@c -*-texinfo-*-
+@c TODO: LilyPond LilyPond LilyPond
+
@node Tutorial
@chapter Tutorial
+@html
+<!--- @@WEB-TITLE@@=Tutorial --->
+@end html
+
@menu
-* Introduction::
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
+* First steps:: Music language of LilyPond
+* Simple legend:: Small table of music language symbols
+* Running LilyPond:: Printing music
+* The first real tune:: The first real tune
* Lyrics and chords:: Lyrics and chords
-* More movements ::
+* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
-* An orchestral score::
-* Part extraction::
-* end of tutorial:: The end
+* An orchestral score:: Conductor's score and individual parts
+* Other ways to run LilyPond:: Other ways to run LilyPond
+* Integrating text and music:: Integrating text and music
+* End of tutorial:: The end
@end menu
-@node Introduction
-@section Introduction
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-chapter is a gentle introduction to that language.
+The music is described in a text file, using a simple music language.
+LilyPond reads that text file and generates music that you can print or
+view.
-This tutorial will demonstrate how to use Lilypond by presenting
-examples of input along with resulting output. We will use English
-terms for notation. In case you are not familiar with those, you may
-consult the glossary that is distributed with LilyPond.
+Therefore, creating music notation with LilyPond is done in two steps.
+Using a text editor, you write down the notes to print. Then, you run
+LilyPond to get your printed output.
-@cindex examples, tutorial
+This tutorial starts with a small introduction to the LilyPond music
+language. After this first contact, we will show you how to run
+LilyPond to produce printed output; you should then be able to create
+your first sheets of music.
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}.@footnote{When we refer
-to filenames, they are relative to the top directory of the source
-package.
-@cindex file names
-}. We recommend that you experiment with writing Lilypond input
-yourself, to get a feel for how the program behaves.
+The tutorial continues with a slightly more elaborate example of real music.
+This piece introduces and explains some finer details of LilyPond.
+Then, a number of more complex examples follow, that will help you to
+produce most complex music with LilyPond.
-@node Running LilyPond
-@section Running LilyPond
+@c title?
+
+@node First steps
+@section First steps
+
+@c @node Music language of LilyPond
+@c @section Music language of LilyPond
+
+This section shows how easy writing music with LilyPond actually is. If
+you have not seen LilyPond input source before, this section is for you.
-Before we dive into describing the input language of LilyPond, we first
-show you through the procedure for getting notes on your screen and out
-of your printer.
+The next section has a table (see @ref{Simple legend}) of all symbols
+that are introduced here, you may want to keep an eye on that.
-The first step is creating an input file. Using your favorite
-text-editor, create @file{test.ly} containing
+Writing music with LilyPond is explained below by a number of small
+examples. Each example has a small piece of text; the LilyPond input
+that you should type, with the resulting music printed below it.
+You get a simple note by typing its note name, from @code{a} through
+@code{g}:
+
+@quotation
@example
-\header @{
- title = "Test";
+c d e f g a b
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { c d e f g a b }
+@end lilypond
+@end quotation
+@separate
+
+The length of a note is specified by adding a number, ``@code{1}'' for a
+whole note, ``@code{2}'' for a half note, and so on:
+
+@quotation
+@example
+a1 a2 a4 a16 a32
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+%\property Staff.Clef = \turnOff
+\transpose c'' { a1 a2 a4 a16 a32 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+If you don't specify a duration, the previous duration is used:
+
+@quotation
+@example
+a a a2 a
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a a a2 a }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
+(@texiflat{}) by adding ``@code{es}'':
+
+@quotation
+@example
+cis1 ees fisis aeses
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\transpose c'' { cis1 ees fisis aeses }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+Add a dot ``@code{.}'' after the duration to get a dotted note:
+@quotation
+@example
+a2. a4 a8. a16
+@end example
+
+@c missing clef seems to raise more questions than actual pitch of notes,
+@c as these are snippets anyway
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+%\property Staff.Clef = \turnOff
+\transpose c'' { a2. a4 a8. a16 }
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+The meter (or time signature) can be set with the ``@code{\time}'' command:
+
+@quotation
+@example
+\time 3/4
+\time 6/8
+\time 4/4
+@end example
+
+@c a clef here may lead to confusion
+@lilypond[fragment]
+\property Staff.Clef = \turnOff
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+The clef can be set using the ``@code{\clef}'' command:
+
+@c what is more common name treble or violin?
+@c in Dutch, its violin.
+@quotation
+@example
+\clef violin
+\clef bass
+\clef alto
+\clef tenor
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef violin
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
+@end lilypond
+@end quotation
+@separate
+
+From these commands and notes, a piece of music can be formed. A piece
+of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
+LilyPond then knows that music follows (and not lyrics, for example):
+
+@quotation
+@example
+\notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
+@end example
+@end quotation
+@separate
+
+At this point, the piece of music is ready to be printed. This is done
+by combining the music with a printing command.
+
+The printing command is the so-called ``@code{\paper}'' block. You will
+see later that the \paper block is necessary to customize all kinds of
+printing specifics. The music and the \paper block are combined by
+enclosing them in ``@code{\score @{ ... @}}''. This is what a full
+LilyPond source file looks like:
+@quotation
+@example
\score @{
- \notes @{ c'4 e'4 g'4 @}
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
\paper @{ @}
-@}
+@}
+@end example
+
+@lilypond
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { linewidth = 60 * \staffspace }
+}
+@end lilypond
+@end quotation
+@separate
+
+
+We continue with the introduction of the remaining musical constructs.
+
+@c maybe legend here?
+
+Rests are entered just like notes with the name ``@code{r}'':
+
+@quotation
+@example
+r2 r4 r8 r16
@end example
-@unnumberedsubsec Unix
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.Clef = \turnOff
+\property Staff.TimeSignature = \turnOff
+r2 r4 r8 r16
+s16_" "
+@end lilypond
+@end quotation
+@separate
-@cindex Unix, Running lilypond on
+@c Tim wants to move this quotes example just before the: quotes-don't-work
+@c score, but we'd need to remove quotes from the other two (key and
+@c tie) examples...
-If you run Unix, proceed as follows: run lilypond on the file, i.e.,
+@c better to have this just before the `octaves are bad' snipped
+@c but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a ``low quote'' @code{,}
+(a comma). The central C is @code{c'}:
+
+@quotation
@example
- lilypond test
+c'4 c'' c''' \clef bass c c,
@end example
-You will see the following on your screen:
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+c'4 c'' c''' \clef bass c c,
+@end lilypond
+@end quotation
+@separate
+
+A tie is created by entering a tilde ``@code{~}'' between the notes to
+be tied. A tie between two notes means that the second note must not be
+played separately, but just makes the first note sound longer:
+
+@quotation
+@lilypond[fragment,verbatim]
+g'4 ~ g' a'2 ~ a'4
+@end lilypond
+@end quotation
+@separate
+
+The key signature is set with the command ``@code{\key}'':
+@quotation
@example
-GNU LilyPond 1.3.125.
-Now processing: `input/tutorial/test.ly'
-Parsing...
-Interpreting music...[1]
-Preprocessing elements...
-Calculating column positions... [2]
-paper output to test.tex...
-@end example
-
-Now, run @TeX{}@footnote{@TeX{} is a text-typesetting system that is
-especially suited for typesetting mathematics.}. The result should
-resemble this:
-@example
-This is TeX, Version 3.14159 (Web2C 7.3.1)
-(test.tex (/home/hanwen/usr/share/lilypond/tex/lilyponddefs.tex
-(/home/hanwen/usr/share/lilypond/tex/lilypond-plaintex.tex
-LilyPond Plain TeX settings) (/home/hanwen/usr/src/ ...
-(/home/hanwen/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty]
-(/home/hanwen/usr/share/lilypond/tex/fetdefs.tex)) [1] )
-Output written on test.dvi (1 page, 3716 bytes).
-Transcript written on test.log.
-@end example
-The result of the @TeX{} run is a @TeX{} ``DeVice Independent'' file
-(@file{test.dvi}).
-@cindex DVI file
-@cindex @TeX{}
+\key d \major
+g'1
+\key c \minor
+g'
+@end example
+
+@lilypond[fragment]
+\property Staff.TimeSignature = \turnOff
+\key d \major
+g'1
+\key c \minor
+g'
+@end lilypond
+@end quotation
-@cindex Viewing music
-@cindex @code{xdvi}
-To view the output, run Xdvi, i.e.
+
+@c bit on the long/complex/scary taste
+@c cheating a bit: two lines makes for a friendlier look
+This example shows notes, ties, octave marks, and rests in action.
+Don't worry about all the quotes.
+
+@quotation
@example
- xdvi test
+\score @{
+ \notes @{
+ \time 4/4
+ \clef violin
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ @}
+ \paper @{ @}
+@}
@end example
-You should see the following in a window next to some buttons.
-@lilypond
-\header {
- title = "Test";
-}
+@lilypond
\score {
- \notes { c'4 e'4 g'4 }
- \paper { }
-}
+ \notes {
+ \time 4/4
+ \clef violin
+ \key d \minor
+ r4 r8 d''8 cis''4 e''
+ d''8 a'4. ~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ cis''2 r2
+ }
+ \paper { linewidth = 50*\staffspace }
+}
@end lilypond
+@end quotation
+
+@c accidentals...
+There are some interesting points to note in this example. Firstly,
+accidentals (sharps and flats) don't have to be marked explicitly: you
+just enter the note name, and LilyPond determines whether or not to
+print an accidental. Secondly, bar lines and beams are drawn
+automatically. Thirdly, LilyPond calculates line breaks for you; it
+doesn't matter where you make new lines in the source file.
+
+The example also indicates that a piece of music written in a high
+register needs lots of quotes. This makes the input a bit unreadable,
+and is therefore also a potential source of errors.
+
+@separate
-@cindex postscript, converting to
-When you're satisfied with the result, you can print it. For printing,
-you have to generate a postscript file:
+The solution is to use ``relative octave'' mode. In practice, most
+music is entered using this mode.
+
+To use relative mode, add @code{\relative} before the piece of music.
+You must also give a note from which relative starts, in this case
+@code{c''}.
+
+@c In relative octave mode, quotes are used to mark large jumps in the
+@c melody. Without any quotes or commas, the interval between a note and
+@c its predecessor is assumed to be a fourth or less. Quotes and commas
+@c add octaves in up and down direction.
+
+If you type no octaviation quotes, relative mode chooses the note that
+is closest to the previous one, which is often just the one you need.
+@c don't use commas or quotes in this sentence
+For example: @code{c f} goes up; @code{c g} goes down:
+
+@quotation
@example
- dvips -o test.ps test.dvi
+\relative c'' @{
+ c f c g c
+@}
@end example
-which looks like this:
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f c g c
+}
+@end lilypond
+@end quotation
+@separate
+
+@c needed better, maybe even redundant explanation
+@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
+@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
+You can make a large interval by adding octaviation quotes. Note that
+quotes or commas do not determine the absolute height of a note;
+the height of a note is relative to the previous one.
+@c don't use commas or quotes in this sentence
+For example: @code{c f,} goes down; @code{f, f} are both the same;
+@code{c c'} are the same; and @code{c g'} goes up:
+
+@quotation
@example
-This is dvips(k) 5.86 Copyright 1999 Radical Eye Soft ...
-' TeX output 2001.01.27:1806' -> test.ps
-<texc.pro><special.pro>. [1]
+\relative c'' @{
+ c f, f c' c g' c,
+@}
@end example
-@cindex PostScript
-@cindex Printing output
-@cindex GhostScript
-@cindex @code{lpr}
-PostScript is a page description language, similar to PDF. Some printers
-can understand a postscript file directly, but the cheaper ones need the
-intervention of GhostScript, an emulator that runs PostScript on your
-computer instead of your printer. Most Linux distributions nowadays have
-GhostScript running ``in the background'', so any configured printer
-will act as a PostScript printer. Assuming this, the following command
-will print the file
-@example
- lpr test.ps
-@end example
-If this does not make your printer produce a page of music, then you
-should look into installing and configuring ghostscript. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-
-There are three other routes: firstly, you can add titling to the
-output. This is done by a separate program called @file{ly2dvi}: this
-program first calls LilyPond to process the @file{.ly} file, and then
-runs @TeX{} on it to produce a @file{.dvi} file with proper margin
-settings and titling.
-
-@cindex titles, adding
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative c'' {
+ c f, f c' c g' c,
+}
+@end lilypond
+@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
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@end lilypond
+@end quotation
+@separate
+
+Beams are drawn automatically, but if you don't like the choices, you
+can enter beams by hand. Surround the notes to be grouped with @code{[}
+and @code{]}:
+@quotation
+@lilypond[fragment,relative 1, verbatim]
+[a8 ais] [d es r d]
+@end lilypond
+@end quotation
+@separate
+
+To print more than one staff, each piece of music that makes up a staff
+is marked by adding @code{\context Staff} before it. These
+@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
+demonstrated here:
+
+@quotation
+@lilypond[fragment,verbatim]
+<
+ \context Staff = staffA { \clef violin c'' }
+ \context Staff = staffB { \clef bass c }
+>
+@end lilypond
+@end quotation
+
+In this example, @code{staffA} and @code{staffB} are names that are
+given to the staves. For now, it doesn't matter what names you give, as
+long as each staff has a unique name.
+
+@separate
+
+We can typeset a melody with two staves now:
+
+@quotation
+@lilypond[verbatim]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef violin
+ \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
+@end lilypond
+@end quotation
+
+Notice that the time signature is specified in one melody staff only
+(the top staff), but is printed on both. LilyPond knows that the time
+signature should be the same for all staves.
+
+@separate
+
+Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
+@quotation
+@lilypond[verbatim,relative 1]
+c-. c-- c->
+@end lilypond
+@end quotation
+@separate
+
+Dynamic signs are made by adding the markings to the note:
+@quotation
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
+@end quotation
+@separate
+
+Crescendi are started with the commands @code{\<} and @code{\>}. The
+command @code{\!} finishes a crescendo on the following note.
+@quotation
+@lilypond[verbatim,relative 1]
+c2\< \!c2-\ff \>c2 \!c2
+@end lilypond
+@end quotation
+@separate
+
+Chords can be made by surrounding notes with @code{<} and @code{>}:
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 <c e g> <c f a>
+@end lilypond
+@end quotation
+@separate
+
+@ignore
+@c te diepzinnig?
+@c hmm, te losjes, iig
+In general, @code{ < @var{stuff} > } is used when @var{stuff} all
+happens at the same time, like in chords, or (like in the two-staff
+example above) in a bunch of stacked staves.
+@end ignore
+
+Of course, you can combine beams and ties with chords. Notice that
+beam and tie markings are placed outside the chord markers:
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+@end lilypond
+@end quotation
+
+When you want to combine chords with slurs and dynamics, an annoying
+technical detail crops up: you have type these commands next to the
+notes, which means that they have to be inside the @code{< >}:
+
+@quotation
+@lilypond[relative 0, fragment,verbatim]
+r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@end lilypond
+@end quotation
+@separate
+
+A nasty technical detail also crops up when you start a score with a
+chord:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes <c'1 e'1> }
+@end lilypond
+@end quotation
+@separate
+
+The program can not guess that you want the notes on only one staff. To
+force the chord on a staff, add @code{\context Staff} like this:
+
+@quotation
+@lilypond[verbatim,singleline]
+\score { \notes \context Staff <c'1 e'1> }
+@end lilypond
+@end quotation
+@separate
+
+
+
+
+@ignore
+[TODO add some more here
+
+* lyrics, chords (?)
+
+* \header
+
+* identifiers?
+
+]
+@end ignore
+
+This is the end of the simple tutorial. You know the basic ingredients
+of a music file, so this is the right moment to try your at hand at
+doing it yourself: try to type some simple examples, and experiment a
+little.
+
+When you're comfortable with the basics, then you might want to read the
+rest of this chapter. It also a manual in tutorial-style, but it is much
+more in-depth. It will also be very intimidating if you're not familiar
+with the basics. It deals with some of the more advanced features of
+LilyPond. Topics include lyrics, chords, orchestral scores and parts,
+fine tuning output, polyphonic music, and integrating text and music.
+
+
+@c refer to this section
+@node Simple legend
+@section Simple legend
+
+
+@c need texinfo-4.0a or later for this
+
+
+@c both Tim and my father came independently with a request for a
+@c `legend' like this.
+
+@c what should be in it?
+
+
+
+@quotation
+@multitable @columnfractions .10 .20 .40
+
+@item @code{[ ]}
+@tab beam
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+[a8 b]
+@end lilypond
+
+@item @code{~}
+@tab tie
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+d ~ d
+@end lilypond
+
+@item @code{( )}
+@tab slur
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+c( d )e
+@end lilypond
+@item @code{'}
+@tab raise octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a a'
+@end lilypond
+
+@item @code{,}
+@tab lower octave
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+c c,
+@end lilypond
+
+@item @code{< >}
+@tab chord
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+\context Voice { <a c> }
+@end lilypond
+
+@item @code{\< \!}
+@tab crescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a\< a \!a
+@end lilypond
+
+@item @code{\> \!}
+@tab decrescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.noAutoBeaming = ##t
+\property Staff.Clef = \turnOff
+a\> a \!a
+@end lilypond
+
+@end multitable
+@end quotation
+
+
+
+@node Running LilyPond
+@section Running LilyPond
+
+You write music with LilyPond as follows: first you edit a text file
+containing a description of the notes. Then you run LilyPond on the
+file. This leaves you with an output file, which you can view or print.
+
+In this section we explain how to run LilyPond, and view or print the
+output. If you have not used LilyPond before, want to test your setup
+of LilyPond, or try to run an example file yourself, then read this
+section.
+
+The instructions that follow are for running LilyPond on Unix-like
+systems. Some additional instructions for running LilyPond on Windows
+are given at the end of this section.
+
+You begin with opening a terminal window, and start up a text editor.
+For example, open an xterm and execute @code{joe}. In your text editor,
+enter the following input, and save the file as @file{test.ly}:
+
+@quotation
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
+@end quotation
+
@cindex ly2dvi
+@c now this is weird, running ly2dvi to run LilyPond
+@c (therefore name change proposal)
+
+To run LilyPond, you invoke ly2dvi to compile your LilyPond source file:
+
+@quotation
@example
- ly2dvi test.ly
+ly2dvi -P test.ly
@end example
-After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the @ref{ly2dvi}.
+@end quotation
-Secondly, you can generate PostScript directly. This is useful if you
-can not or do not want to run @TeX{} on your system.
-To obtain PS output, invoke LilyPond as follows:
-@cindex PostScript output
+You will see the following on your screen:
+
+@quotation
@example
- lilypond -f ps test.ly
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
@end example
+@end quotation
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
+You can view the PS file using the program ghostview. If a version of
+ghostview is installed on your system, one of these commands will
+produce a window with some music notation on your screen:
+@c eeek
+@quotation
+@example
+ gv test.ps
+ ghostview test.ps
+ ggv test.ps
+ kghostview test.ps
+@end example
+@end quotation
+If you are satisfied with the looks of the music displayed on your
+screen, you can print the PS file by clicking File/Print inside
+ghostview.
-You have to set some environment variables to view or print this
-output. More information can be found in the @ref{Invoking
-LilyPond}.
+The DVI file (@file{test.dvi}) contains the same sheet music in a
+different format. DVI files are more easily processed by the computer,
+so viewing them usually is quicker. Execute @code{xdvi test.dvi}
+to view the DVI file.
-Finally, there is a script called lilypond-book, that allows you to
-freely mix LilyPond input with Texinfo or LaTeX input. For example, this
-manual was written using lilypond-book. lilypond-book is discussed in
-@ref{lilypond-book}.
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
-@unnumberedsubsec Windows
+@c volgende alinea schrappen?
+
+If you can't get the examples to print, then you should look into
+installing and configuring ghostscript. Refer to GhostScript's website
+at @uref{http://www.ghostscript.com}.
+
+@cindex GhostScript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+
+@unnumberedsubsec Windows users
+Windows users start the terminal by clicking on the LilyPond icon.
+Notepad is sufficient for editing the LilyPond file. Viewing the PS file
+can be done with @code{gsview32 test.ps}.@footnote{ You can also view
+DVI files with @code{yap test.dvi}, but unfortunately the postscript
+interaction seems broken, meaning that you will not see slurs or beams
+in the Yap window.} You can also print from the command line by
+executing @code{gsview32 /s test.ps}
-[TODO]
-* setting of env vars (TFMINPUTS,MFINPUTS,TEXINPUTS)
-* dvi viewer doesn't display postscript
+@node The first real tune
+@section The first real tune
-@node The first tune
-@section The first tune
+The rest of this tutorial will demonstrate how to use Lilypond by
+presenting examples of input along with resulting output. We will use
+English terms for notation. In case you are not familiar with those,
+you may consult the glossary that is distributed with LilyPond.
+
+The examples discussed are included in the distribution, in the
+subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
+they are relative to the top directory of the source package. }
To demonstrate what LilyPond input looks like, we start off with a
full-fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
-is included in the distribution as @file{menuet.ly}.
+of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
+is included in the distribution as @file{minuet.ly}.
@cindex Bach, Johann Sebastian
@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
+% all text after a percent sign is a comment
+% and is ignored by LilyPond
\include "paper16.ly"
\score {
\notes
- \relative c'' \sequential{
- \time 3/4;
- \key g \major;
+ \relative c'' \sequential {
+ \time 3/4
+ \key g \major
\repeat "volta" 2 {
d4 g,8 a b c d4 g, g |
e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
+ c4 d8( )c b a( )b4 c8 b a g |
a4 [b8 a] [g fis] g2. |
}
g4 fis e |
fis a, r8 cis8
d2.-\fermata
- \bar "|.";
+ \bar "|."
}
\paper {
- % standard settings are too wide for a book
- linewidth = 14.0 \cm;
+ % standard settings are too big and wide for a book
+ indent = 1.0 \cm
+ linewidth = 15.0 \cm
}
}
@end lilypond
-We will analyse the input, line by line.
+We will analyse the input, line by line.
+@separate
@example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
+ % all text after a percent sign is a comment
+ % and is ignored by LilyPond
@end example
-The percent sign, @code{%}, introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by @code{%@{} and @code{%@}}
+Percent signs introduce comments: everything after a percent sign is
+ignored. You can use this to write down mental notes to yourself. You
+can also make longer comments by enclosing text in @code{%@{} and
+@code{%@}}.
@cindex comment
@cindex block comment
@cindex line comment
-
+@separate
@example
\include "paper16.ly"
@cindex @code{\include}
@cindex point, printer's
@cindex staff size setting
-By default, LilyPond will use definitions for a staff that is 20
-point@footnote {A point is the standard measure of length for printing;
-one point is 1/72.27 inch. [TODO: mm vs. pt]} high. We want smaller
-output (16 point staff height), so we must import the settings for that
-size, which is done here.
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
+(16 point staff height), so we must import the settings for that size,
+which is done here.
+@separate
@example
\score @{
@end example
-A lilypond file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
+Music is printed by combining a piece of music with directions for
+outputting it. This combination is formed in the @code{\score} block.
+@separate
@example
\notes
@end example
- This makes LilyPond ready for accepting notes.
+Prepare LilyPond for accepting notes.
+@cindex octaves, choosing
+@cindex pitch
+@separate
@example
\relative c''
@end example
-
-@cindex octaves, choosing
-@cindex pitch
-As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (@code{'}) and ``lowered'' quotes (commas:
-@code{,}). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
-denoted by @code{c} and @code{c,} respectively.
-
@cindex relative
-For pitches in a long piece you might have to type many quotes. It is
-easy to make typing errors with this, so LilyPond has a special entry
-mode to remedy this. In this ``relative'' octave mode, octaves of notes
-without quotes are chosen such that a note is as close as possible
-(graphically, on the staff) to the the preceding note. If you add a
-high-quote an extra octave is added. The lowered quote (a comma) will
-subtract an extra octave. Because the first note has no predecessor,
+@c removed duplicate introduction to octave marks /MB
+@c Shorten even more?
+
+@c As we will see, each note is described by its note name, duration,
+@c octave and possibly a chromatic alteration. In this setup, the octave
+@c is indicated by using high quotes (@code{'}) and ``lowered quotes''
+@c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
+@c octave higher is @code{c''}. One and two octaves below the central C is
+@c denoted by @code{c} and @code{c,} respectively.
+
+Even though a piece of music often spans a range of several octaves, it
+mostly moves in small intervals. LilyPond has a special entry mode to
+save typing in this situation. In this ``relative'' octave mode,
+octaves of notes without quotes are chosen such that a note is as close
+as possible (graphically, on the staff) to the preceding note. If you
+add a high-quote an extra octave is added. A lowered quote (a comma)
+will subtract an extra octave.
+
+Because the first note has no predecessor,
you have to give the (absolute) pitch of the note to start with.
+@separate
@example
\sequential @{
What follows is sequential music, i.e.,
@cindex sequential music
notes that are to be played and printed after each other.
+@separate
@example
- \time 3/4;
+ \time 3/4
@end example
@cindex time signature, setting
@cindex @code{\time}
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.
+Set (or change) the time signature of the current piece: a 3/4 sign is
+printed. The time signature setting is also used to generate bar lines
+at the right spots.
+@separate
@example
- \key g \major;
+ \key g \major
@end example
@cindex key signature, setting
@cindex @code{\key}
- This command changes the current key signature to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions.
+Set (or change) the current key signature to G-major. Although in this
+example, the @code{\key} command happened to be entered after the
+@code{\time} command, in the output the time signature will be printed
+after the key signature; LilyPond knows about music typesetting
+conventions.
+@separate
@example
\repeat "volta" 2
@end example
- This command tells LilyPond that the following piece of music must be
-played twice. The first argument indicates the type of repeat. In this
-case, @code{"volta"} means that volta brackets are be used for
-alternatives---if there were any.
+The following piece of music is played twice. The first argument
+indicates the type of repeat. In this case, @code{"volta"} means that
+prima volta/secunda volta brackets are used for the alternative
+endings---if there were any.
+@separate
@example
@{
The subject of the repeat is again sequential music. Since
@code{\sequential} is such a common construct, a shorthand is provided:
just leave off @code{\sequential}, and the result is the same.
+@separate
@example
- d4
+ d4 g,8
@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note).
+Two notes. The first note is a quarter note with relative pitch
+@code{d}. The relative music was started with a @code{c''}, so the real
+pitch of this note is @code{d''}. The duration of a note is designated
+by a number; the @code{4} here represents a quarter note.
+
+The second note is an eight note with relative pitch @code{g,}. The
+pitch is taken relative to the previous @code{d''}, making this
+note have real pitch @code{g'}. The @code{8} represents an eight note.
+@separate
@example
a b
@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, e.g. @code{a4 b4})
+Two more notes, with pitch @code{a} and @code{b}. Because their
+duration is the same as the @code{g,8}, there is no need to enter the
+duration, but you may enter it anyway, i.e., @code{a4 b4}
+@separate
@example
d4 g, g |
@cindex bar check
@cindex @code{|}
@cindex errors, finding
- Three more notes. The @code{|} character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
+Three more notes. The @code{|} character is a ``bar check''. LilyPond
+will verify that bar checks are found at the start of a measure. This can
+help you track down typing errors.
@cindex alteration, chromatic
@cindex chromatic alteration
-So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
+@separate
@example
c8 d e fis
-
+
@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
+So far, no notes were chromatically altered. Here is the first one that
+is: @code{fis}. LilyPond by default uses Dutch@footnote{Note names are
+available in several languages, but we find the Dutch names quite
+convenient.} note names, and ``Fis'' is the Dutch note name for ``F
+sharp''. However, there is no sharp sign in the output. The program
+keeps track of key signatures, and will only print accidentals if they
+are needed.
+
+For groups of eighth notes and shorter, LilyPond can determine how the
+notes should form a beam. In this case, the 4 eights are automatically
+printed as a beam.
+@separate
@example
c4 d8( )c b a( )b4 c8 b a g |
@end example
- The next line shows how to make a slur: the beginning and ending note
-of the slur is marked with an opening and closing parenthesis
-respectively. In the line shown above, this is done for two slurs.
-Slur markers (parentheses) are put between the slurred notes.
+The beginning and ending notes of a slur are marked with parentheses,
+@code{(} and @code{)} for start and end respectively. The line above
+indicates two slurs. These slur markers (parentheses) are entered
+between the slurred notes.
+@separate
@example
a4 [b8 a] [g fis]
@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around the notes you want beamed.
+Automatic beaming can be overridden by inserting beam marks, @code{[}
+and @code{]}. These beam markers (brackets) are put around the notes
+you want beamed.
+@separate
@example
g2. |
@end example
@cindex augmentation dot
-@cindex dot
-A duration with augmentation dot is notated
-with the duration number followed by a period.
+@cindex dotted note
+A period adds a dot to the note.
+@separate
@example
@}
@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
+The end of the sequential music to be repeated. LilyPond will typeset a
+repeat bar.
+@separate
@example
cis'4 b8 cis a4 |
@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
-the second one without.
+Accidentals are printed whenever necessary: the first C sharp of the bar
+will be printed with an accidental, the second one without.
+@separate
@example
a8-. b-. cis-. d-. e-. fis-.
@end example
@cindex articulation
-You can enter articulation signs either in a verbose form using a
+You can enter articulation signs either in a verbose form or using a
shorthand. Here we demonstrate the shorthand: it is formed by a dash
and the character for the articulation to use, e.g. @code{-.} for
staccato as shown above.
+@separate
@example
fis a, r8 cis8
@end example
-Rests are denoted by the special notename @code{r}.
+Rests are denoted by the special note name @code{r}.
+@separate
@example
d2.-\fermata
@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command @code{\fermata} is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an identifier.
+All articulations have a verbose form, like @code{\fermata}. The
+command @code{\fermata} is not part of the core of the language, but it
+is a shorthand for a more complicated description of a fermata symbol.
+@code{\fermata} names that description and is therefore called an
+identifier.
@cindex identifier
@cindex @code{\fermata}
-@example
-
+@separate
+@example
+ \bar "|."
@}
-
@end example
-
-Here the music ends.
+Here the music ends. LilyPond does not automatically typeset an end
+bar, we must explicitly request one, using @code{"|."}.
+
+@separate
@example
\paper @{
- linewidth = 14.0\cm;
+ % standard settings are too big and wide for a book
+ indent = 1.0\cm
+ linewidth = 15.0\cm
@}
@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 5.5 inches).
+The @code{\paper} block specifies how entered music should be converted
+to notation output. Most of the details of the conversion (font sizes,
+dimensions, etc.) have been taken care of, but to fit the output in this
+document, it has to be narrower. We do this by setting the line width
+to 14 centimeters (approximately 5.5 inches).
+@separate
@example
@}
@example
\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
@}
\include "paper16.ly"
melody = \notes \relative c' @{
- \partial 8;
- \key c \minor;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
@}
text = \lyrics @{
\score @{
\simultaneous @{
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
@}
\context Lyrics \text
@}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
@}
@end example
The result would look this.@footnote{The titling and font size shown
may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}
+@code{ly2dvi}.}
@center @strong{The river is flowing}
@center Traditional
@lilypond[center]
\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
}
\include "paper16.ly"
melody = \notes \relative c' {
- \partial 8;
- \key c \minor;
+ \partial 8
+ \key c \minor
g8 |
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
}
text = \lyrics {
\score {
\simultaneous {
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
}
\context Lyrics \text
}
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
@end lilypond
Again, we will dissect the file line by line.
+@separate
@example
\header @{
@code{\header} block. The information in this block is not used by
LilyPond, but it is passed into the output. @file{ly2dvi} uses this
information to print titles above the music.
+@separate
@example
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional (?)"
@end example
@cindex assignments
@cindex identifier assignment
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. Lexically, both the variable name and the
+assigned value are strings. The values have to be quoted here, because
+they contain spaces. The variable names could also be put within quotes
+but it is not necessary.
+@separate
@example
\include "paper16.ly"
@end example
Smaller size for inclusion in a book.
+@separate
@example
melody = \notes \relative c' @{
give names to the different parts of music, and use the names to
construct the music within the score block.
+@separate
@example
- \partial 8;
+ \partial 8
@end example
@cindex @code{\partial}
@cindex anacrusis
The piece starts with an anacrusis of one eighth.
+@separate
@example
- \key c \minor;
+ \key c \minor
@end example
The key is C minor: we have three flats.
+@separate
@example
c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|.";
+ \bar "|."
@end example
@cindex manual beaming
@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we will turn automatic
+We use explicit beaming. Since this is a song, we turn automatic
beams off, and use explicit beaming where needed.
+@separate
@example
@}
@end example
-This ends the definition of @code{melody}. Note that there are no
-semicolons after assignments at top level.
+This ends the definition of @code{melody}.
+
+@separate
@example
text = \lyrics @{
notes. To make LilyPond parse words as syllables, switch it into
lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
is a shorthand for @code{\sequential @{}.
+@separate
@example
The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
@cindex hyphens, lyric
The syllables themselves are separated by spaces. You can get syllable
extenders by entering @code{__}, and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
+@code{-}@code{-}. We enter the syllables as if they are all quarter notes
in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
+syllables to the music, which obviously isn't all quarter notes.
+@separate
@example
accompaniment =\chords @{
@end example
@cindex chords
@cindex mode, chords
-We'll put chords over the music, to enter them, there is a special mode,
-called @code{\chords}. There is a special mode (analogous
-to @code{\lyrics} and @code{\notes} mode) where you can give the names
-of the chords you want, instead of the notes comprising the chord.
+We'll put chords over the music. To enter them, there is a special mode
+analogous to @code{\lyrics} and @code{\notes} mode, where you can give
+the names of the chords you want, instead of listing the notes
+comprising the chord.
+@separate
@example
r8
@end example
There is no accompaniment during the anacrusis.
+@separate
@example
c2:3- f:3-.7
@cindex modifier, chord
A chord is started by the tonic of the chord. The
first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @code{7} modifies (adds) a seventh, which is small by default
-to create the @code{f a c es} chord. Multiple modifiers must be
-separated by a dot.
+triad. Since a minor triad is wanted, @code{3-} is added to modify the
+third to be small. @code{7} modifies (adds) a seventh, which is small by
+default to create the @code{f a c es} chord. Multiple modifiers must be
+separated by dots.
+@separate
@example
d:min es4 c8:min r8
@end example
-Some modifiers have predefined names, eg. @code{min} is the same as
+Some modifiers have predefined names, e.g. @code{min} is the same as
@code{3-}, so @code{d-min} is a minor @code{d} chord.
+@separate
@example
c2:min f:min7 g:7^3.5 c:min @}
subtractions. Subtractions are started with a caret, and they are
also separated by dots. In this example, @code{g:7^3.5} produces a
minor seventh. The brace ends the sequential music.
+@separate
@example
\score @{
accompaniment have to sound at the same time, so they should be
@code{\simultaneous}.
@cindex @code{\simultaneous}
+@separate
@example
%\accompaniment
Chord mode generates notes grouped in @code{\simultaneous} music. If
you remove the comment sign, you can see the chords in normal
notation: they will be printed as note heads on a separate
-staff.
+staff. To print them as chords names, they have to be interpreted as
+being chords, not notes. This is done with the following command:
+@separate
@example
\context ChordNames \accompaniment
@cindex context
@cindex interpretation context
@cindex notation context
+
+
Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
+Note heads alone make no sense, they need surrounding information: a key
+signature, a clef, staff lines, etc. They need @emph{context}. In
LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation contexts'.
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist during a run of LilyPond.
-By default, LilyPond will create a Staff context for you. If you
-removed the @code{%} sign in the previous line, you would see that
+By default, LilyPond will create a Staff context for you. If you would
+remove the @code{%} sign in the previous line, you would see that
mechanism in action.
-We don't want that default here, because we want chord names, not note heads.
-An interpretation context can also created upon explicit request. The
-keyword for such a request is @code{\context}. It takes two arguments.
-The first is the name of an interpretation context. The name is a
-string, it can be quoted with double quotes). The second argument is
-the music that should be interpreted in this context. For the previous
-line, we could have written @code{\context Staff \accompaniment}, and
-get the same effect.
+We don't want that default here, because we want chord names. The
+command above explicitly creates an interpretation context of
+@code{ChordNames} type to interpret the music @code{\accompaniment}.
+@separate
@example
\addlyrics
@cindex lyrics and melody, combining
@cindex combining lyrics and melody
-The lyrics need to be aligned with the melody. This is done by
+The lyrics should be aligned with the melody. This is done by
combining both with @code{\addlyrics}. @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)
+aligned on the lyrics, which is not very useful, and looks
+silly.
+@separate
@example
\context Staff = mel @{
@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove the comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.
+The first argument of @code{\addlyrics} is the melody. We instantiate
+a @code{Staff} context explicitly: should you choose to remove the
+comment before the ``note heads'' version of the accompaniment, the
+accompaniment will be on a nameless staff. The melody has to be on
+staff different from the accompaniment. This is accomplished by giving
+the melody and accompaniment staves different names.
+@separate
@example
\property Staff.noAutoBeaming = ##t
@cindex \property
@cindex context variables
@cindex setting context variables
-An interpretation context has variables that tune its behaviour. One of
-the variables is @code{noAutoBeaming}. If set to @code{##t}, which is
-the boolean value @var{true}, LilyPond will not try to put automatic beaming
-on the current staff.
-
+An interpretation context has variables, called properties, that tune
+its behavior. One of the variables is @code{noAutoBeaming}. Setting
+this @code{Staff}'s property to @code{##t}, which is the boolean value
+@var{true}, turns the automatic beaming mechanism off for the current
+staff.
@cindex GUILE
@cindex Scheme
-@cindex accessinng Scheme
+@cindex accessing Scheme
@cindex evaluating Scheme
@cindex LISP
-LilyPond internally uses GUILE, a Scheme-interpreter@footnote{Scheme is
-a language from the LISP family. You can learn more about Scheme at
-@uref{http://www.scheme.org}.} to represent data throughout the whole
-program. The hash-sign (@code{#}) accesses GUILE directly: the code
-following the hash-sign is evaluated as Scheme. The boolean value
+LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
+language from the LISP family. You can learn more about Scheme at
+@uref{http://www.scheme.org}. It is used to represent data throughout
+the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
+code following the hash-sign is evaluated as Scheme. The boolean value
@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
-@code{##t}
+@code{##t}.
+
+If Scheme scares you, don't worry. You don't need to know Scheme to
+create beautiful sheet music.
+
+
+@separate
@example
\property Staff.automaticMelismata = ##t
@cindex melismata
@cindex @code{\addlyrics} and slurs
Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under notes
-while there is a slur.
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
+@separate
@example
\melody
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
processed.
+@separate
@example
\context Lyrics \text
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc. This context is called
Lyrics.
+@separate
@example
- @}
-
-@end example
-This ends @code{\simultaneous}.
-@example
-
- \midi @{ \tempo 4=72;@}
+ \midi @{ \tempo 4=72@}
@end example
-This makes the music go to a MIDI file. MIDI is great for checking
-music you enter. You listen to the MIDI file: if you hear something
-unexpected, it's probably a typing error. @code{\midi} starts an output
-definition, a declaration that specifies how to output music analogous
-to @code{\paper @{ @}}. You can specify the tempo using the
+MIDI (Musical Instrument Digital Interface) is a standard for
+connecting and recording digital instruments. So a MIDI file is like a
+tape recording of an instrument. The @code{\midi} block makes the
+music go to a MIDI file, so you can listen to the music you entered. It
+is great for checking the music. Whenever you hear something weird, you
+probably hear a typing error.
+
+Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
+also specifies an output method. You can specify the tempo using the
@code{\tempo} command, in this case the tempo of quarter notes is set to
72 beats per minute.
+@separate
@example
- \paper @{ linewidth = 10.0\cm; @}
+ \paper @{ linewidth = 10.0\cm @}
@end example
We also want notation output. The linewidth is short so the piece
will be set in two lines.
-@example
-
- @}
-
-@end example
-End the score block.
@node More movements
@section More movements
+[FIXME: merge here with, or move this to: Other ways to run LilyPond]
+
You probably ran @file{ly2dvi} on the last example, and ended up with a
viewable @file{.dvi} file. However, between there are a few steps of
which LilyPond is only one. To enhance your understanding of what's
some calculations, a @file{.tex} is produced. The contents
of this file are very low-level instructions.
-For example, the following file (@file{layout.ly})
+For example, consider the following file (@file{miniatures.ly})
@example
- \version "1.3.124";
- \header @{ title = "Two miniatures"; @}
-
- #(set! point-and-click line-column-location)
-
- \paper @{
- linewidth = -1.0; @}
+\version "1.4.0"
+\header @{
+ title = "Two miniatures"
+ tagline = "small is beautiful"
+@}
- \score @{
+#(set! point-and-click line-column-location)
+
+\paper @{ linewidth = -1.0 @}
+
+\score @{
\notes @{ c'4 d'4 @}
\header @{
- opus = "Opus 1.";
- piece = "Up"; @}
- @}
- \score @{
- \notes @{ d'4 c'4 @}
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
\header @{
- opus = "Opus 2.";
- piece = "Down"; @}
- @}
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
@end example
- results in something like this@footnote{The titling in this manual was
-not generated by ly2dvi, so details will differ.}
+
+The titling in this manual was not generated by ly2dvi, so we can't
+exactly show what it would look like, but the result should resemble this:
@center @strong{Two miniatures}
@flushright
@lilypond
\score {
\notes { c'4 d'4 }
- \paper {
- linewidth = -1.0; }
+ \paper { linewidth = -1.0 }
}
@end lilypond
@flushright
@lilypond
\score {
\notes { d'4 c'4 }
- \paper {
- linewidth = -1.0; }
+ \paper { linewidth = -1.0 }
}
@end lilypond
This file is produced by ly2dvi in a few stages, with the help of text
-formatting tools. LilyPond produces two output files, @file{layout.tex}
-and @file{layout-1.tex}. They both look like this:
-
-@example
- ...
- \placebox@{-5 \outputscale @}%
- @{ 8.7229 \outputscale @}%
- @{\magfontWXGEomMMBo\char90 @}%
-
- \placebox@{-4 \outputscale @}%
- @{ 81.0647 \outputscale @}%
- ...
-@end example
-
-@file{ly2dvi} analyses the progress indication that LilyPond spews out,
-and generates a file called @file{layout_ly1.tex}. This file contains
-formatting instructions for the title and page layout. A fragment might
-look like
-@example
-
- \geometry@{width=540.602362pt,headheight=2mm, ...
- \renewcommand@{\@@oddfoot@}@{\parbox@{\textwidth@}@{\mbox@{@} ...
- \begin@{document@}
- \lilypondtitle@{foo@}%
- \makelilytitle
- \input@{ly2dvi.tex@}
-
-@end example
-
-@file{ly2dvi} runs it through LaTeX. LaTeX is a text-formatting system
-built on top of @TeX{}. It's very popular in the academic world. If LaTeX
-is successful, this will produce a @file{.dvi} file, containing both the
-titling and notes. @code{ly2dvi} completes its task by deleting the two
-temporary files, leaving only @file{layout.dvi}.
+formatting tools. LilyPond produces two output files,
+@file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
+only graphical music notation. @file{ly2dvi} looks at what output
+LilyPond produces, and adds page layout and titling to those files. The
+result is a DVI file called @file{miniatures.dvi}.
-Next, now we'll look at the examples line by line to explain new things.
+Next, now we'll look at the example line by line to explain new things.
+@separate
@example
-\version "1.3.124";
+\version "1.4.0"
@end example
Lilypond and its language are still under development, and occasionally,
details of the syntax are changed. This fragment indicates for which
is too old.
This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which uses it update the file to the latest lily
+@ref{convert-ly}), which is used to update the file to the latest lily
version.
+@separate
@example
- \header @{ title = "Two miniatures"; @}
+ \header @{
+ title = "Two miniatures" @}
@end example
This sets the titling information for the entire file.
-
+@separate
+@example
+ tagline = "small is beautiful"
+@end example
+A signature line is printed at the bottom of the last page.
+ This signature is produced from the @code{tagline} field of
+@code{\header}. Many people find the default "Lily was here,
+@var{version number}" too droll. If that is the case, assign
+something else to @code{tagline}, as shown above.
+@separate
@example
#(set! point-and-click line-column-location)
@end example
-This is Scheme code. It sets the variable @code{point-and-click} to the
-value @var{true}.
+This piece of Scheme code sets the Scheme variable
+@code{point-and-click} to the value @var{line-column-location} (which
+itself is a Scheme procedure).
Editing input files can be quite complicated if you're working with
large files: if you're digitizing existing music, you have to
synchronize the .ly file, the sheet music on your lap and the sheet
music on the screen. The point-and-click mechanism makes it easy to
-find the origin of an error in the .ly file: @footnote{This feature is
-presently only available on X-windows using patched versions of Xdvi and
-emacs} when you view the file with Xdvi and click on a note using
-control-mousebutton 1@footnote{If you're using a patched xdvik, the
-command is control-mousebutton-2}, your editor will jump to the spot
-where that note was entered.
-
-More information is in in @ref{Point and click}
+find the origin of an error in the LY file: when you view the file with
+Xdvi and click on a note, your editor will jump to the spot where that
+note was entered. For more information, see @ref{Point and click}.
+@separate
@example
\paper @{
@end example
The @code{\score} blocks that follow in the file don't have
@code{\paper} sections, so the settings of this block are substituted: A
-paper block, at top-level, i.e. not in a @code{\score} block sets the
+paper block at top level, i.e. not in a @code{\score} block sets the
default page layout.
+@separate
@example
- linewidth = -1.0; @}
+ linewidth = -1.0 @}
@end example
score, and the spacing is set to natural length: a short phrase takes up
little space, a longer phrase more space.
+@separate
@example
\score @{
\notes @{ c'4 d'4 @}
@end example
In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that would put it closest to its
+i.e. each note was put in the octave that is closest to its
predecessor. Besides relative, there is also absolute octave
-specification, and it is turned on by default. In this input mode, the
-central C is denoted by @code{c'}. Going down, you get @code{c}
-@code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''} etc.
+specification, which you get when you don't specify @code{\relative}. In
+this input mode, the central C is denoted by @code{c'}. Going down, you
+get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
+@code{c'''} etc.
When you're copying music from existing sheet music, relative octaves
are probably the easiest to use: it's less typing work and errors are
-easily spotted. However, if you write LilyPond input, either by hand
-(ie. composing) or by computer, absolute octaves are probably less work.
+easily spotted. However, if you write LilyPond input directly, either by
+hand (i.e. composing) or by computer, absolute octaves may be easier to use.
+@separate
@example
\header @{
@end example
The @code{\header} is normally at the top of the file, where it sets
values for the rest of the file. If you want to typeset different pieces
from one file (for example, if there are multiple movements, or if
-you're making a etude-book), you can put different @code{\score} blocks
-into the input file. ly2dvi will assemble all LilyPond output files into
-a big document. The contents of \header blocks specified within each
-score, are used for the titling of each movement.
+you're making an exercise book), you can put different @code{\score}
+blocks into the input file. ly2dvi will assemble all LilyPond output
+files into a big document. The contents of \header blocks specified
+within each score, are used for the titling of each movement.
+@separate
@example
- opus = "Opus 1.";
- piece = "Up"; @}
+ opus = "Opus 1."
+ piece = "Up" @}
@end example
For example, the Opus number is put at the right, and the piece string
will be at the left.
@node A piano excerpt
@section A piano excerpt
-Our third subject is a piece of piano music. The fragment in the input
+Our fourth subject is a piece of piano music. The fragment in the input
file is a piano reduction of the G major Sinfonia by Giovanni Battista
Sammartini. It was composed around 1740. It's in the source package
under the name @file{sammartini.ly}.
@lilypond[verbatim]
-\include "paper16.ly";
+\include "paper16.ly"
stemDown = \property Voice.Stem \override #'direction = #-1
stemUp = \property Voice.Stem \override #'direction = #1
stemBoth = \property Voice.Stem \revert #'direction
viola = \notes \relative c' \context Voice = viola {
- <c4-\f-\arpeggio g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
+ <c4-\f-\arpeggio g' c>
+ \stemDown g'8. b,16
+ s1 s2. r4
+ g
}
oboes = \notes \relative c'' \context Voice = oboe {
- \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemDown
- \grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
- f8 e e2
- } >
- \stemBoth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
+ \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
+ \grace <e8( g> <d4 )f> <c2 e>
+ \times 2/3 { <d8 \< f> <e g> <f a> }
+ <
+ { \times 2/3 { a8 g c } \! c2 }
+ \context Voice = oboeTwo {
+ \stemDown
+ \grace {
+ \property Voice.Stem \override #'direction = #-1
+ [f,16 g]
+ \property Voice.Stem \revert #'direction
+ }
+ f8 e e2
+ }
+ >
+ \stemBoth
+ \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+ [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
+ [<c16( e> < )e8. g>] <c8 e,>
}
-hoomPah = \repeat unfold 8
- \notes \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
+hoomPah = \repeat unfold 8 \notes
+ \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
bassvoices = \notes \relative c' {
- c4 g8. b,16
- \autochange Staff \hoomPah
- \translator Staff = down
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
+ c4 g8. b,16
+ \autochange Staff \hoomPah
+ \translator Staff = down
+ \stemDown [c8 c'8] r4
+ <g d'> r4
+ < {\stemUp r2 <e4 c'> <c8 g'> }
+ \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
}
\score {
- \context PianoStaff \notes <
- \context Staff = up < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = down < \time 2/2; \clef bass;
- \bassvoices
- >
- >
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
+ \context PianoStaff \notes <
+ \context Staff = up < \time 2/2
+ \viola
+ \oboes
+ >
+ \context Staff = down < \time 2/2 \clef bass
+ \bassvoices
+ >
+ >
+ \midi { }
+ \paper {
+ indent = 0.0
+ linewidth = 15.0 \cm }
}
@end lilypond
-If it looks like incomprehensible gibberish to you, then you are right.
+If this looks like incomprehensible gibberish to you, you are right.
This example has been doctored to have as many quirks as possible.
-@example
- stemDown = \property Voice.Stem \override #'direction = #-1
-@end example
+As you can see, this example features multiple voices on one staff. To
+make room for those voices, their notes have to be stemmed in opposite
+directions.
-As you can see, this example features more voices on one staff. To make
-room for those voices, their notes have to be stemmed in opposite
-directions. These are the commands to make that happen.
+Printed symbols are internally represented by so-called Graphical
+Objects (more colloquially: Grobs). These statements concern the
+grob called `Stem'. Each grob is described by a bunch of settings. These
+setting determine the fonts, offsets, sub-routines to be called on the
+grob, etc. The initial values of these settings are set in the Scheme
+file @file{scm/grob-description.scm}.
-The symbols that are printed, are internally represented by so-called
-Graphical Objects (or more colloquially: Grobs). These statements
-concern the grob called `Stem'. Each grob is described by a bunch of
-settings. These setting determine the fonts, offsets, sub-routines to be
-called on the grob, etc. The initial values of these settings are set
-in the Scheme file @file{scm/grob-description.scm}.
+@separate
+@example
+ stemDown = \property Voice.Stem \override #'direction = #-1
+@end example
-This statement adds a the setting for all Stem grobs in the current
-Voice: @code{direction} is set to @code{-1}, which encodes down. The
-setting remains in effect until it is reverted.
+Set a property for all Stem grobs in the current Voice:
+@code{direction} is set to @code{-1}, which encodes down. The setting
+remains in effect until it is reverted.
+@separate
@example
\property Voice.Stem \revert #'direction
@end example
-This statement reverts the old setting. If you do this, the effect of a
-@code{\stemDown} or @code{\stemUp} is neutralised.
+Revert the to the previous setting. The effect of precisely one
+@code{\stemDown} or @code{\stemUp} is neutralized.
-@code{\override} and @code{\revert} function like a stack: you can push
-values onto the grob-setting-stack with @code{\override} and you pop
-them with @code{\revert}.
LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some more often used formatting instructions, but to explain how it
-works, we wrote our own here. Of course, you should use predefined
+with some other commonly used formatting instructions, but to explain how
+it works, we wrote our own here. Of course, you should use predefined
identifiers like these if possible: then you will be affected less by
the implementation changes we occasionally make.
+@separate
@example
viola = \notes \relative c' \context Voice = viola @{
@end example
In this example, you can see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
-stems and dynamics (among others). The name of this context is
+stems and dynamics (among others). The type name of this context is
@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it an unique name
+precisely one @code{Voice} context, so we give it a unique name
(`@code{viola}').
+@separate
@example
<c4-\f-\arpeggio g' c>
@end example
arpeggio are attached to a note, so here we attach them to the first
note.
-@code{\arpeggio} draws an vertical wavy line before the chord,
-signifying an arpeggio.
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
+the chord.
+@separate
@example
\stemDown
@end example
+@separate
@example
g'8. b,16
@end example
the @code{g} gets an octave up quote: it is a fifth above the starting
note of the previous chord (the central C).
+@separate
@example
s1 s2. r4
@end example
temporarily don't play. In this case, the viola doesn't come until one
and a half measure later.
+@separate
@example
oboes = \notes \relative c'' \context Voice = oboe @{
@end example
print the notes as one voice that makes chords. Again, we insure that
these notes are indeed processed by precisely one context with
@code{\context}.
+@separate
@example
\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
@end example
@code{\stemUp} is a reference to the @code{\property \override} command
-defined above. .
+defined above.
+@separate
@example
\grace <e8 g> < d4 f> <c2 e>
@end example
@cindex @code{\grace}
@cindex ornaments
@cindex grace notes
-
@code{\grace} introduces grace notes. It takes one argument, in this
case a chord.
will be attached to the next note.@footnote{LilyPond will squirm
about unended Slurs. In this case, you can ignore the warning}.
@end ignore
+@separate
@example
\times 2/3
@end example
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 in this case the fraction is 2/3.
+@separate
@example
@{ <d8 \< f> <e g> <f a> @}
@end example
@cindex crescendo
@cindex @code{\<}
+@separate
@example
<
@end example
different parts. We can't use a sequence of chords to enter this, so
we make a `chord' of sequences to do it. We start with the upper
voice, which continues with upward stems:
+@separate
@example
@{ \times 2/3 @{ a8 g c @} \! c2 @}
@end example
The crescendo is ended at the half note by the escaped exclamation
mark @code{\!}.
+@separate
@example
\context Voice = oboeTwo @{
\stemDown
We can't share stems with the other voice, so we have to create a new
@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
it from the other context. Stems go down in this voice.
+@separate
@example
-\grace @{
+\grace
@end example
@cindex Grace context
When a grace section is processed, a @code{Grace} context is
etc. Here we fiddle with a property and make a beam. The argument of
@code{\grace} is sequential music.
+@separate
@example
-\property Grace.Stem \override #'direction = #-1
-[f,16 g] @}
+ \property Voice.Stem \override #'direction = #-1
+ [f,16 g]
+ \property Voice.Stem \revert #'direction
@end example
Normally, grace notes are always stem up, but in this case, the upper
-voice interferes. We set the stems down here.
+voice interferes, so we set the stems down here.
As far as relative mode is concerned, the previous note is the
@code{c'''2} of the upper voice, so we have to go an octave down for
the @code{f}.
+@separate
@example
f8 e e2
@} >
@end example
This ends the two-part section.
+@separate
@example
\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
positioned as if it were single part music.
The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use repeats:
+between staves. Since it is repetitive, we use repeats:
+@separate
@example
hoomPah = \repeat unfold 8
@end example
@cindex unfolded @code{\repeat}
-This repeat print the following sequence notes eight times.
+The unfolded repeat prints the notes in its argument as if they were
+written out in full eight times.
+@separate
@example
\notes \transpose c' @{
@end example
@cindex transposing
@cindex relative mode and transposing
-Transposing can be done with @code{\transpose}. It takes two arguments;
-the first specifies what central C should be transposed to. The second
+Transposing can be done with @code{\transpose}, which takes two arguments.
+The first specifies what central C should be transposed to. The second
is the to-be-transposed music. As you can see, in this case, the
-transposition is a no-op, as central C stay at central C.
+transposition has no effect, as central C stays at central C.
The purpose of this no-op is circumventing relative mode. Relative mode
can not be used together with transposition, so @code{\relative} will
leave the contents of @code{\hoomPah} alone. We can use it without
having to worry about getting the motive in a wrong octave.
+@separate
@example
bassvoices = \notes \relative c' @{
c4 g8. b,16
@cindex cross staff voice, automatic
@cindex @code{\autochange}
-Voices can switch between staffs. The easiest way to get this, is to use
+Voices can switch between staves. The easiest way to get this, is to use
@code{\autochange}. This command looks at the pitch of each note, and if
necessary, will cross to the other staff. For this to work, the two
-staffs must be called @code{"up"} and @code{"down"}.
+staves must be called @code{"up"} and @code{"down"}.
+@separate
@example
\translator Staff = down
@end example
@cindex staff switch
@cindex cross staff voice
-The rest of this melody must be in the lower staff, so we do a manual
-staff switch here.
+We want the remaining part of this melody on the lower staff, so we do a
+manual staff switch here.
+@separate
@example
\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
@end example
@cindex tie
@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties.
+After skipping some lines, we see @code{~}. This mark makes ties. Note
+that ties and slurs are different things. A tie can only connect two
+note heads of the same pitch, whereas a slur can connect many chords
+with one curve.
+
+@separate
@example
\context PianoStaff
@end example
A special context is needed to get cross staff beaming right. This
context is called @code{PianoStaff}.
+@separate
@example
-\context Staff = bottom < \time 2/2; \clef bass;
+\context Staff = bottom < \time 2/2 \clef bass
@end example
The bottom staff must have a different clef.
+@separate
@example
-indent = 0.0;
+indent = 0.0
@end example
To make some more room on the line, the first (in this case the only)
line is not indented. The line still looks very cramped, but that is due
* Simple part combining in a Hymn
@end ignore
+
@node An orchestral score
@section An orchestral score
-If you've come this far, you should have seen enough LilyPond source to
-feel comfortable with an orchestral score. We will not go through the
-input line by line, but only indicate and explain the new elements.
+@menu
+* The full score::
+* Extracting an individual part::
+@end menu
+
+
+Our last two examples show a way to setup the music for an orchestral
+score. When typesetting a piece for several instruments, you'll want to
+create a conductor's full score, alongside several individual parts.
+
+LilyPond is well suited for this task. We will declare the music for
+each instrument individually, giving the music of each instrument its
+own name. These pieces of music are then combined in different
+@code{\score} blocks to produce different combinations of the score.
This orchestral score example consists of three input files. In the
first file, @file{os-music.ly}, we define the music for all instruments.
-This file is to be used by the other two files, as you will see below.
-If you run lilypond on this file, no output will be produced.
+This file will be used both for producing the score and the separate
+parts.
+If you were to run LilyPond on this file, no printable output would be
+produced.
@example
% os-music.ly
\header @{
- title = "Zo, goed lieverd?";
- subtitle = "How's, this babe?";
- composer = "JCN";
- opus = "1";
- piece = "Laid back";
+ title = "Zo, goed lieverd?"
+ subtitle = "How's, this babe?"
+ composer = "JCN"
+ opus = "1"
+ piece = "Laid back"
@}
global = @{
- \time 2/4;
- \skip 2*4; \bar "|.";
+ \time 2/4
+ \skip 2*4 \bar "|."
@}
-Key = \notes \key as \major;
+Key = \notes \key as \major
flautoI = \notes\relative c'' @{
f8 g f g f g f g
bes as bes as bes as bes as
as8 bes as bes R1 d4 ~ d
@}
tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 R1*1/2 es4
+ c4. c8 c8 c4. es4 r as, r
@}
tromboII = \notes\relative c'' @{
as4. as8 as8 as4. R1*1/2 as4 es'
@}
@end example
-Things to note here are the definition of @code{\global} where we define
-meter, and set the end bar. And the separate definition of @code{\Key}
-that we will use all staffs except staffs for transposing instruments.
+We will not go through the input line by line, but only indicate and
+explain the new elements.
+
+
+@separate
+@example
+global = @{
+ \time 2/4
+ \skip 2*4 \bar "|.";
+@}
+@end example
+
+Declare setting to be used globally. The @code{\skip} command produces
+no output, but moves forward in time: in this case, the duration of a
+half note (@code{2}), and that four times (@code{*4}). This brings us
+to the end of the piece, and we can set the end bar.
+
+@separate
+@example
+Key = \notes \key as \major
+@end example
+Declare the key signature of the piece and assign it to the identifier
+@var{Key}. Later on, we'll use @code{\Key} for all staves except those
+for transposing instruments.
+
+@node The full score
+@subsection The full score
+
The second file, @file{os-score.ly} reads the definitions of the first
(@file{os-music.ly}), and defines the @code{\score} block for the full
conductor's score.
+
@example
% os-score.ly
-\include "os-music.ly";
-\include "paper13.ly";
+\include "os-music.ly"
+\include "paper13.ly"
#(set! point-and-click line-column-location)
#(define text-flat '((font-relative-size . -2)
\score @{
<
\global
+ \property Score.BarNumber \override #'padding = #3
\context StaffGroup = woodwind <
\context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.midiInstrument = #"flute"
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
\Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
>
>
\context StaffGroup = timpani <
\context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass;
+ \property Staff.midiInstrument = #"timpani"
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \property Staff.instr = #"Timp."
+ \clef bass
\Key
- \timpani
+ \timpani
>
>
\context StaffGroup = brass <
\context Staff = trombe <
\property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
+ \property Staff.instrument = #`(lines "2 Trombe" "(C)")
+ \property Staff.instr = #`(lines "Tbe." "(C)")
\Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (rows "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major;
- \context Voice=one \corno
+ \property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
+ \property Staff.instr = #`(lines "Cor."
+ (columns "(E" ,text-flat ")"))
+ \property Staff.transposing = #3
+ \notes \key bes \major
+ \context Voice=one \corno
>
>
>
\paper @{
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
- textheight = 90 * \staffspace;
- \translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
- \translator@{
- \VoiceContext
- \remove "Rest_engraver";
- \consists "Multi_measure_rest_engraver";
- \consists "Bar_engraver";
- @}
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
+ textheight = 90 * \staffspace
\translator@{
\HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver";
- \remove "Bar_engraver";
- @}
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
@}
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
@lilypondfile{os-score.ly}
+@separate
+@example
+\include "os-music.ly"
+@end example
First, we need to include the music definitions we made in
@file{os-music.ly}.
+
+@separate
@example
-\include "os-music.ly";
+#(set! point-and-click line-column-location)
@end example
-
In a large orchestral score like this you're bound to make some small
mistakes, so we enable point and click (See @ref{Point and click})
editing.
-@example
-#(set! point-and-click line-column-location)
-@end example
-We need a flat sign in text to name the tuning of the french horn, so we
-predefine it with bit of scheme markup text (See @ref{Text markup}).
+@separate
@example
#(define text-flat '((font-relative-size . -2)
(music "accidentals--1")))
@end example
-Of course, all staffs are simultaneous and use the same global settings.
+When naming the tuning of the french horn, we'll need a piece of text
+with a flat sign. LilyPond has a mechanism for font selection and
+kerning called Scheme markup text (See @ref{Text markup}). The flat
+sign is taken from the music font, and its name is @code{accidentals--1}
+(The natural sign is called @code{accidentals-0}). The default font is
+too big for text, so we select a relative size of @code{-2}.
+
+@separate
@example
<
\global
@end example
+Of course, all staves are simultaneous and use the same global settings.
-Then, we start a new staff group for the woodwind section (just the
-flutes in this case). Immediately after that, we start the staff for
-the two flutes, that also play simultaneously.
+@separate
+@example
+ \property Score.BarNumber \override #'padding = #3
+@end example
+LilyPond prints bar numbers at the start of each line, but
+unfortunately, they end up a bit too close to the staff in this example.
+A bar number internally is a Grob called @var{BarNumber}. BarNumber
+Grobs can be manipulated through their @var{side-position-interface}. One
+of the properties of a @var{side-position-interface} that can be tweaked
+is the @var{padding}: the amount of extra space that is put between this
+Grob and other Grobs. We set the padding to three staff spaces.
+
+You can find information on all these kind of properties in LilyPond's
+automatically generated documentation in
+@ifnottex
+@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
+@end ifnottex
+@iftex
+the online documentation.
+@end iftex
+
+@separate
@example
\context StaffGroup = woodwind <
\context Staff = flauti <
@end example
+A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
+hold one or more @code{Staff}'s, and will print a big bracket at the
+left of the score. Start a new staff group for the woodwind section
+(just the flutes in this case). Immediately after that, we start the
+staff for the two flutes, that also play simultaneously.
-We specify the intrument for MIDI output (see @ref{MIDI instrument
-names}).
+@separate
@example
- \property Staff.midiInstrument = #"flute"
+ \property Staff.midiInstrument = #"flute"
@end example
+Specify the instrument for MIDI output (see @ref{MIDI instrument
+names}).
-And define the intrument names to be printed in the margin,
-@code{instrument} for the first line of the score, @code{instr} for the
-rest of the score.
+@separate
@example
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
@end example
+And define the instrument names to be printed in the margin,
+@code{instrument} for the first line of the score, @code{instr} for the
+rest of the score.
-The flutes play in the default key.
+@separate
@example
\Key
@end example
+The flutes play in the default key.
+@separate
+@example
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
+@end example
Last come the actual flute parts. Remember that we're still in
simultaneous mode. We name both voices differently, so that LilyPond
will actually create two Voice contexts. The flute parts are simple, so
we specify manually which voice is which: @code{\voiceOne} forces the
direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
directions down.
-@example
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
-@end example
-We close the flutes staff and woodwind staff group.
+@separate
@example
>
>
@end example
+Close the flutes staff and woodwind staff group.
+@separate
+@example
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+@end example
The timpani staff only shows a new piece of scheme markup, it sets two
lines of text.
+
+@separate
@example
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
@end example
+You have seen the notation contexts Staff and Voice, but here's a new
+one: Thread. One or more Threads can be part of a Voice. The Thread
+takes care of note heads and rests, the Voice combine note heads onto a
+stem.
For the trumpets we use the automatic part combiner (see @ref{Automatic
part combining}) to combine the two simultaneous trumpet parts onto the
named @code{one} and @code{two}). The part combiner makes these two
threads share a Voice when they're similar, and splits the threads up
when they're different.
-@example
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
-@end example
-The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has two elements (rows), the @code{E}
-and the flat sign @code{text-flat} that we defined before.
+@separate
@example
\property Staff.instrument = #`(lines "Corno"
- (rows "(E" ,text-flat ")"))
+ (columns "(E" ,text-flat ")"))
@end example
+The french horn has the most complex scheme markup name, made up of two
+lines of text. The second line has three elements (columns), the @code{(E},
+the flat sign @code{text-flat} that we defined before and a final @code{")"}.
+Note that we use a backquote instead of an ordinary quote at the
+beginning of the Scheme expression to be able to access the
+@code{text-flat} identifier, `unquoting' it with a @code{,}.
-The french horn is to be tuned in E-flat, so we tell the MIDI backend to
-transpose this staff by three steps.
+@separate
@example
- \property Staff.transposing = #3
+ \property Staff.transposing = #3
@end example
+The french horn is to be tuned in E-flat, so we tell the MIDI backend to
+transpose this staff by three steps.
-Therefore, it has a different key.
+Note how we can choose different tuning for entering, printing and
+playing, using @code{\transpose} and the MIDI Staff property
+@var{transposing}.
+
+@separate
@example
- \notes \key bes \major;
+ \notes \key bes \major
@end example
+Therefore, it has a different key.
-We specify a big indent for the first line and a small linewith for this
-tuturial.
+@separate
@example
- indent = 15 * \staffspace;
- linewidth = 60 * \staffspace;
+ indent = 15 * \staffspace
+ linewidth = 60 * \staffspace
@end example
+We specify a big indent for the first line and a small linewidth for this
+tutorial.
+
+@separate
+
+Usually, LilyPond's predefined setup of notation contexts (Thread,
+Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
+want a different type of Staff context.
-Because we have a Thread representing one instrument, we need to move
-the @code{Rest_engraver} from Voice to Thread level. Similarly, we need
-to move the @code{Multi_measure_rest_engraver} from Staff to Voice level.
@example
\translator@{
- \ThreadContext
- \consists "Rest_engraver";
- @}
- \translator@{
- \VoiceContext
- \remove "Rest_engraver";
- \consists "Multi_measure_rest_engraver";
- \consists "Bar_engraver";
+ \HaraKiriStaffContext
@}
@end example
In orchestral scores, it often happens that one instrument has only
rests during one line of the score. The @code{HaraKiriStaffContext} can
be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staffs.
-@example
- \translator@{
- \HaraKiriStaffContext
- \remove "Multi_measure_rest_engraver";
- \remove "Bar_engraver";
- @}
-@end example
-
-We want bar numbering at score level and want to move the bar number a
-few staff spaces up.
-@example
- \translator @{
- \OrchestralScoreContext
- BarNumber \override #'padding = #3
- @}
-@end example
+the automatic removing of empty staves.
-@node Part extraction
-@section Part extraction
+@node Extracting an individual part
+@subsection Extracting an individual part
The third file, @file{os-flute-2.ly} also reads the definitions of the
first (@file{os-music.ly}), and defines the @code{\score} block for the
second flute part.
@example
-\include "os-music.ly";
-\include "paper16.ly";
+\include "os-music.ly"
+\include "paper16.ly"
\score @{
\context Staff <
+ \property Score.skipBars = ##t
\property Staff.midiInstrument = #"flute"
\global
\Key
\flautoII
>
\header @{
- instrument = "Flauto II";
+ instrument = "Flauto II"
@}
\paper @{
- linewidth = 80 * \staffspace;
- textheight = 200 * \staffspace;
- \translator @{
- \OrchestralScoreContext
- skipBars = ##t
- @}
+ linewidth = 80 * \staffspace
+ textheight = 200 * \staffspace
@}
\midi @{
- \tempo 4 = 75;
+ \tempo 4 = 75
@}
@}
@end example
Because we separated the music definitions from the @code{\score}
-instantiations, we can easily define a second score from the music of
+instantiations, we can easily define a second score with the music of
the second flute. This then is the part for the second flute player.
Of course, we make separate parts for all individual instruments.
-In this individual part the second flute has a whole staff for itself,
-so we don't want to force stem or tie directions.
+@separate
@example
\flautoII
@end example
+In this individual part the second flute has a whole staff for itself,
+so we don't want to force stem or tie directions.
-The @code{\header} definitions were also read from @file{os-music.ly},
-but we need to set the instrument for this particular score.
+@separate
@example
\header @{
- instrument = "Flauto II";
+ instrument = "Flauto II"
@}
@end example
+The @code{\header} definitions were also read from @file{os-music.ly},
+but we need to set the instrument for this particular score.
+@separate
+@example
+ \property Score.skipBars = ##t
+@end example
In the conductor's full score, all bars with rests are printed, but for
the individual parts, we want to contract pieces of consecutive empty
-bars.
+bars. LilyPond will do this if Score's @var{skipBars} property to
+true.
+
+
+@node Other ways to run LilyPond
+@section Other ways to run LilyPond
+
+Until now, you have been using @file{ly2dvi} to invoke LilyPond.
+There are three other routes. Firstly, there is a script called
+@code{lilypond-book}, that allows you to freely mix LilyPond input with
+Texinfo or \LaTeX input. For example, this manual was written using
+@code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
+
+
+Secondly, you can generate PostScript directly. This is useful if you
+can not or do not want to run @TeX{} on your system. To obtain direct
+PostScript output, invoke LilyPond as follows:
+@cindex PostScript output
+@example
+lilypond -f ps test.ly
+@end example
+You have to set some environment variables to view or print this output.
+More information can be found in @ref{Invoking LilyPond}. Since the
+direct Postscript generation has some problems, it is recommended
+to use @file{ly2dvi}.
+
+
+Thirdly, if you want to do special things with your output, you can run
+invoke LilyPond directly:
@example
- skipBars = ##t
+lilypond test.ly
@end example
+to produce plain @TeX{} output. Note that La@TeX{} will not work on the
+resulting @file{test.tex}. You must run plain @TeX{} on it.
+
+@cindex @TeX{}
+
+
-@node end of tutorial
-@section The end
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+Sometimes, you might want to use music examples in a text that you are
+writing. For example, if you are writing 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 wordprocessor.
+However, there is a also an automated procedure:
+
+If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
+script called @code{lilypond-book} will extract the music fragments, run
+LilyPond on them, and put back the resulting notation. lilypond-book is
+described fully in @ref{lilypond-book}, but here we show a small
+example. Since the example also contains explanatory text, we won't
+comment on the contents.
+
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+\begin@{lilypond@}
+ \score @{ \notes \relative c' @{
+ c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
+ @} @}
+\end@{lilypond@}
+Notice that the music line length matches the margin settings of the
+document.
+
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
+
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+
+In the example you see here, a number of 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:
+
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ c'4 f bes es
+\end@{lilypond@}
+
+\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
+the default music size, \texttt@{fragment@} adds a score block,
+\texttt@{relative@} uses relative mode for the fragment, and
+\texttt@{intertext@} specifies what to print between the
+\texttt@{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]@{sammartini.ly@}
+
+The \texttt@{printfilename@} option adds the file name to the output.
+
+\end@{document@}
+@end example
+
+Under Unix, you can view the results as follows.
+@example
+$ cd input/tutorial
+$ lilypond-book --outdir=out/ lilbook.tex
+lilypond-book (GNU LilyPond) 1.3.146
+Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
+Reading
+`/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
+@var{lots of stuff deleted}
+Writing `out/lilbook.latex'
+$ cd out
+$ latex lilbook.latex
+@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 wouldn't want
+those to clutter up your working directory. Hence, we have them created
+in a separate subdirectory.
+
+The result more or less looks like this:
+
+@separate
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+@lilypond
+ \score { \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ } }
+@end lilypond
+Notice that the music line length matches the margin settings of the
+document.
+
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
+
+@lilypond
+ 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:
+
+@lilypond[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]
+ c'4 f bes es
+@end lilypond
+
+@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]{sammartini.ly}
+
+The @code{printfilename} option adds the file name to the output.
+@node End of tutorial
+@section End of tutorial
That's all folks. From here, you can either try fiddling with input
files, or you can read the reference manual. You can find more example
-files in @file{input} and @file{input/test}. You can also look at Real
-Music (TM), have a look at the @ref{Mutopia project}.
+files in @file{input} and @file{input/test}. You can also look at some
+real music. The website @uref{http://www.mutopiaproject.org} has many
+examples of real music typeset by LilyPond.
+
+
+
+@ignore
+
+[TODO
+
+this should be on mutopia website.
+
+]
+
+
+@c waar deze info? is uiteindelijk wel handig, schat ik.
+[TODO: cut blabla]
+
+If you have a big music project, or just a lot of LilyPond input files,
+all generated output from LilyPond, @TeX{} and metafont will clutter
+your working directory. LilyPond comes with a one-size-fits-all
+pre-cooked makefile that helps you manage producing output. It will
+produce all output in the directory @file{out} , generate and track
+dependencies. Also, it helps in preparing your submission to @ref{Mutopia
+project}.
+
+@file{make/ly.make}
+@example
+mkdir my-project
+cd my-project
+cp /usr/share/lilypond/make/ly.make GNUmakefile
+cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
+make minuet
+[..]
+Generated out/minuet.ps for target minuet.
+@end example
+
+Type @samp{make help} to see possible targets.
+
+[TODO]
+@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
+
+
+
+[TODO: rewrite completely.]
+
+@menu
+* Songs with additional verses::
+@end menu
+
+@end ignore
+
projects / lilypond.git / blobdiff