@c -*-texinfo-*-
@c TODO:
-@c * LilyPond Lilypond lilypond (sometimes: the program)
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
-@html
-<!--- @@WEB-TITLE@@=Tutorial --->
-@end html
-@menu
-* First steps:: Music language of LilyPond
-* Running LilyPond:: Printing music
-* More basics::
-* Printing lyrics::
-* A lead sheet::
-* Listening to output::
-* Titling ::
-* Single staff polyphony ::
-* Piano staffs::
-* Organising larger pieces::
-* Fine tuning a piece::
-* An orchestral score:: Conductor's score and individual parts
-* Integrating text and music:: Integrating text and music
-@end menu
-Operating is done through text files: To print a piece of music, you
-enter the music in a file. When LilyPond is run (normally using the
-program @code{ly2dvi}) on that file, another file containing formatted
-sheet music, is produced. That file may be printed or viewed.
+Using LilyPond comes down to encoding music in an input file. After
+entering the music, the program is run on the file producing output
+which can be viewed or printed. In this tutorial, we will show step
+by step how to enter such files, by showing fragments of input and the
+corresponding output. At the end of every section, a paragraph will
+list where to find further information on the topics discussed.
+
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+@ifhtml
+For example, consider the following input:
+@c TODO: intertext fixme
+@lilypond[relative 1,singleline,verbatim,intertext="with the following output:"]
+ c'^\markup { \bold \huge { Click on this image! } }
+@end lilypond
-This tutorial starts with a small introduction to the LilyPond music
-language. After this first contact, we will show which commands to
-run to produce printed output, so you should then be able to create
-your first sheets of music. When starting out, it will be convenient
-to print out
+@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 all commands for
-convenient reference.
+@ref{Cheat sheet}, which is a table listing all commands for quick
+reference.
+
+
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact, we will show you how to to
+produce printed output, normally using the program @code{ly2dvi}. You
+should then be able to create and print your first sheets of music.
+@menu
+* First steps:: Music language of LilyPond.
+* Running LilyPond:: Printing music.
+* More about pitches and accidentals::
+* Octave entry::
+* Combining music into compound expressions::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Printing lyrics::
+* A lead sheet::
+* Listening to output::
+* Titling::
+* Single staff polyphony::
+* Piano staves::
+* Setting variables::
+* Fine tuning layout::
+* Organizing larger pieces::
+* An orchestral part::
+* Integrating text and music:: Integrating text and music.
+@end menu
@node First steps
@section First steps
We start off by showing how very simple music is entered in LilyPond:
-you get a note simply by typing its @htmlref{note name}, from @samp{a}
+you get a note simply by typing its note name, from @samp{a}
through @samp{g}. So if you enter
@example
c d e f g a b
@end lilypond
-We will continue with this format: First we show a snippet of input,
-then the resulting output.
-
The length of a note is specified by adding a number, @samp{1} for a
@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
\transpose c c' { a a a2 a s16_" " }
@end lilypond
-A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
-@rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
-a @rglos{double sharp} or @rglos{double flat} is made by adding
-@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
-naming conventions in Nordic and Germanic languages, like German and
-Dutch}
+Rests are entered just like notes, but with the name ``@code{r}'':
+
+@cindex rests
+@quotation
@example
-cis1 ees fisis aeses
+r2 r4 r8 r16
@end example
-@lilypond[notime]
+@lilypond[fragment]
\property Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
@end lilypond
+@end quotation
+@separate
+
Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
-Entering pitches and durations is fully explained in @ref{Pitches} and
-@ref{Durations}.
-
The @rglos{meter} (or @rglos{time signature}) can be set with the
@code{\time} command:
s16_" "
@end lilypond
-Time signatures and other timing commands are described in @ref{Time
-signature}.
-
The @rglos{clef} can be set using the @code{\clef} command:
s16_" "
@end lilypond
-Clefs are fully explained in @ref{Clef}.
-
-
-When you enter these commands in a file, you must to enclose them in
-@code{\notes @{@dots{}@}}. This lets LilyPond know that music (as
-opposed to @rglos{lyrics}) follows:
+Notes and commands like @code{\clef} and @code{\time} , are enclosed
+in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
+to @rglos{lyrics}) follows:
@example
\notes @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
@}
@end example
Now the piece of music is almost ready to be printed. The final step is to
combine the music with a printing command.
-The printing command is the so-called @code{\paper} block. Later on
-you will see that the @code{\paper} block is used to customize
-printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in @code{\score @{ ... @}}. This is what a full source file looks like:
+The printing command is the so-called @code{\paper} block. The
+@code{\paper} block is used to customize printing specifics, but we
+accept the defaults for now. The music and the @code{\paper} block
+are combined by enclosing them in @code{\score @{ ... @}}. The
+following is a complete and valid input file.
@example
\score @{
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
@}
\paper @{ @}
@}
\time 3/4
\clef bass
c2 e4 g2.
- f4 e d c2.
+ f4 e d c2 r4
}
\paper {
linewidth = 55 * \staffspace
}
@end lilypond
+During the rest of the tutorial, we will often leave out @code{\score}
+and @code{\paper}, for clarity. However, both must be present when
+feeding the file to LilyPond.
+
+More elaborate information on entering pitches and durations is in
+@ref{Pitches} and @ref{Durations}. Clefs are fully explained in
+@ref{Clef}. Time signatures and other timing commands are described
+in @ref{Time signature}.
+
@node Running LilyPond
@section Running LilyPond
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. The instructions that follow are for
-Unix-like systems. Some additional instructions for Microsoft Windows are given
-at the end of this section.
-
-Begin by opening a terminal window and starting a text editor.
-For example, you could open an xterm and execute @code{joe}. In your
-text editor, enter the following input and save the file as
+Unix-like systems. Some additional instructions for Microsoft Windows
+are given at the end of this section.
+
+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 it has not been
+installed already, then refer to the file @file{INSTALL.txt}}. In
+your text editor, enter the following input and save the file as
@file{test.ly}:
@quotation
@end example
@end quotation
-You will see the following on your screen:
+You will see something resembling:
@quotation
@example
-GNU LilyPond 1.7.16
+GNU LilyPond 1.8.0
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
@cindex Viewing music
@cindex xdvi
-The results of the ly2dvi run are two files, @file{test.dvi} and
-@file{test.pdf}. The PDF file (@file{test.pdf}) is the one you can
-print or view. For example, viewing PDF can be done with 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
+The result of the ly2dvi is the file @file{test.pdf}.@footnote{For
+@TeX{} afficionados, there is also a @file{test.dvi} file. It can be
+viewed with @code{xdvi}. The DVI uses a lot of PostScript specials,
+which do not show up in the magnifying glass. The specials also mean
+that the DVI file cannot be processed with @code{dvilj}. Use
+@code{dvips} for printing.
+@cindex dvips
+@cindex dvilj
+@cindex DVI driver
+} One of the following commands should put the PDF on your
screen:
-@c eeek
@quotation
@example
gv test.pdf
kghostview test.pdf
xpdf test.pdf
gpdf test.pdf
+ acroread test.pdf
+ gsview32 test.pdf
@end example
@end quotation
If the music on your screen looks good, you can print it 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. You can run @code{xdvi test.dvi}
-@c KDVI doesn't grok the PS specials.
-@c or
-@c @code{kdvi test.dvi}
-@c
-to view the DVI file. In Xdvi, the mouse buttons
-activate magnifying glasses. Unfortunately, variable symbols (such as
-beams and slurs) are not displayed in the magnifying glasses.
-
+File/Print inside your viewing program.
@cindex Ghostscript
@cindex @code{lpr}
@cindex PostScript
@cindex PDF
-If you are familiar with @TeX{}, be warned: do not use other DVI
-drivers like @code{dvilj}. LilyPond DVI use embedded PostScript code
-and will not render correctly with other DVI drivers besides
-@code{dvips}.
-
-@cindex dvips
-@cindex dvilj
-@cindex DVI driver
-
-
-Various commands for formatting and printing music are detailed in
-@ref{Invoking LilyPond}.
-
-@unnumberedsubsec Windows users
+On Windows, the same procedure should work, the terminal is started by
+clicking on the LilyPond or Cygwin icon. Any text editor (such as
+NotePad, Emacs or Vim) may be used to edit the LilyPond file.
-On Windows, the terminal is started by clicking on the LilyPond or
-Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
-used to edit the LilyPond file. When Cygwin's @code{XFree86} X11
-window system is installed along with @code{tetex-x11} and
-@code{ghostscript-x11} packages, then the @code{dvi} output may be
-viewed with @code{xdvi test.dvi} as described above. If you have
-installed a PostScript/PDF viewer, such as @code{GSView} from
-@uref{http://www.cs.wisc.edu/~ghost}, viewing the PDF file can be done
-with:
-@quotation
-@example
-@code{gsview32 test.pdf}
-@end example
-@end quotation
-Printing may be done by executing
-@quotation
-@example
-@code{gsview32 /s test.pdf}
-@end example
-@end quotation
-
-
-@node More basics
-@section More basics
-
-We continue with the introduction of more musical constructs. Normal
-rests are entered just like notes with the name ``@code{r}'':
-
-@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
+To view the PDF file, try the following:
+@itemize
+@item
+If your system has a PDF viewer installed, open
+@file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
+@file{test.pdf}.
+@item
+If you prefer the keyboard, you can also try the list of commands
+shown before. If none work, go to
+@uref{http://www.cs.wisc.edu/~ghost/} to install the proper software.
+@end itemize
-Rests are described in full detail in @ref{Rests}.
+The commands for formatting and printing music on all platforms are
+detailed in @ref{Invoking LilyPond}.
+@node More about pitches and accidentals
+@section More about pitches and accidentals
-@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...
-
-@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). Middle C is @code{c'}:
+A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
+@rglos{flat} (@texiflat{}) by adding @samp{es}. As you might expect,
+a @rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
+naming conventions in Nordic and Germanic languages, like German and
+Dutch.}
-@quotation
@example
-c'4 c'' c''' \clef bass c c,
+cis1 ees fisis aeses
@end example
-@lilypond[fragment]
+@lilypond[notime]
\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 adding a tilde ``@code{~}'' to the first note
-being tied.
-@quotation
-@lilypond[fragment,verbatim]
-g'4-~ g' a'2-~ a'4
-@end lilypond
-@end quotation
-@separate
-A tie is different from a slur. A tie simply makes the first note
-sound longer, and can only be used on pairs of notes with the same
-pitch. Slurs indicate the articulations of notes, and can be used on
-larger groups of notes. Slurs and ties are also nested in practice:
-@lilypond[fragment, relative=1]
-c2-~-( c8 fis fis4 ~ fis2 g2-)
+\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
-The notation manual discusses ties in @ref{Ties}.
+
+@cindex key signature, setting
The key signature is set with the command ``@code{\key}'', followed by
a pitch and @code{\major} or @code{\minor}:
@quotation
@example
\key d \major
-g'1
+g1
\key c \minor
-g'
+g
@end example
@lilypond[fragment]
@end quotation
+@cindex tie
+A tie is created by adding a tilde ``@code{~}'' to the first note
+being tied:
+@quotation
+@lilypond[fragment,verbatim,relative 2]
+g4-~ g a2-~ a4
+@end lilypond
+@end quotation
+@separate
-@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.
+This example shows the key signature, accidentals and ties in action:
@quotation
@example
\score @{
\notes @{
\time 4/4
- \key d \minor
+ \key g \minor
\clef violin
- 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
+ r4 r8 a8 gis4 b
+ g8 d4.-~ d' e'8
+ fis4 fis8 fis8 eis4 a8 gis-~
+ gis2 r2
@}
\paper @{ @}
@}
@lilypond
\score {
- \notes {
+ \notes { \transpose c c' {
\time 4/4
+ \key g \minor
\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 { linewidth = 50*\staffspace }
+ r4 r8 a8 gis4 b
+ g8 d4.-~ d e8
+ fis4 fis8 fis8 eis4 a8 gis-~
+ gis2 r2
+ }}
+ \paper { linewidth = #(* 50 staffspace) }
}
@end lilypond
@end quotation
+@cindex accidentals
+
+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 lines breaks are in the
+source file. Finally, the order of time, key and clef changes is not
+relevant: in the printout, these are ordered according to standard
+notation conventions.
-@c accidentals...
-There are some interesting points to note in this example.
Accidentals (sharps and flats) do not have to be marked explicitly:
-you just enter the note name, and an accidental is printed
-automatically, only when necessary. Bar lines and beams are drawn
-automatically. Line breaks are calculated automatically; it does not
-matter where the lines breaks are in the source file. Finally, the
-order of time, key and clef changes is not relevant: in the printout,
-these are ordered using standard notation conventions.
-
-The example also indicates that a piece of music written in a high
-register needs lots of quotes. This makes the input less readable,
-and is also a potential source of errors.
-
-The solution is to use ``relative octave'' mode. In practice, this is
-the most convenient way to copy existing music. To use relative mode,
-add @code{\relative} before the piece of music. You must also give a
-note from which relative starts, in this case @code{c''}. If you do
-not use octavation quotes (i.e. do not add ' or , after a note),
-relative mode chooses the note that is closest to the previous one.
-@c do not use commas or quotes in this sentence
-For example: @code{c f} goes up; @code{c g} goes down:
+you just enter the pitch of the note, and an accidental is printed
+only when necessary. The flip side of this mechanism, is that you have
+to mark notes as sharp or flat, even when they do not get accidentals.
+For example, in this example:
+@lilypond[fragment]
+\clef bass
+\property Staff.TimeSignature = #'()
+\key cis \major
+cis dis eis fis gis ais bis
+@end lilypond
+no note gets an explicit accidental, but still you enter
+@example
+\clef bass
+\key cis \major
+cis dis eis fis gis ais bis
+@end example
+
+Adding all alterations explicitly might require some more effort when
+typing, but the advantage is that transposing is easier. It also makes
+it possible to use different conventions for when to print
+accidentals.
+
+@cindex beams, by hand
+Beams are drawn automatically, but if you do not like where they are
+put, they can be entered by hand. Mark the first note to be beamed
+with @code{[} and the last one with @code{]}:
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+a8[ ais] d[ es r d]
+@end lilypond
+@end quotation
+@separate
+
+Rests are described in full detail in @ref{Rests}.
+
+The notation manual discusses ties in @ref{Ties}.
+
+
+@node Octave entry
+@section Octave entry
+
+
+@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...
+
+@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). Middle 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
+
+An example of the use of quotes is in the following Mozart fragment:
+@lilypond[singleline,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
+
+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. In practice, this is the
+most convenient way to copy existing music. To use relative mode, add
+@code{\relative} before the piece of music. You must also give a note
+from which relative starts, in this case @code{c''}. If you do not
+use octavation quotes (i.e. do not add ' or , after a note), relative
+mode chooses the note that is closest to the previous one.
+For example, @code{c f} goes up while @code{c g} goes down:
@quotation
@example
Since most music has small intervals, in relative mode pieces can be
-written almost without using octavation quotes.
+written almost without using octavation quotes. In relative mode, the
+Mozart example is entered as
+@c
+@lilypond[singleline,fragment,verbatim]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
+@end lilypond
+
@c needed better, maybe even redundant explanation
@c added another example below.
@end quotation
@separate
-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]
-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
-@c ? --hwn
-@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
-@c chromatic thing pasted in front. (admittedly the original does not
-@c have a phrasing slur. The problem is that we do not want the slur
-@c and the Phrasing slur to collide. We are trying to make a good
-@c impression here.
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
-@end lilypond
-@end quotation
-@separate
-Beams are drawn automatically, but if you do not like where they are
-put, they can be entered by hand. Mark the first note to be beamed
-with @code{[} and the last one with @code{]}:
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8-[ ais-] d-[ es r d-]
-@end lilypond
-@end quotation
-@separate
-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 are then grouped inside @code{\simultaneous @{} and @code{@}}, as is
-demonstrated here:
+
+
+@node Combining music into compound expressions
+@section Combining music into compound expressions
+
+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 are then grouped inside @code{\simultaneous @{} and
+@code{@}}, as is demonstrated here:
@quotation
@lilypond[fragment,verbatim]
@end lilypond
@end quotation
-In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. It does not matter what names you give, as long
-as each staff has a different name. If you give them the same name,
-they are assumed to belong on the same staff, and will be printed like
-that. @code{\simultaneous } indicates that both fragments happen at
-the same time, and must be printed stacked vertically.
+
+In this example, @code{\simultaneous } indicates that both music
+fragments happen at the same time, and must be printed stacked
+vertically. The notation @code{< .. >} can also be used as a
+shorthand for @code{\simultaneous @{ .. @}}.
+
+@code{\context} introduces a ``notation context''. To understand this
+concept, imagine that you are performing a piece of music. When you
+perform the music, you combine the symbols printed at a certain point
+with contextual information. For example, without knowing the current
+clef, and the accidentals in the last measure, it would be impossible
+to determine the pitch of a note. In other words, this information
+forms context that helps you decipher a score. LilyPond produces
+notation from music, so in effect, it does the inverse of reading
+scores. Therefore, it also needs to keep track of contextual
+information. This information is maintained in ``notation contexts.''
+There are several types of contexts, e.g. @code{Staff}, @code{Voice}
+and @code{Score}, but also @code{Lyrics} and
+@code{ChordNames}. Prepending @code{\context} to a chunk of music
+indicates what kind of context to use for interpreting it.
+
+By specifying different names (in this case @code{staffA} and
+@code{staffB}), two different contexts are created, leading to two
+staves. It does not matter which names they are given, as long as they
+are different. If they get the same name, the chunks of music are
+assumed to belong on the same staff, and will be printed like that.
@separate
\time 3/4
\clef violin
\relative c'' {
- e2-( d4 c2 b4 a8-[ a-]
- b-[ b-] g-[ g-] a2.-) }
+ e2( d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.) }
}
\context Staff = staffB {
\clef bass
@end lilypond
@end quotation
-The time signature is specified in one melody staff only
-(the top staff), but is printed on both, since common practice
-dictates that all staves have the same time signature.
+The example shows how small chunks of music, for example, the notes
+@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
+larger chunk by enclosing it in braces. Again, a larger chunk is
+formed by prefix @code{\context Staff} to it, and that chunk is
+combined with @code{< >}. This mechanism is similar with mathematical
+formulas: in a formula, a so-called expression is formed by combining
+simpler expressions into larger expressions. For example,
-@separate
+@quotation
+ 1
+
+ 1 + 2
+
+ (1 + 2) * 3
+
+ ((1 + 2) * 3) / (4 * 5)
+@end quotation
+@cindex expression
+@cindex music expression
+is a sequence of expressions, where each expression is contained in
+the next one. The simplest expressions are numbers and operators
+(like +, * and /). Parentheses are used to group expressions. In
+LilyPond input, a similar mechanism is used. Here, the simplest
+expressions are notes and rests. By enclosing expressions in @code{<
+>} and @code{@{ @}}, more complex music is formed. The @code{\context}
+also forms new expressions; prepending it to a music expression yields
+a new expression.
+
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, e.g.
+@lilypond[verbatim,relative 1]
+ { c <c e>
+ < { e f } { c <b d> }
+ >
+ }
+@end lilypond
+
+
+@cindex indent
+When spreading expressions over multiple lines, it is customary to use
+an indent that indicates the nesting level. Formatting music like this
+eases reading, and helps you insert the right amount of closing
+braces at the end of an expression. For example,
+@example
+\score @{
+ \notes <
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ >
+@}
+@end example
+
+
+
+
+@node Adding articulation marks to notes
+@section Adding articulation marks to notes
+
+@cindex articulation
+@cindex accents
+@cindex staccato
-Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+Common accents can be added to a note using a dash (`@code{-}') and a
+single character:
@quotation
@lilypond[verbatim,relative 1]
-c-. c-- c->
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
@end quotation
@separate
-Similarly, fingering indications can be added to a note using @code{-}
-and the digit to be printed.
+@cindex fingering
+Similarly, fingering indications can be added to a note using a dash
+(`@code{-}') and the digit to be printed:
+@c
@lilypond[verbatim,relative 1]
c-3 e-5 b-2 a-1
@end lilypond
-
-
-
Dynamic signs are made by adding the markings to the note:
@quotation
@lilypond[verbatim,relative 1]
@end quotation
@separate
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
+
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to.
+is attached to:
@quotation
@lilypond[verbatim,relative 1]
c2-\< c2-\!-\ff c2-\> c2-\!
@end quotation
@separate
+
+
+@cindex slur
+
+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]
+d4( c16)( cis d e c cis d e)( d4)
+@end lilypond
+@end quotation
+@separate
+@cindex slurs versus ties
+A slur is different from a tie. A tie simply makes the first note
+sound longer, and can only be used on pairs of notes with the same
+pitch. Slurs indicate the articulations of notes, and can be used on
+larger groups of notes. Slurs and ties are also nested in practice:
+@lilypond[fragment, relative=1]
+c2-~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+
+@cindex phrasing slurs
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
+
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+a8(-\( ais b c) cis2 b'2 a4 cis, c-\)
+@end lilypond
+@end quotation
+
+
+More information on fingering, articulation, slurs, phrasing slurs,
+and dynamics can be found in @ref{Fingering instructions},
+@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs}, and @ref{Dynamics},
+respectively.
+
+@node Combining notes into chords
+@section Combining notes into chords
+
+@cindex chords
Chords can be made by
surrounding pitches with @code{<<} and @code{>}>:
@quotation
must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
+r4 <<c e g>>8[ <<c f a>>]-~ <<c f a>>
@end lilypond
@end quotation
@quotation
@example
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+r4 <<c e g>>8-\>( <<c e g>> <<c e g>> <<c f a>>8-\!)
@end example
@lilypond[relative 0, fragment]
\slurUp
-r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
+r4 <<c e g>>8-\>( <<c e g>> <<c e g>> <<c f a>>8-\!)
@end lilypond
@end quotation
@separate
+
+@menu
+* Basic rhythmical commands::
+* Commenting input files::
+@end menu
+
+@node Basic rhythmical commands
+@subsection Basic rhythmical commands
+
+@cindex pickup
+@cindex anacruse
+@cindex upstep
+@cindex partial measure
A pickup (or upstep) is entered with the keyword @code{\partial}. It
is followed by a duration: @code{\partial 4} is a quarter note upstep
-and @code{\partial 8} an eighth note.
+and @code{\partial 8} an eighth note:
@lilypond[relative 1,verbatim,fragment]
\partial 8
f8 c2 d e
@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.
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
@c
@lilypond[relative 0,verbatim,fragment]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
@end lilypond
+@cindex grace notes
+@cindex accacciatura
+Grace notes are also made by prefixing a note, or a set of notes with
+a keyword. In this case, the keyword is @code{\grace}:
+@lilypond[relative 1, verbatim,fragment]
+ c4 \grace b16( c4)
+ \grace { d16( e } d4)
+@end lilypond
+
+@noindent
+More information on grace notes, tuplets and upsteps are in @ref{Grace
+notes}, @ref{Tuplets} and @ref{Partial measures}.
+
-TODO: grace notes
+@node Commenting input files
+@subsection Commenting input files
+
+@cindex comments
+@cindex line comment
+@cindex block comment
Comments are pieces of the input that are ignored. There are two
-types of comments. A line comments are introduced by @code{%}: after
+types of comments. A line comments is introduced by @code{%}: after
that, the rest of that line is ignored. Block comments span larger
sections of input. Anything that is enclosed in @code{%@{} and
@code{%@}} is ignored too. The following fragment shows possible uses
-for comments.
+for comments:
@example
% notes for twinkle twinkle follow:
@section Printing lyrics
@cindex lyrics
+@cindex Lyrics
+@cindex Songs
Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
@example
\lyrics @{ I want to break free @}
@end example
@example
\context Lyrics \lyrics @{ I want to break free @}
@end example
-The melody for this song is as follows
+The melody for this song is as follows:
@lilypond[fragment,relative=1]
\partial 8
c8
- \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
@end lilypond
The lyrics can be set to these notes, combining both with the
@end example
The final result is
-@lilypond[singleline,verbatim]
+@lilypond[verbatim,linewidth=6.0cm]
\score {
\notes {
\addlyrics
\relative c' {
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) }
}
\context Lyrics \lyrics { I want to break free }
}
}
@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 a @emph{extender
-line}. It is entered as two underscores, i.e.,
+line}. It is entered as two underscores, i.e.
@example
\lyrics @{ I want to break free __ @}
@end example
-@lilypond[singleline]
+@lilypond[]
\score {
\notes {
\addlyrics
\relative c' {
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) }
+
+ %% ugh, this is to deal with bugs in the extender implementation
+ \hideNotes
+ c32
}
\context Lyrics \lyrics { I want to break free __ }
}
- \paper{ }
+ \paper{ linewidth = 9.0 \cm }
}
@end lilypond
-TODO: fix extender lines here.
-
Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables.
+resulting in a centered hyphen between two syllables:
@example
Twin -- kle twin -- kle
@end example
discussed in @ref{Vocal music}.
+
@node A lead sheet
@section A lead sheet
+@cindex Lead sheets
+@cindex chords
+@cindex chord names
+
In popular music, it is common to denote accompaniment as chord-names.
Using them in LilyPond has two parts, just like lyrics: entering the
chords (with @code{\chords}), and printing them (with @code{\context
Chord names are entered by starting chords mode (with @code{\chords}).
In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that.
+root of the chord), and a durations following that:
@c
@lilypond[verbatim]
\chords { c2 f4. g8 }
to entering chords with @code{<<@dots{}>>}.
Other chords can be created by adding modifiers, after a colon. The
-following example shows a few common modifiers
+following example shows a few common modifiers:
@c
@lilypond[verbatim]
\chords { c2 f4:m g4:maj7 gis1:dim7 }
\context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
-A complete list of modifiers, and other options for layout are in the
-reference manual section @ref{Chords}.
-
@cindex lead sheet
When put together, chord names, lyrics and a melody form
a lead sheet, for example,
\notes \relative c' {
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
+ \times 2/3 { f g g } \times 2/3 { g4( a2) } }
\context Lyrics \lyrics { I want to break free __ }
>
\paper{ raggedright = ##t }
@end lilypond
+A complete list of modifiers, and other options for layout are in the
+reference manual section @ref{Chords}.
+
@node Listening to output
@section Listening to output
+@cindex sound
+@cindex MIDI
+
MIDI (Musical Instrument Digital Interface) is a standard for
connecting and recording digital instruments. A MIDI file is like a
tape recording of a MIDI instrument. The @code{\midi} block makes the
the musical transcription.
@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
-example
+example,
@example
\score @{
@var{..music..}
notation manual.
-@node Titling
+
+@node Titling
@section Titling
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc. are
-entered as assignment within @code{\header @{ @dots{} @}}. For
+entered as assignment, within @code{\header @{ @dots{} @}}. For
example,
@example
\header @{
specified are printed above the music. The `tagline' is a short line
printed at bottom of the last page, which normally says ``Lily was
here, version @dots{}''. In the example above, it is replaced by the
-line ``small is beautiful.''
+line ``small is beautiful''.
Normally, the @code{\header} is put at the top of the file. However,
for a document that contains multiple pieces (e.g. a etude book, or
part with multiple movements), then the header can be put into the
-@code{\score} block as follows In this case, the name of each piece
-will be printed before each movement.
+@code{\score} block as follows; in this case, the name of each piece
+will be printed before each movement:
@cindex Lily was here
More information on titling can be found in @ref{Invoking ly2dvi}.
-@node Single staff polyphony
+@node Single staff polyphony
@section Single staff polyphony
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+
When different melodic lines are combined on a single staff, these are
printed as polyphonic voices: each voice has its own stems, slurs
and beams, and the top voice has the stems up, while the bottom voice
has stems down.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{ .. @}}), and combing those simultaneously, separating the
+@code{@{ .. @}}), and combining those simultaneously, separating the
voices with @code{\\}:
-@lilypond[verbatim,relative]
- < { a4 g2 f4-~ f4 } \\
+@example
+ < @{ a4 g2 f4-~ f4 @} \\
+ @{ r4 g4 f2 f4 @} >
+@end example
+@lilypond[relative 1]
+\context Staff < { a4 g2 f4-~ f4 } \\
{ r4 g4 f2 f4 } >
@end lilypond
-The notation @code{< .. >} is a shorthand for @code{\simultaneous @{
-.. @}}. More features of polyphonic typesetting are in the notation
-manual, @ref{Polyphony}.
-@node Piano staffs
-@section Piano staffs
+For polyphonic music typesetting, spacer rests can also be convenient: these
+are rests that do not print. It is useful for filling up voices that
+temporarily do not play:
+@example
+ < @{ a4 g2 f4-~ f4 @} \\
+ @{ s4 g4 f2 f4 @} >
+@end example
+@lilypond[relative 1]
+\context Staff < { a4 g2 f4-~ f4 } \\
+ { s4 g4 f2 f4 } >
+@end lilypond
+
+Again, these expressions can be nested arbitrarily:
+
+@lilypond[fragment]
+<
+ \context Staff = staffA
+ \relative c''
+ < { a4 g2 f4-~ f4 } \\
+ { s4 g4 f2 f4 } >
+ \context Staff = staffB
+ < { \clef bass <<c g>>1 } \\
+ { f4 d e2 }
+ >
+>
+@end lilypond
+
+
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
+
+@node Piano staves
+@section Piano staves
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
+Piano music is always typeset in two staves connected by a brace.
+Printing such a staff is done similar to the polyphonic example in
+@ref{Combining music into compound expressions}:
+@example
+ < \context Staff = up @{ @dots{} @}
+ \context Staff = down @{ @dots{} @}
+ >
+@end example
+but now this entire expression must be interpreted as a
+@code{PianoStaff}:
+@example
+ \context PianoStaff < \context Staff @dots{} >
+@end example
+Here is a full-fledged example:
+@lilypond[relative 0,fragment]
+\context PianoStaff
+ < \context Staff = up { \time 2/4
+ c4 c g' g }
+ \context Staff = down {
+ \clef bass c,, c' e c }
+ >
+@end lilypond
-@node Organising larger pieces
-@section Organising larger pieces
-
-TODO: discuss identifiers, p&c, .
-
-@separate
-@example
-\version "1.5.72"
-@end example
-Lilypond and its language are still under development, and
-occasionally details of the syntax are changed. The @code{version}
-fragment indicates which LilyPond version the input file was written
-for. When you compile this file, the version number will be
-checked. When the file is too old, a warning is issued. The version
-number is also used by the @code{convert-ly} program (See
-@ref{Invoking convert-ly}), which updates the file to the latest
-version automatically.
+More information on formatting piano music is in @ref{Piano music}.
+@node Setting variables
+@section Setting variables
-@separate
-@example
-s1 s2. r4
+When the music is converted from notes to print, it is interpreted
+from left-to-right order, similar to what happens when we read
+music. During this step, context-sensitive information, such as the
+accidentals to print, and where barlines must be placed, are stored in
+variables. These variables are called @emph{translation properties}.
+The properties can also be manipulated from input files. Consider this input:
+@example
+\property Staff.autoBeaming = ##f
@end example
-@code{s} is a spacer rest. It does not print anything, but it does have
-the duration of a rest. It is useful for filling up voices that
-temporarily do not play. In this case, the viola does not come until one
-and a half measure later.
+It sets the property named @code{autoBeaming} in the current staff to
+@code{##f}, which means `false'. This property controls whether beams
+are printed automatically:
+@lilypond[relative 1,fragment,verbatim]
+ c8 c c c
+ \property Staff.autoBeaming = ##f
+ c8 c c c
+@end lilypond
-@separate
-@example
-\grace <<e g>>-( <<d f>>4-) <<c e>>2
+@noindent
+LilyPond includes a built-in programming language, namely, a dialect
+of Scheme. The argument to @code{\property}, @code{##f}, is an
+expression in that language. The first hash-mark signals that a piece
+of Scheme code follows. The second hash character is part of the
+boolean value true (@code{#t}). Values of other types may be
+entered as follows:
+@itemize @bullet
+@item a string, enclosed in double quotes, for example,
+@example
+ \property Staff.instrument = #"French Horn"
+@end example
+@item a boolean: either @code{#t} or @code{#f}, for true and false
+respectively, e.g.
+@example
+ \property Voice.autoBeaming = ##f
+ \property Score.skipBars = ##t
@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. A slur is introduced starting from the @code{\grace}
-ending on the following chord.
-@separate
-@example
-\times 2/3
+@item a number, such as
+@example
+ \property Score.currentBarNumber = #20
@end example
-@cindex tuplet
-@cindex triplets
-@separate
-@example
-@{ <<d f>>8 <<e g>> <<f a>> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three chords.
+@item a symbol, which is introduced by a quote character, as in
+@example
+ \property Staff.crescendoSpanner = #'dashed-line
+@end example
+@item a pair, which is also introduced by a quote character, like in
+the following statements, which set properties to the pairs (-7.5, 6)
+and (3, 4) respectively:
-The bass has a little hoom-pah melody to demonstrate parts switching
-between staves. Since it is repetitive, we use repeats:
-@separate
-@example
-hoomPah = \repeat unfold 8
+@example
+ \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
+ \property Staff.timeSignatureFraction = #'(3 . 4)
@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-@node Fine tuning a piece
-@section Fine tuning a piece
-In this section we show some ways to fine tune the final output of a
-piece. We do so using a single measure of a moderately complex piano
-piece: a Brahms intermezzo (opus 119, no. 1). Both fragments (the
-tuned and the untuned versions) are in @file{input/tutorial/}.
+@end itemize
-The code for the untuned example shows us some new things.
+There are many different properties, and not all of them are listed in
+this manual. However, the internal documentation lists them all in the
+@internalsref{All translation properties}, and most properties
+are demonstrated in one of the
+@ifhtml
+@uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
+@end ifhtml
+@ifnothtml
+tips-and-tricks
+@end ifnothtml
+examples.
+
+
+@node Fine tuning layout
+@section Fine tuning layout
+
+Sometimes it is necessary to change music layout by hand. When music
+is formatted, layout objects are created for each symbol. For
+example, every clef and every note head is represented by a layout
+object. These layout objects also carry variables, which we call
+@emph{layout properties}. By changing these variables from their
+values, we can alter the look of a formatted score:
+
+@lilypond[verbatim,relative 0]
+ c4
+ \property Voice.Stem \override #'thickness = #3.0
+ c4 c4 c4
+@end lilypond
-@lilypondfile[verbatim]{brahms-original.ly}
+@noindent
+In the example shown here, the layout property @code{thickness} (a
+symbol) is set to 3 in the @code{Stem} layout objects of the current
+Voice. As a result, the notes following @code{\property} have thicker
+stems.
+In most cases of manual overrides, only a single object must be
+changed. This can be achieved by prefixing @code{\once} to the
+@code{\property} statement, i.e.
-@cindex dynamics
-@cindex loudness
-@cindex forte
-@cindex crescendo
+@example
+ \once \property Voice.Stem \set #'thickness = #3.0
+@end example
+@lilypond[relative 0]
+ c4
+ \once \property Voice.Stem \set #'thickness = #3.0
+ c4 c4 c4
+@end lilypond
+@noindent
+Some overrides are so common that predefined commands are provided as
+a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
+commands are described in
+@ifhtml
+the
+@end ifhtml
+@ref{Notation manual}, under the sections for slurs and stems
+respectively.
+The exact tuning possibilities for each type of layout object are
+documented in the internal documentation of the respective
+object. However, many layout objects share properties, which can be
+used to apply generic tweaks. We mention a couple of these:
-Now that we have the basic piece of music entered, we want to fine
-tune it so that we get something that resembles the original printed
-edition by Schott/Universal Edition:
+@itemize @bullet
+@item The @code{extra-offset} property, which
+@cindex @code{extra-offset}
+has a pair of numbers as value, moves around objects in the printout.
+The first number controls left-right movement; a positive number will
+move the object to the right. The second number controls up-down
+movement; a positive number will move it higher. The unit of these
+offsets are staff-spaces. The @code{extra-offset} property is a
+low-level feature: the formatting engine is completely oblivious to
+these offsets.
-@lilypondfile{brahms-tweaked.ly}
+In the following example example, the second fingering is moved a
+little to the left, and 1.8 staff space downwards:
-@cindex tuning graphical objects
+@cindex setting object properties
-Fine tuning involves overriding the defaults of the printing system.
-We do this by setting variables which control how Lilypond prints
-symbols. Printed symbols are called graphical objects (often
-abbreviated to @emph{grob}). Each object is described by a bunch of
-settings. Every setting is a variable: it has a name and a value
-which you can change. These values determine the fonts, offsets,
-sub-routines to be called on the object, etc. The initial values of
-these settings are set in the Scheme file
-@file{scm/grob-description.scm}.
+@lilypond[relative 1,verbatim]
+\stemUp
+f-5
+\once \property Voice.Fingering
+ \set #'extra-offset = #'(-0.3 . -1.8)
+f-5
+@end lilypond
-@cindex slur attachments
+@item
+Setting the @code{transparent} property will make an object be printed
+in `invisible ink': the object is not printed, but all its other
+behavior is retained. The object still takes space, it takes part in
+collisions, and slurs, ties and beams can be attached to it.
-We start with the slur in the upper part, running from F sharp to A. In
-the printed edition, this slur runs from stem to stem; in our version,
-the slur begins at the note head of the F sharp. The following property
-setting forces all slurs to run from stem to stem (not from or to note
-heads!).
+@cindex transparent objects
+@cindex removing objects
+@cindex invisible objects
+The following example demonstrates how to connect different voices
+using ties. Normally ties only happen between notes of the same
+voice. By introducing a tie in a different voice, and blanking a stem
+in that voice, the tie appears to cross voices:
+
+@lilypond[fragment,relative 1,verbatim]
+\context Staff < {
+ \once \property Voice.Stem \set #'transparent = ##t
+ b8~ b8
+ } \\ {
+ b[ g8]
+ } >
+@end lilypond
-@example
- \property Voice.Slur \set #'attachment = #'(stem . stem)
-@end example
+@item
+The @code{padding} property for objects with
+@cindex @code{padding}
+@code{side-position-interface} can be set to increase distance between
+symbols that are printed above or below notes. We only give an
+example; a more elaborate explanation is in @ref{Constructing a
+tweak}:
+
+@lilypond[relative 1]
+ c2-\fermata
+ \property Voice.Script \set #'padding = #3
+ b2-\fermata
+@end lilypond
-More precisely, this command modifies the definition of the @code{Slur}
-object in the current @code{Voice}. The variable @code{attachment} is
-set to the pair of symbols @code{'(stem . stem)}.
-
-@cindex internal documentation
-@cindex finding graphical objects
-@cindex graphical object descriptions
-
-This command fixes one particular problem with a slur. The rest of
-this section explains how to figure out which properties to tune for
-your own scores. To discover this, you must have a copy of the
-internals document. This is a set of HTML pages which should be
-included if you installed a binary distribution. [TODO: revise for
-new site.] These HTML pages are also available on the web: go to the
-LilyPond website, click ``Documentation: Index'' on the side bar, look
-in the ``Information for uses'' section, and click on ``Documentation
-of internals.''
-
-You might want to bookmark either the HTML files on your disk, or the
-one on the web (the HTML on your hard drive will load much faster than
-the ones on the web!). One word of caution: the internals
-documentation is generated from the definitions that the program uses.
-Hence, the internals documentation is strongly tied to the version you
-use. Before you proceed, make sure that the program and documentation
-have matching version numbers.
-
-@c TODO: the quote is incorrect, although that shouldn't be a big
-@c problem for the reader.
-Suppose that you wanted to tune the behavior of the slur. The first
-step is to get some general information on slurs in LilyPond. Turn to
-the index, and look up ``slur''. The section on slurs says
-@quotation
-The grob for this object is @internalsref{Slur}, generally in
-@internalsref{Voice} context.
-@end quotation
+@end itemize
-So the graphical object for this object is called @code{Slur}, and
-slurs are created in the @code{Voice} context. If you are reading
-this tutorial in the HTML version, then you can simply click Slur,
-otherwise, you should look it up the internal documentation: click
-``grob overview'' and select ``slur'' (the list is alphabetical).
-
-Now you get a list of all the properties that the slur object
-supports, along with their default values. Among the properties we
-find the @code{attachment} property with its default setting.
-The property documentation explains that the following setting will
-produce the desired effect:
-@example
- \property Voice.Slur \set #'attachment = #'(stem . stem)
-@end example
+More specific overrides are also possible. The notation manual
+discusses in depth how to figure out these statements for yourself, in
+@ref{Tuning output}.
-@c this is a long section, and adding an extra space here helps to
-@c break it into smaller subsections and thus is easier to understand.
-@separate
+@node Organizing larger pieces
+@section Organizing larger pieces
-Next we want to move the fingering `3'. In the printed edition it is
-not above the stem, but a little lower and slightly left of the stem.
-From the user manual we find that the associated graphical object is
-called @code{Fingering}, but how do we know if we should use
-@code{Voice} or @code{Staff}? In many cases, @code{Voice} is a safe
-bet, but you can also deduce this information from the internals
-documentation: if you visit the documentation of @code{Fingering}, you
-will notice
-@example
-Fingering grobs are created by: Fingering_engraver
-@end example
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic and/or
+orchestral pieces, more deeply nested.
-Clicking @code{Fingering_engraver} will show you the documentation of
-the module responsible for interpreting the fingering instructions and
-translating them to a @code{Fingering} object. Such a module is called
-an @emph{engraver}. The documentation of the @code{Fingering_engraver}
-says
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions.
+An identifier is assigned as follows:
@example
-Fingering_engraver is part of contexts: Voice and TabVoice
+ namedMusic = \notes @{ @dots{}
@end example
-so tuning the settings for Fingering should be done using either
+
+The contents of the music expression @code{namedMusic}, can be used
+later by preceding the name with a backslash, i.e. @code{\namedMusic}.
+In the next example, a two note motive is repeated thrice by using
+variable substitution:
+
+@lilypond[singleline,verbatim]
+seufzer = \notes {
+ dis'8 e'8
+}
+\score { \notes {
+ \seufzer \seufzer \seufzer
+} }
+@end lilypond
+
+The name of an identifier should only have alphabetic characters only,
+and no numbers, underscores or dashes. The assignment should be
+outside of the @code{\score} block.
+
+It is possible to use variables for many other types of objects in the
+input. For example,
@example
- \property Voice.Fingering \set @dots{}
+ width = 4.5\cm
+ name = "Wendy"
+ aFivePaper = \paper @{ paperheight = 21.0 \cm @}
@end example
-or
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables:
@example
- \property TabVoice.Fingering \set @dots{}
+ \score @{
+ \notes @{ c4^\name @}
+ \paper @{
+ \aFivePaper
+ linewidth = \width
+ @}
+ @}
@end example
-Since the @code{TabVoice} is only used for tab notation, we see that
-the first guess @code{Voice} was indeed correct.
+More information on the possible uses of identifiers is in the
+technical manual, in @ref{Scheme datatypes}.
-@cindex setting object properties
-@cindex @code{extra-offset}
-For shifting the fingering, we use the property @code{extra-offset}.
-The following command manually adds an offset to the object. We move
-it a little to the left, and 1.8 staff space downwards.
-@example
- \once \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
-@end example
-The @code{extra-offset} is a low-level feature: it moves around
-objects in the printout; the formatting engine is completely oblivious
-to these offsets. The unit of these offsets are staff-spaces. The
-first number controls left-right movement; a positive number will move
-the object to the right. The second number controls up-down movement;
-a positive number will move it higher.
-We only want to offset a single object, so this statement is adorned
-with @code{\once}.
-
-@cindex property types
-@cindex translator properties
-@cindex grob properties
-@cindex music properties
-@separate
+@node An orchestral part
+@section An orchestral part
+
+In orchestral music, all notes are printed twice: both in a part for
+the musicians, and in a full score for the conductor. Identifiers can
+be used to avoid double work: the music is entered once, and stored in
+variable. The contents of that variable is then used to generate
+both the part and the score.
-There are three different types of variables in LilyPond, something
-which can be confusing at first (and for some people it stays
-confusing). Variables such as @code{extra-offset} and
-@code{attachment} are called grob properties. They are not the same
-as translator properties, like @code{autoBeaming}. Finally, music
-expressions are internally stored using properties (so-called music
-properties). You will encounter music properties if you run Scheme
-functions on music using @code{\apply}.
-
-The second fingering instruction should be moved up a little to avoid
-a collision with the slur. This could be achieved with
-@code{extra-offset}, but in this case, a simpler mechanism also
-works. We insert an empty text between the 5 and the note. The empty
-text pushes the fingering instruction away:
+It is convenient to define the notes in a special file, for example,
+suppose that the @file{horn-music.ly} contains the following part of a
+horn/bassoon duo.
@example
- a-)^" "^\markup @{ \finger "5" @}
+hornNotes = \notes \relative c @{
+ \time 2/4
+ r4 f8 a cis4 f e d
+@}
@end example
-A fingering instruction, which would be entered as @code{^5}, is put
-as close to the notes as possible, closer than the space entered to
-push away the 5. Hence, the 5 is entered as a normal text, with the
-formatting of fingering instructions.
-
-@separate
-
-Normally one would specify all dynamics in the same voice, so that
-dynamics (such as @b{f} and @b{p}) will be aligned with hairpins. But
-in this case, we do not want the decrescendo to be aligned with the
-piano sign. We achieve this by putting the dynamic markings in different
-voices. The crescendo should be above the upper staff. This can be
-forced by using the precooked command
+Then, an individual part is made by putting the following in a file:
@example
- \dynamicsUp
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
+@}
+\score @{
+ \notes \transpose c' f \hornNotes
+@}
@end example
+The @code{\include} command substitutes the contents of the file at
+this position in the file, so that @code{hornNotes} is defined
+afterwards. The code @code{\transpose f c'} indicates that the
+argument, being @code{\hornNotes}, should be transposed by a fifth
+downwards: sounding @code{f} is denoted by notated @code{c'}, which
+corresponds with tuning of a normal French Horn in F. The
+transposition can be seen in the following output:
-However, if you do that the decrescendo will be too close to the upper
-voice and collide with the stems. Looking at the manual for dynamics,
-we notice that ``Vertical positioning of these symbols is handled by
-the @internalsref{DynamicLineSpanner} grob.''. If we turn to the
-documentation of @code{DynamicLineSpanner}, we find that
-@code{DynamicLineSpanner} supports several so-called `interfaces'.
-This object not only puts objects next to the staff
-(@code{side-position-interface}), but it also groups dynamic objects
-(@code{axis-group-interface}), is considered a dynamic sign itself
-(@code{dynamic-interface}), and is an spanning object
-(@code{spanner-interface}). It also has the standard
-@code{grob-interface} with all the variables that come with it.
-
-For the moment we are interested in side positioning:
-@quotation
- side-position-interface
+@lilypond[singleline]
+\score {
+ \notes \transpose f c' \notes \relative c {
+ \time 2/4
+ r4 f8 a cis4 f e d
+}
+}
+@end lilypond
- Position a victim object (this one) next to other objects (the
- support). In this case, the direction signifies where to put the
- victim object relative to the support (left or right, up or down?)
-@end quotation
-Between the object and its support (in this case, the descending
-notes), there should be more space. This space is controlled by
-@code{padding}, so we increase it.
+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 R, and followed by a duration (1
+for a whole note, 2 for a half note, etc.) By multiplying the
+duration, longer rests can be constructed. For example, the next rest
+takes 3 measures in 2/4 time:
@example
- \property Voice.DynamicLineSpanner \override #'padding = #5.0
+ R2*3
@end example
-
-@separate
-
-Brahms uses music notation is a slightly unorthodox way. Ties
-usually happen only within one voice. In this piece, the composer
-gladly produces ties that jump voices. We deal with this by faking
-these ties: whenever we need such a tie, we insert a notehead in a
-different voice, and blank the stem. This is done in the following
-snippet of code.
-
-@cindex transparent objects
-@cindex removing objects
-@cindex invisible objects
+When printing the part, the following @code{skipBars} property must be
+set to false, to prevent the rest from being expanded in three one bar
+rests:
@example
-\property Voice.Stem \set #'transparent = ##t
-d'
+ \property Score.skipBars = ##t
@end example
-Blanking the stem should be done for only one object. One of the ways
-to achieve that, is by setting the property before a note. Reverting
-it afterwards is tedious, so for setting a property only once, we have
-the syntax @code{\once}: it reverts the property directly before
-proceeding to the next step in time.
-
-The @code{\once} keyword is added to @code{\property}.
-
-
-Finally, the last tie is forced up using @code{\tieUp}.
-
-@separate
-
-Here is the complete ``fine tuned'' version, which includes all the
-modifications we discussed in this section:
+Prepending the rest and the property setting above, leads to the
+following result:
-@lilypondfile[verbatim]{brahms-tweaked.ly}
+@lilypond[singleline]
+\score {\notes { \transpose f c' \relative c { \time 2/4
+\property Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d } }}
+@end lilypond
+The score is made by combining all of the music in a @code{\score}
+block, assuming that the other voice is in @code{bassoonNotes}, in the
+file @file{bassoon-music.ly}:
+@example
+\include "bassoon-music.ly"
+\include "horn-music.ly"
-@node An orchestral part
-@section An orchestral part
+\score @{
+ \simultaneous @{
+ \context Staff = hornStaff \hornNotes
+ \context Staff = bsnStaff \bassoonNotes
+ @} @}
+@end example
+This would lead to the simple score depicted below:
-TODO:
+@lilypond[singleline]
+\score {
+ \notes \relative c \simultaneous {
+ \context Staff = hornStaff { \time 2/4
+ R2*3
+ r4 f8 a cis4 f e d }
+ \context Staff = fagStaff { \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f }
+ } }
+@end lilypond
-\markup, mmrest, transposing, cue notes, identifiers?.
+More in-depth information on preparing parts and scores is in the
+notation manual, in @ref{Orchestral music}.
@node Integrating text and music
@section Integrating text and music
-
@cindex La@TeX{}, music in
@cindex HTML, music in
@cindex Texinfo, music in
Sometimes you might want to use music examples in a text that you are
-writing (for example a musicological treatise, a songbook, or (like us)
+writing (for example, a musicological treatise, a songbook, or (like us)
the LilyPond manual). You can make such texts by hand, simply by
importing a PostScript figure into your word processor. However,
there is an automated procedure to reduce the amount of work.
code. A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This program is fully described in @ref{lilypond-book manual}. Here
-we show a small example. Since the example also contains explanatory
-text, we will not comment it further.
+we show a small example; since the example contains also explanatory
+text, we will not comment it further:
@example
\documentclass[a4paper]@{article@}
In the example you see here, two things happened: a
\verb+\score+ block was added, and the line width was set to natural
-length. You can specify many more options using \LaTeX style options
-in brackets:
+length. You can specify options by putting them in brackets:
-\begin[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]@{lilypond@}
- c'4 f bes es
+\begin[26pt,verbatim]@{lilypond@}
+ c'4 f16
\end@{lilypond@}
-The option \texttt@{verbatim@} prints the LilyPond code in addition to
-the graphical score, \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 \texttt@{verbatim@} code and the music.
+If you want to include large examples into the text, it is more
+convenient to put it in a separate file:
-If you want to include large examples into the text, it may be more
-convenient to put the example in a separate file:
-
-\lilypondfile[printfilename]@{screech-boink.ly@}
-
-The \texttt@{printfilename@} option adds the file name to the output.
+\lilypondfile@{screech-boink.ly@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows:
@example
$ cd input/tutorial
$ mkdir -p out/
$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.7.16
+lilypond-book (GNU LilyPond) 1.7.23
Reading `input/tutorial/lilbook.tex'
Reading `input/screech-boink6.ly'
@var{lots of stuff deleted}
$ xdvi lilbook
@end example
-Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you would not want
-those to clutter up your working directory. Hence, we have them created
-in a separate subdirectory.
+Running lilypond-book and running latex creates a lot of temporary
+files, and you would not want those to clutter up your working
+directory. The @code{outdir} option to lilypond-book creates the
+temporary files in a separate subdirectory @file{out}.
The result looks more or less like this:
c'4
@end lilypond
-In the example you see here, a number of things happened: a
-@code{\score} block was added, and the line width was set to natural
-length. You can specify many more options using La@TeX{} style options
-in brackets:
+In the example you see here, two things happened: a
+@code{score} block was added, and the line width was set to natural
+length. You can specify options by putting them in brackets:
-@lilypond[verbatim,11pt,singleline,
- fragment,relative,intertext="hi there!"]
- c'4 f bes es
+@lilypond[26pt,verbatim]
+ c'4 f16
@end lilypond
-The option @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
-@code{verbatim} code and the music.
-
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
-
-@lilypondfile[printfilename]{screech-boink.ly}
-
-The @code{printfilename} option adds the file name to the output.
+If you want to include large examples into the text, it is more
+convenient to put it in a separate file:
+@lilypondfile{screech-boink.ly}
projects / lilypond.git / blobdiff