@end ifhtml
@menu
-* First steps (compiling a file)::
+* First steps::
+* Notation for one note at once FIXME name::
+* Multiple notes at once::
+* Songs::
+* Unsorted::
+@end menu
+
+
+@node First steps
+@section First steps
+
+This section gives a basic introduction to working with LilyPond.
+
+@menu
+* Compiling a file::
* Simple notation::
* Working on text files::
* How to read the tutorial::
-* Accidentals and key signatures::
-* Ties and slurs::
-* Articulation and dynamics::
-* Automatic and manual beams::
-* Advanced rhythmic commands::
-* Music expressions explained::
-* More staves::
-* Combining notes into chords::
-* Printing lyrics::
-* A lead sheet::
-* Adding titles::
-* Single staff polyphony::
-* Piano staves::
-* Organizing larger pieces::
-* An orchestral part::
-* After the tutorial::
-* Octave entry::
@end menu
-@node First steps (compiling a file)
-@section First steps (compiling a file)
+@node Compiling a file
+@subsection Compiling a file
The first example demonstrates how to start working with LilyPond. To
create sheet music, we write a text file that specifies the
@node Simple notation
-@section Simple notation
+@subsection Simple notation
LilyPond will add some notation elements automatically. In the next
example, we have only specified four pitches, but LilyPond has
@node Working on text files
-@section Working on text files
+@subsection Working on text files
LilyPond input files are treated like files in most programming languages:
they are case sensitive, white-space insensitive, expressions are
@node How to read the tutorial
-@section How to read the tutorial
+@subsection How to read the tutorial
As we saw in @ref{Working on text files}, LilyPond input must be
surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
of your own.
+@node Notation for one note at once FIXME name
+@section Notation for one note at once FIXME name
+
+This section introduces common notation that is used for a single
+staff.
+
+@menu
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
+
+
@node Accidentals and key signatures
-@section Accidentals and key signatures
+@subsection Accidentals and key signatures
@subheading Accidentals
@node Ties and slurs
-@section Ties and slurs
+@subsection Ties and slurs
@cindex ties
@subheading Ties
@node Articulation and dynamics
-@section Articulation and dynamics
+@subsection Articulation and dynamics
@cindex articulation
@cindex accents
@node Automatic and manual beams
-@section Automatic and manual beams
+@subsection Automatic and manual beams
@cindex beams, by hand
All @rglos{beam}s are drawn automatically:
@node Advanced rhythmic commands
-@section Advanced rhythmic commands
+@subsection Advanced rhythmic commands
@cindex pickup
@cindex anacruse
@end table
@end quotation
-@c zzz
+
+@node Multiple notes at once
+@section Multiple notes at once
+
+This section introduces having more than one note at the same time:
+multiple instruments, multiple staves for a single instrument (i.e. piano),
+and chords.
+
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
+
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
+
@node Music expressions explained
-@section Music expressions explained
+@subsection Music expressions explained
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression, although it is not
@lilypond[quote,ragged-right,verbatim]
\relative c'' {
- c <<c e>> << { e f } { c <<b d>> } >>
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
}
@end lilypond
-
+@cindex expression
+@cindex music expression
@subheading Analogy: mathematical expressions
This mechanism is similar to mathematical
((1 + 2) * 3) / (4 * 5)
@end example
-@cindex expression
-@cindex music expression
This is a sequence of expressions, where each expression is contained
in the next (larger) one. The simplest expressions are numbers, and larger
ones are made by combining expressions with operators (like @samp{+},
for complex music like polyphonic scores.
-@c zz
-
-@node More staves
-@section More staves
+@node Multiple staves
+@subsection Multiple staves
-As we saw in @ref{Music expressions explained}, LilyPond is blah blah.
+As we saw in @ref{Music expressions explained}, LilyPond input files
+are constructed out of music expressions. If the score begins with
+simultaneous music expressions, LilyPond creates multiples staves. However,
+it is easier to see what happens if we create each staff explicitly.
To print more than one staff, each piece of music that makes up a
staff is marked by adding @code{\new Staff} before it. These
@code{Staff} elements are then combined in parallel with @code{<<} and
-@code{>>}, as demonstrated here
+@code{>>}:
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef treble c'' }
- \new Staff { \clef bass c }
->>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
-
The command @code{\new} introduces a @q{notation context.} A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
notation contexts are created automatically. For more complex pieces, it
-is best to mark contexts explicitly. This ensures that each fragment
-gets its own stave.
+is best to mark contexts explicitly.
-There are several types of contexts. @code{Staff}, @code{Voice} and
-@code{Score} handle melodic notation, while @code{Lyrics} sets lyric
+There are several types of contexts. @code{Score}, @code{Staff},
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
texts and @code{ChordNames} prints chord names.
In terms of syntax, prepending @code{\new} to a music expression
sign in mathematics. The formula @math{(4+5)} is an expression, so
@math{-(4+5)} is a bigger expression.
-We can now typeset a melody with two staves
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
+@node Piano staves
+@subsection Piano staves
-@lilypond[fragment,quote,verbatim,ragged-right]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+Piano music is typeset in two staves connected by a brace. Printing
+such a staff is similar to the polyphonic example in @ref{Multiple staves},
+but now this entire expression is inserted inside a @code{PianoStaff}:
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
+@example
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
>>
-@end lilypond
+@end example
-For more information on contexts see the description in
-@ref{Interpretation contexts}.
+Here is a small example
-@c zz
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \new PianoStaff <<
+ \new Staff { \time 2/4 c4 e g g, }
+ \new Staff { \clef bass c,, c' e c }
+ >>
+}
+@end lilypond
+@moreinfo
+See @ref{Piano music}.
-@node Combining notes into chords
-@section Combining notes into chords
+@node Single staff polyphony
+@subsection Single staff polyphony
-@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices; each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
+
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print. They are useful for filling up
+voices that temporarily do not play. Here is the same example with a
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
+@end lilypond
+
+@noindent
+Again, these expressions can be nested arbitrarily.
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
+ >>
+>>
@end lilypond
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end example
+@moreinfo
+See @ref{Basic polyphony}.
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+
+@node Combining notes into chords
+@subsection Combining notes into chords
+
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
@end lilypond
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
-@c TODO post-2.6 reorg
-@c This is good info, but I wouldn't call it a comment. IMO it should
-@c be moved somewhere else.
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
-@cindex versioning
-There is a special statement that is a kind of comment. The @code{\version}
-statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.10.1, use
+@node Songs
+@section Songs
-@example
-\version "2.10.1"
-@end example
+This section introduces vocal music and simple song sheets.
-@noindent
-These annotations make future upgrades of LilyPond go more
-smoothly. Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
+@c zz
@node Printing lyrics
-@section Printing lyrics
+@subsection Printing lyrics
@cindex lyrics
@c TODO: (c) status of the Queen fragment.
@node A lead sheet
-@section A lead sheet
+@subsection A lead sheet
@cindex Lead sheets
@cindex chords
in @ref{Chords}.
+@node Unsorted
+@section Unsorted
+
+@menu
+* Adding titles::
+* Organizing larger pieces::
+* An orchestral part::
+* After the tutorial::
+* Octave entry::
+@end menu
+
@node Adding titles
-@section Adding titles
+@subsection Adding titles
Bibliographic information is entered in a separate block, the
@code{\header} block. The name of the piece, its composer, etc., are
titles}.
-@node Single staff polyphony
-@section Single staff polyphony
-
-@cindex polyphony
-@cindex multiple voices
-@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff they are
-printed as polyphonic voices; each voice has its own stems, slurs and
-beams, and the top voice has the stems up, while the bottom voice has
-them down.
-
-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining these simultaneously, separating the
-voices with @code{\\}
-
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
-@end lilypond
-
-For polyphonic music typesetting, spacer rests can also be convenient;
-these are rests that do not print. They are useful for filling up
-voices that temporarily do not play. Here is the same example with a
-spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
-
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
-@end lilypond
-
-@noindent
-Again, these expressions can be nested arbitrarily
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-<<
- \new Staff <<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
- >>
- \new Staff <<
- \clef bass
- { <c g>1 ~ <c g>4 } \\
- { e,,4 d e2 ~ e4}
- >>
->>
-@end lilypond
-
-More features of polyphonic typesetting are described in this manual
-in section @ref{Basic polyphony}.
-
-
-@node Piano staves
-@section Piano staves
-
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace. Printing
-such a staff is similar to the polyphonic example in @ref{More staves},
-
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
-
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
-
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-
-Here is a small example
-
-@lilypond[quote,verbatim,relative=1,fragment]
-\new PianoStaff <<
- \new Staff { \time 2/4 c4 c g' g }
- \new Staff { \clef bass c,, c' e c }
->>
-@end lilypond
-
-More information on formatting piano music is given in @ref{Piano music}.
@node Organizing larger pieces
-@section Organizing larger pieces
+@subsection Organizing larger pieces
When all of the elements discussed earlier are combined to produce
larger files, the @code{\score} blocks get a lot bigger because the
@node An orchestral part
-@section An orchestral part
+@subsection An orchestral part
In orchestral music, all notes are printed twice. Once in a part for
the musicians, and once in a full score for the conductor. Identifiers can
@node After the tutorial
-@section After the tutorial
+@subsection After the tutorial
After finishing the tutorial, you should probably try writing a
piece or two. Start with one of the @ref{Example templates} and
@node Octave entry
-@section Octave entry
+@subsection Octave entry
@c Tim wants to move this quotes example just before the: quotes-do not-work
@c score, but we'd need to remove quotes from the other two (key and
For more information on relative octaves see @ref{Relative octaves},
and @ref{Octave check}.
+@c TODO post-2.6 reorg
+@c This is good info, but I wouldn't call it a comment. IMO it should
+@c be moved somewhere else.
+
+@cindex versioning
+
+There is a special statement that is a kind of comment. The @code{\version}
+statement marks for which version of LilyPond the file was written.
+To mark a file for version 2.10.1, use
+
+@example
+\version "2.10.1"
+@end example
+
+@noindent
+These annotations make future upgrades of LilyPond go more
+smoothly. Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
+
projects / lilypond.git / commitdiff