Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@c \version "2.19.21"
@ignore
Tutorial guidelines: (different from policy.txt!)
-- unless you have a really good reason, use either
+- unless you have a really good reason, use
@lilypond[verbatim,quote]
- or
- @lilypond[verbatim,quote,relative=2]
-
- Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
on one staff.
@menu
-* Bar checks::
-* Accidentals and key signatures::
+* Bar lines and bar checks::
+* Pitches and key signatures::
* Ties and slurs::
* Articulation and dynamics::
* Adding text::
* Advanced rhythmic commands::
@end menu
+@node Bar lines and bar checks
+@subsection Bar lines and bar checks
+
+@menu
+* Bar lines::
+* Bar checks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+
+Single bar lines are automatically placed in the music so
+there is no need to add them manually. Other types of bar
+lines are added using @code{\bar}, for example
+@code{\bar "||"} for a double bar line, or @code{\bar "|."}
+for an ending bar line. For a full list of bar lines see
+the @ruser{Bar lines}.
+
+@lilypond[verbatim,quote]
+\relative { g'1 e1 \bar "||" c2. c'4 \bar "|." }
+@end lilypond
@node Bar checks
-@subsection Bar checks
+@unnumberedsubsubsec Bar checks
+
Though not strictly necessary, @emph{bar checks} should be
used in the input code to show where bar lines are expected
length. Bar checks also make your input code easier to
read, since they help to keep things organized.
-@lilypond[verbatim,quote,relative=2]
-g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 |
+@c This example deliberately produces a warning
+@lilypond[verbatim,quote]
+\relative {
+ g'1 | e1 | c2. c' | g4 c g e | c4 r r2 |
+}
@end lilypond
+If you compile the code in the example above, you should see a
+warning in the console output:
+
+@example
+warning: barcheck failed at: 1/2
+ g'1 | e1 | c2. c'
+ | g4 c g e | c4 r r2 |
+@end example
+
+Although the missing duration is clear in the musical output in this
+simple example, the warning in the console output is far more
+effective in drawing attention to the missing @code{4} in bar 3.
+
@seealso
Notation Reference:
@ruser{Bar and bar number checks}.
-@node Accidentals and key signatures
-@subsection Accidentals and key signatures
+@node Pitches and key signatures
+@subsection Pitches and key signatures
+
+@menu
+* Pitch alterations::
+* Key signatures::
+* Warning key signatures and pitches::
+@end menu
-@warning{New users are often confused by these -- please read the
-warning at the bottom of this page, especially if you are not
-familiar with music theory!}
+@warning{New users often misunderstand how LilyPond uses the key
+signature -- please read the warning at the bottom of this page.}
+
+@node Pitch alterations
+@unnumberedsubsubsec Pitch alterations
-@subheading Accidentals
@cindex accidentals
-@cindex accidentals and key signatures
+@cindex natural
@cindex sharp
@cindex double sharp
@cindex sharp, double
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
+Note-names in LilyPond identify pitches. For example, @code{c}
+always means C-natural, regardless of the key signature.
+
A @notation{sharp} pitch is made by adding @code{is} to the name,
and a @notation{flat} pitch by adding @code{es}. As you might
expect, a @notation{double sharp} or @notation{double flat} is
made by adding @code{isis} or @code{eses}. This syntax is derived
from note naming conventions in Nordic and Germanic languages,
like German and Dutch. To use other names for
-@notation{accidentals}, see @ruser{Note names in other languages}.
+@notation{alterations}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,relative=2]
-cis4 ees fisis, aeses
+@lilypond[verbatim,quote]
+\relative { cis''4 ees fisis, aeses }
@end lilypond
@cindex key signature, setting
-@subheading Key signatures
+
+@node Key signatures
+@unnumberedsubsubsec Key signatures
+
@cindex key signature
@cindex major
@cindex layout vs. content
@funindex \key
-@funindex key
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
Music Glossary: @rglos{key signature}, @rglos{major},
@rglos{minor}.
The @notation{key signature} is set with the command @code{\key}
followed by a pitch and @code{\major} or @code{\minor}.
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-a1 |
-\key c \minor
-a1 |
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ d'4 fis a c |
+ \bar "||" \key c \minor
+ c,4 ees g b |
+}
@end lilypond
@smallspace
-@subheading Warning: key signatures and pitches
+@node Warning key signatures and pitches
+@unnumberedsubsubsec Warning: key signatures and pitches
+
Music Glossary: @rglos{accidental}, @rglos{key signature},
@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
@rglos{transposition}, @rglos{Pitch names}.
-To determine whether to print an @notation{accidental}, LilyPond
-examines the pitches and the @notation{key signature}. The key
-signature only affects the @emph{printed} accidentals, not the
-note's @notation{pitch}! This is a feature that often causes
-confusion to newcomers, so let us explain it in more detail.
-
-LilyPond makes a clear distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural sign} or
-@notation{sharp}) of a note is part of the pitch, and is therefore
-musical content. Whether an accidental (a @emph{printed} flat,
-natural or sharp sign) is printed in front of the corresponding
-note is a question of layout. Layout is something that follows
-rules, so accidentals are printed automatically according to those
-rules. The pitches in your music are works of art, so they will
-not be added automatically, and you must enter what you want to
-hear.
+LilyPond makes a distinction between musical content and
+its printed representation. Input such as @code{d4 e fis2}
+defines the pitches and durations of notes, which is musical
+content. The @notation{key signature} is part of the printed
+representation. The key signature also sets rules for the
+printed representations of notes. LilyPond compares each input
+pitch to the key signature to determine whether to print an
+@notation{accidental}.
+
+The command @code{\key} sets the @notation{key signature}, which
+affects the printed representation, but does @emph{not} change
+the pitch assigned to a note such as @code{c} in the input.
In this example:
-@lilypond[verbatim,quote,relative=2]
-\key d \major
-cis4 d e fis
+@lilypond[verbatim,quote]
+\relative {
+ \key d \major
+ cis''4 d e fis
+}
@end lilypond
@noindent
note with pitch B-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,relative=2]
-\key aes \major
-aes4 c b c
+@lilypond[verbatim,quote]
+\relative {
+ \key aes \major
+ aes'4 c b c
+}
@end lilypond
-If the above seems confusing, consider this: if you were playing a
-piano, which key would you hit? If you would press a black key,
-then you @emph{must} add @code{-is} or @code{-es} to the note
-name!
+Whenever you enter a pitch that is a black key on the piano, you
+@emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note name.
Adding all alterations explicitly might require a little more
effort when typing, but the advantage is that
@funindex ( ... )
@funindex \( ... \)
-@subheading Ties
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Warnings slurs vs. ties::
+@end menu
+@node Ties
+@unnumberedsubsubsec Ties
Music Glossary: @rglos{tie}.
A @notation{tie} is created by appending a tilde @code{~} to the
-first note being tied.
+first of the two notes being tied.
-@lilypond[verbatim,quote,relative=2]
-g4~ g c2~ | c4~ c8 a~ a2 |
+@lilypond[verbatim,quote]
+\relative { g'4~ g c2~ | c4~ c8 a~ a2 | }
+@end lilypond
+
+@cindex bare duration
+@cindex duration, bare
+
+When the pitch does not change, as is always the case with tied notes,
+subsequent pitches may be omitted, specifying just the bare duration:
+
+@lilypond[verbatim,quote]
+\relative { g'4~ 4 c2~ | 4~ 8 a~ 2 | }
@end lilypond
-@subheading Slurs
+This shorthand may be useful in other places where the rhythm changes
+with an unchanging pitch, but remember that a bare pitch followed by a
+space and a bare duration will be interpreted as a single note. In
+other words, @code{c4 a 8 8} would be interpreted as @code{c4 a8 a8},
+not as @code{c4 a4 a8 a8}. Write instead @code{c4 a4 8 8 }.
+
+@node Slurs
+@unnumberedsubsubsec Slurs
Music Glossary: @rglos{slur}.
starting note and ending note are marked with @code{(} and
@code{)} respectively.
-@lilypond[verbatim,quote,relative=2]
-d4( c16) cis( d e c cis d) e( d4)
+@lilypond[verbatim,quote]
+\relative { d''4( c16) cis( d e c cis d) e( d4) }
@end lilypond
-@subheading Phrasing slurs
+@node Phrasing slurs
+@unnumberedsubsubsec Phrasing slurs
+
Music Glossary: @rglos{slur}, @rglos{phrasing}.
Slurs to indicate longer @notation{phrasing} can be entered with
-@code{\(} and @code{\)}. You can have both @notation{slurs}
-and phrasing slurs at the same time, but you cannot have
-simultaneous slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}. You can have both @notation{slurs} and
+phrasing slurs at the same time.
-@lilypond[verbatim,quote,relative=2]
-g4\( g8( a) b( c) b4\)
+@lilypond[verbatim,quote]
+\relative { g'4\( g8( a) b( c) b4\) }
@end lilypond
@smallspace
@cindex slurs versus ties
-@subheading Warnings: slurs vs. ties
+
+@node Warnings slurs vs. ties
+@unnumberedsubsubsec Warnings: slurs vs. ties
+
Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
indicate the @notation{articulation} of notes, and can be used on
larger groups of notes. Slurs and ties can be nested.
-@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ d4 e)
+@lilypond[verbatim,quote]
+\relative { c''4(~ c8 d~ 4 e) }
@end lilypond
@node Articulation and dynamics
@subsection Articulation and dynamics
+@menu
+* Articulations::
+* Fingerings::
+* Dynamics::
+@end menu
+
+@node Articulations
+@unnumberedsubsubsec Articulations
-@subheading Articulations
@cindex articulation
@cindex accent
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-|
-c4-> c-. c2-_
+@lilypond[verbatim,quote]
+\relative {
+ c''4-^ c-+ c-- c-!
+ c4-> c-. c2-_
+}
@end lilypond
-@subheading Fingerings
+@node Fingerings
+@unnumberedsubsubsec Fingerings
+
@cindex fingering
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
-@lilypond[verbatim,quote,relative=2]
-c4-3 e-5 b-2 a-1
+@lilypond[verbatim,quote]
+\relative { c''4-3 e-5 b-2 a-1 }
@end lilypond
Articulations and fingerings are usually placed automatically, but
articulations on the same note. However, in most cases it is best
to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,relative=2]
-c4_-^1 d^. f^4_2-> e^-_+
+@lilypond[verbatim,quote]
+\relative { c''4_-^1 d^. f^4_2-> e^-_+ }
@end lilypond
-@subheading Dynamics
+@node Dynamics
+@unnumberedsubsubsec Dynamics
+
@cindex dynamics
@cindex decrescendo
@funindex \mf
@funindex \pp
@funindex \<
-@funindex <
@funindex \>
-@funindex >
@funindex \!
-@funindex !
Music Glossary: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
@notation{Dynamic} signs are made by adding the markings (with a
backslash) to the note:
-@lilypond[verbatim,quote,relative=2]
-c4\ff c\mf c\p c\pp
+@lilypond[verbatim,quote]
+\relative { c''4\ff c\mf c\p c\pp }
@end lilypond
example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
-@lilypond[verbatim,quote,relative=2]
-c4\< c\ff\> c c\!
+@lilypond[verbatim,quote]
+\relative { c''4\< c\ff\> c c\! }
@end lilypond
@cindex markup
@funindex \markup
-@funindex markup
Text may be added to your scores:
-@lilypond[verbatim,quote,relative=2]
-c2^"espr" a_"legato"
+@lilypond[verbatim,quote,fragment]
+c''2^"espr" a'_"legato"
@end lilypond
Extra formatting may be added with the @code{\markup} command:
-@lilypond[verbatim,quote,relative=2]
-c2^\markup { \bold espr }
-a2_\markup {
+@lilypond[verbatim,quote,fragment]
+c''2^\markup { \bold espr }
+a'2_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
@end lilypond
@funindex [
@funindex ]
@funindex \autoBeamOff
-@funindex autoBeamOff
@funindex \autoBeamOn
-@funindex autoBeamOn
Music Glossary: @rglos{beam}.
All @notation{beams} are drawn automatically:
-@lilypond[verbatim,quote,relative=2]
-a8 ais d ees r d c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8 ais d ees r d c16 b a8 }
@end lilypond
If you do not like the automatic beams, they may be overridden
manually. To correct just an occasional beam mark the first note
to be beamed with @code{[} and the last one with @code{]}.
-@lilypond[verbatim,quote,relative=2]
-a8[ ais] d[ ees r d] c16 b a8
+@lilypond[verbatim,quote]
+\relative { a'8[ ais] d[ ees r d] c16 b a8 }
@end lilypond
If you want to turn off automatic beaming entirely or for an
to turn off automatic beaming and @code{\autoBeamOn} to turn it
on again.
-@lilypond[verbatim,quote,relative=2]
-\autoBeamOff
-a8 c b4 d8. c16 b4 |
-\autoBeamOn
-a8 c b4 d8. c16 b4 |
+@lilypond[verbatim,quote]
+\relative {
+ \autoBeamOff
+ a'8 c b4 d8. c16 b4 |
+ \autoBeamOn
+ a8 c b4 d8. c16 b4 |
+}
@end lilypond
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
-@subheading Partial measure
+@menu
+* Partial measure::
+* Tuplets::
+* Grace notes::
+@end menu
+
+@node Partial measure
+@unnumberedsubsubsec Partial measure
+
@cindex pickup
@cindex anacrusis
@cindex partial measure
@funindex \partial
-@funindex partial
Music Glossary: @rglos{anacrusis}.
@code{\partial}. It is followed by a duration: @code{\partial 4}
is a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[verbatim,quote,relative=2]
-\partial 8 f8 |
-c2 d |
+@lilypond[verbatim,quote]
+\relative {
+ \partial 8 f''8 |
+ c2 d |
+}
@end lilypond
-@subheading Tuplets
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+
@cindex tuplets
@cindex triplets
-@funindex \times
-@funindex times
+@funindex \tuplet
Music Glossary: @rglos{note value}, @rglos{triplet}.
-@notation{Tuplets} are made with the @code{\times} keyword. It
+@notation{Tuplets} are made with the @code{\tuplet} keyword. It
takes two arguments: a fraction and a piece of music. The
-duration of the piece of music is multiplied by the fraction.
-Triplets make notes occupy 2/3 of their notated duration, so a
-@notation{triplet} has 2/3 as its fraction
-
-@lilypond[verbatim,quote,relative=2]
-\times 2/3 { f8 g a }
-\times 2/3 { c8 r c }
-\times 2/3 { f,8 g16[ a g a] }
-\times 2/3 { d4 a8 }
+fraction is the number of tuplet notes over the number
+of notes normally filling the same duration.
+For triplets, there are three notes instead of two, so
+@notation{triplets} have 3/2 as their fraction.
+
+@lilypond[verbatim,quote]
+\relative {
+ \tuplet 3/2 { f''8 g a }
+ \tuplet 3/2 { c8 r c }
+ \tuplet 3/2 { f,8 g16[ a g a] }
+ \tuplet 3/2 { d4 a8 }
+}
@end lilypond
-@subheading Grace notes
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+
@cindex grace notes
@cindex acciaccatura
@cindex appoggiatura
@funindex \grace
-@funindex grace
@funindex \acciaccatura
-@funindex acciaccatura
@funindex \appoggiatura
@funindex acciaccatura
although they can also be created by prefixing a music expression
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32[ b] } c2 |
-c2 \appoggiatura b16 c2 |
-c2 \acciaccatura b16 c2 |
+@lilypond[verbatim,quote]
+\relative {
+ c''2 \grace { a32 b } c2 |
+ c2 \appoggiatura b16 c2 |
+ c2 \acciaccatura b16 c2 |
+}
@end lilypond
@cindex compound music expression
@cindex music expression, compound
+@menu
+* Analogy mathematical expressions::
+* Simultaneous music expressions multiple staves::
+* Simultaneous music expressions single staff::
+@end menu
+
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,relative=2]
-a4
+@lilypond[verbatim,quote,fragment]
+a'4
@end lilypond
Enclosing a note in braces creates a @emph{compound music
expression}. Here we have created a compound music expression
with two notes:
-@lilypond[verbatim,quote,relative=2]
-{ a4 g4 }
+@lilypond[verbatim,quote]
+\relative { a'4 g4 }
@end lilypond
Putting a group of music expressions (e.g. notes) in braces means
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,relative=2]
-{ { a4 g } f4 g }
+@lilypond[verbatim,quote]
+\relative { { a'4 g } f4 g }
@end lilypond
-@subheading Analogy: mathematical expressions
+@node Analogy mathematical expressions
+@unnumberedsubsubsec Analogy: mathematical expressions
+
This mechanism is similar to mathematical formulas: a big formula
is created by composing small formulas. Such formulas are called
polyphonic scores.
-@subheading Simultaneous music expressions: multiple staves
+@node Simultaneous music expressions multiple staves
+@unnumberedsubsubsec Simultaneous music expressions: multiple staves
+
@cindex multiple staves
@cindex staves, multiple
notes) are combined simultaneously:
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- { a2 g }
- { f2 e }
- { d2 b }
- >>
-}
+<<
+ \relative { a'2 g }
+ \relative { f'2 e }
+ \relative { d'2 b }
+>>
@end lilypond
Note that we have indented each level of the input with a
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
-@warning{each note is relative to the previous note in
-the input, not relative to the @code{c''} in the initial
+@warning{each note is relative to the previous note in the input,
+only the first is relative to the @code{c''} in the initial
@code{@bs{}relative} command.}
-@subheading Simultaneous music expressions: single staff
+@node Simultaneous music expressions single staff
+@unnumberedsubsubsec Simultaneous music expressions: single staff
+
To determine the number of staves in a piece, LilyPond looks at
the beginning of the first expression. If there is a single note,
out on a single staff.
@lilypond[verbatim,quote]
-\relative c'' {
- c2 <<c e>> |
+\relative {
+ c''2 <<c e>> |
<< { e2 f } { c2 <<b d>> } >> |
}
@end lilypond
@cindex notation context
@funindex \new Staff
-@funindex new Staff
@funindex Staff
@funindex \new
-@funindex new
@funindex Score
@funindex Voice
@funindex Lyrics
and @code{>>}:
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- \new Staff { \clef "treble" c4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
The command @code{\new} introduces a @q{notation context.} A
than polyrhythmic scores.
@lilypond[verbatim,quote]
-\relative c'' {
- <<
- \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
- \new Staff { \clef "bass" c,,4 }
- >>
-}
+<<
+ \new Staff { \clef "treble" \key d \major \time 3/4 c''4 }
+ \new Staff { \clef "bass" c4 }
+>>
@end lilypond
-
-
-
@node Staff groups
@subsection Staff groups
Here is a small example:
@lilypond[verbatim,quote]
-\relative c'' {
- \new PianoStaff <<
- \new Staff { \time 2/4 c4 e | g g, | }
- \new Staff { \clef "bass" c,,4 c' | e c | }
- >>
-}
+\new PianoStaff <<
+ \new Staff \relative { \time 2/4 c''4 e | g g, | }
+ \new Staff \relative { \clef "bass" c4 c' | e c | }
+>>
@end lilypond
Other staff groupings are introduced with @code{\new GrandStaff},
all the notes in a chord must have the same duration, and that the
duration is placed after the closing bracket.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g> <c f a>2
+@lilypond[verbatim,quote]
+\relative { r4 <c'' e g> <c f a>2 }
@end lilypond
Think of chords as almost equivalent to single notes:
brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
-@lilypond[verbatim,quote,relative=2]
-r4 <c e g>~ <c f a>2 |
-<c e g>8[ <c f a> <c e g> <c f a>] <c e g>\>[ <c f a> <c f a> <c e g>]\! |
-r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+@lilypond[verbatim,quote]
+\relative {
+ r4 <c'' e g>~ <c f a>2 |
+ <c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+ r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
+}
@end lilypond
@seealso
@cindex songs
@funindex \addlyrics
-@funindex addlyrics
Music Glossary: @rglos{lyrics}.
rhyme, @notation{Girls and boys come out to play}:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4
+ d''4 b8 c4 a8 | d4 b8 g4
}
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4
+ d''4 b8 c4 a8 | d4 b8 g4
}
\addlyrics {
- Girls and boys come | out to play,
+ Girls and boys come out to play,
}
>>
@end lilypond
-@warning{It is essential that the final syllable is separated from
-the terminating curly bracket by a space or a newline, or it will be
-assumed to be part of the syllable, giving rise to an obscure
-error, see @rprogram{Apparent error in ../ly/init.ly}.}
-
-Note the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<<@dots{}>>}} around the
whole piece to show that the music and lyrics are to occur at the
same time.
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4 g8 |
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
a4 b8 c b a | d4 b8 g4. |
}
\addlyrics {
- Girls and boys come | out to play,
- The | moon doth shine as | bright as day; |
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
}
>>
@end lilypond
-If you compile the code in the example above, you should see some
-warnings in the console output:
-
-@example
-song.ly:12:29: warning: barcheck failed at: 5/8
- The | moon doth shine as
- | bright as day; |
-song.ly:12:46: warning: barcheck failed at: 3/8
- The | moon doth shine as | bright as day;
- |
-@end example
-
-This is a good example of the usefulness of bar checks. Now,
-looking at the music, we see that the extra lyrics do not align
+Looking at the music, we see that the extra lyrics do not align
properly with the notes. The word @notation{shine} should be sung
on two notes, not one. This is called a @notation{melisma}, a
single syllable sung to more than one note. There are several
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4 g8 |
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
a4 b8 c( b) a | d4 b8 g4. |
}
\addlyrics {
- Girls and boys come | out to play,
- The | moon doth shine as | bright as day; |
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
}
>>
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4 g8 |
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
a4 b8 c([ b]) a | d4 b8 g4. |
}
\addlyrics {
- Girls and boys come | out to play,
- The | moon doth shine as | bright as day; |
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
}
>>
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \major
\time 6/8
- d4 b8 c4 a8 | d4 b8 g4 g8 |
+ d''4 b8 c4 a8 | d4 b8 g4 g8 |
a4 b8 c[ b] a | d4 b8 g4. |
}
\addlyrics {
- Girls and boys come | out to play,
- The | moon doth shine _ as | bright as day; |
+ Girls and boys come out to play,
+ The moon doth shine _ as bright as day;
}
>>
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key g \minor
\time 3/2
- g2 a bes | bes2( a) b2 |
+ g'2 a bes | bes2( a) b2 |
c4.( bes8 a4. g8 fis4.) g8 | fis1
}
\addlyrics {
- When I am | laid,
- am | laid __ in | earth,
+ When I am laid,
+ am laid __ in earth,
}
>>
@end lilypond
@c but the example is long enough to avoid looking strange.
@lilypond[verbatim,quote,noragged-right]
<<
- \relative c' {
+ \relative {
\key g \major
\time 3/4
\partial 4
- d4 | g4 g a8( b) | g4 g b8( c) |
+ d'4 | g4 g a8( b) | g4 g b8( c) |
d4 d e | c2
}
\addlyrics {
- A -- | way in a __ | man -- ger,
- no __ | crib for a | bed, __
+ A -- way in a __ man -- ger,
+ no __ crib for a bed,
}
>>
@end lilypond
@c but the example is long enough to avoid looking strange.
@lilypond[verbatim,quote,noragged-right]
<<
- \relative c' {
+ \relative {
\clef "bass"
\key c \major
\time 6/8
- c4.~ c8 d b | c8([ d]) b c d b | c8
+ c'4.~ 8 d b | c8([ d]) b c d b | c8
}
\addlyrics {
- Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
+ Lar -- go_al fac -- to -- tum del -- la cit -- tà
}
>>
@end lilypond
@lilypond[verbatim,quote]
<<
- \relative c'' {
+ \relative {
\key f \major
\time 6/8
\partial 8
- c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4
+ c''8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
}
\addlyrics {
- Let | flee -- cy flocks the | hills a -- | dorn, __
+ Let flee -- cy flocks the hills a -- dorn, __
}
- \relative c' {
+ \relative {
\key f \major
\time 6/8
\partial 8
- r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4
+ r8 | r4. r4 c'8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4
}
\addlyrics {
- Let | flee -- cy flocks the | hills a -- dorn,
+ Let flee -- cy flocks the hills a -- dorn,
}
>>
@end lilypond
@lilypond[verbatim,quote]
violin = \new Staff {
- \relative c'' {
- a4 b c b
+ \relative {
+ a'4 b c b
}
}
cello = \new Staff {
- \relative c {
+ \relative {
\clef "bass"
e2 d
}
@end lilypond
@noindent
-The name of a variable must have alphabetic characters only, no
-numbers, underscores, or dashes.
+By convention, variable names consist of alphabetic characters only.
Variables must be defined @emph{before} the main music
expression, but may be used as many times as required anywhere after
section of music is repeated many times.
@lilypond[verbatim,quote]
-tripletA = \times 2/3 { c,8 e g }
+tripletA = \relative { \tuplet 3/2 { c'8 e g } }
barA = { \tripletA \tripletA \tripletA \tripletA }
-\relative c'' {
- \barA \barA
-}
+{ \barA \barA }
@end lilypond
Variables may be used for many other types of objects in
the input. For example,
@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+myWidth = 60 % a number to pass to a \paper variable (the unit is millimeter)
+myName = "Wendy" % a string to pass to a markup
+aFivePaper = \paper @{ #(set-paper-size "a5") @}
@end example
Depending on its contents, the variable can be used in different
@example
\paper @{
\aFivePaper
- line-width = \width
+ line-width = \myWidth
@}
@{
- c4^\name
+ c4^\myName
@}
@end example
@cindex header block
@funindex \header
-@funindex header
The title, composer, opus number, and similar information are
entered in the @code{\header} block. This exists outside of the
When the file is processed, the title and composer are printed
above the music. More information on titling can be found in
-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.
@node Absolute note names
@cindex pitches, absolute values
@cindex absolute note names
-So far we have always used @code{\relative} to define pitches.
-This is the easiest way to enter most music, but another way of
-defining pitches exists: absolute mode.
+So far we have used @code{\relative} to define pitches.
+This is usually the fastest way to enter most music. Without
+@code{\relative}, pitches are interpreted in absolute mode.
-If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values. A @code{c'} will always mean middle C, a
-@code{b} will always mean the note one step below middle C, and a
-@code{g,} will always mean the note on the bottom staff of the
-bass clef.
+In this mode, LilyPond treats all pitches as absolute values. A
+@code{c'} will always mean middle@tie{}C, a @code{b} will always mean
+the note one step below middle@tie{}C, and a @code{g,} will always mean
+the note on the bottom staff of the bass clef.
@lilypond[verbatim,quote]
{
}
@end lilypond
-Here is a four-octave scale:
+Writing a melody in the treble clef involves a lot
+of quote @code{'} marks. Consider this fragment from Mozart:
@lilypond[verbatim,quote]
{
- \clef "bass"
- c,4 d, e, f, |
- g,4 a, b, c |
- d4 e f g |
- a4 b c' d' |
- \clef "treble"
- e'4 f' g' a' |
- b'4 c'' d'' e'' |
- f''4 g'' a'' b'' |
- c'''1 |
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8 |
+ b'8. cis''16 b'8 d''4 d''8 |
}
@end lilypond
-As you can see, writing a melody in the treble clef involves a lot
-of quote @code{'} marks. Consider this fragment from Mozart:
+@funindex \fixed
+Common octave marks can be indicated just once, using the command
+@code{\fixed} followed by a reference pitch:
@lilypond[verbatim,quote]
-{
+\fixed c'' {
\key a \major
\time 6/8
- cis''8. d''16 cis''8 e''4 e''8 |
- b'8. cis''16 b'8 d''4 d''8 |
+ cis8. d16 cis8 e4 e8 |
+ b,8. cis16 b,8 d4 d8 |
}
@end lilypond
-All these quotes makes the input less readable and they are a source
-of errors. With @code{\relative}, the previous example is much
-easier to read and type:
+With @code{\relative}, the previous example needs no octave marks
+because this melody moves in steps no larger than three staff positions:
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\key a \major
\time 6/8
- cis8. d16 cis8 e4 e8 |
+ cis''8. d16 cis8 e4 e8 |
b8. cis16 b8 d4 d8 |
}
@end lilypond
However, absolute mode is useful for music which has large
intervals, and is extremely useful for computer-generated LilyPond
-files.
+files. When cutting and pasting melody fragments, absolute mode
+preserves the original octave.
+
+Sometimes music is arranged in more complex ways. If you are
+using @code{\relative} inside of @code{\relative}, the outer and
+inner relative sections are independent:
+
+@lilypond[verbatim,quote]
+\relative { c'4 \relative { f'' g } c }
+@end lilypond
+To use absolute mode inside of @code{\relative}, put the absolute
+music inside @code{\fixed c @{ @dots{} @}} and the absolute pitches
+will not affect the octaves of the relative music:
+@lilypond[verbatim,quote]
+\relative {
+ c'4 \fixed c { f'' g'' } c |
+ c4 \fixed c'' { f g } c
+}
+@end lilypond
@node After the tutorial
@subsection After the tutorial
projects / lilypond.git / blobdiff