Adding all alterations explicitly might require a little more effort
-when typing, but the advantage is that transposing is easier, and
-accidentals can be printed according to different conventions. See
-@ref{Automatic accidentals}, for some examples how accidentals can be printed
-according to different rules.
+@noindent
+To change a note by two (or more!) octaves, we use multiple @code{''} or
+@code{,,} -- but be careful that you use two single quotes @code{''} and
+not one double quote @code{"}@tie{}! The initial value in
+@code{\relative c'} may also be modified like this.
-For more information on
+@subheading Durations (rhythms)
-@quotation
-@table @asis
-@item Accidentals
-see @ref{Automatic accidentals}.
+The @rglos{duration} of a note is specified by a number after the note
+name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
+@samp{4} for a @rglos{quarter note} and so on. Beams are added
+automatically.
-@item Key signature
-see @ref{Key signature}.
-@end table
-@end quotation
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a1
+ a2 a4 a8 a
+ a16 a a a a32 a a a a64 a a a a a a a a2
+}
+@end lilypond
-@node Entering ties
-@section Entering ties
+@noindent
+If you do not specify a duration, the previous duration is used
+for the next note. The duration of the first note defaults to a quarter.
-@cindex tie
-A @rglos{tie} is created by appending a tilde @samp{~} to the first
-note being tied
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
-@lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
@end lilypond
-For more information on Ties see @ref{Ties}.
+@subheading Rests
+A @rglos{rest} is entered just like a note with the name @samp{r}:
-@node Automatic and manual beams
-@section Automatic and manual beams
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
+@end lilypond
-@cindex beams, by hand
-All @rglos{beam}s are drawn automatically
-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
-@end lilypond
+@subheading Time signature
-@noindent
-If you do not like where beams are put, they can be entered by
-hand. Mark the first note to be beamed with @samp{[} and the last one
-with @samp{]}.
+The @rglos{time signature}) can be set with the @code{\time} command:
-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
@end lilypond
-For more information on beams, see @ref{Manual beams}.
+@subheading Clef
-Here are key signatures, accidentals and ties in action
+The @rglos{clef} can be set using the @code{\clef} command:
-@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
-\relative c'' {
- \time 4/4
- \key g \minor
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
\clef treble
- r4 r8 a8 gis4 b
- a8 d4.~ d e,8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
}
@end lilypond
-@cindex accidentals
+@subheading All together
-@noindent
-There are some interesting points to note in this example. Bar lines
-and beams are drawn automatically. Line breaks are calculated
-automatically; it does not matter where the line breaks are in the
-source file. Finally, the order in which time, key, and clef changes
-are entered is not relevant: in the printout, these are ordered
-according to standard notation conventions.
-
+Here is a small example showing all these elements together:
+@lilypond[quote,ragged-right,verbatim]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
+@end lilypond
-@node Octave entry
-@section Octave entry
+@moreinfo
+@quotation
+@table @asis
+@item Entering pitches and durations
+see @ref{Pitches} and @ref{Durations}.
+@item Rests
+see @ref{Rests}.
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@item Clefs
+see @ref{Clef}.
+@end table
+@end quotation
-@c Tim wants to move this quotes example just before the: quotes-do not-work
-@c score, but we'd need to remove quotes from the other two (key and
-@c tie) examples...
+@node Working on text files
+@subsection Working on text files
-@c better to have this just before the `octaves are bad' snipped
-@c but we'd need to remove the ', from \key and tie
-To raise a note by an octave, add a high quote @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a `low quote' @code{,}
-(comma). Middle C is @code{c'}
+LilyPond input files are treated like files in most programming languages:
+they are case sensitive, white-space insensitive, expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ .. %@}}.
-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
-@end lilypond
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
-An example of the use of quotes is in the following Mozart fragment
+@itemize
-@lilypond[quote,ragged-right,fragment,verbatim]
-\key a \major
-\time 6/8
-cis''8. d''16 cis''8 e''4 e''8
-b'8. cis''16 b'8 d''4 d''8
-@end lilypond
+@cindex Case sensitive
+@item @strong{Case sensitive}:
+it matters whether you enter a letter
+in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
+@code{A, B, S, T}). Notes are lower case: @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.
+
+@item @strong{Whitespace insensitive}:
+it does not matter how many
+spaces (or new lines) you add. @code{ @{ c d e @}} means the same thing
+as @code{ @{ c @ @ @ @ @ d e @} } and
+@example
+ @{
+c d
+ e @}
+@end example
@noindent
-This example shows that music in a high register needs lots of quotes.
-This makes the input less readable, and it is a source of errors. The
-solution is to use `relative octave' mode. This is the
-most convenient way to copy existing music.
+Of course, the previous example is hard to read. A good rule of thumb
+is to indent code blocks with either a tab or two spaces:
+@example
+@{
+ c d e
+@}
+@end example
-In relative mode, a note without octavation quotes (i.e. the @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
-previous one. For example, @samp{c f} goes up while @samp{c g} goes
-down.
+@item @strong{Expressions:}
+Every piece of LilyPond input needs to have
+@strong{@{ curly braces @}} placed around the input. These braces tell
+LilyPond that the input is a single music expression, just like
+parenthesis @samp{()} in mathematics. The braces should
+be surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities.
-To use relative mode, add @code{\relative} before the piece of
-music. The first note is taken relative to the middle C
-@c no , for this sentence
-(i.e., @code{c'})
+A function (such as @code{\relative @{ @}} ) also counts as a single
+music expression.
+@cindex comments
+@cindex line comment
+@cindex block comment
+@item @strong{Comments}:
+A comment is a remark for the human reader of the music input; it is
+ignored while parsing, so it has no effect on the printed output.
+There are two types of comments. The percent symbol @samp{%}
+introduces a line comment; anything after @samp{%} on that line is
+ignored. A block comment marks a whole section of music
+input as a comment. Anything that is enclosed in @code{%@{} and @code{%@}} is
+ignored. The following fragment shows possible uses for comments
+@example
+% notes for twinkle twinkle follow
+ c4 c g' g a a g2
-@lilypond[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
-}
-@end lilypond
+%@{
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
+ g g f f e e d d c2
+%@}
+@end example
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
+@end itemize
-@lilypond[quote,ragged-right,verbatim]
-\relative {
- \key a \major
- \time 6/8
- cis'8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
-@end lilypond
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.
-@c needed better, maybe even redundant explanation
-@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.
-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
-@end lilypond
+@node How to read the tutorial
+@subsection How to read the tutorial
-In summary, quotes or commas no longer determine the absolute height
-of a note in @code{\relative} mode. Rather, the height of a note is
-relative to the previous one, and changing the octave of a single note
-shifts all following notes an octave up or down.
+As we saw in @ref{Working on text files}, LilyPond input must be
+surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
+rest of this manual, most examples will omit this.
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+If you are reading the HTML documentation and wish to see the exact
+exact LilyPond code that was used to create the example, simply click
+on the picture. If you are not reading the HTML version, you could
+copy and paste the displayed input, but you @strong{must} add the
+@code{\relative c'' @{ @}} like this:
+@example
+\relative c'' @{
+ ... example goes here...
+@}
+@end example
-@node Music expressions explained
-@section Music expressions explained
+Why omit the braces? Most examples
+in this manual can be inserted into the middle of a longer piece of
+music. For these examples, it does not make sense to add
+@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
+inside another @code{\relative}, so you would not be able to copy
+a small documentation example and paste it inside a longer piece
+of your own.
-In input files, music is represent by so-called @emph{music
-expression}s. We have already seen some in the previous examples;
-a single note is a music expression
+@node Single staff notation
+@section Single staff notation
-@lilypond[fragment,quote,verbatim,relative=3]
-a4
-@end lilypond
+This section introduces common notation that is used for one voice
+on one staff.
-Enclosing a group of notes in braces creates a new music
-expression
+@menu
+* Relative note names::
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
-@lilypond[fragment,quote,verbatim,relative=3]
-{ a4 g4 }
-@end lilypond
-Putting a bunch of music expressions (e.g., notes) in braces, means that
-they should be played in sequence. The result again is a music
-expression, which can be grouped with other expressions sequentially.
-Here, the expression from the previous example is combined with two
-notes
+@node Relative note names
+@subsection Relative note names
-@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
-@end lilypond
+As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+each note relative to the previous one@footnote{There is another mode of
+entering pitches, @ref{Absolute note names}, but in practice relative
+mode is much easier and safer to use.}. If no extra octave marks
+(@code{'} and @code{,}) are added, it assumes that each pitch is within
+a fourth of the previous note.
-This technique is useful for non-monophonic music. To enter music
-with more voices or more staves, we also combine expressions in
-parallel. Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences. A `simultaneous'
-music expression is formed by enclosing expressions in @code{<<} and
-@code{>>}. In the following example, three sequences (all containing
-two separate notes) are combined simultaneously
+LilyPond examines pitches based on the note names -- in other words,
+an augmented fourth is @emph{not} the same as a diminished fifth. If we
+begin at a C, then an F-sharp will be placed a higher than the C, while
+a G-flat will be placed lower than the C.
-@lilypond[fragment,quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 fis
+c2 ges
@end lilypond
-This mechanism is similar to 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,
+@moreinfo
+@quotation
+@table @asis
+@item Relative octaves
+see @ref{Relative octaves}.
+@item Octave check
+see @ref{Octave check}.
+@end table
+@end quotation
-@example
-1
-1 + 2
-(1 + 2) * 3
+@node Accidentals and key signatures
+@subsection Accidentals and key signatures
-((1 + 2) * 3) / (4 * 5)
-@end example
+@subheading Accidentals
-@cindex expression
-@cindex music expression
-This is a sequence of expressions, where each expression is contained
-in the next (larger) one. The simplest expressions are numbers, and larger
-ones are made by combining expressions with operators (like @samp{+},
-@samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
-music expressions can be nested arbitrarily deep, which is necessary
-for complex music like polyphonic scores.
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, and a @rglos{flat} 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. To use other names for accidentals, see
+@ref{Note names in other languages}.}
-Note that this example only has one staff, whereas
-the previous example had three separate staves. That is because this
-example begins with a single note. To determine the number of staves,
-LilyPond looks at the first element. If it is a single note, there is one
-staff; if there is a simultaneous expression, there is more than one staff.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+cis1 ees fisis, aeses
+@end lilypond
-@lilypond[fragment,quote,verbatim,relative=2]
-{
- c <<c e>>
- << { e f } { c <<b d>> } >>
-}
+@cindex key signature, setting
+@subheading Key signatures
+
+The key signature is set with the command @code{\key} followed by
+a pitch and @code{\major} or @code{\minor}.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+a1
+\key c \minor
+a
@end lilypond
-Music files with deep nesting can be confusing to enter and
-maintain. One convention that helps against this confusion is
-indenting. When entering a file with deep nesting of braces and
-angles, it is customary to use an indent that indicates the nesting
-level. Formatting music like this eases reading and helps you insert
-the right number of closing braces at the end of an expression. For
-example,
+@sp 1
-@example
-<<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
->>
-@end example
+@subheading Warning: key signatures and pitches
-Some editors have special support for entering LilyPond, and can help
-indenting source files. See @ref{Editor support} for more information.
+To determine whether to print an accidental, LilyPond examines the
+pitches and the key signature. The key signature only effects
+the @emph{printed} accidentals, not the actual pitches! This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail.
-@node More staves
-@section More staves
+LilyPond makes 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
+@emph{printed} flat, natural or sharp sign) is 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.
-To print more than one staff, each piece of music that makes up a
-staff is marked by adding @code{\new Staff} before it. These
-@code{Staff} elements are then combined in parallel with @code{<<} and
-@code{>>}, as demonstrated here
+In this example
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef treble c'' }
- \new Staff { \clef bass c }
->>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+d cis fis
@end lilypond
+@noindent
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.
-The command @code{\new} introduces a `notation context.' A notation
-context is an environment in which musical events (like notes or
-@code{\clef} commands) are interpreted. For simple pieces, such
-notation contexts are created automatically. For more complex pieces, it
-is best to mark contexts explicitly. This ensures that each fragment
-gets its own stave.
+The code @samp{e} does not mean @qq{print a black dot just below 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:
-There are several types of contexts. @code{Staff}, @code{Voice} and
-@code{Score} handle melodic notation, while @code{Lyrics} sets lyric
-texts and @code{ChordNames} prints chord names.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
+@end lilypond
-In terms of syntax, prepending @code{\new} to a music expression
-creates a bigger music expression. In this way it resembles the minus
-sign in mathematics. The formula @math{(4+5)} is an expression, so
-@math{-(4+5)} is a bigger expression.
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+accidentals can be printed according to different conventions. See
+@ref{Automatic accidentals} for some examples how accidentals can be printed
+according to different rules.
-We can now typeset a melody with two staves
+@moreinfo
+@quotation
+@table @asis
+@item Accidentals
+see @ref{Accidentals} and @ref{Automatic accidentals}.
+@item Key signature
+see @ref{Key signature}.
+@end table
+@end quotation
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-@lilypond[fragment,quote,verbatim,ragged-right]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
-
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
->>
+@node Ties and slurs
+@subsection Ties and slurs
+
+@cindex ties
+@subheading Ties
+A @rglos{tie} is created by appending a tilde @samp{~} to the first
+note being tied
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
@end lilypond
-For more information on contexts see the description in
-@ref{Interpretation contexts}.
+@cindex slurs
+@subheading Slurs
+A @rglos{slur} is a curve drawn across many notes. The starting note
+and ending note are marked with @samp{(} and @samp{)} respectively.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
+@end lilypond
-@node Adding articulation marks to notes
-@section Adding articulation marks to notes
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
+
+@cindex phrasing slurs
+Slurs to indicate longer phrasing can be entered with @code{\(} and
+@code{\)}. You can have both legato slurs and phrasing slurs at the
+same time, but you cannot have simultaneous slurs or simultaneous
+phrasing slurs.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
+@end lilypond
+
+@sp 1
+
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
+
+A slur looks like a @rglos{tie}, but it has a different meaning. A
+tie simply makes the first note 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
+can be nested.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Ties
+see @ref{Ties}.
+@item Slurs
+see @ref{Slurs}.
+@item Phrasing slurs
+see @ref{Phrasing slurs}.
+@end table
+@end quotation
+
+
+@node Articulation and dynamics
+@subsection Articulation and dynamics
@cindex articulation
@cindex accents
@cindex staccato
+@subheading Articulations
-Common accents can be added to a note using a dash (@samp{-}) and a
-single character
+Common @rglos{articulations} can be added to a note using a dash @samp{-}
+and a single character:
-@lilypond[fragment,quote,verbatim,relative=2]
-c-. c-- c-> c-^ c-+ c-_
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
@cindex fingering
+@subheading Fingerings
Similarly, fingering indications can be added to a note using a dash
-(@samp{-}) and the digit to be printed
+(@samp{-}) and the digit to be printed:
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
Articulations and fingerings are usually placed automatically, but you
can specify a direction using @samp{^} (up) or @samp{_} (down). You can
-also use multiple articulations on the same note. In most cases, however,
+also use multiple articulations on the same note. However, in most cases
it is best to let LilyPond determine the articulation directions.
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
+@subheading Dynamics
Dynamic signs are made by adding the markings (with a backslash) to
the note
-@lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\ff c\mf c\p c\pp
@end lilypond
@cindex dynamics
@code{\>}. An ending dynamic, for example @code{\f}, will finish the
(de)crescendo, or the command @code{\!} can be used
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
+@moreinfo
+@quotation
+@table @asis
+@item Articulations
+see @ref{Articulations}.
+@item Fingering
+see @ref{Fingering instructions}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
+@end quotation
-@cindex slur
+@node Automatic and manual beams
+@subsection Automatic and manual beams
-A @rglos{slur} is a curve drawn across many notes, and indicates
-legato articulation. The starting note and ending note are marked
-with @samp{(} and @samp{)}, respectively
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
-@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8
@end lilypond
-@cindex slurs versus ties
-A slur looks like a @rglos{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
-can be nested
+@noindent
+If you do not like the automatic beams, they may be overridden
+manually. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
-@lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@end lilypond
-@cindex phrasing slurs
-Slurs to indicate phrasing can be entered with @code{\(} and
-@code{\)}, so you can have both legato slurs and phrasing slurs at the
-same time. You cannot have simultaneous slurs or simultaneous
-phrasing slurs.
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation
+
+
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
+
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+@subheading Partial measure
+
+A pickup (or @rglos{anacrusis}) is entered with the keyword
+@code{\partial}. It is followed by a duration: @code{\partial 4} is
+a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\partial 8
+f8 c2 d
+@end lilypond
+
+@cindex tuplets
+@cindex triplets
+@subheading Tuplets
+
+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
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\times 2/3 { f8 g a }
+\times 2/3 { c r c }
+\times 2/3 { f,8 g16 a g a }
+\times 2/3 { d4 a8 }
@end lilypond
+@cindex grace notes
+@cindex acciaccatura
+@cindex appoggiatura
+@subheading Grace notes
+
+Grace notes are created with the @code{\grace} command, although they
+can also be created by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
-For more information on
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32 b} c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
+@moreinfo
@quotation
@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 Grace notes
+see @ref{Grace notes},
+@item Tuplets
+see @ref{Tuplets},
+@item Pickups
+see @ref{Partial measures}.
@end table
@end quotation
-@node Combining notes into chords
-@section Combining notes into chords
+@node Multiple notes at once
+@section Multiple notes at once
-@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
+This section introduces having more than one note at the same time:
+multiple instruments, multiple staves for a single instrument (i.e. piano),
+and chords.
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
+
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
+
+
+@node Music expressions explained
+@subsection Music expressions explained
+
+In LilyPond input files, music is represented by @emph{music
+expressions}. A single note is a music expression, although it is not
+valid input all on its own.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a4
@end lilypond
+Enclosing a group of notes in braces creates a new music expression:
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ a4 g4 }
+@end lilypond
+
+Putting a group of music expressions (e.g. notes) in braces means that
+are in sequence (i.e. each one follows the previous one). The result
+is another music expression:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
+@end lilypond
+
+@subheading Simultaneous music expressions: multiple staves
+
+This technique is useful for polyphonic music. To enter music
+with more voices or more staves, we combine expressions in
+parallel. To indicate that two voices should play at the same time
+simple enter a simultaneous combination of music expressions. A
+@q{simultaneous} music expression is formed by enclosing expressions inside
+@code{<<} and @code{>>}. In the following example, three sequences (all
+containing two separate notes) are combined simultaneously:
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
+}
@end lilypond
+Note that we have indented each level of the input with a different
+amount of space. LilyPond does not care how much (or little) space there
+is at the beginning of a line, but indenting LilyPond code like this makes
+it much easier for humans to read.
+
+@subheading Simultaneous music expressions: single staff
+
+To determine the number of staves in a piece, LilyPond looks at the first
+exression. If it is a single note, there is one staff; if there is a
+simultaneous expression, there is more than one staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
+}
+@end lilypond
+
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
+This mechanism is similar to 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,
+
@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
@end example
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+This is a sequence of expressions, where each expression is contained
+in the next (larger) one. The simplest expressions are numbers, and larger
+ones are made by combining expressions with operators (like @samp{+},
+@samp{*} and @samp{/}) and parentheses. Like mathematical expressions,
+music expressions can be nested arbitrarily deep, which is necessary
+for complex music like polyphonic scores.
+
+
+@node Multiple staves
+@subsection Multiple staves
+
+As we saw in @ref{Music expressions explained}, LilyPond input files
+are constructed out of music expressions. If the score begins with
+simultaneous music expressions, LilyPond creates multiples staves. However,
+it is easier to see what happens if we create each staff explicitly.
+
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it. These
+@code{Staff} elements are then combined in parallel with @code{<<} and
+@code{>>}:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
+The command @code{\new} introduces a @q{notation context.} A notation
+context is an environment in which musical events (like notes or
+@code{\clef} commands) are interpreted. For simple pieces, such
+notation contexts are created automatically. For more complex pieces, it
+is best to mark contexts explicitly.
-@node Advanced rhythmic commands
-@section Advanced rhythmic commands
+There are several types of contexts. @code{Score}, @code{Staff},
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
+texts and @code{ChordNames} prints chord names.
-@cindex pickup
-@cindex anacruse
-@cindex partial measure
-A pickup 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
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression. In this way it resembles the minus
+sign in mathematics. The formula @math{(4+5)} is an expression, so
+@math{-(4+5)} is a bigger expression.
-@lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
+Time signatures entered in one staff affects all other staves, but
+the key signature of one staff does @emph{not} affect other
+staves@footnote{This behavior may be changed if desired; see
+@ref{Changing defaults} for details.}.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble \time 3/4 c }
+ \new Staff { \clef bass \key d \major c,, }
+ >>
+}
@end lilypond
-@cindex tuplets
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the 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
-@lilypond[quote,relative=1,verbatim,fragment]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
+
+
+@node Piano staves
+@subsection Piano staves
+
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+Piano music is typeset in two staves connected by a brace. Printing
+such a staff is similar to the polyphonic example in @ref{Multiple staves},
+but now this entire expression is inserted inside a @code{PianoStaff}:
+
+@example
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
+>>
+@end example
+
+Here is a small example
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \new PianoStaff <<
+ \new Staff { \time 2/4 c4 e g g, }
+ \new Staff { \clef bass c,, c' e c }
+ >>
+}
+@end lilypond
+
+@moreinfo
+@quotation
+See @ref{Piano music}.
+@end quotation
+
+
+@node Single staff polyphony
+@subsection Single staff polyphony
+
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+When different melodic lines are combined on a single staff they 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
+them down.
+
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
-@cindex grace notes
-@cindex acciaccatura
-Grace notes are also made by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
-@cindex appoggiatura
-@cindex acciaccatura
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print. They are useful for filling up
+voices that temporarily do not play. Here is the same example with a
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
@noindent
+Again, these expressions can be nested arbitrarily.
-For more information on
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
+ >>
+>>
+@end lilypond
+@moreinfo
@quotation
-@table @asis
-@item Grace notes
-see @ref{Grace notes},
-@item Tuplets
-see @ref{Tuplets},
-@item Pickups
-see @ref{Partial measures}.
-@end table
+See @ref{Basic polyphony}.
@end quotation
-@node Commenting input files
-@section Commenting input files
+@node Combining notes into chords
+@subsection Combining notes into chords
-@cindex comments
-@cindex line comment
-@cindex block comment
-A comment is a remark for the human reader of the music input; it is
-ignored while parsing, so it has no effect on the printed output.
-There are two types of comments. The percent symbol @samp{%}
-introduces a line comment; after @code{%} the rest of the line is
-ignored. A block comment marks a whole section of music
-input. Anything that is enclosed in @code{%@{} and @code{%@}} is
-ignored. The following fragment shows possible uses for comments
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
-@example
-% notes for twinkle twinkle follow
- c4 c g' g a a g2
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
-%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
- g g f f e e d d c2
-%@}
-@end example
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
-@c TODO post-2.6 reorg
-@c This is good info, but I wouldn't call it a comment. IMO it should
-@c be moved somewhere else.
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
-@cindex versioning
-There is a special statement that is a kind of comment. The @code{\version}
-statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.6.0, use
+@node Songs
+@section Songs
-@example
-\version "2.7.32"
-@end example
+This section introduces vocal music and simple song sheets.
-@noindent
-These annotations make future upgrades of LilyPond go more
-smoothly. Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-@c TODO: (c) status of the Queen fragment.
+@subsection Printing lyrics
@cindex Lyrics
@cindex Songs
-Lyrics are entered by separating each syllable with a space
-
-@example
-I want to break free
-@end example
-
-Consider the melody
+Consider a simple melody:
-@lilypond[quote,verbatim,fragment,ragged-right]
-\relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a4 e c r4
+ b2 c4( d)
}
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword
+@code{\addlyrics} keyword. Lyrics are entered by separating each
+syllable with a space.
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
}
- \addlyrics { I want to break free }
+ \addlyrics { One day this shall be free }
>>
@end lilypond
@cindex melisma
@cindex extender line
-@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})
sung to more than one note. This is indicated with an @emph{extender
-line}. It is entered as two underscores, i.e.,
-
-@example
-@{ I want to break free __ @}
-@end example
+line}. It is entered as two underscores @code{__}:
-@lilypond[fragment,quote,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c r4
+ b2 c4( d)
}
- \addlyrics { I want to break free __ }
+ \addlyrics { One day this shall be free __ }
>>
@end lilypond
Similarly, hyphens between words can be entered as two dashes,
resulting in a centered hyphen between two syllables
-@example
-Twin -- kle twin -- kle
-@end example
-
-@lilypond[fragment,quote,ragged-right]
+@c no ragged-right here because otherwise the hypens get lost.
+@lilypond[quote,verbatim]
<<
- \relative {
+ \relative c' {
\time 2/4
- f4 f c' c
+ f4 f c c
}
- \addlyrics { Twin -- kle twin -- kle }
+ \addlyrics { A -- le -- gri -- a }
>>
@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are
discussed in @ref{Vocal music}.
+@end quotation
@node A lead sheet
-@section A lead sheet
+@subsection A lead sheet
@cindex Lead sheets
@cindex chords
@cindex chord names
@c TODO: revise this, \chords { } is shorter and more intuitive.
+@c I need help for this. -gp
-In popular music, it is common to denote accompaniment with chord names.
+In popular music it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
\chordmode { c2 f4. g8 }
@end lilypond
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
following result.
-
+
@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
When put together, chord names, lyrics and a melody form
a lead sheet, for example,
-@example
-<<
- \chords @{ @emph{chords} @}
- @emph{the melody}
- \addlyrics @{ @emph{the text} @}
->>
-@}
-@end example
-
-@lilypond[quote,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
+% this melody needs to be changed. See my new example in 2.4.1. -gp
<<
- \chords { r2 c:sus4 f }
+ \chords { r2 c:sus4 f }
\relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
in @ref{Chords}.
+@node Final touches
+@section Final touches
+
+This is the final section of the tutorial; it demonstrates how to add the
+final touches to simple pieces, and provides an introduction to the rest
+of the manual.
+
+@menu
+* Version number::
+* Adding titles::
+* Absolute note names::
+* Organizing pieces with identifiers::
+* After the tutorial::
+* How to read the manual::
+@end menu
+
+
+@node Version number
+@subsection Version number
+
+@cindex versioning
+The @code{\version} statement marks for which version of LilyPond the file
+was written. To mark a file for version 2.10.1, place
+
+@example
+\version "2.10.1"
+@end example
+
+@noindent
+at the top of your LilyPond file.
+
+These annotations make future upgrades of LilyPond go more
+smoothly. Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
+
+
@node Adding titles
-@section Adding titles
+@subsection Adding titles
-Bibliographic information is entered in a separate block, the
-@code{\header} block. The name of the piece, its composer, etc., are
-entered as an assignment, within @code{\header
-@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
-the top of the file. For example,
+The title, composer, opus number, and similar information are entered
+in the @code{\header} block. This exists outside of the main
+music expression; the @code{\header} block is usually placed underneath
+the @ref{Version number}.
-@example
+@example
+\version "2.10.1"
\header @{
- title = "Miniature"
- composer = "Igor Stravinsky"
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
-@{ @dots{} @}
+@{
+ @dots{} music @dots{}
+@}
@end example
-
When the file is processed, the title and composer are printed above
the music. More information on titling can be found in @ref{Creating
titles}.
-@node Single staff polyphony
-@section Single staff polyphony
+@node Absolute note names
+@subsection Absolute note names
-@cindex polyphony
-@cindex multiple voices
-@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff they 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
-them down.
+So far we have always used @code{\relative} to define pitches. This is
+the easiest way to enter most music, but another way of defining pitches
+exists: absolute mode.
-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining these simultaneously, separating the
-voices with @code{\\}
+If you omit the @code{\relative}, LilyPond treats all pitches as
+absolute values. A @code{c'} will always mean middle C, a @code{b} will
+always mean the note one step below middle C, and a @code{g,} will
+always mean the note on the bottom staff of the bass clef.
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
+}
@end lilypond
-For polyphonic music typesetting, spacer rests can also be convenient;
-these are rests that do not print. They are useful for filling up
-voices that temporarily do not play. Here is the same example with a
-spacer rest (@code{s}) instead of a normal rest (@code{r}),
+Here is a four-octave scale:
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c, d, e, f,
+ g, a, b, c
+ d e f g
+ a b c' d'
+ \clef treble
+ e' f' g' a'
+ b' c'' d'' e''
+ f'' g'' a'' b''
+ c'''1
+}
@end lilypond
-@noindent
-Again, these expressions can be nested arbitrarily
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks. Consider this fragment from Mozart:
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-<<
- \new Staff <<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
- >>
- \new Staff <<
- \clef bass
- { <c, g>1 ~ <c g>4 } \\
- { e,4 d e2 ~ e4}
- >>
->>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8
+ b'8. cis''16 b'8 d''4 d''8
+}
@end lilypond
-More features of polyphonic typesetting are described in this manual
-in section @ref{Polyphony}.
-
-
-@node Piano staves
-@section Piano staves
-
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace. Printing
-such a staff is similar to the polyphonic example in @ref{More staves},
-
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
-
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
-
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-
-Here is a small example
+All these quotes makes the input less readable and it is a source of
+errors. With @code{\relative}, the previous example is much easier
+to read:
-@lilypond[quote,verbatim,relative=1,fragment]
-\new PianoStaff <<
- \new Staff { \time 2/4 c4 c g' g }
- \new Staff { \clef bass c,, c' e c }
->>
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
@end lilypond
-More information on formatting piano music is given in @ref{Piano music}.
+If you make a mistake with an octave mark (@code{'} or @code{,}) while
+working in @code{\relative} mode, it is very obvious -- many notes will
+be in the wrong octave. When working in absolute mode, a single mistake
+will not be as visible, and will not be as easy to find.
+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.
-@node Organizing larger pieces
-@section Organizing larger pieces
+
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
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 pieces,
-more deeply nested. Such large expressions can become unwieldy.
+larger files, the music expressions get a lot bigger. In polyphonic
+music with many staves, the input files can become very confusing. We can
+reduce this confusion by using @emph{identifiers}.
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
+Identifiers (also known as variables or macros), we can break up
+complex music expressions. An identifier is assigned as follows
@example
namedMusic = @{ @dots{} @}
@end example
-@noindent
-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 two times by using
-variable substitution
-
-@lilypond[quote,ragged-right,verbatim,nofragment]
-seufzer = {
- e'4( dis'4)
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command). Identifiers
+must be defined @emph{before} the main music expression.
+
+@lilypond[quote,verbatim,ragged-right]
+violin = \new Staff { \relative c'' {
+ a4 b c b
+}}
+cello = \new Staff { \relative c {
+ \clef bass
+ e2 d
+}}
+{
+ <<
+ \violin
+ \cello
+ >>
}
-{ \seufzer \seufzer }
@end lilypond
-The name of an identifier should have alphabetic characters only; no
-numbers, underscores or dashes. The assignment should be outside of
-running music.
+@noindent
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes.
It is possible to use variables for many other types of objects in the
input. For example,
@end example
Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+places. The following example uses the above variables:
@example
\paper @{
@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
-
-
-@node An orchestral part
-@section An orchestral part
-
-In orchestral music, all notes are printed twice. Once in a part for
-the musicians, and once in a full score for the conductor. Identifiers can
-be used to avoid double work. The music is entered once, and stored in
-a variable. The contents of that variable is then used to generate
-both the part and the full score.
-
-It is convenient to define the notes in a special file. For example,
-suppose that the file @file{horn-music.ly} contains the following part
-of a horn/@/bassoon duo
-
-@example
-hornNotes = \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
-
-@noindent
-Then, an individual part is made by putting the following in a file
-
-@example
-\include "horn-music.ly"
-\header @{
- instrument = "Horn in F"
-@}
-
-@{
- \transpose f c' \hornNotes
-@}
-@end example
-
-The line
-
-@example
-\include "horn-music.ly"
-@end example
-
-@noindent
-substitutes the contents of @file{horn-music.ly} at this position in
-the file, so @code{hornNotes} is defined afterwards. The command
-@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth upwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with the
-tuning of a normal French Horn in@tie{}F. The transposition can be seen
-in the following output
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-In ensemble pieces, one of the voices often does not play for many
-measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital @samp{R} followed by a duration
-(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
-duration, longer rests can be constructed. For example, this rest
-takes 3@tie{}measures in 2/4 time
-
-@example
-R2*3
-@end example
-
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
-
-@example
-\set Score.skipBars = ##t
-@end example
-
-@noindent
-This command sets the property @code{skipBars} in the
-@code{Score} context to true (@code{##t}). Prepending the rest and
-this option to the music above, leads to the following result
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- \set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-
-The score is made by combining all of the music together. Assuming
-that the other voice is in @code{bassoonNotes} in the file
-@file{bassoon-music.ly}, a score is made with
-
-@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
-
-<<
- \new Staff \hornNotes
- \new Staff \bassoonNotes
->>
-@end example
-
-@noindent
-leading to
-
-@lilypond[quote,ragged-right]
-\relative c <<
- \new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
- }
- \new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
- }
->>
-@end lilypond
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
+@node After the tutorial
+@subsection After the tutorial
-Setting run-time variables (`properties') is discussed in
-@ref{Changing context properties on the fly}.
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Templates} and
+add notes. If you need any notation that was not covered in the
+tutorial, look at the Notation Reference, starting with
+@ref{Basic notation}. If you want to write for an instrument
+ensemble which is not covered in the templates,
+take a look at @ref{Extending the templates}.
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-@ignore
-* longer example
+@node How to read the manual
+@subsection How to read the manual
-* discuss expectations (?)
+As we saw in @ref{How to read the tutorial}, many examples in the
+tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
+example.
-* conclude tutorial
+In the rest of the manual, we are much more lax about the
+printed examples: sometimes they may have omitted a
+@code{\relative c'' @{ ... @}}, but in other times a different initial
+pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
+the whole example is in absolute note mode! However, ambiguities like
+this only exist where the pitches are not important. In any example
+where the pitch matters, we have explicitly stated our @code{\relative}
+our our absolute-mode @code{@{ @}}.
-* overview of chapters?
+If you are still confused about the exact LilyPond input that was
+used in an example, read the HTML version (if you are not already doing
+so) and click on the picture of the music. This will display the exact
+input that LilyPond used to generate this manual.
-@end ignore
projects / lilypond.git / blobdiff