version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.61"
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
- @lilypond[verbatim,quote,ragged-right]
+ @lilypond[verbatim,quote]
or
- @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+ @lilypond[verbatim,quote,relative=2]
- Don't use any other relative=X commands (make it a non-fragment
- example), and don't use fragment without 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
until we get to the Basic notation chapter.
-- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
portions of the tutorial.
@end ignore
@menu
* Compiling a file::
* Simple notation::
-* Working on text files::
-* How to read the manual::
+* Working on input files::
+* How to read the manual::
@end menu
@node Compiling a file
@subsection Compiling a file
-@qq{Compiling} is the term used for processing an input text file
+@cindex compiling
+@cindex first example
+@cindex example, first
+@cindex case sensitive
+
+@qq{Compiling} is the term used for processing an input file
in LilyPond format to produce a file which can be printed and
-(optionally) a MIDI file which can be played. The first example
-shows what a simple input text file looks like.
+(optionally) a MIDI file which can be played. LilyPond input
+files are simple text files. The first example
+shows what a simple input file looks like.
-To create sheet music, we write a text file that specifies the
+To create sheet music, we write an input file that specifies the
notation. For example, if we write:
@example
the result looks like this:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
in your own music! For more information about the display of
examples in the manual, see @ref{How to read the manual}.}
-@cindex case sensitive
-In addition, LilyPond input is @strong{case sensitive}. @code{
-@{ c d e @}} is valid input; @code{@{ C D E @}} will produce an
-error message.
+In addition, LilyPond input is @strong{case sensitive}.
+@w{@code{@{ c d e @}}} is valid input; @w{@code{@{ C D E @}}} will
+produce an error message.
@smallspace
@cindex PDF file
@cindex viewing music
+@cindex text editors
+@cindex running LilyPond under MacOS X
+@cindex MacOS X, running LilyPond
+@cindex running LilyPond under Windows
+@cindex Windows, running LilyPond
+@cindex running LilyPond under Unix
+@cindex Unix, running LilyPond
In this section we will explain what commands to run and how to
view or print the output.
@subsubheading MacOS X
-If you double click @code{LilyPond.app}, it will open with an
+If you double click @command{LilyPond.app}, it will open with an
example file. Save it, for example, to @file{test.ly} on your
-Desktop, and then process it with the menu command @code{Compile >
-Typeset File}. The resulting PDF file will be displayed on your
-screen.
+Desktop, and then process it with the menu command
+@w{@code{Compile > Typeset File}}. The resulting PDF file will be
+displayed on your screen.
For future use of LilyPond, you should begin by selecting @q{New}
or @q{Open}. You must save your file before typesetting it. If
@example
lilypond test.ly
-GNU LilyPond 2.12.0
+GNU LilyPond @version{}
Processing `test.ly'
Parsing...
Interpreting music...
@node Simple notation
@subsection Simple notation
+@cindex simple notation
+@cindex notation, simple
+
LilyPond will add some notation elements automatically. In the
next example, we have only specified four pitches, but LilyPond
has added a clef, time signature, and rhythms.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
c' e' g' e'
}
@subheading Pitches
+@cindex pitches
+@cindex relative mode
+@cindex quote, single
+@cindex comma
+@cindex accidentals and relative mode
+@cindex relative mode, and accidentals
+
+@funindex \relative
+@funindex relative
+@funindex '
+@funindex ,
+
Music Glossary: @rglos{pitch}, @rglos{interval},
@rglos{scale}, @rglos{middle C}, @rglos{octave},
@rglos{accidental}.
elementary piece of music, a @notation{scale}, in which every note
is within just one staff space of the previous note.
-@lilypond[verbatim,quote,ragged-right]
-\relative c' { % set the starting point to middle C
+@lilypond[verbatim,quote]
+% set the starting point to middle C
+\relative c' {
c d e f
g a b c
}
closest D to the previous note. We can create melodies which have
larger intervals, still using only @code{\relative} mode:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
d f a g
c b f d
middle C.
By adding (or removing) quotes @code{'} or commas @code{,} from
-the @code{\relative c' @{} command, we can change the starting
+the @code{@w{\relative c' @{}} command, we can change the starting
octave:
-@lilypond[verbatim,quote,ragged-right]
-\relative c'' { % one octave above middle C
+@lilypond[verbatim,quote]
+% one octave above middle C
+\relative c'' {
e c a c
}
@end lilypond
if the note following a B is a C, D or E it will be assumed to be
above the B, and an A, G or F will be assumed to be below.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
b c % c is 1 staff space up, so is the c above
b d % d is 2 up or 5 down, so is the d above
apostrophe) to the note name. We can lower the octave by adding a
comma @code{,} to the note name.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a, c' f,
g g'' a,, f'
To change a note by two (or more!) octaves, we use multiple
@code{''} or @code{,,} -- but be careful that you use two single
quotes @code{''} and not one double quote @code{"}@tie{}! The
-initial value in @code{\relative c'} may also be modified like
+initial value in @code{@w{\relative c'}} may also be modified like
this.
@c " - keeps quotes in order for context-sensitive editor -td
@subheading Durations (rhythms)
+@cindex note durations
+@cindex durations
+@cindex rhythms
+@cindex whole note
+@cindex half note
+@cindex quarter note
+@cindex dotted note
+@cindex notating durations
+
Music Glossary: @rglos{beam}, @rglos{duration},
@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
@rglos{dotted note}.
for the next note. The duration of the first note defaults to a
quarter.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a1
a2 a4 a8 a
duration number. The duration of a dotted note must be stated
explicitly (i.e., with a number).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a a4. a8
a8. a16 a a8. a8 a4.
@subheading Rests
+@cindex rest
+@cindex notating rests
+
Music Glossary: @rglos{rest}.
A @notation{rest} is entered just like a note with the name
-@code{r}:
+@code{r}@tie{}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
@subheading Time signature
+@cindex time signature
+
+@funindex \time
+@funindex time
+
Music Glossary: @rglos{time signature}.
The @notation{time signature} can be set with the @code{\time}
command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\time 3/4
a4 a a
@subheading Clef
+@cindex clef
+@cindex treble
+@cindex alto
+@cindex tenor
+@cindex bass
+
+@funindex \clef
+@funindex clef
+
Music Glossary: @rglos{clef}.
The @notation{clef} can be set using the @code{\clef} command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
\clef treble
c1
Here is a small example showing all these elements together:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c, {
\time 3/4
\clef bass
@ruser{Time signature}, @ruser{Clef}.
-@node Working on text files
-@subsection Working on text files
+@node Working on input files
+@subsection Working on input files
+
+@cindex curly braces
+@cindex braces, curly
+@cindex comments
+@cindex line comment
+@cindex comment, line
+@cindex block comment
+@cindex comment, line
+@cindex case sensitive
+@cindex whitespace insensitive
+@cindex expressions
+
+@funindex { ... }
+@funindex %
+@funindex %@{ ... %@}
LilyPond input files are similar to source files in many common
programming languages. They are case sensitive, and white-space
is generally ignored. Expressions are formed with curly braces
-@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
-%@}}.
+@{ @}, and comments are denoted with @code{%} or
+@w{@code{%@{ ... %@}}}.
If the previous sentences sound like nonsense, don't worry! We'll
explain what all these terms mean:
@itemize
-@cindex case sensitive
@item
@strong{Case sensitive}:
-it matters whether you enter a letter in lower case (e.g. @code{a,
-b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
-lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
-will produce an error message.
+it matters whether you enter a letter in lower case (e.g.
+@w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}).
+Notes are lower case: @w{@code{@{ c d e @}}} is valid input;
+@w{@code{@{ C D E @}}} will produce an error message.
@item
@strong{Whitespace insensitive}:
it does not matter how many spaces (or new lines) you add.
-@code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
-@tie{} @tie{} d e @}} and:
+@w{@code{@{ c d e @}}} means the same thing as
+@w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} and:
@example
@{ c d
ambiguities.
A LilyPond command followed by a simple expression in braces (such
-as @code{\relative @{ @}}) also counts as a single music
+as @w{@code{\relative @{ @}}}) also counts as a single music
expression.
@cindex comments
c4 c g' g a a g2
%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+ This line, and the notes below are ignored,
+ since they are in a block comment.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@node How to read the manual
@subsection How to read the manual
+@cindex how to read the manual
+@cindex manual, reading
+@cindex reading the manual
+@cindex examples, clickable
+@cindex clickable examples
+@cindex tips for constructing files
+@cindex templates
+@cindex constructing files, tips
+@cindex files, tips for constructing
+
LilyPond input must be surrounded by @{ @} marks or a
-@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
-files}. For the rest of this manual, most examples will omit
-this. To replicate the examples, you may copy and paste the
-displayed input but you @strong{must} add the @code{\relative c''
-@{ @}} like this:
+@code{@w{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
+input files}. For the rest of this manual, most examples will
+omit this. To replicate the examples, you may copy and paste the
+displayed input, but you @strong{must} add the
+@code{@w{\relative c'' @{ @}}} like this:
@example
\relative c'' @{
Why omit the braces? Most examples in this manual can be inserted
into the middle of a longer piece of music. For these examples,
-it does not make sense to add @code{\relative c'' @{ @}} -- you
-should not place a @code{\relative} inside another
-@code{\relative}! If we included @code{\relative c'' @{ @}}
+it does not make sense to add @code{@w{\relative c'' @{ @}}} --
+you should not place a @code{\relative} inside another
+@code{\relative}! If we included @code{@w{\relative c'' @{ @}}}
around every example, you would not be able to copy a small
documentation example and paste it inside a longer piece of your
own. Most people want to add material to an existing piece, so we
this image:
@c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
\relative c'' {
c-\markup { \bold \huge { Click here. } }
}
@seealso
-
There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}. But it might be
+@ref{Suggestions for writing LilyPond input files}. But it might be
best to read through the rest of the tutorial first.
@subheading Accidentals
+@cindex accidentals
+@cindex accidentals and key signatures
+@cindex sharp
+@cindex double sharp
+@cindex sharp, double
+@cindex flat
+@cindex double flat
+@cindex flat, double
+
+@funindex es
+@funindex is
+@funindex eses
+@funindex isis
+
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
like German and Dutch. To use other names for
@notation{accidentals}, see @ruser{Note names in other languages}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ees fisis, aeses
@end lilypond
@cindex key signature, setting
@subheading Key signatures
+@cindex key signature
+@cindex major
+@cindex minor
+@cindex accidentals and key signature
+@cindex content vs. layout
+@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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
a1
\key c \minor
In this example:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
d cis fis
@end lilypond
No note has a printed accidental, but you must still add
@code{is} and type @code{cis} and @code{fis} in the input file.
-The code @code{e} does not mean @qq{print a black dot just below
+The code @code{e} does not mean @qq{print a black dot just on
the first line of the staff.} Rather, it means @qq{there is a
note with pitch E-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key aes \major
e
@end lilypond
@node Ties and slurs
@subsection Ties and slurs
-@cindex ties
+@cindex tie
+@cindex slur
+@cindex slur, phrasing
+@cindex phrasing slur
+
+@funindex ~
+@funindex ( ... )
+@funindex \( ... \)
+
@subheading Ties
+
Music Glossary: @rglos{tie}.
A @notation{tie} is created by appending a tilde @code{~} to the
first note being tied.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
g4~ g c2~
c4 ~ c8 a8 ~ a2
@end lilypond
-@cindex slurs
@subheading Slurs
+
Music Glossary: @rglos{slur}.
A @notation{slur} is a curve drawn across many notes. The
starting note and ending note are marked with @code{(} and
@code{)} respectively.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@cindex slurs, phrasing
-@cindex phrasing slurs
@subheading Phrasing slurs
-Music Glossary: @rglos{slurs}, @rglos{phrasing}.
+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.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
indicate the @notation{articulation} of notes, and can be used on
larger groups of notes. Slurs and ties can be nested.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
@node Articulation and dynamics
@subsection Articulation and dynamics
+
+@subheading Articulations
+
@cindex articulation
-@cindex accents
+@cindex accent
@cindex staccato
-@subheading Articulations
Music Glossary: @rglos{articulation}.
Common @notation{articulations} can be added to a note using a
dash @code{-} and a single character:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@cindex fingering
@subheading Fingerings
-Music Glossary: @rglos{fingering}.
+@cindex fingering
+@funindex ^
+@funindex _
+
+Music Glossary: @rglos{fingering}.
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
articulations on the same note. However, in most cases it is best
to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
@subheading Dynamics
+@cindex dynamics
+@cindex decrescendo
+@cindex crescendo
+
+@funindex \f
+@funindex \ff
+@funindex \mp
+@funindex \p
+@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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c\ff c\mf c\p c\pp
@end lilypond
-@cindex dynamics
-@cindex decrescendo
-@cindex crescendo
@notation{Crescendi} and @notation{decrescendi} are started with
the commands @code{\<} and @code{\>}. The next dynamics sign, for
example @code{\f}, will end the (de)crescendo, or the command
@code{\!} can be used:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
@node Adding text
@subsection Adding text
+@cindex text, adding
+@cindex adding text
+@cindex markup
+
+@funindex \markup
+@funindex markup
+
Text may be added to your scores:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^"espr" a_"legato"
@end lilypond
Extra formatting may be added with the @code{\markup} command:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c1^\markup{ \bold espr}
a1_\markup{
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
@node Automatic and manual beams
@subsection Automatic and manual beams
+@cindex beaming
+@cindex automatic beams
+@cindex manual beams
+@cindex beams, automatic
+@cindex beams, manual
+@cindex beams, by hand
+
+@funindex [ ... ]
+@funindex [
+@funindex ]
+@funindex \autoBeamOff
+@funindex autoBeamOff
+@funindex \autoBeamOn
+@funindex autoBeamOn
+
Music Glossary: @rglos{beam}.
-@cindex beams, by hand
All @notation{beams} are drawn automatically:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8 ais d ees r d c16 b a8
@end lilypond
-@noindent
If you do not like the automatic beams, they may be overridden
-manually. Mark the first note to be beamed with @code{[} and the
-last one with @code{]}.
+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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8[ ais] d[ ees r d] a b
@end lilypond
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+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
+@end lilypond
+
@seealso
Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
+@subheading Partial measure
+
@cindex pickup
@cindex anacrusis
@cindex partial measure
-@subheading 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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\partial 8
f8 c2 d
@end lilypond
+@subheading Tuplets
+
@cindex tuplets
@cindex triplets
-@subheading Tuplets
+
+@funindex \times
+@funindex times
Music Glossary: @rglos{note value}, @rglos{triplet}.
Triplets make notes occupy 2/3 of their notated duration, so a
@notation{triplet} has 2/3 as its fraction
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
\times 2/3 { f,8 g16[ a g a] }
\times 2/3 { d4 a8 }
@end lilypond
+@subheading Grace notes
+
@cindex grace notes
@cindex acciaccatura
@cindex appoggiatura
-@subheading Grace notes
+
+@funindex \grace
+@funindex grace
+@funindex \acciaccatura
+@funindex acciaccatura
+@funindex \appoggiatura
+@funindex acciaccatura
Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
@rglos{appoggiatura}.
although they can also be created by prefixing a music expression
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2 \grace { a32[ b] } c2
c2 \appoggiatura b16 c2
c2 \acciaccatura b16 c2
than one voice on the same staff.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Staff groups::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
@node Music expressions explained
@subsection Music expressions explained
+@cindex music expression
+@cindex expression, music
+@cindex compound music expression
+@cindex music expression, compound
+
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4
@end lilypond
expression}. Here we have created a compound music expression
with two notes:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ a4 g4 }
@end lilypond
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ { a4 g } f g }
@end lilypond
-@cindex expression
-@cindex music expression
@subheading Analogy: mathematical expressions
This mechanism is similar to mathematical formulas: a big formula
@subheading Simultaneous music expressions: multiple staves
+@cindex multiple staves
+@cindex staves, multiple
+@cindex polyphony
+@cindex combining expressions in parallel
+@cindex parallel expressions
+@cindex expressions, parallel
+@cindex relative notes and simultaneous music
+@cindex relative notes and parallel expressions
+@cindex simultaneous music and relative notes
+@cindex parallel expressions and relative notes
+
+@funindex <<
+@funindex >>
+@funindex << ... >>
+
Music Glossary: @rglos{polyphony}.
This technique is useful for @notation{polyphonic} music. To
following example, three sequences (all containing two separate
notes) are combined simultaneously:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
{ a4 g }
is one staff; if there is a simultaneous expression, there is more
than one staff.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 <<c e>>
<< { e f } { c <<b d>> } >>
@node Multiple staves
@subsection Multiple staves
+@cindex multiple staves
+@cindex staves, multiple
+@cindex context
+@cindex context, notation
+@cindex notation context
+
+@funindex \new Staff
+@funindex new Staff
+@funindex Staff
+@funindex \new
+@funindex new
+@funindex Score
+@funindex Voice
+@funindex Lyrics
+@funindex ChordNames
+
LilyPond input files are constructed out of music expressions, as
we saw in @ref{Music expressions explained}. If the score begins
with simultaneous music expressions, LilyPond creates multiples
@code{Staff} elements are then combined in parallel with @code{<<}
and @code{>>}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble c }
is because scores with transposing instruments are more common
than polyrhythmic scores.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble \key d \major \time 3/4 c }
@subsection Staff groups
@cindex piano staff
+@cindex staff, piano
@cindex choir staff
+@cindex staff, choir
@cindex grand staff
+@cindex staff, grand
+@cindex staff group
+
+@funindex PianoStaff
+@funindex GrandStaff
+@funindex ChoirStaff
Music Glossary: @rglos{brace}.
Here is a small example:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\new PianoStaff <<
\new Staff { \time 2/4 c4 e g g, }
}
@end lilypond
-Other staff groupings are introduced with
-@code{\new GrandStaff,} suitable for orchestral
-scores, and @code{\new ChoirStaff,} suitable for
-vocal scores. These staff groups each form another
-type of context, one that generates the brace at the
-left end of every system and also controls the extent
-of bar lines.
+Other staff groupings are introduced with @code{\new GrandStaff},
+suitable for orchestral scores, and @w{@code{\new ChoirStaff}},
+suitable for vocal scores. These staff groups each form another
+type of context, one that generates the brace at the left end of
+every system and also controls the extent of bar lines.
@seealso
-Notation Reference: @ruser{Piano music},
+Notation Reference: @ruser{Keyboard and other multi-staff
+instruments},
@ruser{Displaying staves}.
@subsection Combining notes into chords
@cindex chords
+@cindex note durations in chords
+
+@funindex <
+@funindex >
+@funindex < ... >
Music Glossary: @rglos{chord}.
all the notes in a chord must have the same duration, and that the
duration is placed after the closing bracket.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>4 <c f a>2
@end lilypond
brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
@cindex polyphony
@cindex multiple voices
-@cindex voices, more -- on a staff
+@cindex voices, more on one staff
+@cindex single staff polyphony
+@cindex spacer rest
+@cindex rest, spacer
+
+@funindex << ... \\ ... >>
+@funindex <<
+@funindex \\
+@funindex >>
+
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{\\}
+(with @w{@code{@{...@}}}) and combining these simultaneously,
+separating the voices with @code{\\}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 }
same example with a spacer rest (@code{s}) instead of a normal
rest (@code{r}),
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 }
@noindent
Again, these expressions can be nested arbitrarily.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
This section introduces vocal music and simple song sheets.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
@cindex lyrics
@cindex songs
+@funindex \addlyrics
+@funindex addlyrics
+
Music Glossary: @rglos{lyrics}.
Here is the start of the melody to a nursery
-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key g \major
\time 6/8
with the @code{\addlyrics} keyword. Lyrics are entered by
separating each syllable with a space.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
@end lilypond
Note the curly brackets delimiting both the music and the lyrics,
-and the double angle brackets @code{<< ... >>} around the whole
-piece to show that the music and lyrics are to occur at the same
-time.
+and the double angle brackets @w{@code{<< ... >>}} around the
+whole piece to show that the music and lyrics are to occur at the
+same time.
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
-Music Glossary: @rglos{melisma}, @rglos{extender line}.
-
@cindex melisma
@cindex extender line
@cindex hyphens
@cindex underscore
+@cindex lyrics, aligning
+@cindex aligning lyrics
+@cindex lyrics, multi-syllable words
+@cindex words with multiple syllables in lyrics
-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}. Let's extend it:
+Music Glossary: @rglos{melisma}, @rglos{extender line}.
-@lilypond[verbatim,quote,ragged-right]
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}. Let's extend it:
+
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 b8 c4 a8 d4 b8 g4
g8 a4 b8 c b a d4 b8 g4.
}
\addlyrics {
@end lilypond
We see the extra lyrics do not align properly with the notes. The
-word @q{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 ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them (see
-@ref{Ties and slurs}):
+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 ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them, for
+details, see @ref{Ties and slurs}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
+ d4 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;
}
->>
+>>
@end lilypond
-Here we have also used manual beaming (the square brackets @code{[
-]} ) to generate the beaming which is customarily used with lyrics
-(see @ref{Automatic and manual beams}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 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;
+ }
+>>
+@end lilypond
As an alternative to using slurs, the melismata may be indicated
-in just the lyrics by using an underscore, @code{_}, for each
-note that should be included in the melisma:
+in just the lyrics by using an underscore @code{_} for each note
+that should be included in the melisma:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
\time 6/8
- d4 b8 c4 a8 d4 b8 g4
+ d4 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;
}
->>
+>>
@end lilypond
If a syllable extends over several notes or a single very long
note an @notation{extender line} is usually drawn from the
syllable extending under all the notes for that syllable. It is
entered as two underscores @code{__}. Here is an example from the
-first three bars of Dido's Lament, from Purcell's Dido and Æneas:
+first three bars of @notation{Dido's Lament}, from Purcell's
+@notation{Dido and Æneas}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
\time 3/2
- g2 a bes bes( a)
+ g2 a bes bes( a)
b c4.( bes8 a4. g8 fis4.) g8 fis1
}
\addlyrics {
- When I am laid,
+ When I am laid,
am laid __ in earth,
}
>>
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
+ d4 g4 g a8( b) g4 g4
b8( c) d4 d e4 c2
}
\addlyrics {
- A -- way in a __ man -- ger,
+ A -- way in a __ man -- ger,
no __ crib for a bed, __
}
>>
Some lyrics, especially those in Italian, require the opposite:
setting more than one syllable to a single note. This is
achieved by linking the syllables together with a single
-underscore @code{_} (with no spaces), or enclosing them in
-quotes. Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
\key c \major
\time 6/8
- c4.~ c8 d b c([ d)] b c d b c
+ c4.~ c8 d b c([ d]) b c d b c
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
@node Lyrics to multiple staves
@subsection Lyrics to multiple staves
+@cindex lyrics and multiple staves
+@cindex multiple staves and lyrics
+
The simple approach using @code{\addlyrics} can be used for
placing lyrics under more than one staff. Here is an
-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
- {
- \time 6/8
- \partial 8
- }
\relative c'' {
\key f \major
- c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ \time 6/8
+ \partial 8
+ c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
\relative c' {
\key f \major
- r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ \time 6/8
+ \partial 8
+ r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
>>
@end lilypond
-@noindent
-but scores any more complex than this simple example are
-better produced by separating out the staff structure
-from the notes and lyrics with variables. These are
-discussed in @ref{Organizing pieces with variables}.
+Scores any more complex than this simple example are better
+produced by separating out the score structure from the notes and
+lyrics with variables. These are discussed in @ref{Organizing
+pieces with variables}.
@seealso
introduction to the rest of the manual.
@menu
-* Organizing pieces with variables::
-* Version number::
-* Adding titles::
-* Absolute note names::
-* After the tutorial::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
@node Organizing pieces with variables
@subsection Organizing pieces with variables
+@cindex variables
+@cindex variables, defining
+@cindex identifiers
+@cindex macros
+@cindex assigning variables
+@cindex using variables
+@cindex variables, using
+@cindex variables, characters allowed in
+@cindex characters allowed in variables
+
When all of the elements discussed earlier are combined to produce
larger files, the music expressions get a lot bigger. In
polyphonic music with many staves, the input files can become very
later by placing a backslash in front of the name
(@code{\namedMusic}, just like a normal LilyPond command).
-@lilypond[verbatim,quote,ragged-right]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
+@lilypond[verbatim,quote]
+violin = \new Staff {
+ \relative c'' {
+ a4 b c b
+ }
+}
+cello = \new Staff {
+ \relative c {
+ \clef bass
+ e2 d
+ }
+}
{
<<
\violin
of another variable, giving a way of shortening the input if a
section of music is repeated many times.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
tripletA = \times 2/3 { c,8 e g }
barA = { \tripletA \tripletA \tripletA \tripletA }
\aFivePaper
line-width = \width
@}
-@{ c4^\name @}
+@{
+ c4^\name
+@}
@end example
@subsection Version number
@cindex versioning
+@cindex version
+@cindex version number
+@cindex upgrades
+@cindex future upgrades
+@cindex updating files
+@cindex files, updating
+
+@funindex \version
+@funindex version
+@funindex convert-ly
+
The @code{\version} statement records the version of LilyPond that
was used to write the file:
These annotations make future upgrades of LilyPond go more
smoothly. Changes in the syntax are handled with a special
-program, @file{convert-ly}, and it uses @code{\version} to
+program, @command{convert-ly}, and it uses @code{\version} to
determine what rules to apply. For details, see
@rprogram{Updating files with convert-ly}.
@node Adding titles
@subsection Adding titles
+@cindex title
+@cindex headers
+@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
main music expression; the @code{\header} block is usually placed
-underneath the @ref{Version number}.
+underneath the version number.
@example
\version @w{"@version{}"}
@node Absolute note names
@subsection Absolute note names
+@cindex note names
+@cindex note names, absolute
+@cindex absolute mode
+@cindex absolute values for pitches
+@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.
@code{g,} will always mean the note on the bottom staff of the
bass clef.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c' b g, g,
Here is a four-octave scale:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c, d, e, f,
As you can see, writing a melody in the treble clef involves a lot
of quote @code{'} marks. Consider this fragment from Mozart:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
\key a \major
\time 6/8
of errors. With @code{\relative}, the previous example is much
easier to read and type:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key a \major
\time 6/8
@node After the tutorial
@subsection After the tutorial
-FIXME: rewrite slightly after the rest of the LM has been
-stabilized. Translators, ignore this section for now.
-
After finishing the tutorial, you should probably try writing a
piece or two. Start by adding notes to one of the
@ref{Templates}. If you need any notation that was not covered in
wish to skim these chapters right now, and come back to them after
you have more experience.
-
-
+In this tutorial and in the rest of the Learning Manual, there is a
+paragraph @strong{See also} at the end of each section, which contains
+cross-references to other sections: you should not follow these
+cross-references at first reading; when you have read all of the
+Learning Manual, you may want to read some sections again and follow
+cross-references for further reading.
+
+If you have not done so already, @emph{please} read @ref{About the
+documentation}. There is a lot of information about LilyPond, so
+newcomers often do not know where they should look for help. If
+you spend five minutes reading that section carefully, you might
+save yourself hours of frustration looking in the wrong places!
projects / lilypond.git / blobdiff