@c -*-texinfo-*-
-@c TODO: LilyPond Lilypond lilypond
-
+@c TODO: LilyPond LilyPond LilyPond
@node Tutorial
@chapter Tutorial
-
+
+@html
+<!--- @@WEB-TITLE@@=Tutorial --->
+@end html
+
@menu
-* Running LilyPond:: Getting started
-* First steps::
-* The first tune:: The first tune
+* First steps:: Music language of LilyPond
+* Simple legend:: Small table of music language symbols
+* Running LilyPond:: Printing music
+* The first real tune:: The first real tune
* Lyrics and chords:: Lyrics and chords
-* More movements ::
+* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
-* An orchestral score::
-* Other ways to run LilyPond::
-* Integrating text and music::
-* end of tutorial:: The end
+* An orchestral score:: Conductor's score and individual parts
+* Other ways to run LilyPond:: Other ways to run LilyPond
+* Integrating text and music:: Integrating text and music
+* End of tutorial:: The end
@end menu
-@node Running LilyPond
-@section Running LilyPond
+The music is described in a text file, using a simple music language.
+LilyPond reads that text file and generates music that you can print or
+view.
-You make music notation with LilyPond as follows: first you edit a text
-file containing a description of the notes. Then you run LilyPond on the
-file. This leaves you with an output file, which you can view or print.
+Therefore, creating music notation with LilyPond is done in two steps.
+Using a text editor, you write down the notes to print. Then, you run
+LilyPond to get your printed output.
-In this section we explain how to run LilyPond, and view or print the
-output. If you want to test your setup of LilyPond, or try to run an
-example file yourself, then read this section. Otherwise, you can skip
-to the next section, which explains how to
-write LilyPond input.
+This tutorial starts with a small introduction to the LilyPond music
+language. After this first contact, we will show you how to run
+LilyPond to produce printed output; you should then be able to create
+your first sheets of music.
-The instructions that follow are for Unix. Windows instructions are
-given at the end of this section. Start with opening a terminal window,
-and start up a text editor. For example, start an xterm and execute
-@code{joe}. Enter the following
-input, and save the file as @file{test.ly}.
-@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
-@end example
-If this code looks intimidating you, then don't worry, we explain all
-about it in the next section.
+The tutorial continues with a slightly more elaborate example of real music.
+This piece introduces and explains some finer details of LilyPond.
+Then, a number of more complex examples follow, that will help you to
+produce most complex music with LilyPond.
-@cindex ly2dvi
-@c dit is dus raar, dat je ly2dvi draait om lelie te draaien
-@c (therefore name change proposal)
+@c title?
-Invoke the program @code{ly2dvi} to run lilypond on your source file:
-@example
-ly2dvi -P test
-@end example
+@node First steps
+@section First steps
-You will see the following on your screen:
-@example
-GNU LilyPond 1.4.0
-Now processing: `/home/fred/ly/test.ly'
-Parsing...
-Interpreting music...[1]
- @emph{ ... more interesting stuff ... }
-PS output to `test.ps'...
-DVI output to `test.dvi'...
-@end example
+@c @node Music language of LilyPond
+@c @section Music language of LilyPond
-@cindex DVI file
-@cindex Viewing music
-@cindex xdvi
+This section shows how easy writing music with LilyPond actually is. If
+you have not seen LilyPond input source before, this section is for you.
-The results of the ly2dvi run are two files, @file{test.dvi} and
-@file{test.ps}. The PS file (@file{test.ps}) is the one you can
-print. You can view the PS file using the program ghostview. If a
-version of ghostview is installed on your system, one of these commands
-will produce a window with some music notation on your screen.
+The next section has a table (see @ref{Simple legend}) of all symbols
+that are introduced here, you may want to keep an eye on that.
+
+Writing music with LilyPond is explained below by a number of small
+examples. Each example has a small piece of text; the LilyPond input
+that you should type, with the resulting music printed below it.
+
+You get a simple note by typing its note name, from @code{a} through
+@code{g}:
+
+@quotation
@example
-kghostview test.ps
-ggv test.ps
-ghostview test.ps
-gv test.ps
+c d e f g a b
@end example
-When you're satisfied with the result, you can print the PS file by
-clicking File/Print inside ghostview.
-The DVI file (@file{test.dvi}) contains the same sheet music in a
-different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. Execute @code{xdvi test}
-to view the DVI file.
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { c d e f g a b }
+@end lilypond
+@end quotation
+@separate
-If your DVI viewer does not have a "Print" button, you can print the
-file by executing @code{lpr test.ps}.
+The length of a note is specified by adding a number, ``@code{1}'' for a
+whole note, ``@code{2}'' for a half note, and so on:
-@c volgende alinea schrappen?
+@quotation
+@example
+a1 a2 a4 a16 a32
+@end example
-If you can't get the examples to print, then you should look into
-installing and configuring ghostscript. Refer to GhostScript's website
-at @uref{http://www.ghostscript.com}.
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+%\property Staff.Clef = \turnOff
+\transpose c'' { a1 a2 a4 a16 a32 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
-@cindex GhostScript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
+If you don't specify a duration, the previous duration is used:
+@quotation
+@example
+a a a2 a
+@end example
-Windows users start the terminal by clicking on the lilypond icon.
-Notepad is sufficient for editing the lilypond file. Viewing the PS file
-can be done with @code{gsview32 test.ps}. Viewing DVI files can be done
-with @code{yap test}. The "print" button in Yap will print files. You
-can also print from the command line by executing @code{gsview32 /s
-test.ps}
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a a a2 a }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
+(@texiflat{}) by adding ``@code{es}'':
-@c titel?
+@quotation
+@example
+cis1 ees fisis aeses
+@end example
-@node First steps
-@section First steps
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { cis1 ees fisis aeses }
+s16_" "
+@end lilypond
+@end quotation
+@separate
-The basics of any piece of music are notes. Notes are entered
-with letters @code{a} to @code{g}, followed by a
-number that represents the duration: a @code{2} is a half note, a
-@code{4} is a quarter note. A period adds a dot to the note, so
-entering @code{2.} gives a dotted half note.
+Add a dot ``@code{.}'' after the duration to get a dotted note:
+@quotation
@example
- c2 e4 g2.
+a2. a4 a8. a16
@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-\clef bass c2 e4 g2.
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a2. a4 a8. a16 }
+s16_" "
@end lilypond
-If you don't specify a duration, then the duration last entered is used:
-@c
+@end quotation
+@separate
+
+The meter (or time signature) can be set with the ``@code{\time}'' command:
+
+@quotation
@example
- f4 e d c2.
+\time 3/4
+\time 6/8
+\time 4/4
@end example
+
+@c a clef here may lead to confusion
@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-\clef bass f4 e d c2.
+\property Staff.Clef = \turnOff
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
@end lilypond
-The time signature can be set with a command of the form @code{\time},
-and the clef with @code{\clef} as follows:
+@end quotation
+@separate
+
+The clef can be set using the ``@code{\clef}'' command:
+
+@c what is more common name treble or violin?
+@c in Dutch, its violin.
+@quotation
@example
- \time 3/4
- \clef bass
+\clef violin
+\clef bass
+\clef alto
+\clef tenor
@end example
+
@lilypond[fragment]
- \time 3/4
- \clef bass
- s2_" "
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
@end lilypond
+@end quotation
+@separate
+
+From these commands and notes, a piece of music can be formed. A piece
+of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
+LilyPond then knows that music follows (and not lyrics, for example):
+
+@quotation
+@example
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+@}
+@end example
+@end quotation
+@separate
+
+At this point, the piece of music is ready to be printed. This is done
+by combining the music with a printing command.
-The commands together with the notes are combined to form a snippet of
-music. They are combined by enclosing them with @code{\notes @{ @}}.
+The printing command is the so-called ``@code{\paper}'' block. You will
+see later that the \paper block is necessary to customize all kinds of
+printing specifics. The music and the \paper block are combined by
+enclosing them in ``@code{\score @{ ... @}}''. This is what a full
+LilyPond source file looks like:
+
+@quotation
@example
+\score @{
\notes @{
\time 3/4
\clef bass
c2 e4 g2.
f4 e d c2.
@}
+ \paper @{ @}
+@}
@end example
-This snippet is ready to be printed. This is done by combining the music
-with a printing command. The printing command is the so-called
-@code{\paper} block. You will see later that the \paper block is
-necessary to customize all kinds of printing specifics. The music and
-paper block are combined by enclosing them in @code{\score}.
-
-@lilypond[verbatim]
+@lilypond
\score {
\notes {
\time 3/4
\clef bass
- c2 e4 g2.
+ c2 e4 g2.
f4 e d c2.
}
- \paper { }
+ \paper { linewidth = 60 * \staffspace }
}
@end lilypond
+@end quotation
+@separate
-@ignore
-The @code{\paper} block looks empty, which means that we get default. That is because we did not contains page layout settings, such as the linewidth and
-the staff size. For now, we'll use standard settings, hence the paper
-block is empty (its braces enclose a blank space).
-@end ignore
-Rests are entered just like notes with the name @code{r}
-@lilypond[fragment,verbatim]
-r4 r8 r16
-@end lilypond
+We continue with the introduction of the remaining musical constructs.
-Octaves are entered by adding apostrophes or commas to note names. For
-example, the central C is entered as @code{c'}.
+@c maybe legend here?
-Pitches can be octaviated by adding apostrophes or commas. The central C is
-@code{c'}. Going up octave by octave we get @code{c''},
-@code{c'''}. Going down from central C, we get @code{c} @code{c,}
-@code{c,,} etc.
+Rests are entered just like notes with the name ``@code{r}'':
-@lilypond[verbatim,fragment]
-c'4 c'' c''' c c,
+@quotation
+@example
+r2 r4 r8 r16
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
@end lilypond
+@end quotation
+@separate
+
+@c Tim wants to move this quotes example just before the: quotes-don't-work
+@c score, but we'd need to remove quotes from the other two (key and
+@c tie) examples...
-LilyPond uses Dutch note names: you can make a note sharp by appending
-@code{is} to the name, and flat by appending @code{es} to the name.
-@lilypond[verbatim,fragment]
-fis'4 bes'4 aeses'4
+@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{,}
+(a comma). The central C is @code{c'}:
+
+@quotation
+@example
+c'4 c'' c''' \clef bass c c,
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
@end lilypond
+@end quotation
+@separate
+
+A tie is created by entering a tilde ``@code{~}'' between the notes to
+be tied. A tie between two notes means that the second note must not be
+played separately, but just makes the first note sound longer:
-Ties are created by entering a tilde (@code{~}) between the notes to be
-tied:
+@quotation
@lilypond[fragment,verbatim]
- g'4 ~ g' a'2 ~ a'4
+g'4 ~ g' a'2 ~ a'4
@end lilypond
-Ties look almost the same as slurs, but they are different. Ties can
-only indicate the extension of a note. Ties connect two note heads with
-the same pitch. Slurs on the other hand, can be drawn across many
-notes, and indicate bound articulation.
-
-The key signature is set with the command @code{\key}:
-@lilypond[fragment,verbatim]
- \key d \major
- g'1
- \key c \minor
- g'
+@end quotation
+@separate
+
+The key signature is set with the command ``@code{\key}'':
+@quotation
+@example
+\key d \major
+g'1
+\key c \minor
+g'
+@end example
+
+@lilypond[fragment]
+\property Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
@end lilypond
+@end quotation
-The next example shows octave marks, ties, and rests in action.
-@lilypond[verbatim]
+
+@c bit on the long/complex/scary taste
+@c cheating a bit: two lines makes for a friendlier look
+This example shows notes, ties, octave marks, and rests in action.
+Don't worry about all the quotes.
+
+@quotation
+@example
+\score @{
+ \notes @{
+ \time 4/4
+ \clef violin
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ @}
+ \paper @{ @}
+@}
+@end example
+
+@lilypond
\score {
\notes {
\time 4/4
- \clef treble
+ \clef violin
\key d \minor
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
+ d''8 a'4. ~ a' b'8
cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
cis''2 r2
}
- \paper { }
+ \paper { linewidth = 50*\staffspace }
}
@end lilypond
-There is one interesting point to note in this example: accidentals
-don't have to be marked explicitly. You just enter the pitch, and
-LilyPond determines wether or not to print an accidental.
-
-If you look at the last piece, it is already apparent that entering
-octaves using quotes is not very convenient. A score written in high
-register will be encoded using lots quotes. This makes the input file
-unreadable, and it also is a source of many errors.
-
-This problem is solved by relative octave mode. In this mode, the quotes
-are used to mark large jumps in the melody. Without any quotes or
-commas, the interval between a note and its predecessor is assumed to be
-a fourth or less. Quotes and commas add octaves in up and down
-direction.
-@lilypond[fragment,verbatim]
-\relative c'' { c4 d4 b4 e4 a,4 f'4 g,4 a'4 }
+@end quotation
+
+@c accidentals...
+There are some interesting points to note in this example. Firstly,
+accidentals (sharps and flats) don't have to be marked explicitly: you
+just enter the note name, and LilyPond determines whether or not to
+print an accidental. Secondly, bar lines and beams are drawn
+automatically. Thirdly, LilyPond calculates line breaks for you; it
+doesn't matter where you make new lines in the source file.
+
+The example also indicates that a piece of music written in a high
+register needs lots of quotes. This makes the input a bit unreadable,
+and is therefore also a potential source of errors.
+
+@separate
+
+The solution is to use ``relative octave'' mode. In practice, most
+music is entered using this mode.
+
+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''}.
+
+@c In relative octave mode, quotes are used to mark large jumps in the
+@c melody. Without any quotes or commas, the interval between a note and
+@c its predecessor is assumed to be a fourth or less. Quotes and commas
+@c add octaves in up and down direction.
+
+If you type no octaviation quotes, relative mode chooses the note that
+is closest to the previous one, which is often just the one you need.
+@c don't use commas or quotes in this sentence
+For example: @code{c f} goes up; @code{c g} goes down:
+
+@quotation
+@example
+\relative c'' @{
+ c f c g c
+@}
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
+}
@end lilypond
-You can enter a piece in relative mode, by putting @code{\relative} in
-front. You also have to enter a starting pitch, in this case @code{c''}.
+@end quotation
+@separate
+@c needed better, maybe even redundant explanation
+@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.
+You can make a large interval by adding octaviation quotes. Note that
+quotes or commas do not determine the absolute height of a note;
+the height of a note is relative to the previous one.
+@c don't 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:
+
+@quotation
+@example
+\relative c'' @{
+ c f, f c' c g' c,
+@}
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@end quotation
+@separate
-Slurs (not to be confused with ties) are entered with parentheses. You
-mark the starting note and ending note with a @code{(} and a
-@code{)} respectively.
+A slur is drawn across many notes, and indicates bound articulation
+(legato). The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
+@quotation
@lilypond[fragment,relative 1, verbatim]
-c8( cis d ) e
+d4( )c16( cis d e c cis d )e( )d4
@end lilypond
+@end quotation
+@separate
If you need two slurs at the same time (one for articulation, one for
phrasing), you can also make a phrasing slur with @code{\(} and
@code{\)}.
@c lousy example
+@quotation
@lilypond[fragment,relative 1, verbatim]
a8(\( ais b ) c cis2 b'2 a4 cis, \) c
@end lilypond
+@end quotation
+@separate
Beams are drawn automatically, but if you don't like the choices, you
can enter beams by hand. Surround the notes to be grouped with @code{[}
and @code{]}:
+@quotation
@lilypond[fragment,relative 1, verbatim]
[a8 ais] [d es r d]
@end lilypond
+@end quotation
+@separate
-You can make more than one staff, by specifying @code{\context Staff} before
-snippets of music, and combining those snippets in @code{<} and
-@code{>}, as is demonstrated here:
+To print more than one staff, each piece of music that makes up a staff
+is marked by adding @code{\context Staff} before it. These
+@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
+demonstrated here:
+@quotation
@lilypond[fragment,verbatim]
-< \context Staff = staffA { \clef treble c'' }
+<
+ \context Staff = staffA { \clef violin c'' }
\context Staff = staffB { \clef bass c }
>
@end lilypond
-Here, @code{staffA} and @code{staffB} are names that you give them to
-the staff. For now, it doesn't matter what names you give them, as long
-as they are different.
+@end quotation
+
+In this example, @code{staffA} and @code{staffB} are names that are
+given to the staves. For now, it doesn't matter what names you give, as
+long as each staff has a unique name.
+
+@separate
-We can typeset a melody with two staffs now:
+We can typeset a melody with two staves now:
+@quotation
@lilypond[verbatim]
\score {
\notes
< \context Staff = staffA {
\time 3/4
- \clef treble
+ \clef violin
\relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
}
\context Staff = staffB {
\paper {}
}
@end lilypond
+@end quotation
Notice that the time signature is specified in one melody staff only
-(the top staff), but is printed on both. LilyPond knows that the time
-signature should be the same for all staffs.
+(the top staff), but is printed on both. LilyPond knows that the time
+signature should be the same for all staves.
-Dynamic signs are made by adding the markings after the note
+@separate
+
+Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+@quotation
+@lilypond[verbatim,relative 1]
+c-. c-- c->
+@end lilypond
+@end quotation
+@separate
+
+Dynamic signs are made by adding the markings to the note:
+@quotation
@lilypond[verbatim,relative 1]
c-\ff c-\mf
@end lilypond
+@end quotation
+@separate
Crescendi are started with the commands @code{\<} and @code{\>}. The
-command @code{\!} finishes a crescendo on the following.
+command @code{\!} finishes a crescendo on the following note.
+@quotation
@lilypond[verbatim,relative 1]
-c2 \< \! c2-\ff \> c2 \! c2
+c2\< \!c2-\ff \>c2 \!c2
@end lilypond
+@end quotation
+@separate
Chords can be made by surrounding notes with @code{<} and @code{>}:
+@quotation
@lilypond[relative 0, fragment,verbatim]
- r4 <c e g> <c f a>
+r4 <c e g> <c f a>
@end lilypond
+@end quotation
+@separate
+@ignore
@c te diepzinnig?
-
+@c hmm, te losjes, iig
In general, @code{ < @var{stuff} > } is used when @var{stuff} all
happens at the same time, like in chords, or (like in the two-staff
-example above) in a bunch of stacked staffs.
+example above) in a bunch of stacked staves.
+@end ignore
-Of course, you can combine beams and ties with chords:
+Of course, you can combine beams and ties with chords. Notice that
+beam and tie markings are placed outside the chord markers:
+@quotation
@lilypond[relative 0, fragment,verbatim]
- r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
@end lilypond
+@end quotation
When you want to combine chords with slurs and dynamics, an annoying
technical detail crops up: you have type these commands next to the
notes, which means that they have to be inside the @code{< >}:
+@quotation
@lilypond[relative 0, fragment,verbatim]
- r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
@end lilypond
+@end quotation
+@separate
A nasty technical detail also crops up when you start a score with a
chord:
+
+@quotation
@lilypond[verbatim,singleline]
\score { \notes <c'1 e'1> }
@end lilypond
+@end quotation
+@separate
+
The program can not guess that you want the notes on only one staff. To
force the chord on a staff, add @code{\context Staff} like this:
+
+@quotation
@lilypond[verbatim,singleline]
\score { \notes \context Staff <c'1 e'1> }
@end lilypond
+@end quotation
+@separate
rest of this chapter. It also a manual in tutorial-style, but it is much
more in-depth. It will also be very intimidating if you're not familiar
with the basics. It deals with some of the more advanced features of
-lilypond. Topics include lyrics, chords, orchestral scores and parts,
+LilyPond. Topics include lyrics, chords, orchestral scores and parts,
fine tuning output, polyphonic music, and integrating text and music.
+@c refer to this section
+@node Simple legend
+@section Simple legend
+
+
+@c need texinfo-4.0a or later for this
+
+
+@c both Tim and my father came independently with a request for a
+@c `legend' like this.
+
+@c what should be in it?
+
+
+
+@quotation
+@multitable @columnfractions .10 .20 .40
+
+@item @code{[ ]}
+@tab beam
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+[a8 b]
+@end lilypond
+
+@item @code{~}
+@tab tie
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+d ~ d
+@end lilypond
+
+@item @code{( )}
+@tab slur
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+c( d )e
+@end lilypond
+@item @code{'}
+@tab raise octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a a'
+@end lilypond
+
+@item @code{,}
+@tab lower octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+c c,
+@end lilypond
+
+@item @code{< >}
+@tab chord
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+\context Voice { <a c> }
+@end lilypond
+
+@item @code{\< \!}
+@tab crescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a\< a \!a
+@end lilypond
+
+@item @code{\> \!}
+@tab decrescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a\> a \!a
+@end lilypond
+
+@end multitable
+@end quotation
+
+
+
+@node Running LilyPond
+@section Running LilyPond
+
+You write music with LilyPond as follows: first you edit a text file
+containing a description of the notes. Then you run LilyPond on the
+file. This leaves you with an output file, which you can view or print.
+
+In this section we explain how to run LilyPond, and view or print the
+output. If you have not used LilyPond before, want to test your setup
+of LilyPond, or try to run an example file yourself, then read this
+section.
+
+The instructions that follow are for running LilyPond on Unix-like
+systems. Some additional instructions for running LilyPond on Windows
+are given at the end of this section.
+
+You begin with opening a terminal window, and start up a text editor.
+For example, open an xterm and execute @code{joe}. In your text editor,
+enter the following input, and save the file as @file{test.ly}:
+
+@quotation
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
+@end quotation
+
+@cindex ly2dvi
+
+@c now this is weird, running ly2dvi to run LilyPond
+@c (therefore name change proposal)
+
+To run LilyPond, you invoke ly2dvi to compile your LilyPond source file:
+
+@quotation
+@example
+ly2dvi -P test.ly
+@end example
+@end quotation
+
+You will see the following on your screen:
+
+@quotation
+@example
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
+@end example
+@end quotation
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
+You can view the PS file using the program ghostview. If a version of
+ghostview is installed on your system, one of these commands will
+produce a window with some music notation on your screen:
+@c eeek
+@quotation
+@example
+ gv test.ps
+ ghostview test.ps
+ ggv test.ps
+ kghostview test.ps
+@end example
+@end quotation
+If you are satisfied with the looks of the music displayed on your
+screen, you can print the PS file by clicking File/Print inside
+ghostview.
+
+The DVI file (@file{test.dvi}) contains the same sheet music in a
+different format. DVI files are more easily processed by the computer,
+so viewing them usually is quicker. Execute @code{xdvi test.dvi}
+to view the DVI file.
+
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
+
+@c volgende alinea schrappen?
+
+If you can't get the examples to print, then you should look into
+installing and configuring ghostscript. Refer to GhostScript's website
+at @uref{http://www.ghostscript.com}.
-@node The first tune
-@section The first tune
+@cindex GhostScript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+
+@unnumberedsubsec Windows users
+Windows users start the terminal by clicking on the LilyPond icon.
+Notepad is sufficient for editing the LilyPond file. Viewing the PS file
+can be done with @code{gsview32 test.ps}.@footnote{ You can also view
+DVI files with @code{yap test.dvi}, but unfortunately the postscript
+interaction seems broken, meaning that you will not see slurs or beams
+in the Yap window.} You can also print from the command line by
+executing @code{gsview32 /s test.ps}
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
+
+@node The first real tune
+@section The first real tune
+
+
+The rest of this tutorial will demonstrate how to use Lilypond by
+presenting examples of input along with resulting output. We will use
+English terms for notation. In case you are not familiar with those,
+you may consult the glossary that is distributed with LilyPond.
The examples discussed are included in the distribution, in the
subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
@lilypond[verbatim]
% all text after a percent sign is a comment
-% and is ignored by Lilypond
+% and is ignored by LilyPond
\include "paper16.ly"
\score {
\notes
\bar "|."
}
\paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm
+ % standard settings are too big and wide for a book
+ indent = 1.0 \cm
+ linewidth = 15.0 \cm
}
}
@end lilypond
@separate
@example
% all text after a percent sign is a comment
- % and is ignored by Lilypond
+ % and is ignored by LilyPond
@end example
Percent signs introduce comments: everything after a percent sign is
ignored. You can use this to write down mental notes to yourself. You
@end example
@cindex relative
-As we will see, each note is described by its note name, duration,
-octave and possibly a chromatic alteration. In this setup, the octave
-is indicated by using high quotes (@code{'}) and ``lowered quotes''
-(commas: @code{,}). The central C is denoted by @code{c'}. The C one
-octave higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
+@c removed duplicate introduction to octave marks /MB
+@c Shorten even more?
+
+@c As we will see, each note is described by its note name, duration,
+@c octave and possibly a chromatic alteration. In this setup, the octave
+@c is indicated by using high quotes (@code{'}) and ``lowered quotes''
+@c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
+@c octave higher is @code{c''}. One and two octaves below the central C is
+@c denoted by @code{c} and @code{c,} respectively.
Even though a piece of music often spans a range of several octaves, it
mostly moves in small intervals. LilyPond has a special entry mode to
@end example
Two more notes, with pitch @code{a} and @code{b}. Because their
duration is the same as the @code{g,8}, there is no need to enter the
-duration, but you may enter it anyway, i.e., @code{a4 b4}
+duration, but you may enter it anyway, i.e., @code{a8 b8}
@separate
@example
@end example
So far, no notes were chromatically altered. Here is the first one that
-is: @code{fis}. Lilypond by default uses Dutch@footnote{Note names are
+is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are
available in several languages, but we find the Dutch names quite
convenient.} note names, and ``Fis'' is the Dutch note name for ``F
sharp''. However, there is no sharp sign in the output. The program
@end example
-Rests are denoted by the special notename @code{r}.
+Rests are denoted by the special note name @code{r}.
@separate
@example
\bar "|."
@}
@end example
-Here the music ends. LilyPond does not automatically typeset and end
-bar, we must explicitely request one, using @code{"|."}.
+Here the music ends. LilyPond does not automatically typeset an end
+bar, we must explicitly request one, using @code{"|."}.
@separate
@example
\paper @{
- linewidth = 14.0\cm
+ % standard settings are too big and wide for a book
+ indent = 1.0\cm
+ linewidth = 15.0\cm
@}
@end example
the @code{\header} block contains assignments. In each assignment, a
variable is set to a value. Lexically, both the variable name and the
assigned value are strings. The values have to be quoted here, because
-they contain spaces, the variable names could also be put within quotes
+they contain spaces. The variable names could also be put within quotes
but it is not necessary.
@separate
@example
@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
+Some modifiers have predefined names, e.g. @code{min} is the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
@separate
@example
@end example
-The second argument of @code{\addlyrics} is the melody. We instantiate
+The first argument of @code{\addlyrics} is the melody. We instantiate
a @code{Staff} context explicitly: should you choose to remove the
comment before the ``note heads'' version of the accompaniment, the
accompaniment will be on a nameless staff. The melody has to be on
staff different from the accompaniment. This is accomplished by giving
-the melody and accompaniment staffs different names.
+the melody and accompaniment staves different names.
@separate
@example
@cindex context variables
@cindex setting context variables
An interpretation context has variables, called properties, that tune
-its behaviour. One of the variables is @code{noAutoBeaming}. Setting
-this Staff's property to @code{##t}, which is the boolean value @var{true},
-turns the automatic beaming mechanism off for the current staff.
+its behavior. One of the variables is @code{noAutoBeaming}. Setting
+this @code{Staff}'s property to @code{##t}, which is the boolean value
+@var{true}, turns the automatic beaming mechanism off for the current
+staff.
@cindex GUILE
@cindex Scheme
@cindex accessing Scheme
@end example
MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments. So a MIDI file is like a
-tape recording of an instrument. The @code{\midi} block causes makes the
+tape recording of an instrument. The @code{\midi} block makes the
music go to a MIDI file, so you can listen to the music you entered. It
is great for checking the music. Whenever you hear something weird, you
probably hear a typing error.
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{miniatures.ly})
+For example, consider the following file (@file{miniatures.ly})
@example
-\version "1.3.124"
+\version "1.4.0"
\header @{
title = "Two miniatures"
tagline = "small is beautiful"
@end example
The titling in this manual was not generated by ly2dvi, so we can't
-exactly show it would look, but the result should resemble this:
+exactly show what it would look like, but the result should resemble this:
@center @strong{Two miniatures}
@flushright
@separate
@example
-\version "1.3.124"
+\version "1.4.0"
@end example
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
is too old.
This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it to update the file to the latest lily
+@ref{convert-ly}), which is used to update the file to the latest lily
version.
@separate
The @code{\score} blocks that follow in the file don't have
@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
+paper block at top level, i.e. not in a @code{\score} block sets the
default page layout.
@separate
@end example
In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
+i.e. each note was put in the octave that is closest to its
predecessor. Besides relative, there is also absolute octave
specification, which you get when you don't specify @code{\relative}. In
this input mode, the central C is denoted by @code{c'}. Going down, you
When you're copying music from existing sheet music, relative octaves
are probably the easiest to use: it's less typing work and errors are
easily spotted. However, if you write LilyPond input directly, either by
-hand (i.e. composing) or by computer, absolute octaves are easier to use.
+hand (i.e. composing) or by computer, absolute octaves may be easier to use.
@separate
\context Voice = oboeTwo {
\stemDown
\grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
+ \property Voice.Stem \override #'direction = #-1
+ [f,16 g]
+ \property Voice.Stem \revert #'direction
+ }
f8 e e2
}
>
stemDown = \property Voice.Stem \override #'direction = #-1
@end example
-Set a proprerty for all Stem grobs in the current Voice:
+Set a property for all Stem grobs in the current Voice:
@code{direction} is set to @code{-1}, which encodes down. The setting
remains in effect until it is reverted.
@end example
Revert the to the previous setting. The effect of precisely one
-@code{\stemDown} or @code{\stemUp} is neutralised.
+@code{\stemDown} or @code{\stemUp} is neutralized.
LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
@end example
In this example, you can see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
+stems and dynamics (among others). The type name of this context is
@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
+precisely one @code{Voice} context, so we give it a unique name
(`@code{viola}').
@separate
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-
@code{\grace} introduces grace notes. It takes one argument, in this
case a chord.
it from the other context. Stems go down in this voice.
@separate
@example
-\grace @{
+\grace
@end example
@cindex Grace context
When a grace section is processed, a @code{Grace} context is
@separate
@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
+ \property Voice.Stem \override #'direction = #-1
+ [f,16 g]
+ \property Voice.Stem \revert #'direction
@end example
Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+voice interferes, so we set the stems down here.
As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
positioned as if it were single part music.
The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use repeats:
+between staves. Since it is repetitive, we use repeats:
@separate
@example
hoomPah = \repeat unfold 8
@cindex transposing
@cindex relative mode and transposing
-Transposing can be done with @code{\transpose}. It takes two arguments
-the first specifies what central C should be transposed to. The second
+Transposing can be done with @code{\transpose}, which takes two arguments.
+The first specifies what central C should be transposed to. The second
is the to-be-transposed music. As you can see, in this case, the
transposition has no effect, as central C stays at central C.
@cindex cross staff voice, automatic
@cindex @code{\autochange}
-Voices can switch between staffs. The easiest way to get this, is to use
+Voices can switch between staves. The easiest way to get this, is to use
@code{\autochange}. This command looks at the pitch of each note, and if
necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
+staves must be called @code{"up"} and @code{"down"}.
@separate
@example
\translator Staff = down
This file will be used both for producing the score and the separate
parts.
-If you were to run lilypond on this file, no printable output would be
+If you were to run LilyPond on this file, no printable output would be
produced.
@example
Key = \notes \key as \major
@end example
Declare the key signature of the piece and assign it to the identifier
-@var{Key}. Lateron, we'll use @code{\Key} for all staffs except those
+@var{Key}. Later on, we'll use @code{\Key} for all staves except those
for transposing instruments.
@node The full score
indent = 15 * \staffspace
linewidth = 60 * \staffspace
textheight = 90 * \staffspace
- \translator@{
- \VoiceContext
- \consists "Multi_measure_rest_engraver"
- @}
\translator@{
\HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
with a flat sign. LilyPond has a mechanism for font selection and
kerning called Scheme markup text (See @ref{Text markup}). The flat
sign is taken from the music font, and its name is @code{accidentals--1}
-(The sharp sign is called @code{accidentals-+1}). The default font is
+(The natural sign is called @code{accidentals-0}). The default font is
too big for text, so we select a relative size of @code{-2}.
@separate
<
\global
@end example
-Of course, all staffs are simultaneous and use the same global settings.
+Of course, all staves are simultaneous and use the same global settings.
@separate
@example
is the @var{padding}: the amount of extra space that is put between this
Grob and other Grobs. We set the padding to three staff spaces.
-You can find all this kind of information in LilyPond's automatically
-generated documentation in
+You can find information on all these kind of properties in LilyPond's
+automatically generated documentation in
@ifnottex
@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
@end ifnottex
\context StaffGroup = woodwind <
\context Staff = flauti <
@end example
-A new notation context: the StaffGroup. StaffGroup can hold one or more
-Staffs, and will print a big bracket at the left of the score. Start a
-new staff group for the woodwind section (just the flutes in this case).
-Immediately after that, we start the staff for the two flutes, that also
-play simultaneously.
+A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
+hold one or more @code{Staff}'s, and will print a big bracket at the
+left of the score. Start a new staff group for the woodwind section
+(just the flutes in this case). Immediately after that, we start the
+staff for the two flutes, that also play simultaneously.
@separate
@example
(columns "(E" ,text-flat ")"))
@end example
The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has two elements (columns), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
+lines of text. The second line has three elements (columns), the @code{(E},
+the flat sign @code{text-flat} that we defined before and a final @code{")"}.
+Note that we use a backquote instead of an ordinary quote at the
+beginning of the Scheme expression to be able to access the
+@code{text-flat} identifier, `unquoting' it with a @code{,}.
@separate
@example
transpose this staff by three steps.
Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff proprerty
+playing, using @code{\transpose} and the MIDI Staff property
@var{transposing}.
@separate
Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
want a different type of Staff context.
+@example
+ \translator@{
+ \HaraKiriStaffContext
+ @}
+@end example
+
In orchestral scores, it often happens that one instrument has only
rests during one line of the score. The @code{HaraKiriStaffContext} can
be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staffs.
+the automatic removing of empty staves.
@node Extracting an individual part
@subsection Extracting an individual part
Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
+instantiations, we can easily define a second score with the music of
the second flute. This then is the part for the second flute player.
Of course, we make separate parts for all individual instruments.
Until now, you have been using @file{ly2dvi} to invoke LilyPond.
There are three other routes. Firstly, there is a script called
@code{lilypond-book}, that allows you to freely mix LilyPond input with
-Texinfo or LaTeX input. For example, this manual was written using
-@code{lilypond-book}. It is discussed in @ref{lilypond-book}.
+Texinfo or \LaTeX input. For example, this manual was written using
+@code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
Secondly, you can generate PostScript directly. This is useful if you
@example
lilypond -f ps test.ly
@end example
-You have to set some environment variables to view or print this
-output. More information can be found in @ref{Invoking
-LilyPond}.
+You have to set some environment variables to view or print this output.
+More information can be found in @ref{Invoking LilyPond}. Since the
+direct Postscript generation has some problems, it is recommended
+to use @file{ly2dvi}.
Thirdly, if you want to do special things with your output, you can run
-invoke lilypond directly:
+invoke LilyPond directly:
@example
lilypond test.ly
@end example
hand, simply by importing a PostScript figure into your wordprocessor.
However, there is a also an automated procedure:
-If you use La@TeX{} or texinfo, you can mix text and lilypond code. A
+If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
script called @code{lilypond-book} will extract the music fragments, run
-lilypond on them, and put back the resulting notation. lilypond-book is
+LilyPond on them, and put back the resulting notation. lilypond-book is
described fully in @ref{lilypond-book}, but here we show a small
example. Since the example also contains explanatory text, we won't
comment on the contents.
c'4 f bes es
\end@{lilypond@}
-\texttt@{verbatim@} also shows the lilypond code, \texttt@{11pt@} selects
+\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
the default music size, \texttt@{fragment@} adds a score block,
\texttt@{relative@} uses relative mode for the fragment, and
\texttt@{intertext@} specifies what to print between the
@end example
Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you wouldn't
+and running latex creates a lot of temporary files, and you wouldn't want
those to clutter up your working directory. Hence, we have them created
in a separate subdirectory.
c'4 f bes es
@end lilypond
-@code{verbatim} also shows the lilypond code, @code{11pt} selects
+@code{verbatim} also shows the LilyPond code, @code{11pt} selects
the default music size, @code{fragment} adds a score block,
@code{relative} uses relative mode for the fragment, and
@code{intertext} specifies what to print between the
@lilypondfile[printfilename]{sammartini.ly}
The @code{printfilename} option adds the file name to the output.
-@node end of tutorial
-@section The end
+@node End of tutorial
+@section End of tutorial
That's all folks. From here, you can either try fiddling with input
files, or you can read the reference manual. You can find more example
projects / lilypond.git / blobdiff