@c -*- coding: utf-8; mode: texinfo; -*-
-@c This file is part of lilypond.tely
+@c This file is part of lilypond-learning.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-@c TODO:
-@c * more details about running lilypond; error messages,
-@c compiling/viewing (emacs?)
-@c * where to go from First steps+More basics?
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
-@c wherever possible, do not include index entries here; the
-@c index should point to stuff in the reference manual. -gp
+@ignore
+Tutorial guidelines: (different from policy.txt!)
+- unless you have a really good reason, use either
+ @lilypond[verbatim,quote,ragged-right]
+ or
+ @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-@c Your first LilyPond score in 10 minutes?
+ Don't use any other relative=X commands (make it a non-fragment
+ example), and don't use fragment without relative=2.
-@node Tutorial
-@chapter Tutorial
+- use "aes" and "ees" instead of "as" and "es". I know it's not
+ correct Dutch naming, but let's not confuse people with this
+ until we get to the Basic notation chapter.
-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.
+- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
+ portions of the tutorial.
-@ifhtml
-Many people learn programs by trying and fiddling around with the
-program. This is also possible with LilyPond. If you click on a
-picture in the HTML version of this manual, you will see the exact
-LilyPond input that was used to generate that image.
-Try it on this image
+@end ignore
-@lilypond[fragment,quote,ragged-right,relative=2]
-c-\markup { \bold \huge { Click here. } }
-@end lilypond
-@end ifhtml
-By cutting and pasting the full input into a test file, 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
-@end ifhtml
-@ref{Cheat sheet}, which is a table listing of the most common
-commands for quick reference.
+@node Tutorial
+@chapter Tutorial
+
+This tutorial starts with an introduction to the LilyPond music
+language and explains how to produce printed music. After this first
+contact we will explain how to create beautiful printed music
+containing common musical notation.
@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::
-* After the tutorial::
+* 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 manual::
+@end menu
+
+
+@node Compiling a file
+@subsection Compiling a file
+
+@qq{Compiling} is the term used for processing an input text file
+in LilyPond format to produce a file which can be printed and
+(optionally) a MIDI file which can be played. The first example
+shows what a simple input text file looks like.
+
+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
+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!
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @strong{@{ curly braces @}}. The braces
+should also be surrounded by a space unless they are at the
+beginning or end of a line to avoid ambiguities. The braces may
+be omitted in some examples in this manual, but don't forget them
+in your own music! For more information about the display of
+examples in the manual, see @ref{How to read the manual}.}
-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...} @}}.
-Many example have also been compressed horizontally to save
-space, using @code{\paper @{ ragged-right = ##t @}}.
+@cindex case sensitive
+In addition, LilyPond input is @strong{case sensitive}. @code{
+@{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
+error message.
-@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.
+@smallspace
-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
+@subheading Entering music and viewing output
-@example
-a1 a2 a4 a16 a32
-@end example
+@cindex PDF file
+@cindex viewing music
-@lilypond[fragment,quote,notime,relative=2]
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
+In this section we will explain what commands to run and how to
+view or print the output.
-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
+Note that there are several other text editors available with
+better support for LilyPond. For more information, see
+@rprogram{Text editor support}.
-@example
-a a8 a a2 a
-@end example
+@warning{The first time you ever run LilyPond, it may take a
+minute or two because all of the system fonts have to be analyzed
+first. After this, LilyPond will be much faster!}
-@lilypond[fragment,quote,notime,relative=2]
-{ a a8 a a2 a s16_" " }
-@end lilypond
+@subsubheading MacOS X
+If you double click @code{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 @code{Compile >
+Typeset File}. The resulting PDF file will be displayed on your
+screen.
-A @rglos{rest} is entered just like a note, but with the name @samp{r}
+For future use of LilyPond, you should begin by selecting @q{New}
+or @q{Open}. You must save your file before typesetting it. If
+any errors occur in processing, please see the log window.
-@example
-r2 r4 r8 r16
-@end example
-@lilypond[fragment,quote,notime]
-r2 r4 r8 r16 s16_" "
-@end lilypond
+@subsubheading Windows
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+On Windows, if you double-click in the LilyPond icon on the
+Desktop, it will open a simple text editor with an example file.
+Save it, for example, to @file{test.ly} on your Desktop and then
+double-click on the file to process it (the file icon looks like a
+note). After some seconds, you will get a file @file{test.pdf} on
+your desktop. Double-click on this PDF file to view the typeset
+score. An alternative method to process the @file{test.ly} file
+is to drag and drop it onto the LilyPond icon using your mouse
+pointer.
-@example
-a2. a4 a8. a16
-@end example
+To edit an existing @file{.ly} file, right-click on it and
+select @qq{Edit source}. To get an empty file to start from, run
+the editor as described above and use @qq{New} in
+the @qq{File} menu, or right-click on the desktop and select
+@qq{New..Text Document}, change its name to a name of your choice
+and change the file extension to @code{.ly}. Double-click the
+icon to type in your LilyPond source code as before.
-@lilypond[fragment,quote,notime,relative=1]
-{ a2. a4 a8. a16 s16_" " }
-@end lilypond
+Double-clicking the file does not only result in a PDF file, but
+also produces a @file{.log} file that contains some information on
+what LilyPond has done to the file. If any errors occur, please
+examine this file.
-The (or @rglos{time signature}) can be set with the @code{\time}
-command
+@subsubheading Unix
+
+Create a text file called @file{test.ly} and enter:
@example
-\time 3/4
-\time 6/8
-\time 4/4
+@{
+ c' e' g' e'
+@}
@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
-
-The @rglos{clef} can be set using the @code{\clef} command
+To process @file{test.ly}, proceed as follows:
@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
+lilypond test.ly
@end example
-@lilypond[fragment,quote,notime]
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
-@end lilypond
+@noindent
+You will see something resembling:
-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
+@example
+lilypond test.ly
+GNU LilyPond 2.12.0
+Processing `test.ly'
+Parsing...
+Interpreting music...
+Preprocessing graphical objects...
+Finding the ideal number of pages...
+Fitting music on 1 page...
+Drawing systems...
+Layout output to `test.ps'...
+Converting to `test.pdf'...
+@end example
-@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
+@node Simple notation
+@subsection Simple notation
-@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
+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[verbatim,quote,ragged-right]
+{
+ c' e' g' e'
+}
+@end lilypond
-@node Running LilyPond for the first time
-@section Running LilyPond for the first time
+@noindent
+This behavior may be altered, but in most cases these automatic
+values are useful.
-@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.
+@subheading Pitches
-@unnumberedsubsec MacOS X
+Music Glossary: @rglos{pitch}, @rglos{interval},
+@rglos{scale}, @rglos{middle C}, @rglos{octave},
+@rglos{accidental}.
-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.
+The easiest way to enter notes is by using @code{\relative} mode.
+In this mode, the octave is chosen automatically by assuming the
+following note is always to be placed closest to the previous
+note, i.e., it is to be placed in the octave which is within three
+staff spaces of the previous note. We begin by entering the most
+elementary piece of music, a @notation{scale}, in which every note
+is within just one staff space of the previous note.
-Be warned that the first-ever run will take a minute or two, because
-all of the system fonts have to be analyzed first.
+@lilypond[verbatim,quote,ragged-right]
+\relative c' { % set the starting point to middle C
+ c d e f
+ g a b c
+}
+@end lilypond
-@unnumberedsubsec Windows
+The initial note is @notation{middle C}. Each successive note is
+placed closest to the previous note -- in other words, the first
+@code{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, still using only @code{\relative} mode:
-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
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
-@verbatim
-{ c'4 e' g' }
-@end verbatim
+@noindent
+It is not necessary for the first note of the melody to start on
+the note which specifies the starting pitch. In the previous
+example, the first note -- the @code{d} -- is the closest D to
+middle C.
+
+By adding (or removing) quotes @code{'} or commas @code{,} from
+the @code{\relative c' @{} command, we can change the starting
+octave:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' { % one octave above middle C
+ e c a c
+}
+@end lilypond
-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.
+Relative mode can be confusing initially, but is the easiest way
+to enter most melodies. Let us see how this relative calculation
+works in practice. Starting from a B, which is on the middle line
+in a treble clef, you can reach a C, D and E within 3 staff spaces
+going up, and an A, G and F within 3 staff spaces going down. So
+if the note following a B is a C, D or F it will be assumed to be
+above the B, and an A, G or F will be assumed to be below.
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ b c % c is 1 staff space up, so is the c above
+ b d % d is 2 up or 5 down, so is the d above
+ b e % e is 3 up or 4 down, so is the e above
+ b a % a is 6 up or 1 down, so is the a below
+ b g % g is 5 up or 2 down, so is the g below
+ b f % f is 4 up or 3 down, so is the f below
+}
+@end lilypond
-@unnumberedsubsec Unix
+Exactly the same happens even when any of these notes are
+sharpened or flattened. @notation{Accidentals} are
+@strong{totally ignored} in the calculation of relative position.
+Precisely the same staff space counting is done from a note at any
+other position on the staff.
-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
-is a @code{LilyPond-mode} for Emacs addicts. If they have not been
-installed already, refer to the file @file{INSTALL.txt}.} In your
-text editor, enter the following input and save the file as
-@file{test.ly}
+To add intervals that are larger than three staff spaces, we can
+raise the @notation{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.
-@verbatim
-{ c'4 e' g' }
-@end verbatim
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
+@end lilypond
@noindent
-To process @file{test.ly}, proceed as follows
+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.
+@c " - keeps quotes in order for context-sensitive editor -td
-@example
-lilypond test.ly
-@end example
-
-@noindent
-You will see something resembling
+@subheading Durations (rhythms)
-@example
-lilypond test.ly
-GNU LilyPond 2.6.0
-Processing `test.ly'
-Parsing...
-Interpreting music... [1]
-Preprocessing graphical objects...
-Calculating line breaks... [2]
-Layout output to `test.ps'...
-Converting to `test.pdf'...
-@end example
+Music Glossary: @rglos{beam}, @rglos{duration},
+@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
+@rglos{dotted note}.
-@cindex DVI 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
-@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} pitch is made by adding @samp{is} to
-the name, 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.}
+The @notation{duration} of a note is specified by a number after
+the note name. @code{1} for a @notation{whole note}, @code{2} for
+a @notation{half note}, @code{4} for a @notation{quarter note} and
+so on. @notation{Beams} are added automatically.
-@example
-cis1 ees fisis aeses
-@end example
+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.
-@lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[verbatim,quote,ragged-right]
+\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
-@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
+To create @notation{dotted notes}, add a dot @code{.} to the
+duration number. The duration of a dotted note must be stated
+explicitly (i.e., with a number).
-@lilypond[fragment,quote,notime,fragment]
-\key d \major
-g'1
-\key c \minor
-g'
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
@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.
+@subheading Rests
-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.
+Music Glossary: @rglos{rest}.
-In this example
+A @notation{rest} is entered just like a note with the name
+@code{r}:
-@lilypond[quote,notime,fragment]
-\key d \major
-d' cis' fis'
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
@end lilypond
-@noindent
-no note has an explicit accidental, but you still must enter
-@example
-\key d \major
-d cis fis
-@end example
+@subheading Time signature
-@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
+Music Glossary: @rglos{time signature}.
+
+The @notation{time signature} can be set with the @code{\time}
+command:
-@lilypond[quote,notime,fragment,relative=1,verbatim]
-\key as \major
-d
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
@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.
+@subheading Clef
-For more information on
+Music Glossary: @rglos{clef}.
-@quotation
-@table @asis
-@item Accidentals
-see @ref{Automatic accidentals}.
+The @notation{clef} can be set using the @code{\clef} command:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c' {
+ \clef treble
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
+}
+@end lilypond
-@item Key signature
-see @ref{Key signature}.
-@end table
-@end quotation
-@node Entering ties
-@section Entering ties
+@subheading All together
-@cindex tie
-A @rglos{tie} is created by appending a tilde @samp{~} to the first
-note being tied
+Here is a small example showing all these elements together:
-@lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
+@lilypond[verbatim,quote,ragged-right]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
@end lilypond
-For more information on Ties see @ref{Ties}.
+@seealso
+Notation Reference: @ruser{Writing pitches},
+@ruser{Writing rhythms}, @ruser{Writing rests},
+@ruser{Time signature}, @ruser{Clef}.
-@node Automatic and manual beams
-@section Automatic and manual beams
-@cindex beams, by hand
-All @rglos{beam}s are drawn automatically
+@node Working on text files
+@subsection Working on text files
-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
-@end lilypond
+LilyPond input files are similar to source files in many common
+programming languages. They are case sensitive, and white-space
+is generally ignored. Expressions are formed with curly braces
+@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
+%@}}.
-@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{]}.
+If the previous sentences sound like nonsense, don't worry! We'll
+explain what all these terms mean:
-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
-@end lilypond
+@itemize
-For more information on beams, see @ref{Manual beams}.
+@cindex case sensitive
+@item
+@strong{Case sensitive}:
+it matters whether you enter a letter in lower case (e.g. @code{a,
+b, s, t}) or upper case (e.g. @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 @tie{}
+@tie{} @tie{} d e @}} and:
+
+@example
+@{ c d
+ e @}
+@end example
-Here are key signatures, accidentals and ties in action
+@noindent
+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:
-@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]
-\relative c'' {
- \time 4/4
- \key g \minor
- \clef treble
- r4 r8 a8 gis4 b
- a8 d4.~ d e,8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
-}
-@end lilypond
+@example
+@{
+ c d e
+@}
+@end example
-@cindex accidentals
+@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 parentheses
+@code{()} in mathematics. The braces should be surrounded by a
+space unless they are at the beginning or end of a line to avoid
+ambiguities.
+A LilyPond command followed by a simple expression in braces (such
+as @code{\relative @{ @}}) also counts as a single music
+expression.
-@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.
+@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
+@code{%} introduces a line comment; anything after @code{%} on
+that line is ignored. By convention, a line comment is placed
+@emph{above} the code it refers to.
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
+A block comment marks a whole section of music input as a comment.
+Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
+However, block comments do not @q{nest}. This means that you
+cannot place a block comment inside another block comment. If you
+try, the first @code{%@}} will terminate @emph{both} block
+comments. The following fragment shows possible uses for
+comments:
-@node Octave entry
-@section Octave entry
+@example
+% notes for twinkle twinkle follow
+ c4 c g' g a a g2
+%@{
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
-@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...
+ g g f f e e d d c2
+%@}
+@end example
-@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'}
+@end itemize
-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
-@end lilypond
-An example of the use of quotes is in the following Mozart fragment
+@node How to read the manual
+@subsection How to read the manual
-@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
+LilyPond input must be surrounded by @{ @} marks or a
+@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
+files}. For the rest of this manual, most examples will omit
+this. To replicate the examples, you may copy and paste the
+displayed input but you @strong{must} add the @code{\relative c''
+@{ @}} like this:
-@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.
+@example
+\relative c'' @{
+ ... example goes here...
+@}
+@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.
+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}! If we included @code{\relative c'' @{ @}}
+around every example, you would not be able to copy a small
+documentation example and paste it inside a longer piece of your
+own. Most people want to add material to an existing piece, so we
+format the manual this way.
-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'})
+@subheading Clickable examples
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image. Try it on
+this image:
-@lilypond[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
}
@end lilypond
+By cutting and pasting everything in the @qq{ly snippet} section,
+you have a starting template for experiments. To see exactly the
+same output (line-width and all), copy everything from @qq{Start
+cut-&-pastable section} to the bottom of the file.
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
+@seealso
-@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
-@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.
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}. But it might be
+best to read through the rest of the tutorial first.
-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
-@end lilypond
-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.
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+@node Single staff notation
+@section Single staff notation
+This section introduces common notation that is used for one voice
+on one staff.
-@node Music expressions explained
-@section Music expressions explained
+@menu
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Adding text::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
-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 Accidentals and key signatures
+@subsection Accidentals and key signatures
-@lilypond[fragment,quote,verbatim,relative=3]
-a4
+@subheading Accidentals
+
+Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
+@rglos{double flat}, @rglos{accidental}.
+
+A @notation{sharp} pitch is made by adding @code{is} to the name,
+and a @notation{flat} pitch by adding @code{es}. As you might
+expect, a @notation{double sharp} or @notation{double flat} is
+made by adding @code{isis} or @code{eses}. This syntax is derived
+from note naming conventions in Nordic and Germanic languages,
+like German and Dutch. To use other names for
+@notation{accidentals}, see @ruser{Note names in other languages}.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+cis1 ees fisis, aeses
@end lilypond
-Enclosing a group of notes in braces creates a new music
-expression
+@cindex key signature, setting
+@subheading Key signatures
-@lilypond[fragment,quote,verbatim,relative=3]
-{ a4 g4 }
+Music Glossary: @rglos{key signature}, @rglos{major},
+@rglos{minor}.
+
+The @notation{key signature} is set with the command @code{\key}
+followed by a pitch and @code{\major} or @code{\minor}.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+\key d \major
+a1
+\key c \minor
+a
@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
+@smallspace
-@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
+@subheading Warning: key signatures and pitches
+
+Music Glossary: @rglos{accidental}, @rglos{key signature},
+@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
+@rglos{transposition}.
+
+To determine whether to print an @notation{accidental}, LilyPond
+examines the pitches and the @notation{key signature}. The key
+signature only affects the @emph{printed} accidentals, not the
+note's @notation{pitch}! This is a feature that often causes
+confusion to newcomers, so let us explain it in more detail.
+
+LilyPond makes a sharp distinction between musical content and
+layout. The alteration (@notation{flat}, @notation{natural sign} or
+@notation{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.
+
+In this example:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+\key d \major
+d cis fis
@end lilypond
-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
+@noindent
+No note has a printed accidental, but you must still add
+@code{is} and type @code{cis} and @code{fis} in the input file.
+
+The code @code{e} does not mean @qq{print a black dot just below
+the first line of the staff.} Rather, it means @qq{there is a
+note with pitch E-natural.} In the key of A-flat major, it
+@emph{does} get an accidental:
-@lilypond[fragment,quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+\key aes \major
+e
@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,
+Adding all alterations explicitly might require a little more
+effort when typing, but the advantage is that
+@notation{transposing} is easier, and accidentals can be printed
+according to different conventions. For some examples how
+accidentals can be printed according to different rules, see
+@ruser{Automatic accidentals}.
-@example
-1
+@seealso
-1 + 2
+Notation Reference: @ruser{Note names in other languages},
+@ruser{Accidentals}, @ruser{Automatic accidentals},
+@ruser{Key signature}.
-(1 + 2) * 3
+Music Glossary: @rglos{Pitch names}.
-((1 + 2) * 3) / (4 * 5)
-@end example
-@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.
-
-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[fragment,quote,verbatim,relative=2]
-{
- c <<c e>>
- << { e f } { c <<b d>> } >>
-}
-@end lilypond
+@node Ties and slurs
+@subsection Ties and slurs
-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,
+@cindex ties
+@subheading Ties
-@example
-<<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
->>
-@end example
+Music Glossary: @rglos{tie}.
-Some editors have special support for entering LilyPond, and can help
-indenting source files. See @ref{Editor support} for more information.
+A @notation{tie} is created by appending a tilde @code{~} to the
+first note being tied.
-@node More staves
-@section More staves
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
+@end lilypond
-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
+@cindex slurs
+@subheading Slurs
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef treble c'' }
- \new Staff { \clef bass c }
->>
+Music Glossary: @rglos{slur}.
+
+A @notation{slur} is a curve drawn across many notes. The
+starting note and ending note are marked with @code{(} and
+@code{)} respectively.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
-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.
+Music Glossary: @rglos{slurs}, @rglos{phrasing}.
-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.
+Slurs to indicate longer @notation{phrasing} can be entered with
+@code{\(} and @code{\)}. You can have both @notation{slurs}
+and phrasing slurs at the same time, but you cannot have
+simultaneous slurs or simultaneous phrasing slurs.
-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[verbatim,quote,ragged-right,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
+@end lilypond
-We can now typeset a melody with two staves
+@smallspace
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
-@lilypond[fragment,quote,verbatim,ragged-right]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
+Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
->>
+A @notation{slur} looks like a @notation{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 @notation{articulation} of notes, and can be used on
+larger groups of notes. Slurs and ties can be nested.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-For more information on contexts see the description in
-@ref{Interpretation contexts}.
+@seealso
+Notation Reference: @ruser{Ties}, @ruser{Slurs},
+@ruser{Phrasing slurs}.
-@node Adding articulation marks to notes
-@section Adding articulation marks to notes
+@node Articulation and dynamics
+@subsection Articulation and dynamics
@cindex articulation
@cindex accents
@cindex staccato
+@subheading Articulations
+
+Music Glossary: @rglos{articulation}.
-Common accents can be added to a note using a dash (@samp{-}) and a
-single character
+Common @notation{articulations} can be added to a note using a
+dash @code{-} and a single character:
-@lilypond[fragment,quote,verbatim,relative=2]
-c-. c-- c-> c-^ c-+ c-_
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
@cindex fingering
-Similarly, fingering indications can be added to a note using a dash
-(@samp{-}) and the digit to be printed
+@subheading Fingerings
+
+Music Glossary: @rglos{fingering}.
+
-@lilypond[fragment,quote,verbatim,relative=2]
+Similarly, @notation{fingering} indications can be added to a note
+using a dash (@code{-}) and the digit to be printed:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
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,
-it is best to let LilyPond determine the articulation directions.
+Articulations and fingerings are usually placed automatically, but
+you can specify a direction by replacing the dash (@code{-}) with
+@code{^} (up) or @code{_} (down). You can 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[verbatim,quote,ragged-right,fragment,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
-Dynamic signs are made by adding the markings (with a backslash) to
-the note
+@subheading Dynamics
+
+Music Glossary: @rglos{dynamics}, @rglos{crescendo},
+@rglos{decrescendo}.
-@lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
+@notation{Dynamic} signs are made by adding the markings (with a
+backslash) to the note:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c\ff c\mf c\p c\pp
@end lilypond
@cindex dynamics
@cindex decrescendo
@cindex crescendo
-Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. An ending dynamic, for example @code{\f}, will finish the
-(de)crescendo, or the command @code{\!} can be used
+@notation{Crescendi} and @notation{decrescendi} are started with
+the commands @code{\<} and @code{\>}. The next dynamics sign, for
+example @code{\f}, will end the (de)crescendo, or the command
+@code{\!} can be used:
-@lilypond[fragment,quote,verbatim,relative=2]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
+@seealso
+Notation Reference: @ruser{Articulations and ornamentations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.
-@cindex slur
-
-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
-@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
-@end lilypond
+@node Adding text
+@subsection Adding text
-@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
+Text may be added to your scores:
-@lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c1^"espr" a_"legato"
@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.
+Extra formatting may be added with the @code{\markup} command:
-@lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+c1^\markup{ \bold espr}
+a1_\markup{
+ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
+}
@end lilypond
-For more information on
+@seealso
-@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}.
-@end table
-@end quotation
+Notation Reference: @ruser{Writing text}.
-@node Combining notes into chords
-@section Combining notes into chords
+@node Automatic and manual beams
+@subsection Automatic and manual beams
-@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
+Music Glossary: @rglos{beam}.
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
-@end lilypond
+@cindex beams, by hand
+All @notation{beams} are drawn automatically:
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a8 ais d ees r d c16 b a8
+@end lilypond
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+@noindent
+If you do not like the automatic beams, they may be overridden
+manually. Mark the first note to be beamed with @code{[} and the
+last one with @code{]}.
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@end lilypond
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end example
+@seealso
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end lilypond
+Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@node Advanced rhythmic commands
-@section Advanced rhythmic commands
+@subsection Advanced rhythmic commands
@cindex pickup
-@cindex anacruse
+@cindex anacrusis
@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
+@subheading Partial measure
-@lilypond[quote,relative=2,verbatim,fragment]
+Music Glossary: @rglos{anacrusis}.
+
+A pickup (or @notation{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[verbatim,quote,ragged-right,fragment,relative=2]
\partial 8
-f8 c2 d e
+f8 c2 d
@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
+@subheading Tuplets
+
+Music Glossary: @rglos{note value}, @rglos{triplet}.
+
+@notation{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
+@notation{triplet} has 2/3 as its fraction
-@lilypond[quote,relative=1,verbatim,fragment]
+@lilypond[verbatim,quote,ragged-right,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
-Grace notes are also made by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
@cindex appoggiatura
-@cindex acciaccatura
+@subheading Grace notes
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
-@end lilypond
+Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
+@rglos{appoggiatura}.
-@noindent
+@notation{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[verbatim,quote,ragged-right,fragment,relative=2]
+c2 \grace { a32[ b] } c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
-@quotation
-@table @asis
-@item Grace notes
-see @ref{Grace notes},
-@item Tuplets
-see @ref{Tuplets},
-@item Pickups
-see @ref{Partial measures}.
-@end table
-@end quotation
+@seealso
+Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
+@ruser{Upbeats}.
-@node Commenting input files
-@section Commenting input files
-@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
+@node Multiple notes at once
+@section Multiple notes at once
-@example
-% notes for twinkle twinkle follow
- c4 c g' g a a g2
+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.
-%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+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.
- g g f f e e d d c2
-%@}
-@end example
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
+@end menu
-@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.
-@cindex versioning
+@node Music expressions explained
+@subsection Music expressions explained
-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 2.10.1, use
+In LilyPond input files, music is represented by @emph{music
+expressions}. A single note is a music expression:
-@example
-\version "2.10.1"
-@end example
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a4
+@end lilypond
-@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.
+Enclosing a note in braces creates a @emph{compound music
+expression}. Here we have created a compound music expression
+with two notes:
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+{ a4 g4 }
+@end lilypond
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
+Putting a group of music expressions (e.g. notes) in braces means
+that they are in sequence (i.e. each one follows the previous
+one). The result is another music expression:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+{ { a4 g } f g }
+@end lilypond
-@c TODO: (c) status of the Queen fragment.
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
-@cindex Lyrics
-@cindex Songs
-Lyrics are entered by separating each syllable with a space
+This mechanism is similar to mathematical formulas: a big formula
+is created by composing small formulas. Such formulas are called
+expressions, and they can contain other expressions, so you can
+make arbitrarily complex and large expressions. For example,
@example
-I want to break free
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
@end example
-Consider the melody
+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 @code{+}, @code{*} and @code{/}) and parentheses.
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, which is necessary for complex music like
+polyphonic scores.
-@lilypond[quote,verbatim,fragment,ragged-right]
-\relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
-}
-@end lilypond
-The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword
+@subheading Simultaneous music expressions: multiple staves
-@lilypond[quote,verbatim,fragment,ragged-right]
-<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \addlyrics { I want to break free }
->>
+Music Glossary: @rglos{polyphony}.
+
+This technique is useful for @notation{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, simply 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[verbatim,quote,ragged-right]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
+}
@end lilypond
-@cindex melisma
-@cindex extender line
-@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
-sung to more than one note. This is indicated with an @emph{extender
-line}. It is entered as two underscores, i.e.,
+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.
-@example
-@{ I want to break free __ @}
-@end example
+@c FIXME: number of backslashes?! works in html but not pdf.
+@warning{each note is relative to the previous note in
+the input, not relative to the @code{c''} in the initial
+@code{\\relative} command.}
-@lilypond[fragment,quote,ragged-right]
-<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \addlyrics { I want to break free __ }
->>
-@end lilypond
-Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables
+@subheading Simultaneous music expressions: single staff
-@example
-A -- le gri -- a
-@end example
+To determine the number of staves in a piece, LilyPond looks at
+the beginning of the first expression. If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.
-@c no ragged-right here, because otherwise the hypens get lost.
-@lilypond[fragment,quote]
-<<
- \relative {
- \time 2/4
- f4 f c' c
- }
- \addlyrics { A -- le gri -- a }
->>
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
+}
@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
-discussed in @ref{Vocal music}.
+@node Multiple staves
+@subsection Multiple staves
+
+LilyPond input files are constructed out of music expressions, as
+we saw in @ref{Music expressions explained}. 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{>>}:
-@node A lead sheet
-@section A lead sheet
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
+@end lilypond
-@cindex Lead sheets
-@cindex chords
-@cindex chord names
+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.
-@c TODO: revise this, \chords { } is shorter and more intuitive.
+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.
+
+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.
-In popular music, it is common to denote accompaniment with chord names.
-Such chords can be entered like notes,
+Time signatures entered in one staff affects all other staves by
+default. On the other hand, the key signature of one staff does
+@emph{not} affect other staves. This different default behaviour
+is because scores with transposing instruments are more common
+than polyrhythmic scores.
-@lilypond[quote,verbatim,ragged-right]
-\chordmode { c2 f4. g8 }
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ <<
+ \new Staff { \clef treble \key d \major \time 3/4 c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
-@noindent
-Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chordmode}
-Other chords can be created by adding modifiers after a colon. The
-following example shows a few common modifiers
-@lilypond[quote,verbatim,ragged-right]
-\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
-@end lilypond
-For lead sheets, chords are not printed on staves, but as names on a
-line for themselves. This is achieved by using @code{\chords} instead
-of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
-but renders the notes in a @code{ChordNames} context, with the
-following result.
+@node Staff groups
+@subsection Staff groups
-@lilypond[quote,verbatim,ragged-right]
-\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
-@end lilypond
+@cindex piano staff
+@cindex choir staff
+@cindex grand staff
-@cindex lead sheet
-When put together, chord names, lyrics and a melody form
-a lead sheet, for example,
+Music Glossary: @rglos{brace}.
+
+Piano music is typeset in two staves connected by a
+@notation{brace}.
+Printing such a staff is similar to the polyphonic example in
+@ref{Multiple staves}. However, now this entire expression is
+inserted inside a @code{PianoStaff}:
@example
-<<
- \chords @{ @emph{chords} @}
- @emph{the melody}
- \addlyrics @{ @emph{the text} @}
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
>>
-@}
@end example
-@lilypond[quote,ragged-right]
-<<
- \chords { r2 c:sus4 f }
- \relative {
- r4 c' \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
- }
- \addlyrics { I want to break free __ }
->>
+Here is a small example:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \new PianoStaff <<
+ \new Staff { \time 2/4 c4 e g g, }
+ \new Staff { \clef bass c,, c' e c }
+ >>
+}
@end lilypond
-A complete list of modifiers and other options for layout can be found
-in @ref{Chords}.
+Other staff groupings are introduced with
+@code{\new GrandStaff,} suitable for orchestral
+scores, and @code{\new ChoirStaff,} suitable for
+vocal scores. These staff groups each form another
+type of context, one that generates the brace at the
+left end of every system and also controls the extent
+of bar lines.
+@seealso
-@node Adding titles
-@section Adding titles
+Notation Reference: @ruser{Piano music},
+@ruser{Displaying staves}.
-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,
-@example
-\header @{
- title = "Miniature"
- composer = "Igor Stravinsky"
-@}
+@node Combining notes into chords
+@subsection Combining notes into chords
-@{ @dots{} @}
-@end example
+@cindex chords
+Music Glossary: @rglos{chord}.
-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}.
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets. However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets. Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+r4 <c e g>4 <c f a>2
+@end lilypond
+
+Think of chords as almost equivalent to single notes:
+almost everything you can attach to a single note can be attached
+to a chord, and everything must go @emph{outside} the angle
+brackets. For example, you can combine markings like beams and
+ties with chords. They must be placed outside the angle brackets.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
+@end lilypond
@node Single staff polyphony
-@section 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,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+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[verbatim,quote,ragged-right,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
-For polyphonic music typesetting, spacer rests can also be convenient;
-these are rests that do not print. 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}),
+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}),
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
@noindent
-Again, these expressions can be nested arbitrarily
+Again, these expressions can be nested arbitrarily.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
>>
@end lilypond
-More features of polyphonic typesetting are described in this manual
-in section @ref{Basic polyphony}.
+@seealso
+Notation Reference: @ruser{Simultaneous notes}.
-@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},
+@node Songs
+@section Songs
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
+This section introduces vocal music and simple song sheets.
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
+@menu
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
+@end menu
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-Here is a small example
+@node Setting simple songs
+@subsection Setting simple songs
-@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 }
+@cindex lyrics
+@cindex songs
+
+Music Glossary: @rglos{lyrics}.
+
+Here is the start of the melody to a nursery
+rhyme, @qq{Girls and boys come out to play}:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+}
+@end lilypond
+
+The @notation{lyrics} can be set to these notes, combining both
+with the @code{\addlyrics} keyword. Lyrics are entered by
+separating each syllable with a space.
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ }
>>
@end lilypond
-More information on formatting piano music is given in @ref{Piano music}.
+Note the curly brackets delimiting both the music and the lyrics,
+and the double angle brackets @code{<< ... >>} around the whole
+piece to show that the music and lyrics are to occur at the same
+time.
+@node Aligning lyrics to a melody
+@subsection Aligning lyrics to a melody
-@node Organizing larger pieces
-@section Organizing larger pieces
+Music Glossary: @rglos{melisma}, @rglos{extender line}.
+
+@cindex melisma
+@cindex extender line
+@cindex hyphens
+@cindex underscore
+
+The next line in the nursery rhyme is @q{The moon doth shine as
+bright as day}. Let's extend it:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c b a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
+
+We see the extra lyrics do not align properly with the notes. The
+word @q{shine} should be sung on two notes, not one. This is
+called a @notation{melisma}, a single syllable sung to more than
+one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them (see
+@ref{Ties and slurs}):
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b)] a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
+
+Here we have also used manual beaming (the square brackets @code{[
+]} ) to generate the beaming which is customarily used with lyrics
+(see @ref{Automatic and manual beams}).
+
+As an alternative to using slurs, the melismata may be indicated
+in just the lyrics by using an underscore, @code{_}, for each
+note that should be included in the melisma:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c[ b] a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine _ as bright as day;
+ }
+>>
+@end lilypond
+
+If a syllable extends over several notes or a single very long
+note an @notation{extender line} is usually drawn from the
+syllable extending under all the notes for that syllable. It is
+entered as two underscores @code{__}. Here is an example from the
+first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ \relative c'' {
+ \key g \minor
+ \time 3/2
+ g2 a bes bes( a)
+ b c4.( bes8 a4. g8 fis4.) g8 fis1
+ }
+ \addlyrics {
+ When I am laid,
+ am laid __ in earth,
+ }
+>>
+@end lilypond
+
+None of the examples so far have involved words containing more
+than one syllable. Such words are usually split one syllable to a
+note, with hyphens between syllables. Such hyphens are entered as
+two dashes, resulting in a centered hyphen between the syllables.
+Here is an example showing this and everything we have learned so
+far about aligning lyrics to notes.
+
+@c no ragged-right here because otherwise the hyphens get lost,
+@c but the example is long enough to avoid looking strange.
+@lilypond[verbatim,quote]
+<<
+ \relative c' {
+ \key g \major
+ \time 3/4
+ \partial 4
+ d4 g4 g a8( b) g4 g4
+ b8( c) d4 d e4 c2
+ }
+ \addlyrics {
+ A -- way in a __ man -- ger,
+ no __ crib for a bed, __
+ }
+>>
+@end lilypond
+
+Some lyrics, especially those in Italian, require the opposite:
+setting more than one syllable to a single note. This is
+achieved by linking the syllables together with a single
+underscore @code{_} (with no spaces), or enclosing them in
+quotes. Here's an example from Rossini's Figaro, where
+@q{al} has to be sung on the same note as the @q{go} of
+@q{Largo} in Figaro's aria @q{Largo al factotum}:
+
+@c no ragged-right here because otherwise the hyphens get lost,
+@c but the example is long enough to avoid looking strange.
+@lilypond[verbatim,quote]
+<<
+ \relative c' {
+ \clef bass
+ \key c \major
+ \time 6/8
+ c4.~ c8 d b c([ d)] b c d b c
+ }
+ \addlyrics {
+ Lar -- go_al fac -- to -- tum del -- la cit -- tà
+ }
+>>
+@end lilypond
+
+
+@seealso
+
+Notation Reference: @ruser{Vocal music}.
+
+
+@node Lyrics to multiple staves
+@subsection Lyrics to multiple staves
+
+The simple approach using @code{\addlyrics} can be used for
+placing lyrics under more than one staff. Here is an
+example from Handel's Judas Maccabæus:
+
+@lilypond[verbatim,quote,ragged-right]
+<<
+ {
+ \time 6/8
+ \partial 8
+ }
+ \relative c'' {
+ \key f \major
+ c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ }
+ \addlyrics {
+ Let flee -- cy flocks the hills a -- dorn, __
+ }
+ \relative c' {
+ \key f \major
+ r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ }
+ \addlyrics {
+ Let flee -- cy flocks the hills a -- dorn,
+ }
+>>
+@end lilypond
+
+@noindent
+but scores any more complex than this simple example are
+better produced by separating out the staff structure
+from the notes and lyrics with variables. These are
+discussed in @ref{Organizing pieces with variables}.
+
+@seealso
+
+Notation Reference: @ruser{Vocal music}.
+
+
+
+@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
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
+@end menu
+
+
+@node Organizing pieces with variables
+@subsection Organizing pieces with variables
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 music,
-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{variables}.
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
+With variables (also known as identifiers or macros), we can break
+up complex music expressions. A variable 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).
+
+@lilypond[verbatim,quote,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 a variable must 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,
+Variables must be defined @emph{before} the main music
+expression, but may be used as many times as required anywhere after
+they have been defined. They may even be used in a later definition
+of another variable, giving a way of shortening the input if a
+section of music is repeated many times.
+
+@lilypond[verbatim,quote,ragged-right]
+tripletA = \times 2/3 { c,8 e g }
+barA = { \tripletA \tripletA \tripletA \tripletA }
+
+\relative c'' {
+ \barA \barA
+}
+@end lilypond
+
+Variables may be used for many other types of objects in
+the input. For example,
@example
width = 4.5\cm
aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
-Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+Depending on its contents, the variable can be used in different
+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.
+@node Version number
+@subsection Version number
-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
+@cindex versioning
+The @code{\version} statement records the version of LilyPond that
+was used to write the file:
@example
-hornNotes = \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
+\version "2.11.38"
@end example
@noindent
-Then, an individual part is made by putting the following in a file
+By convention, this is placed 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}, and it uses @code{\version} to
+determine what rules to apply. For details, see
+@rprogram{Updating files with convert-ly}.
+
+
+@node Adding titles
+@subsection Adding titles
+
+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
-\include "horn-music.ly"
+\version "2.11.38"
\header @{
- instrument = "Horn in F"
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
@{
- \transpose f c' \hornNotes
+ @dots{} music @dots{}
@}
@end example
-The line
+When the file is processed, the title and composer are printed
+above the music. More information on titling can be found in
+@ruser{Creating titles}.
-@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
+@node Absolute note names
+@subsection Absolute note names
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
+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.
+
+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[verbatim,quote,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
}
@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
-(@code{1}@tie{}for a whole note, @code{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
+Here is a four-octave scale:
-@example
-R2*3
-@end example
+@lilypond[verbatim,quote,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
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
+As you can see, writing a melody in the treble clef involves a lot
+of quote @code{'} marks. Consider this fragment from Mozart:
-@example
-\set Score.skipBars = ##t
-@end example
+@lilypond[verbatim,quote,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
-@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
+All these quotes makes the input less readable and they are a source
+of errors. With @code{\relative}, the previous example is much
+easier to read and type:
-@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
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
}
@end lilypond
+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.
-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
+However, absolute mode is useful for music which has large
+intervals, and is extremely useful for computer-generated LilyPond
+files.
-@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
+@node After the tutorial
+@subsection After the tutorial
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
+FIXME: rewrite slightly after the rest of the LM has been
+stabilized. Translators, ignore this section for now.
-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 by adding notes to one of the
+@ref{Templates}. If you need any notation that was not covered in
+the tutorial, look at the Notation Reference, starting with
+@ruser{Musical notation}. If you want to write for an instrument
+ensemble that 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 it 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.
-@node After the tutorial
-@section After the tutorial
-After finishing the tutorial, you should probably try writing a
-piece or two. Start with one of the @ref{Example 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 @ref{Example 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.
projects / lilypond.git / blobdiff