@c TODO:
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
-@c * where to go from First steps+More basics?
+@c * where to go from First steps+More basics?
+
+@c Your first LilyPond score in 10 minutes?
@node Tutorial
@chapter Tutorial
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact we will show you how to produce
+printed output. Then you will be able to create and print your own
+sheets of music.
-
-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, and illustrate the process with
-fragments of input and the corresponding output. At the end of every
-section, a paragraph will list where to find further information on
-the topics discussed.
-
+@ifhtml
Many people learn programs by trying and fiddling around with the
-program. This is also possible with LilyPond. If you click on a
+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:
-@example
- c'^\markup @{ \bold \huge @{ Click on this image! @} @}
-@end example
-@c @lily pond[relative=1,raggedright,with the following output:]
-with the following output:
-@lilypond[relative=1,raggedright]
- c'^\markup { \bold \huge { Click on this image! } }
-@end lilypond
+Try it on this image
+@lilypond[fragment,quote,raggedright,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,
+starting template for experiments. If you like learning in this way,
you will probably want to print out or bookmark
@ifhtml
the
@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. You should then be able to create and print
-your first sheets of music.
-
@menu
* First steps::
* Running LilyPond::
* Printing lyrics::
* A lead sheet::
* Listening to output::
-* Titling::
+* Adding titles::
* Single staff polyphony::
* Piano staves::
* Organizing larger pieces::
@node First steps
@section First steps
-The first example demonstrates how to enter the very simple piece of
-music, a scale. A note can be entered by typing its name, from
+The first example demonstrates how to enter the most elementary piece
+of music, a scale. A note can be entered by typing its name, from
@samp{a} through @samp{g}. So, if you enter
-
+
@example
c d e f g a b
@end example
@noindent
-the result looks like this:
+the result looks like this
-@lilypond[notime,relative]
+@lilypond[fragment,quote,notime,relative=1]
c d e f g a b
@end lilypond
The 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},
-and so on
+@samp{4} for a @rglos{quarter note} and so on
@example
a1 a2 a4 a16 a32
@end example
-@lilypond[notime]
+@c FIXME: have NOTIME also remove Score.timing?
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
\set Staff.autoBeaming = ##f
-\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
+{ a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-If you do not specify a @rglos{duration}, then the duration last
-entered is used, and the first note will be a quarter
+If you do not specify a @rglos{duration}, the duration last entered is
+used for the next notes. The duration of the first note in input
+defaults to a quarter
@example
a a8 a a2 a
@end example
-@lilypond[notime]
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
-\transpose c c' { a a8 a a2 a s16_" " }
+{ a a8 a a2 a s16_" " }
@end lilypond
-Rests are entered just like notes, but with the name ``@code{r}'':
+Rests are entered just like notes, but with the name @samp{r}
@cindex rests
-@quotation
@example
r2 r4 r8 r16
@end example
-@lilypond[fragment]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
-\set Staff.Clef = \turnOff
-\set Staff.TimeSignature = \turnOff
-r2 r4 r8 r16
-s16_" "
+r2 r4 r8 r16 s16_" "
@end lilypond
-@end quotation
-@separate
-
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}
@example
a2. a4 a8. a16
@end example
-@lilypond[notime]
+@lilypond[fragment,quote,notime,relative=1]
\set Score.timing = ##f
-\transpose c c' { a2. a4 a8. a16 s16_" " }
+{ a2. a4 a8. a16 s16_" " }
@end lilypond
-
The @rglos{meter} (or @rglos{time signature}) can be set with the
-@code{\time} command:
+@code{\time} command
@example
\time 3/4
\time 4/4
@end example
-@c a clef here may lead to confusion
-@lilypond
+@c A clef here may lead to confusion, remove it.
+@lilypond[fragment,quote]
\override Staff.Clef #'transparent = ##t
\time 3/4
s4_" "
s16_" "
@end lilypond
-
-The @rglos{clef} can be set using the @code{\clef} command:
+The @rglos{clef} can be set using the @code{\clef} command
@c what is more common name treble or violin?
@c in Dutch, it is violin.
\clef tenor
@end example
-@lilypond[notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
\clef violin
s4_" "
s16_" "
@end lilypond
-To recognize names like @code{c} and @code{d} as pitches, they have to
+@ignore
+To recognize names like @samp{c} and @samp{d} as pitches, they have to
be entered inside a so-called @code{\notes} block. This block is
-formed by enclosing notes and commands are enclosed in curly braces,
+formed by enclosing notes and commands are enclosed in curly braces
+@code{@{@tie{}@dots{}@tie{}@}} and adding the keyword @code{\notes} before
+the opening brace
@example
@{
f4 e d c2 r4
@}
@end example
-and adding the keyword @code{\notes} before the opening brace
-@code{@{}, for example,
-@example
-\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
-@}
-@end example
-
-Now the piece of music is almost ready to be printed. When this
-enclosed a @code{\score} block, i.e. braces @code{@{ @dots{} @}} with
-keyword @code{\score} in front, like
+Now the piece of music is almost ready to be printed. Enclose
+the @code{\notes} block in a @code{\score} block
@example
\score @{
@}
@end example
-then the music will be converted to printable output:
+@noindent
+and the music will be converted to printable output.
+@end ignore
-@lilypond[noindent]
-\score {
- \notes {
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2 r4
- }
- \paper {
- linewidth = 55 * \staffspace
- }
+Remember to enclose the notes and commands in curly braces
+@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
+
+@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
+{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2 r4
}
@end lilypond
-In many examples in this manual, both @code{\score} and @code{\notes}
-and accompanying braces are left out for brevity. However, they must
-be present when feeding the file to LilyPond.
-
For more elaborate information on
+@quotation
@table @asis
-@item Entering pitches and durations
+@item Entering pitches and durations
see
-@ref{Pitches} and @ref{Durations}.
+@ref{Pitches}, and @ref{Durations}.
@item Clefs
-see @ref{Clef}
+see @ref{Clef}.
@item Rests
-see @ref{Rests}.
+see @ref{Rests}.
@item Time signatures and other timing commands
-see @ref{Time signature}.
-@end table
+see @ref{Time signature}.
+@end table
+@end quotation
+
@node Running LilyPond
@section Running LilyPond
+@c FIXME: let's not be so casual about Emacs and VIM, but rather
+@c instruct (how) to use them; let advanced user figure-out what
+@c commands to type?
+
+@c
+@c We don't have enough space to explain either VIM
+@c or Emacs non-advanced users, and I fear that both editors will only
+@c confuse newbies. I vote for keeping the material in footnotes.
+@c
+@c --hwn
+
In the last section we explained what kind of things you could 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. The instructions that follow are for
-Unix-like systems. Some additional instructions for Microsoft Windows
-are given at the end of this section.
+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. 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}.@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}:
+is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+installed already, refer to
+@c FIXME lousy reference.
+the file @file{INSTALL.txt}.} In your text editor, enter the following
+input and save the file as @file{test.ly}
-@quotation
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+@{ c'4 e' g' @}
@end example
-@end quotation
-To process @file{test.ly}, proceed as follows:
+@noindent
+To process @file{test.ly}, proceed as follows
-@quotation
@example
lilypond test.ly
@end example
-@end quotation
-You will see something resembling:
+@noindent
+You will see something resembling
-@quotation
@example
-GNU LilyPond 1.8.0
-Now processing: `/home/fred/ly/test.ly'
+lilypond (GNU LilyPond) 2.2.0
+Running lilypond...
+Now processing `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
- @emph{ ... more interesting stuff ... }
-PDF output to `test.pdf'...
+@emph{... more interesting stuff ... }
DVI output to `test.dvi'...
+PDF output to `test.pdf'...
+PS output to `test.ps'...
@end example
-@end quotation
+
@cindex DVI file
@cindex Viewing music
@cindex xdvi
-
+@noindent
The result is the file @file{test.pdf}@footnote{For @TeX{}
-aficionados: 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
+aficionados: 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
http://www.cs.wisc.edu/~ghost/}, a freely available package for
viewing and printing PDF and PostScript files.}
-On Windows, start up a text-editor@footnote{Any programmer-oriented
-editor will do, for example Notepad. Do not use word processor. Its
-formatting codes will confuse LilyPond} and enter
-
+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, its formatting codes will confuse LilyPond.} and enter
-@quotation
@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
+@{ c'4 e' g' @}
@end example
-@end quotation
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
+called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
the file and show the resulting PDF file.
A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
you might expect, a @rglos{double sharp} or @rglos{double flat} is
-made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
+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.}
cis1 ees fisis aeses
@end example
-@lilypond[notime]
+@lilypond[fragment,quote,notime]
\set Score.timing = ##f
\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
-
@cindex key signature, setting
+The key signature is set with the command @code{\key}, followed by
+a pitch and @code{\major} or @code{\minor}
-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
g1
g
@end example
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[fragment,quote,notime,fragment]
\key d \major
g'1
\key c \minor
g'
@end lilypond
-@end quotation
-
+@noindent
Key signatures together with the pitches (including alterations) are
-used together to determine when to print accidentals. This is a
+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:
+in more detail.
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 a printed in front of the
-corresponding note is a question of layout. Layout is something that
+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.
In this example
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
\key d \major
d' cis' fis'
@end lilypond
@noindent
-no note gets an explicit accidental, but still you enter
+no note gets an explicit accidental, but you still must enter
@example
\key d \major
d cis fis
@end example
-The code @code{d} does not mean ``print a black dot just below the
-staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
-of A-flat, it does get an accidental:
+@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, it does get an accidental
-@lilypond[fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
\key as \major
d'
@end lilypond
-@noindent
@example
\key as \major
d
Adding all alterations explicitly might require a little more effort
when typing, but the advantage is that transposing is easier, and
music can be printed according to different conventions. See
-@ref{Accidentals} for some examples how accidentals can be printed
+@ref{Accidentals}, for some examples how accidentals can be printed
according to different rules.
For more information on
-
+
+@quotation
@table @asis
@item Accidentals
-see @ref{Accidentals}
+see @ref{Accidentals}.
@item Key signature
-see @ref{Key signature}
+see @ref{Key signature}.
@end table
+@end quotation
@node Entering ties
@section Entering ties
@cindex tie
-A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied:
-@quotation
-@lilypond[fragment,verbatim,relative=2]
+A tie is created by appending a tilde @samp{~} to the first note
+being tied
+
+@lilypond[quote,notime,fragment,verbatim,relative=3]
g4~ g a2~ a4
@end lilypond
-@end quotation
-@separate
-
-For more information on Ties, see @ref{Ties}.
+For more information on Ties see @ref{Ties}.
@cindex beams, by hand
Beams are drawn automatically
-
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- a8 ais d es r d
+@lilypond[quote,fragment,relative=2,verbatim]
+a8 ais d es r d
@end lilypond
-@end quotation
-@separate
+@noindent
If you do not like where beams are put, they can be entered by
-hand. Mark the first note to be beamed with @code{[} and the last one
-with @code{]}.
-
+hand. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
-@quotation
-@lilypond[fragment,relative=1,verbatim]
- a8[ ais] d[ es r d]
+@lilypond[quote,fragment,relative=2,verbatim]
+a8[ ais] d[ es r d]
@end lilypond
-@end quotation
-@separate
For more information on beams, see @ref{Beaming}.
-Here are key signatures, accidentals and ties in action:
+Here are key signatures, accidentals and ties in action
-@quotation
@example
-\score @{
- \notes @{
- \time 4/4
- \key g \minor
- \clef violin
- r4 r8 a8 gis4 b
- g8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
- @}
+@{
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
@}
@end example
-@lilypond
-\score {
- \notes { \transpose c c' {
- \time 4/4
- \key g \minor
- \clef violin
- r4 r8 a8 gis4 b
- a8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
- }}
- \paper { linewidth = #(* 50 staffspace) }
+@ignore
+FIXME
+ugr: removing the ignore block, leaving the comment line below
+@c TODO: use relative mode, verbatim, junk \transpose and above @example
+@end ignore
+
+
+@lilypond[fragment,quote,noindent,linewidth=50\staffspace]
+\transpose c c' {
+ \time 4/4
+ \key g \minor
+ \clef violin
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
}
@end lilypond
-@end quotation
+
@cindex accidentals
+
+@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
+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.
@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'}:
+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]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
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[raggedright,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
+An example of the use of quotes is in the following Mozart fragment
-This example shows that music in a high register needs lots of quotes.
+@lilypond[quote,raggedright,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
+
+@noindent
+The last 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
+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 @code{'} or @code{,} after a
+@code{\relative} before the piece of music.
+@ignore
+FIXME: move to notation manual?
+ You must also give a note
+from which relative mode starts, in this case @code{c''}.
+@end ignore
+If you do not
+use octavation quotes (i.e., do not add @code{'} or @code{,} after a
note), relative mode chooses the note that is closest to the previous
-one. For example, @code{c f} goes up while @code{c g} goes down:
-
-@quotation
-@example
-\relative c'' @{
- c f c g c
-@}
-@end example
+one. For example, @samp{c f} goes up while @samp{c g} goes down
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\relative c'' {
- c f c g c
+@lilypond[quote,notime,fragment,verbatim]
+\relative {
+ c' f c g c
}
@end lilypond
-@end quotation
-@separate
Since most music has small intervals, pieces can be written almost
without octavation quotes in relative mode. The previous example is
entered as
-@c
-@lilypond[raggedright,fragment,verbatim]
-\relative c'' {
+
+@lilypond[quote,raggedright,fragment,verbatim]
+\relative {
\key a \major
\time 6/8
- cis8. d16 cis8 e4 e8
+ cis''8. d16 cis8 e4 e8
b8. cis16 b8 d4 d8
}
-@end lilypond
-
+@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.
-@quotation
-@example
-\relative c'' @{
- c f, f c' c g' c,
-@}
-@end example
-@lilypond[fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
-\relative c'' {
- c f, f c' c g' c,
+@lilypond[quote,notime,verbatim,fragment]
+\relative c {
+ c'' f, f c' c g' c,
}
@end lilypond
-@end quotation
-@separate
-In @code{\relative} mode, quotes or commas no longer determine the
-absolute height of a note. 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.
+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}
+For more information on Relative octaves see @ref{Relative octaves},
and @ref{Octave check}.
In input files, music is represent by so-called @emph{music
-expression}. We have already seen in the previous examples;
-a single note is a music expression:
+expression}. We have already seen in the previous examples;
+a single note is a music expression
-@lilypond[verbatim,relative=2]
+@lilypond[fragment,quote,verbatim,relative=3]
a4
@end lilypond
Enclosing group of notes in braces creates a new music
-expression:
-
-@lilypond[verbatim,relative=2]
- { a4 g4 }
+expression
+
+@lilypond[fragment,quote,verbatim,relative=3]
+{ a4 g4 }
@end lilypond
Putting a bunch of music expressions (notes) in braces, means that
-they should be played in sequence. The result again is a music
+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:
+notes
-@lilypond[verbatim,relative=2]
- { { a4 g } f g }
+@lilypond[fragment,quote,verbatim,relative=3]
+{ { a4 g } f g }
@end lilypond
-This technique becomes useful for non-monophonic music. To enter music
+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
+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 notes) are combined simultaneously:
-
-@lilypond[verbatim,relative=2]
- <<
- { a4 g }
- { f e }
- { d b }
- >>
+two notes) are combined simultaneously
+
+@lilypond[fragment,quote,verbatim,relative=3]
+<<
+ { a4 g }
+ { f e }
+ { d b }
+>>
@end lilypond
This mechanism is similar to mathematical
formulas are called expressions, and their definition is recursive, so
you can make arbitrarily complex and large expressions. For example,
-@quotation
- 1
+@example
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
+@end example
- 1 + 2
-
- (1 + 2) * 3
-
- ((1 + 2) * 3) / (4 * 5)
-@end quotation
@cindex expression
@cindex music expression
This example shows a sequence of expressions, where each expression is
contained in the next one. The simplest expressions are numbers and
-operators (like +, * and /). Parentheses are used to group
-expressions.
+operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
+to group expressions.
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
-
+arbitrarily deep@footnote{The reason for getting three staves in the
+previous example but just a single staff in the current one will be
+explained later.}
+
+@lilypond[fragment,quote,verbatim,relative=2]
+{
+ 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 number of closing
-braces at the end of an expression. For example,
+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,
@example
-\score @{
- \notes <<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
- >>
-@}
+\book @{
+ \score @{
+ <<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+ \paper @{
+ @dots{}
+ @}
+ >>
+ @}
+@}
@end example
Some editors have special support for entering LilyPond, and can help
-indenting source files. See @ref{Editor support} for more information.
-
-
+indenting source files. See @ref{Editor support}, for more information.
@node More staves
@section More staves
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}'s are then combined parallel with @code{<<} and
-@code{>>}, as demonstrated here:
+@code{Staff} elements are then combined parallel with @code{<<} and
+@code{>>}, as demonstrated here
-@quotation
-@lilypond[fragment,verbatim]
+@lilypond[quote,fragment,verbatim]
<<
\new Staff { \clef violin c'' }
\new Staff { \clef bass c }
>>
@end lilypond
-@end quotation
-The command @code{\new} introduces a ``notation context.'' A notation
+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 implicitly. For more complex pieces, it
-is best to mark contexts explicitly. This ensures that each fragment
+is best to mark contexts explicitly. This ensures that each fragment
gets its own stave.
There are several types of contexts: @code{Staff}, @code{Voice} and
-@code{Score} handle normal music notation. Other staves are also
+@code{Score} handle normal music notation. Other contexts are also
@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
printing 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 (4+5) is an expression, so -(4+5) is a bigger
-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.
-We can now typeset a melody with two staves:
+We can now typeset a melody with two staves
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-
-@quotation
-@lilypond[verbatim,raggedright]
-\score {
- \notes
- << \new Staff {
- \time 3/4
- \clef violin
- \relative c'' {
- e2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2. }
- }
- \new Staff {
- \clef bass
- c2 e4 g2.
- f4 e d c2.
- }
- >>
-}
+@lilypond[fragment,quote,verbatim,raggedright]
+<<
+ \new Staff {
+ \time 3/4
+ \clef violin
+ \relative {
+ e''2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2. }
+ }
+ \new Staff {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+>>
@end lilypond
-@end quotation
For more information on context see the description in
@ref{Interpretation contexts}.
@cindex accents
@cindex staccato
-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-_
+Common accents can be added to a note using a dash (@samp{-}) and a
+single character
+
+@lilypond[fragment,quote,verbatim,relative=2]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@end quotation
-@separate
@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
+(@samp{-}) and the digit to be printed
+
+@lilypond[fragment,quote,verbatim,relative=2]
+c-3 e-5 b-2 a-1
@end lilypond
Dynamic signs are made by adding the markings (with a backslash) to
-the note:
-@quotation
-@lilypond[verbatim,relative=1]
+the note
+
+@lilypond[fragment,quote,verbatim,relative=2]
c\ff c\mf
@end lilypond
-@end quotation
-@separate
@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
-crescendo, or the command @code{\!} can be used:
-@quotation
-@lilypond[verbatim,relative=1]
-c2\< c2\ff\> c2 c2\!
+@code{\>}. An ending dynamic, for example @code{\f}, will finish the
+crescendo, or the command @code{\!} can be used
+
+@lilypond[fragment,quote,verbatim,relative=2]
+c2\< c2\ff\> c2 c2\!
@end lilypond
-@end quotation
-@separate
@cindex slur
A slur is a curve drawn across many notes, and indicates legato
-articulation. The starting note and ending note are marked with a
-``@code{(}'' and a ``@code{)}'' respectively:
+articulation. The starting note and ending note are marked with
+@samp{(} and @samp{)}, respectively
-@quotation
-@lilypond[fragment,relative=1,verbatim]
+@lilypond[fragment,quote,fragment,relative=2,verbatim]
d4( c16)( cis d e c cis d e)( d4)
@end lilypond
-@end quotation
-@separate
+
@cindex slurs versus ties
-A slur looks like a tie, but it has a different meaning. A tie simply
+A slur looks like a tie, but it has a different meaning. A tie simply
makes the first note sound longer, and can only be used on pairs of
-notes with the same pitch. Slurs indicate the articulations of notes,
-and can be used on larger groups of notes. Slurs and ties are also
-nested in practice:
+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]
+@lilypond[quote,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
@code{\)}, so you can have both legato slurs and phrasing slurs at the
same time.
-@quotation
-@lilypond[fragment,relative=1,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
+@lilypond[quote,fragment,relative=2,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
@end lilypond
-@end quotation
For more information on
+
+@quotation
@table @asis
@item Fingering
- see @ref{Fingering instructions}
+see @ref{Fingering instructions}.
@item Articulations
- see @ref{Articulations}
+see @ref{Articulations}.
@item Slurs
- see @ref{Slurs}
+see @ref{Slurs}.
@item Phrasing slurs
- see @ref{Phrasing slurs}
+see @ref{Phrasing slurs}.
@item Dynamics
- see @ref{Dynamics}
-@item Fingering
+see @ref{Dynamics}.
@end table
+@end quotation
+
@node Combining notes into chords
@section Combining notes into chords
@cindex chords
-Chords can be made by surrounding pitches with angled brackets.
-Angled brackets are the symbols @code{<} and @code{>}.
+Chords can be made by surrounding pitches with angle brackets.
+Angle brackets are the symbols @samp{<} and @samp{>}.
-@quotation
-@lilypond[relative,fragment,verbatim]
+@lilypond[quote,relative=1,fragment,verbatim]
r4 <c e g>4 <c f a>8
@end lilypond
-@end quotation
-@separate
You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets:
-@quotation
-@lilypond[relative,fragment,verbatim]
+be placed outside the angled brackets
+
+@lilypond[quote,relative=1,fragment,verbatim]
r4 <c e g>8[ <c f a>]~ <c f a>
@end lilypond
-@end quotation
-@quotation
@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
@end example
-@lilypond[relative,fragment]
+
+@lilypond[quote,relative=1,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
@node Basic rhythmical commands
-@section Basic rhythmical commands
+@section Basic rhythmical commands
@cindex pickup
@cindex anacruse
@cindex partial measure
-A pickup is entered with the keyword @code{\partial}. It
+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:
-@lilypond[relative=1,verbatim,fragment]
- \partial 8
- f8 c2 d e
+and @code{\partial 8} an eighth note
+
+@lilypond[quote,relative=2,verbatim,fragment]
+\partial 8
+f8 c2 d e
@end lilypond
@cindex tuplets
Tuplets are made with the @code{\times} keyword. It takes two
arguments: a fraction and a piece of music. The duration of the piece
of music is multiplied by the fraction. Triplets make notes occupy
-2/3 of their notated duration, so a triplet has 2/3 as its fraction:
-@c
-@lilypond[relative,verbatim,fragment]
- \times 2/3 { f8 g a }
- \times 2/3 { c r c }
-@end lilypond
+2/3 of their notated duration, so a triplet has 2/3 as its fraction
+
+@lilypond[quote,relative=1,verbatim,fragment]
+\times 2/3 { f8 g a }
+\times 2/3 { c r c }
+@end lilypond
@cindex grace notes
@cindex accacciatura
keyword @code{\appoggiatura} or @code{\acciaccatura}
@cindex appoggiatura
@cindex acciaccatura
-
-@lilypond[relative=1,verbatim,fragment]
- c4 \appoggiatura b16 c4
- c4 \acciaccatura b16 c4
+
+@lilypond[quote,relative=2,verbatim,fragment]
+c4 \appoggiatura b16 c4
+c4 \acciaccatura b16 c4
@end lilypond
@noindent
For more information on
+
+@quotation
@table @asis
-@item Grace notes
+@item Grace notes
see @ref{Grace notes},
@item Tuplets
see @ref{Tuplets},
@item Pickups
see @ref{Partial measures}.
@end table
-
+@end quotation
@node 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. The percent symbol @code{%} introduces a line
-comment; the rest of the 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:
+A comment is a remark for the human reader of the music input; it is
+ignored and has no effect on the printed output. There are two types
+of comments. The percent symbol @samp{%} introduces a line comment;
+the rest of the line is ignored. A block comments 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
@example
- % notes for twinkle twinkle follow:
- c4 c g' g a a
-
- %@{
-
+% notes for twinkle twinkle follow
+c4 c g' g a a
+
+%@{
This line, and the notes below
are ignored, since they are in a
block comment.
g g f f e e d d c2
- %@}
+%@}
@end example
+There is a special statement that really is a kind of comment. The
+version statement marks for which version of LilyPond the file was
+written. To mark a file for version 2.1.17, use
+@example
+\version "2.1.17"
+@end example
+
+@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{Invoking convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
@node Printing lyrics
@cindex Lyrics
@cindex Songs
-Lyrics are entered by separating each syllable with a space,
-
-@example
- I want to break free
-@end example
+Lyrics are entered by separating each syllable with a space
-To prevent certain words (for example ``as'') as being read as a
-pitch, the input-mode must be switched. This is done with
-@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
-syllables.
@example
- \lyrics @{ I want to break free @}
+I want to break free
@end example
-@noindent
-Again, the braces @code{@{@}} signify that the syllables are sung in
-sequence.
-
-By default, music expressions are interpreted in @code{Staff} context. For
-lyrics, this is obviously not desirable, so it is necessary
-to explicitly specify a @code{Lyrics} context,
+Consider the melody
-@example
- \new Lyrics \lyrics @{ I want to break free @}
-@end example
-
-The melody for this song is as follows:
-
-@lilypond[fragment,relative=1]
- c4
- \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
+@lilypond[quote,verbatim,fragment,raggedright]
+\relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+}
@end lilypond
+@c FIXME: when/how/to what rename newlyrics?
The lyrics can be set to these notes, combining both with the
-@code{\lyricsto} keyword:
-@example
- \lyricsto "@var{name}" \new Lyrics @dots{}
-@end example
-where @var{name} identifies to which melody the lyrics should be
-aligned. In this case, there is only one melody, so we can leave it
-empty.
-
-The final result is
-@lilypond[verbatim,fragment,raggedright]
-\score {
- \notes <<
- \partial 4
- \relative c' {
- c4
- \times 2/3 { f g g } \times 2/3 { g4( a2) }
- }
- \lyricsto "" \new Lyrics \lyrics { I want to break free }
- >>
-}
+@code{\newlyrics} keyword
+
+@lilypond[quote,verbatim,fragment,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \newlyrics { 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 an @emph{extender
-line}. It is entered as two underscores, i.e.
+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.,
+
@example
- \lyrics @{ I want to break free __ @}
+@{ I want to break free __ @}
@end example
-@lilypond[raggedright]
-\score {
- \notes <<
- \relative c' \new Voice {
- \partial 8
- c8
- \times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \lyricsto "" \new Lyrics \lyrics { I want to break free __ }
- >>
-}
+
+@lilypond[fragment,quote,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \newlyrics { 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:
+resulting in a centered hyphen between two syllables
+
@example
- Twin -- kle twin -- kle
+Twin -- kle twin -- kle
@end example
-@lilypond[raggedright]
-\score {
- << \notes \relative f'
- \context Voice = bla { \time 2/4
- f4 f c' c' }
- \new Lyrics \lyrics \lyricsto "bla" { Twin -- kle twin -- kle }
- >>
- \paper { raggedright = ##t }
- }
+
+@lilypond[fragment,quote,raggedright]
+<<
+ \relative {
+ \time 2/4
+ f4 f c' c
+ }
+ \newlyrics { Twin -- kle twin -- kle }
+>>
@end lilypond
More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.
+@c FIXME: too geeky, for notation manual?
+@c or introduce using foo = \lyrics { a b c } ?
+
+When using variables for a piece of lyrics
+To prevent certain words (for example `as') as being read as a
+pitch, the input-mode must be switched. This is done with
+@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
+syllables.
+
+@example
+myText = \lyrics @{ I want to break free @}
+@end example
+
+@noindent
+The braces @code{@{@}} signify that the syllables are sung in
+sequence.
+
+@ignore
+By default, music expressions are interpreted in @code{Staff} context. For
+lyrics, this is obviously not desirable, so it is necessary
+to explicitly specify a @code{Lyrics} context,
+
+@example
+\lyrics @{ I want to break free @}
+@end example
+
+The melody for this song is as follows
+
+@lilypond[fragment,quote,fragment,relative=2]
+r4 c \times 2/3 { f4 g g }
+\times 2/3 { g4( a2) }
+@end lilypond
+
+@end ignore
@node A lead sheet
@cindex Lead sheets
@cindex chords
@cindex chord names
-
-In popular music, it is common to denote accompaniment as chord-names.
-Such chords can be entered like notes,
+
+In popular music, it is common to denote accompaniment as chord names.
+Such chords can be entered like notes,
@example
- c2 f4. g8
+c2 f4. g8
@end example
@noindent
but now, each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chords}:
+This mode is switched on with @code{\chords}
-@lilypond[verbatim]
-\score {
- \chords { c2 f4. g8 }
-}
+@lilypond[quote,verbatim,raggedright]
+\chords { c2 f4. g8 }
@end lilypond
Other chords can be created by adding modifiers after a colon. The
-following example shows a few common modifiers:
-@c
-@lilypond[verbatim]
- \chords { c2 f4:m g4:maj7 gis1:dim7 }
+following example shows a few common modifiers
+
+@lilypond[quote,verbatim]
+\chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
For lead sheets, chords are not printed on staves, but as names on a
-line of themselves. Hence, we have to override the context with
+line of themselves. Hence, we have to override the context with
@code{\new}, rendering the music expression in a @code{ChordNames}
context
-@lilypond[verbatim]
- \new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@lilypond[quote,verbatim]
+\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@cindex lead sheet
-@separate
-When put together, chord names, lyrics and a melody form
+When put together, chord names, lyrics and a melody form
a lead sheet, for example,
@example
-\score @{
- <<
- \new ChordNames \chords @{ @emph{chords} @}
- \notes @emph{the melody}
- \lyricsto "" \new Lyrics \lyrics @{ @emph{the text} @}
- >>
+<<
+ \new ChordNames \chords @{ @emph{chords} @}
+ @emph{the melody}
+ \newlyrics @{ @emph{the text} @}
+>>
@}
@end example
-@lilypond[]
-\score {
- <<
- \partial 4
- \new ChordNames \chords { r8 c2:sus4 f }
- \notes \relative c' {
- c4
- \times 2/3 { f g g } \times 2/3 { g4( a2) } }
- \new Lyrics \lyricsto "" \lyrics { I want to break free __ }
- >>
- \paper{ raggedright = ##t }
-}
-@end lilypond
+@lilypond[quote,raggedright]
+<<
+ \new ChordNames \chords { r2 c:sus4 f }
+ \notes \relative {
+ r4 c' \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \newlyrics { I want to break free __ }
+>>
+@end lilypond
-A complete list of modifiers and other options for layout are in the
-reference manual section @ref{Chords}.
+A complete list of modifiers and other options for layout can be found
+in @ref{Chords}.
+@c FIXME: we talk about \midi before mentioning \paper (or \layout?)
@node Listening to output
@section Listening to output
connecting and controlling digital instruments. A MIDI file is like a
tape recording of a MIDI instrument.
-To create a MIDI from a music piece of music, add a
-@code{\midi} block causes LilyPond to create a MIDI file, so you
-can listen to the music you entered. It is great for checking the
-music: octaves that are off or accidentals that were mistyped stand
-out very much when listening to the musical transcription.
+To create a MIDI from a music piece of music, add a @code{\midi}
+block. This causes LilyPond to create a MIDI file, so you can listen
+to what you just entered. It is great for checking the music.
+Octaves that are off or accidentals that were mistyped stand out very
+much when listening to the musical transcription.
The @code{\midi} block is added to @code{\score}, for example,
+
@example
\score @{
- @var{..music..}
- \midi @{ \tempo 4=72 @}
+ @var{...music...}
+ \midi @{ \tempo 4=72 @}
@}
@end example
Here, the tempo is specified using the @code{\tempo} command. In this
-case the tempo of quarter notes is set to 72 beats per minute. More
-information on auditory output is in the @ref{Sound} section in the
-notation manual.
+case the tempo of quarter notes is set to 72 beats per minute. More
+information on auditory output in the notation manual can be found in
+@ref{Sound}.
-If there is a @code{\midi} command in a @code{\score}, then only MIDI
-will be produced. If notation is needed too, then a @code{\paper}
-block must be added too:
+If there is a @code{\midi} command in a @code{\score}, only MIDI will
+be produced. If notation is needed too, a @code{\paper} block must be
+added
@example
\score @{
- @var{..music..}
- \midi @{ \tempo 4=72 @}
+ @var{...music...}
+ \midi @{ \tempo 4=72 @}
\paper @{ @}
@}
@end example
-
@cindex paper block
-@node Titling
-@section Titling
+
+@node Adding titles
+@section Adding titles
Bibliographic information is entered in a separate block, the
-@code{\header} block. The name of the piece, its composer, etc. are
-entered as an assignment, within @code{\header @{ @dots{} @}}. For
-example,
+@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 = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
- @}
-
- \score @{ @dots{} @}
+\header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+@}
+
+@{ @dots{} @}
@end example
@cindex bibliographic information
@cindex Engraved by LilyPond
When the file is processed the title and composer are printed above
-the music. The `tagline' is a short line printed at bottom of the last
-page which normally says ``Engraved by LilyPond, version @dots{}''. In
-the example above it is replaced by the line ``small is
-beautiful.''@footnote{Nicely printed parts are good PR for us, so
+the music. The `tagline' is a short line printed at bottom of the last
+page which normally says `Engraved by LilyPond, version @dots{}'. In
+the example above it is replaced by the line `small is
+beautiful.'@footnote{Nicely printed parts are good PR for us, so
please leave the tagline if you can.}
-Normally, the @code{\header} is put at the top of the file. However,
-for a document that contains multiple pieces (e.g. an etude book, or
-an orchestral part with multiple movements), the header can be
-put in the @code{\score} block as follows; in this case, the name of
-each piece will be printed before each movement:
+The @code{\header} block is usually put at the top of the file.
+
+A document may contains multiple pieces of music, examples are an
+etude book, or an orchestral part with multiple movements.
+@c FIXME: ugh. \header can only live at toplevel, or inside \score.
+@c If we allow it also to live inside \book, we do not need \score here?
+The @code{\book} block is used to group the individual @code{\score}
+blocks.
+
+The header for each piece of music can be put inside the @code{\score}
+block. The @code{piece} name from the header will be printed before
+each movement.
+
+@ignore
+
+FIXME: introduce \BOOK
+
+FIXME: Using "Adagio" as a name is confusing, it's more common to be
+a plain tempo indication.
+
+Since today (CVS-1.211) we also allow headers and composite music
+inside book:
+
+ \header { ... }
+ \book {
+ \header { ... }
+ { ... }
+ \header { ... }
+ { ... }
+ }
+
+@end ignore
@cindex Engraved by LilyPond
@cindex signature line
@cindex tag line
@example
- \header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
- @}
-
- \score @{ @dots{}
+\header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+@}
+
+\book @{
+ \score @{
+ @dots{}
\header @{ piece = "Adagio" @}
@}
- \score @{ @dots{}
+ \score @{
+ @dots{}
\header @{ piece = "Menuetto" @}
@}
+@}
@end example
More information on titling can be found in @ref{Invoking lilypond}.
@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
+printed as polyphonic voices; each voice has its own stems, slurs and
beams, and the top voice has the stems up, while the bottom voice has
them down.
Entering such parts is done by entering each voice as a sequence (with
-@code{@{ .. @}}), and combining those simultaneously, separating the
-voices with @code{\\}:
+@code{@{...@}}), and combining those simultaneously, separating the
+voices with @code{\\}
-@lilypond[verbatim,relative=2]
- << { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,relative=3]
+<< { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
@end lilypond
-For polyphonic music typesetting, spacer rests can also be convenient: these
+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. Here is the same example with a spacer rest
-instead of a normal rest
-@lilypond[relative=2]
- << { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+temporarily do not play. Here is the same example with a spacer rest
+instead of a normal rest---just use @samp{s} instead of @samp{r}
+
+@lilypond[quote,verbatim,relative=3]
+<< { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
@end lilypond
-Again, these expressions can be nested arbitrarily:
+@noindent
+Again, these expressions can be nested arbitrarily
-@lilypond[fragment,relative=2]
+@lilypond[quote,fragment,verbatim,relative=3]
<<
- \new Staff
- << { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
- >>
- \new Staff
- << \clef bass
- { <c, g>1 ~ <c g>4 } \\
- { f4 d e2 ~ e4}
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c, g>1 ~ <c g>4 } \\
+ { f4 d e2 ~ e4}
>>
>>
@end lilypond
+More features of polyphonic typesetting in the notation manual are
+described in @ref{Polyphony}.
-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{\context}
+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},
-Piano music is always typeset in two staves connected by a brace.
-Printing such a staff is similar to the polyphonic example in
-@ref{More staves}:
@example
- << \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @}
- >>
+<< \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @} >>
@end example
+
+@noindent
but now this entire expression must be interpreted as a
-@code{PianoStaff}:
+@code{PianoStaff}
+
@example
- \new PianoStaff << \new Staff @dots{} >>
+\new PianoStaff << \new Staff @dots{} >>
@end example
-Here is a full-fledged example:
+Here is a full-fledged example
-@lilypond[relative,fragment]
-\new PianoStaff
- << \new Staff { \time 2/4
- c4 c g' g }
- \new Staff {
- \clef bass c,, c' e c }
- >>
+@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 }
+>>
@end lilypond
-More information on formatting piano music is in @ref{Piano music}.
+More information on formatting piano music is in @ref{Piano music}.
+
@node Organizing larger pieces
@section Organizing larger pieces
When all of the elements discussed earlier are combined to produce
larger files, the @code{\score} blocks get a lot bigger, because the
music expressions are longer, and, in the case of polyphonic pieces,
-more deeply nested. Such large expressions can become unwieldy.
+more deeply nested. Such large expressions can become unwieldy.
By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows:
-@c
+up complex music expressions. An identifier is assigned as follows
+
@example
- namedMusic = \notes @{ @dots{}
+namedMusic = \notes @{ @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:
+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[raggedright,verbatim]
+@lilypond[quote,raggedright,verbatim,nofragment]
seufzer = \notes {
e'4( dis'4)
}
-\score { \notes {
- \seufzer \seufzer
-} }
+{ \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
+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
- width = 4.5\cm
- name = "Wendy"
- aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+width = 4.5\cm
+name = "Wendy"
+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:
+places. The following example uses the above variables
+
@example
- \score @{
- \notes @{ c4^\name @}
- \paper @{
- \aFivePaper
- linewidth = \width
- @}
+\score @{
+ \notes @{ c4^\name @}
+ \paper @{
+ \aFivePaper
+ linewidth = \width
@}
+@}
@end example
More information on the possible uses of identifiers is in the
@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
-a variable. The contents of that variable is then used to generate
+In orchestral music, all notes are printed twice; 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
+a variable. The contents of that variable is then used to generate
both the part and the score.
-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,
+It is convenient to define the notes in a special file. For example,
+suppose that the file @file{horn-music.ly} contains the following part
+of a horn/bassoon duo
+
@example
hornNotes = \notes \relative c @{
\time 2/4
@}
@end example
+@noindent
Then, an individual part is made by putting the following in a file
@example
The line
-@verbatim
- \include "horn-music.ly"
-@end verbatim
+@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 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:
+@code{\transpose f@tie{}c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
+@samp{f} is denoted by notated @code{c'}, which corresponds with
+tuning of a normal French Horn in@tie{}F. The transposition can be seen
+in the following output
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \transpose f c' \notes \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
+ \time 2/4
+ r4 f8 a cis4 f e d
+ }
}
@end lilypond
In ensemble pieces, one of the voices often does not play for many
-measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital @code{R} 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, this rest
-takes 3 measures in 2/4 time:
+measures. This is denoted by a special rest, the multi-measure
+rest. It is entered with a capital @samp{R} followed by a duration
+(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes 3@tie{}measures in 2/4 time
+
@example
- R2*3
+R2*3
@end example
When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable:
+must be condensed. This is done by setting a run-time variable
+
@example
- \set Score.skipBars = ##t
+\set Score.skipBars = ##t
@end example
-
-This commands sets the property @code{skipBars} property in the
+@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:
+this option to the music above, leads to the following result
-@lilypond[raggedright]
-\score {\notes { \transpose f c' \relative c { \time 2/4
-\set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d } }}
+@lilypond[quote,raggedright]
+\score {
+ \notes \transpose f c' \relative c {
+ \time 2/4
+ \set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d
+ }
+}
@end lilypond
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
+block. Assuming that the other voice is in @code{bassoonNotes} in the
file @file{bassoon-music.ly}, a score is made with
@example
\simultaneous @{
\new Staff \hornNotes
\new Staff \bassoonNotes
- @} @}
+ @}
+@}
@end example
+@noindent
leading to
-@lilypond[raggedright]
+@lilypond[quote,raggedright]
\score {
\notes \relative c \simultaneous {
- \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
+ \new Staff {
+ \time 2/4 R2*3
+ r4 f8 a cis4 f e d
+ }
+ \new Staff {
+ \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f
+ }
+ }
+}
+@end lilypond
-More in-depth information on preparing parts and scores is in the
-notation manual, in @ref{Orchestral music}.
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ref{Orchestral music}.
+
+Setting run-time variables (`properties') is discussed in ref-TODO.
-Setting run-time variables (``properties'') is discussed in ref-TODO.
@node Integrating text and music
@section Integrating text and music
@cindex La@TeX{}, music in
@cindex HTML, music in
@cindex Texinfo, music in
-
Some texts include music examples. Examples are musicological
treatises, songbooks or manuals like this. Such texts can be made by
hand, simply by importing a PostScript figure into the word processor.
However, there is an automated procedure to reduce the amount of work
-involved HTML, La@TeX{}, and Texinfo documents.
-
+involved HTML, La@TeX{}, and Texinfo documents.
A script called @code{lilypond-book} will extract the music fragments,
run format them, and put back the resulting notation. This program is
fully described in @ref{lilypond-book manual}. Here we show a small
-example. The example also contains explanatory text, so we will not
-comment on it further:
+example. The example also contains explanatory text, so we will not
+comment on it further
@example
\documentclass[a4paper]@{article@}
\begin@{document@}
-Documents for lilypond-book may freely mix music and text. For
+Documents for lilypond-book may freely mix music and text. For
example,
\begin@{lilypond@}
If there is no \verb+\score+ block in the fragment,
\texttt@{lilypond-book@} will supply one
-\begin@{lilypond@}
+\begin[quote]@{lilypond@}
c'4
\end@{lilypond@}
-In this example two things happened: a
+\noindent
+In this example two things happened. A
\verb+\score+ block was added, and the line width was set to natural
length.
Options are put in brackets.
-\begin[staffsize=26,verbatim]@{lilypond@}
+\begin[quote,staffsize=26,verbatim]@{lilypond@}
c'4 f16
\end@{lilypond@}
-
Larger examples can be put in a separate file, and introduced with
\verb+\lilypondfile+.
-\lilypondfile@{screech-boink.ly@}
+\lilypondfile[quote,noindent]@{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/
@end example
To convert the file into a nice PDF document, run the following
-commands:
+commands
+
@example
$ dvips -Ppdf -u +lilypond lilybook
$ ps2pdf lilybook.ps
@end example
-
Running lilypond-book and running latex creates a lot of temporary
-files, which would clutter up the working directory. To remedy this,
-use the @code{output} option. It will create the files in a separate
-subdirectory @file{out}.
+files, which would clutter up the working directory. To remedy this,
+use the @code{--output=@var{dir}} option. It will create the files in
+a separate subdirectory @file{dir}.
-The result looks more or less like
+Finally the result of the La@TeX{} example shown above.@footnote{Note
+that in this tutorial the example is processed with Texinfo. This gives
+slightly different results in layout.} This finishes the tutorial
+section.
-@separate
+@page
-Documents for lilypond-book may freely mix music and text. For
+Documents for lilypond-book may freely mix music and text. For
example,
@lilypond
-\score {
- \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
- }
- \paper {
- raggedright = ##t
- }
-}
+\score { \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+} }
@end lilypond
-If you have no @code{\score} block in the fragment,
-@code{lilypond-book} will supply one:
+If there is no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one
-@lilypond
- c'4
+@lilypond[fragment,quote]
+c'4
@end lilypond
-In this example two things happened: a
+@noindent
+In this example two things happened. A
@code{score} block was added, and the line width was set to natural
length.
Options are put in brackets.
-@lilypond[staffsize=26,verbatim]
- c'4 f16
+@lilypond[fragment,quote,staffsize=26,verbatim]
+c'4 f16
@end lilypond
Larger examples can be put in a separate file, and introduced with
@code{\lilypondfile}.
-@lilypondfile{screech-boink.ly}
+@lilypondfile[quote,noindent]{screech-boink.ly}
projects / lilypond.git / blobdiff