Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
-@code{joe}@footnote{There are macro files for VIM addicts, and there
+@code{joe}.@footnote{There are macro files for VIM addicts, and there
is a @code{LilyPond-mode} for Emacs addicts. If it has not been
installed already, refer to
@c FIXME lousy reference.
-the file @file{INSTALL.txt}}. In your text editor, enter the following
+the file @file{INSTALL.txt}.} In your text editor, enter the following
input and save the file as @file{test.ly}
@example
You will see something resembling
@example
-GNU LilyPond 1.8.0
-Now processing: `/home/fred/ly/test.ly'
+lilypond (GNU LilyPond) 2.2.0
+Running lilypond-bin...
+Now processing `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
-@emph{ ... more interesting stuff ... }
-PDF output to `test.pdf'...
+@emph{... more interesting stuff ... }
DVI output to `test.dvi'...
+PDF output to `test.pdf'...
+PS output to `test.ps'...
@end example
@cindex DVI file
@cindex Viewing music
On Windows, start up a text-editor@footnote{Any simple or
programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, its formatting codes will confuse LilyPond} and enter
+word processor, its formatting codes will confuse LilyPond.} and enter
@example
\score @{
A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
you might expect, a @rglos{double sharp} or @rglos{double flat} is
-made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
+made by adding @samp{isis} or @samp{eses}@footnote{This syntax
derived from note naming conventions in Nordic and Germanic languages,
like German and Dutch.}
@end lilypond
@cindex key signature, setting
-The key signature is set with the command @samp{\key}, followed by
+The key signature is set with the command @code{\key}, followed by
a pitch and @code{\major} or @code{\minor}
@example
\key d \major
g
@end example
-@lilypond[quote,fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
\key d \major
g'1
\key c \minor
g'
@end lilypond
-
+@noindent
Key signatures together with the pitches (including alterations) are
-used together to determine when to print accidentals. This is a
+used to determine when to print accidentals. This is a
feature that often causes confusion to newcomers, so let us explain it
-in more detail
+in more detail.
LilyPond makes a sharp distinction between musical content and
layout. The alteration (flat, natural or sharp) of a note is part of
the pitch, and is therefore musical content. Whether an accidental (a
-flat, natural or sharp @emph{sign}) is a printed in front of the
+flat, natural or sharp @emph{sign}) is printed in front of the
corresponding note is a question of layout. Layout is something that
follows rules, so accidentals are printed automatically according to
those rules. The pitches in your music are works of art, so they will
In this example
-@lilypond[quote,fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
\key d \major
d' cis' fis'
@end lilypond
@noindent
-no note gets an explicit accidental, but still you enter
+no note gets an explicit accidental, but you still must enter
@example
\key d \major
d cis fis
@end example
-The code @code{d} does not mean ``print a black dot just below the
-staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
+@noindent
+The code @samp{d} does not mean `print a black dot just below the
+staff.' Rather, it means: `a note with pitch D-natural.' In the key
of A-flat, it does get an accidental
-@lilypond[quote,fragment]
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
\key as \major
d'
@end lilypond
For more information on
+@quotation
@table @asis
@item Accidentals
see @ref{Accidentals}
@item Key signature
see @ref{Key signature}
@end table
+@end quotation
@node Entering ties
@section Entering ties
@cindex tie
-A tie is created by adding a tilde @samp{~} to the first note
+A tie is created by appending a tilde @samp{~} to the first note
being tied
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,notime,fragment,verbatim,relative=3]
g4~ g a2~ a4
@end lilypond
@separate
-
-For more information on Ties, see @ref{Ties}.
+For more information on Ties see @ref{Ties}.
@end lilypond
@separate
+@noindent
If you do not like where beams are put, they can be entered by
-hand. Mark the first note to be beamed with @code{[} and the last one
-with @code{]}.
+hand. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
@lilypond[quote,fragment,relative=2,verbatim]
a8[ ais] d[ es r d]
\key g \minor
\clef violin
r4 r8 a8 gis4 b
- g8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
+ a8 d4.~ d e8
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
@}
@}
@end example
-@lilypond[quote]
+@lilypond[quote, noindent]
\score {
\notes \transpose c c' {
\time 4/4
\clef violin
r4 r8 a8 gis4 b
a8 d4.~ d e8
- fis4 fis8 fis8 eis4 a8 gis~
+ fis4 fis8 fis8 eis4 a8 gis~
gis2 r2
}
- \paper { linewidth = #(* 50 staffspace) }
+ \paper { linewidth = 50 * \staffspace }
}
@end lilypond
@cindex accidentals
+@noindent
There are some interesting points to note in this example. Bar lines
and beams are drawn automatically. Line breaks are calculated
automatically; it does not matter where the line breaks are in the
@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{,}
+the note name, to lower a note one octave, add a `low quote' @code{,}
(a comma). Middle C is @code{c'}
@example
c'4 c'' c''' \clef bass c c,
@end example
-@lilypond[quote,fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment]
c'4 c'' c''' \clef bass c c,
@end lilypond
@separate
b'8. cis''16 b'8 d''4 d''8
@end lilypond
-This example shows that music in a high register needs lots of quotes.
+@noindent
+The last example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
-solution is to use ``relative octave'' mode. In practice, this is the
+solution is to use `relative octave' mode. In practice, this is the
most convenient way to copy existing music. To use relative mode, add
@code{\relative} before the piece of music. You must also give a note
-from which relative starts, in this case @code{c''}. If you do not
-use octavation quotes (i.e. do not add @code{'} or @code{,} after a
+from which relative mode starts, in this case @code{c''}. If you do not
+use octavation quotes (i.e., do not add @code{'} or @code{,} after a
note), relative mode chooses the note that is closest to the previous
-one. For example, @code{c f} goes up while @code{c g} goes down
+one. For example, @samp{c f} goes up while @samp{c g} goes down
-@example
-\relative c'' @{
- c f c g c
-@}
-@end example
-
-@lilypond[quote,fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,fragment,verbatim]
\relative c'' {
c f c g c
}
Since most music has small intervals, pieces can be written almost
without octavation quotes in relative mode. The previous example is
entered as
-@c
+
@lilypond[quote,raggedright,fragment,verbatim]
\relative c'' {
\key a \major
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
Larger intervals are made by adding octavation quotes.
-@example
-\relative c'' @{
- c f, f c' c g' c,
-@}
-@end example
-@lilypond[quote,fragment]
-\set Score.timing = ##f
-\set Staff.TimeSignature = \turnOff
+@lilypond[quote,notime,verbatim,fragment]
\relative c'' {
c f, f c' c g' c,
}
@end lilypond
@separate
-In @code{\relative} mode, quotes or commas no longer determine the
-absolute height of a note. Rather, the height of a note is relative to
-the previous one, and changing the octave of a single note shifts all
-following notes an octave up or down.
+In summary, quotes or commas no longer determine the absolute height
+of a note in @code{\relative} mode. Rather, the height of a note is
+relative to the previous one, and changing the octave of a single note
+shifts all following notes an octave up or down.
For more information on Relative octaves see @ref{Relative octaves}
and @ref{Octave check}.
This technique is useful for non-monophonic music. To enter music
with more voices or more staves, we also combine expressions in
parallel. Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences. A ``simultaneous''
+as a simultaneous combination of two sequences. A `simultaneous'
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
two notes) are combined simultaneously
@cindex music expression
This example shows a sequence of expressions, where each expression is
contained in the next one. The simplest expressions are numbers and
-operators (like +, * and /). Parentheses are used to group
-expressions.
+operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
+to group expressions.
Like mathematical expressions, music expressions can be nested
arbitrarily deep, e.g.
@end lilypond
-The command @code{\new} introduces a ``notation context.'' A notation
+The command @code{\new} introduces a `notation context.' A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
notation contexts are created implicitly. For more complex pieces, it
I want to break free
@end example
-To prevent certain words (for example ``as'') as being read as a
+To prevent certain words (for example `as') as being read as a
pitch, the input-mode must be switched. This is done with
@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
syllables.
@cindex melisma
@cindex extender line
@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (``free'')
+This melody ends on a @rglos{melisma}, a single syllable (`free')
sung to more than one note. This is indicated with an @emph{extender
-line}. It is entered as two underscores, i.e.
+line}. It is entered as two underscores, i.e.,
@example
\lyrics @{ I want to break free __ @}
@end example
@section Titling
Bibliographic information is entered in a separate block, the
-@code{\header} block. The name of the piece, its composer, etc. are
+@code{\header} block. The name of the piece, its composer, etc., are
entered as an assignment, within @code{\header @{ @dots{} @}}. For
example,
@example
When the file is processed the title and composer are printed above
the music. The `tagline' is a short line printed at bottom of the last
-page which normally says ``Engraved by LilyPond, version @dots{}''. In
-the example above it is replaced by the line ``small is
-beautiful.''@footnote{Nicely printed parts are good PR for us, so
+page which normally says `Engraved by LilyPond, version @dots{}'. In
+the example above it is replaced by the line `small is
+beautiful.'@footnote{Nicely printed parts are good PR for us, so
please leave the tagline if you can.}
Normally, the @code{\header} is put at the top of the file. However,
@end example
The contents of the music expression @code{namedMusic}, can be used
-later by preceding the name with a backslash, i.e. @code{\namedMusic}.
+later by preceding the name with a backslash, i.e., @code{\namedMusic}.
In the next example, a two note motive is repeated two times by using
variable substitution
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
rest. It is entered with a capital @code{R} followed by a duration (1
-for a whole note, 2 for a half note, etc.) By multiplying the
+for a whole note, 2 for a half note, etc.). By multiplying the
duration, longer rests can be constructed. For example, this rest
takes 3 measures in 2/4 time
@example
More in-depth information on preparing parts and scores in the
notation manual, in @ref{Orchestral music}.
-Setting run-time variables (``properties'') is discussed in ref-TODO.
+Setting run-time variables (`properties') is discussed in ref-TODO.
@node Integrating text and music
@section Integrating text and music
projects / lilypond.git / commitdiff