* Running LilyPond:: Printing music
* More basics::
* Printing lyrics::
-* A melody with chords ::
-* More stanzas::
+* Chord names::
+* A lead sheet::
+* Listening to output::
* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
* Fine tuning a piece::
@end quotation
@separate
+Similarly, fingering indications can be added to a note using @code{-}
+and the digit to be printed.
+@lilypond[verbatim,relative 1]
+ c-3 e-5 b-2 a-1
+@end lilypond
+
+
+
+
+
Dynamic signs are made by adding the markings to the note:
@quotation
@lilypond[verbatim,relative 1]
@separate
-TODO: triplets, partial
+A pickup (or upstep) is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep.
+@lilypond[relative 1,verbatim,fragment]
+ \partial 8
+ f8 c2 d e
+@end lilypond
+
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so for a triplet, the fraction is 2/3.
+@c
+@lilypond[relative 0,verbatim,fragment]
+ \times 2/3 { f8 g a }
+ \times 2/3 { c r c }
+@end lilypond
+
+
+
+
+Comments are pieces of the input that are ignored. There are two
+types of comments. A line comments are introduced by @code{%}: after
+that, the rest of that line is ignored. Block comments span larger
+sections of input. Anything that is enclosed in @code{%@{} and
+@code{%@}} is ignored too. The following fragment shows possible uses
+for comments.
+
+@example
+ % notes for twinkle twinkle follow:
+ c4 c g' g a a
+
+ %@{
+
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
+
+ g g f f e e d d c2
+ %@}
+@end example
-Now you know the basic ingredients of a music file, so this is the
-right moment to experiment and try your at hand typing some simple
-files.
-When you are comfortable with the basics, you might want to read the
-rest of this chapter. It continues in tutorial-style, but it is much
-more in-depth, dealing with more advanced topics such as lyrics,
-chords, orchestral scores and parts, fine tuning of output, polyphonic
-music, and integrating text and music.
@lilypond[fragment,relative=1]
\partial 8
c8
- \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
@end lilypond
The lyrics can be set to these notes, combining both with the
\score {
\addlyrics \notes \relative f' { \time 2/4
f4 f c' c' }
- \lyrics { Twin -- kle twin -- kle
+ \context Lyrics \lyrics { Twin -- kle twin -- kle
}}
@end lilypond
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
-@node A melody with chords
-@section A melody with chords
-
-
-@ignore
-
-@separate
-@example
- \partial 8
-@end example
-
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis (or ``pickup'') of one eighth.
-@separate
-
-@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 "|."
-
-@end example
-
-@cindex manual beaming
-@cindex automatic beaming, turning off
-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}.
-
-@separate
-@example
-
- text = \lyrics @{
-
-@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-This defines the lyrics, similar to what we have seen before.
-
-@separate
-@example
-
- accompaniment =\chords @{
-
-@end example
-@cindex chords
-@cindex mode, chords
-We will put chords over the music. To enter them, we use 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
+@node Chord names
+@section Chord names
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@separate
-@example
-
- c2:3-
-
-@end example
-
-@cindex tonic
-@cindex chord modifier
-@cindex modifier, chord
-This is a c minor chord, lasting for a half note. Chords are entered using
-the tonic. Notes can be changed to create different chords. In this case,
-a lowered third is used (making a C major chord into a C minor chord).
-The code for this is @code{3-}.
-
-@separate
-@example
-f:3-.7
-@end example
-Similarly, @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
+In popular music, it is common to denote accompaniment as chord-names.
+Using them in LilyPond has two parts, just like lyrics: entering the
+chords (with @code{\chords}), and printing them (with @code{\context
+ChordNames}).
- d:min es4 c8:min r8
-
-@end example
-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 @}
-
-@end example
-@cindex named modifier
-
-A named modifier @code{min} and a normal modifier @code{7} do not have
-to be separated by a dot. Tones from a chord are removed with chord
-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 (a G7 chord without the third or the fifth). The
-brace ends the sequential music.
-@separate
-@example
-
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@code{\simultaneous}.
-@cindex @code{\simultaneous}
-@separate
-To print chords as chords names, they have to be interpreted as
-such. This is done with the following command: The following command
-explicitly creates an interpretation context of @code{ChordNames} type
-to interpret the music @code{\accompaniment}.
-@example
+Chord names are entered by starting chords mode (with @code{\chords}).
+In chords mode, you can enter chords with a letter (indicating the
+root of the chord), and a durations following that.
+@c
+@lilypond[verbatim]
+ \chords { c2 f4. g8 }
+@end lilypond
+The result of @code{\chords} is a list of chords, and is equivalent
+to entering chords with @code{<<@dots{}>>}.
- \context ChordNames \accompaniment
-
-@end example
+Other chords can be created by adding modifiers, after a colon. The
+following example shows a few common modifiers
+@c
+@lilypond[verbatim]
+ \chords { c2 f4:m g4:maj7 gis1:dim7 }
+@end lilypond
-@separate
-@example
+Printing chords is done by adding @code{\context ChordNames}
+before the chords thus entered:
+@c
+@lilypond[verbatim]
+ \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+@end lilypond
- \context Staff @{
-
-@end example
+A complete list of modifiers, and other options for layout are in the
+reference manual section @ref{Chords}.
-We place the melody on a staff.
-@separate
-@example
+@node A lead sheet
+@section A lead sheet
- \property Staff.autoBeaming = ##f
-@end example
-@cindex \property
-@cindex context variables
-@cindex setting context variables
-An interpretation context has variables that tune its behavior. These
-variables are also called @emph{properties}. The @code{autoBeaming}
-variable in a @code{Staff} controls whether 8th and shorter notes are
-beamed automatically. Setting the variable to @code{##f}, which is the
-boolean value @var{false}, turns it off.
+TODO: template example with chord names, lyrics and staff.
-@separate
-@example
-
- \melody
- @}
+@node Listening to output
+@section Listening to output
-@end example
-Finally, we put the melody on the current staff. The
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
-
-@separate
@example
\midi @{ \tempo 4=72@}
connecting and recording digital instruments. A MIDI file is like a
tape recording of a MIDI 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.
+It is great for checking the music: octaves that are off, or
+accidentals that were mistyped, stand out very much when listening to
+the musical transcription.
@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 @}
-
-@end example
-We also want notation output. The linewidth is short so that the piece
-will be set in two lines.
-
-@end ignore
-
-
-@node More stanzas
-@section More stanzas
-
-
-@cindex phrasing
-If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
-do this if you tell it which lyric lines belong to which melody.
-We show how you can do this by showing how you could print a frivolous
-fragment of a fictional Sesame Street duet.
-
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
-@end lilypond
-
-To this end, give the Voice context an identity, and set the
-LyricsVoice to a name starting with that identity followed by a dash.
-In the following example, the Voice identity is @code{duet},
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
-@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
-The convention for naming @code{LyricsVoice} and @code{Voice} must
-also be used to get melismata on rests correct.
-
-
-We add the names of the singers. This can be done by setting
-@code{LyricsVoice.Stanza} (for the first system) and
-@code{LyricsVoice.stz} for the following systems. You must
-surround dots with spaces in @code{\lyrics} mode.
-
-@example
- \property LyricsVoice . stanza = "Bert"
- @dots{}
- \property LyricsVoice . stanza = "Ernie"
-@end example
@node More movements
@center @strong{Two miniatures}
@flushright
+F. Bar Baz
+
Opus 1.
@end flushright
@flushleft
For example, consider the following file (@file{miniatures.ly})
@example
-\version "1.5.72"
\header @{
title = "Two miniatures"
composer = "F. Bar Baz"
tagline = "small is beautiful" @}
-\paper @{ raggedright = ##t @}
-
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-
\score @{
\notes @{ c'4 d'4 @}
\header @{
@cindex signature line
@cindex tag line
-@separate
-@example
- \paper @{
- raggedright = ##t @}
-@end example
-
-A paper block at top level (i.e. not in a @code{\score} block) sets
-the default page layout. The following @code{\score} blocks do not
-have @code{\paper} sections so the settings of this block are used.
-
-When @code{raggedright} is set, the spacing is set to natural length:
-a short phrase takes up little space, a longer phrase takes more
-space, all on the same line.
-
-@example
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-@end example
-
-Mental notes to yourself can be put into comments. There are two types
-of comments. Line comments are introduced by @code{%}, and block
-comments are delimited by @code{%@{} and @code{%@}}.
-
-@separate
-@example
- \score @{
- \notes @{ c'4 d'4 @}
-@end example
-
-In previous examples, most notes were specified in relative octaves
-(i.e. each note was put in the octave that is closest to its preceding
-note). This is convenient when copying existing music: you have to do
-less typing, and errors are easily spotted.
-
-There is also absolute octave specification, which you get when you do
-not include @code{\relative} in your input file. In this input mode,
-the middle 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. Absolute octaves are convenient when you write LilyPond input
-directly, either by hand (i.e. composing) or by computer.
@separate
@example
-@example
-\version "1.5.72"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
+@node Organising larger pieces
+@sections Organising larger pieces
-\paper @{ raggedright = ##t @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
-
-TODO:
-@example
-
-scoreA = \score @{ \deelA @}
-scoreB = \score @{ \deelA @}
-
-% \score @{ \scoreA @}
-\score @{ \scoreB @}
-
-@end example
+TODO: discuss identifiers, p&c, .
@separate
@example
@end example
Lilypond and its language are still under development, and
occasionally details of the syntax are changed. The @code{version}
-fragment indicates which version of LilyPond the input file was written
+fragment indicates which LilyPond version the input file was written
for. When you compile this file, the version number will be checked
and you will get a warning when the file is too old. This version
number is also used by the @code{convert-ly} program (See
name (`@code{viola}').
@separate
-@example
-<<c g' c>>4-\arpeggio
-@end example
-The delimiters @code{<<} and @code{>>} enclose the pitches of a chord.
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line)
-before the chord.
@cindex arpeggio
@end example
@cindex tuplet
@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
+
@separate
@example
@{ <<d f>>8 <<e g>> <<f a>> @}
@example
\\
@end example
-The easiest way to enter multiple voices is demonstrated
-here. Separate the components of the voice (single notes or entire
-sequences) with @code{\\} in a simultaneous music expression. The
-@code{\\} separators split first voice, second voice, third voice, and
-so on.
+Entering multiple voices is demonstrated here. Separate the
+components of the voice (single notes or entire sequences) with
+@code{\\} in a simultaneous music expression. The @code{\\} separators
+split first voice, second voice, third voice, and so on.
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 unfolded repeat prints the notes in its argument as if they were
written out in full eight times.
@separate
-@example
-\notes \transpose c c' @{
-@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-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 has no effect, as central C stays at central C.
-
-The purpose of this no-op is to protect it from being interpreted as
-relative notes. Relative mode cannot 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. Conversely, if you want to
-transpose a fragment of music entered with @code{\relative}, then you
-should make sure that @code{\transpose} comes before @code{\relative}.
-@separate
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
@ignore
[TODO:
-* font-size, multi-stanza.
+* font-size
* Simple part combining in a Hymn
@end ignore
@cindex crescendo
-@cindex fingering instructions
-[TODO: moveme]
-Fingering indications are entered with @code{-@var{N}}, where
-@var{N} is a digit.
Now that we have the basic piece of music entered, we want to fine
tune it so that we get something that resembles the original printed
\property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example
+
+(TODO: huh? what's this: )
+
This command resembles the one for setting slur attachments, but
subtly differs in its details. Grob properties can be manipulated
with two commands: @code{\override} extends the definition of a grob
projects / lilypond.git / commitdiff