1 @c -*- coding: utf-8; mode: texinfo; -*-
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
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14 Tutorial guidelines: (different from policy.txt!)
15 - unless you have a really good reason, use either
16 @lilypond[verbatim,quote]
18 @lilypond[verbatim,quote,relative=2]
20 Don't use any other relative=X commands.
22 - use "aes" and "ees" instead of "as" and "es". I know it's not
23 correct Dutch naming, but let's not confuse people with this
24 until we get to the Basic notation chapter.
26 - Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
27 portions of the tutorial.
33 @chapter Common notation
35 This chapter explains how to create beautiful printed music
36 containing common musical notation, following the material in
40 * Single staff notation::
41 * Multiple notes at once::
47 @node Single staff notation
48 @section Single staff notation
50 This section introduces common notation that is used for one voice
54 * Bar lines and bar checks::
55 * Accidentals and key signatures::
57 * Articulation and dynamics::
59 * Automatic and manual beams::
60 * Advanced rhythmic commands::
63 @node Bar lines and bar checks
64 @subsection Bar lines and bar checks
72 @unnumberedsubsubsec Bar lines
75 Single bar lines are automatically placed in the music so
76 there is no need to add them manually. Other types of bar
77 lines are added using @code{\bar}, for example
78 @code{\bar "||"} for a double bar line, or @code{\bar "|."}
79 for an ending bar line. For a full list of bar lines see
80 the @ruser{Bar lines}.
82 @lilypond[verbatim,quote,relative=2]
83 g1 e1 \bar "||" c2. c'4 \bar "|."
87 @unnumberedsubsubsec Bar checks
90 Though not strictly necessary, @emph{bar checks} should be
91 used in the input code to show where bar lines are expected
92 to fall. They are entered using the bar symbol, @code{|}.
93 With bar checks, the program can verify that you've entered
94 durations that make each measure add up to the correct
95 length. Bar checks also make your input code easier to
96 read, since they help to keep things organized.
98 @lilypond[verbatim,quote,relative=2]
99 g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 |
104 @ruser{Bar and bar number checks}.
107 @node Accidentals and key signatures
108 @subsection Accidentals and key signatures
113 * Warning key signatures and pitches::
116 @warning{New users are often confused by these -- please read the
117 warning at the bottom of this page, especially if you are not
118 familiar with music theory!}
121 @unnumberedsubsubsec Accidentals
125 @cindex accidentals and key signatures
128 @cindex sharp, double
138 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
139 @rglos{double flat}, @rglos{accidental}.
141 A @notation{sharp} pitch is made by adding @code{is} to the name,
142 and a @notation{flat} pitch by adding @code{es}. As you might
143 expect, a @notation{double sharp} or @notation{double flat} is
144 made by adding @code{isis} or @code{eses}. This syntax is derived
145 from note naming conventions in Nordic and Germanic languages,
146 like German and Dutch. To use other names for
147 @notation{accidentals}, see @ruser{Note names in other languages}.
149 @lilypond[verbatim,quote,relative=2]
150 cis4 ees fisis, aeses
153 @cindex key signature, setting
156 @unnumberedsubsubsec Key signatures
159 @cindex key signature
162 @cindex accidentals and key signature
163 @cindex content vs. layout
164 @cindex layout vs. content
173 Music Glossary: @rglos{key signature}, @rglos{major},
176 The @notation{key signature} is set with the command @code{\key}
177 followed by a pitch and @code{\major} or @code{\minor}.
179 @lilypond[verbatim,quote,relative=2]
188 @node Warning key signatures and pitches
189 @unnumberedsubsubsec Warning: key signatures and pitches
192 Music Glossary: @rglos{accidental}, @rglos{key signature},
193 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
194 @rglos{transposition}, @rglos{Pitch names}.
196 To determine whether to print an @notation{accidental}, LilyPond
197 examines the pitches and the @notation{key signature}. The key
198 signature only affects the @emph{printed} accidentals, not the
199 note's @notation{pitch}! This is a feature that often causes
200 confusion to newcomers, so let us explain it in more detail.
202 LilyPond makes a clear distinction between musical content and
203 layout. The alteration (@notation{flat}, @notation{natural sign} or
204 @notation{sharp}) of a note is part of the pitch, and is therefore
205 musical content. Whether an accidental (a @emph{printed} flat,
206 natural or sharp sign) is printed in front of the corresponding
207 note is a question of layout. Layout is something that follows
208 rules, so accidentals are printed automatically according to those
209 rules. The pitches in your music are works of art, so they will
210 not be added automatically, and you must enter what you want to
215 @lilypond[verbatim,quote,relative=2]
221 No note has a printed accidental, but you must still add
222 @code{is} and type @code{cis} and @code{fis} in the input file.
224 The code @code{b} does not mean @qq{print a black dot just on
225 the middle line of the staff.} Rather, it means @qq{there is a
226 note with pitch B-natural.} In the key of A-flat major, it
227 @emph{does} get an accidental:
229 @lilypond[verbatim,quote,relative=2]
234 If the above seems confusing, consider this: if you were playing a
235 piano, which key would you hit? If you would press a black key,
236 then you @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note
239 Adding all alterations explicitly might require a little more
240 effort when typing, but the advantage is that
241 @notation{transposing} is easier, and accidentals can be printed
242 according to different conventions. For some examples of how
243 accidentals can be printed according to different rules, see
244 @ruser{Automatic accidentals}.
249 @ruser{Note names in other languages},
251 @ruser{Automatic accidentals},
252 @ruser{Key signature}.
256 @subsection Ties and slurs
260 @cindex slur, phrasing
261 @cindex phrasing slur
271 * Warnings slurs vs. ties::
275 @unnumberedsubsubsec Ties
277 Music Glossary: @rglos{tie}.
279 A @notation{tie} is created by appending a tilde @code{~} to the
280 first of the two notes being tied.
282 @lilypond[verbatim,quote,relative=2]
283 g4~ g c2~ | c4~ c8 a~ a2 |
286 @cindex bare duration
287 @cindex duration, bare
289 When the pitch does not change, as is always the case with tied notes,
290 subsequent pitches may be omitted, specifying just the bare duration:
292 @lilypond[verbatim,quote,relative=2]
293 g4~ 4 c2~ | 4~ 8 a~ 2 |
296 This shorthand may be useful in other places where the rhythm changes
297 with an unchanging pitch, but remember a bare duration will attach to
298 the preceding pitch, making a single note, if only white space
303 @unnumberedsubsubsec Slurs
306 Music Glossary: @rglos{slur}.
308 A @notation{slur} is a curve drawn across many notes. The
309 starting note and ending note are marked with @code{(} and
310 @code{)} respectively.
312 @lilypond[verbatim,quote,relative=2]
313 d4( c16) cis( d e c cis d) e( d4)
317 @unnumberedsubsubsec Phrasing slurs
320 Music Glossary: @rglos{slur}, @rglos{phrasing}.
322 Slurs to indicate longer @notation{phrasing} can be entered with
323 @code{\(} and @code{\)}. You can have both @notation{slurs}
324 and phrasing slurs at the same time, but you cannot have
325 simultaneous slurs or simultaneous phrasing slurs.
327 @lilypond[verbatim,quote,relative=2]
328 g4\( g8( a) b( c) b4\)
333 @cindex slurs versus ties
335 @node Warnings slurs vs. ties
336 @unnumberedsubsubsec Warnings: slurs vs. ties
339 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
341 A @notation{slur} looks like a @notation{tie}, but it has a
342 different meaning. A tie simply makes the first note longer, and
343 can only be used on pairs of notes with the same pitch. Slurs
344 indicate the @notation{articulation} of notes, and can be used on
345 larger groups of notes. Slurs and ties can be nested.
347 @lilypond[verbatim,quote,relative=2]
356 @ruser{Phrasing slurs}.
359 @node Articulation and dynamics
360 @subsection Articulation and dynamics
369 @unnumberedsubsubsec Articulations
376 Music Glossary: @rglos{articulation}.
378 Common @notation{articulations} can be added to a note using a
379 dash @code{-} and a single character:
381 @lilypond[verbatim,quote,relative=2]
387 @unnumberedsubsubsec Fingerings
395 Music Glossary: @rglos{fingering}.
397 Similarly, @notation{fingering} indications can be added to a note
398 using a dash (@code{-}) and the digit to be printed:
400 @lilypond[verbatim,quote,relative=2]
404 Articulations and fingerings are usually placed automatically, but
405 you can specify a direction by replacing the dash (@code{-}) with
406 @code{^} (up) or @code{_} (down). You can also use multiple
407 articulations on the same note. However, in most cases it is best
408 to let LilyPond determine the articulation directions.
410 @lilypond[verbatim,quote,relative=2]
411 c4_-^1 d^. f^4_2-> e^-_+
415 @unnumberedsubsubsec Dynamics
435 Music Glossary: @rglos{dynamics}, @rglos{crescendo},
438 @notation{Dynamic} signs are made by adding the markings (with a
439 backslash) to the note:
441 @lilypond[verbatim,quote,relative=2]
446 @notation{Crescendi} and @notation{decrescendi} are started with
447 the commands @code{\<} and @code{\>}. The next dynamics sign, for
448 example @code{\f}, will end the (de)crescendo, or the command
449 @code{\!} can be used:
451 @lilypond[verbatim,quote,relative=2]
458 @ruser{Articulations and ornamentations},
459 @ruser{Fingering instructions},
464 @subsection Adding text
473 Text may be added to your scores:
475 @lilypond[verbatim,quote,relative=2]
479 Extra formatting may be added with the @code{\markup} command:
481 @lilypond[verbatim,quote,relative=2]
482 c2^\markup { \bold espr }
484 \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
491 @ruser{Writing text}.
494 @node Automatic and manual beams
495 @subsection Automatic and manual beams
498 @cindex automatic beams
500 @cindex beams, automatic
501 @cindex beams, manual
502 @cindex beams, by hand
507 @funindex \autoBeamOff
508 @funindex autoBeamOff
509 @funindex \autoBeamOn
512 Music Glossary: @rglos{beam}.
514 All @notation{beams} are drawn automatically:
516 @lilypond[verbatim,quote,relative=2]
517 a8 ais d ees r d c16 b a8
520 If you do not like the automatic beams, they may be overridden
521 manually. To correct just an occasional beam mark the first note
522 to be beamed with @code{[} and the last one with @code{]}.
524 @lilypond[verbatim,quote,relative=2]
525 a8[ ais] d[ ees r d] c16 b a8
528 If you want to turn off automatic beaming entirely or for an
529 extended section of music, use the command @code{\autoBeamOff}
530 to turn off automatic beaming and @code{\autoBeamOn} to turn it
533 @lilypond[verbatim,quote,relative=2]
543 @ruser{Automatic beams},
544 @ruser{Manual beams}.
547 @node Advanced rhythmic commands
548 @subsection Advanced rhythmic commands
556 @node Partial measure
557 @unnumberedsubsubsec Partial measure
562 @cindex partial measure
567 Music Glossary: @rglos{anacrusis}.
569 A pickup (or @notation{anacrusis}) is entered with the keyword
570 @code{\partial}. It is followed by a duration: @code{\partial 4}
571 is a quarter note pickup and @code{\partial 8} an eighth note.
573 @lilypond[verbatim,quote,relative=2]
579 @unnumberedsubsubsec Tuplets
588 Music Glossary: @rglos{note value}, @rglos{triplet}.
590 @notation{Tuplets} are made with the @code{\tuplet} keyword. It
591 takes two arguments: a fraction and a piece of music. The
592 fraction is the number of tuplet notes over the number
593 of notes normally filling the same duration.
594 For triplets, there are three notes instead of two, so
595 @notation{triplets} have 3/2 as their fraction.
597 @lilypond[verbatim,quote,relative=2]
598 \tuplet 3/2 { f8 g a }
599 \tuplet 3/2 { c8 r c }
600 \tuplet 3/2 { f,8 g16[ a g a] }
601 \tuplet 3/2 { d4 a8 }
605 @unnumberedsubsubsec Grace notes
614 @funindex \acciaccatura
615 @funindex acciaccatura
616 @funindex \appoggiatura
617 @funindex acciaccatura
619 Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
620 @rglos{appoggiatura}.
622 @notation{Grace notes} are created with the @code{\grace} command,
623 although they can also be created by prefixing a music expression
624 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
626 @lilypond[verbatim,quote,relative=2]
627 c2 \grace { a32 b } c2 |
628 c2 \appoggiatura b16 c2 |
629 c2 \acciaccatura b16 c2 |
640 @node Multiple notes at once
641 @section Multiple notes at once
643 This section introduces having more than one note at the same
644 time: multiple instruments, multiple staves for a single
645 instrument (i.e. piano), and chords.
647 Polyphony in music refers to having more than one voice occurring
648 in a piece of music. Polyphony in LilyPond refers to having more
649 than one voice on the same staff.
652 * Music expressions explained::
655 * Combining notes into chords::
656 * Single staff polyphony::
660 @node Music expressions explained
661 @subsection Music expressions explained
663 @cindex music expression
664 @cindex expression, music
665 @cindex compound music expression
666 @cindex music expression, compound
669 * Analogy mathematical expressions::
670 * Simultaneous music expressions multiple staves::
671 * Simultaneous music expressions single staff::
674 In LilyPond input files, music is represented by @emph{music
675 expressions}. A single note is a music expression:
677 @lilypond[verbatim,quote,relative=2]
681 Enclosing a note in braces creates a @emph{compound music
682 expression}. Here we have created a compound music expression
685 @lilypond[verbatim,quote,relative=2]
689 Putting a group of music expressions (e.g. notes) in braces means
690 that they are in sequence (i.e. each one follows the previous
691 one). The result is another music expression:
693 @lilypond[verbatim,quote,relative=2]
697 @node Analogy mathematical expressions
698 @unnumberedsubsubsec Analogy: mathematical expressions
701 This mechanism is similar to mathematical formulas: a big formula
702 is created by composing small formulas. Such formulas are called
703 expressions, and they can contain other expressions, so you can
704 make arbitrarily complex and large expressions. For example,
713 ((1 + 2) * 3) / (4 * 5)
716 This is a sequence of expressions, where each expression is
717 contained in the next (larger) one. The simplest expressions are
718 numbers, and larger ones are made by combining expressions with
719 operators (like @code{+}, @code{*} and @code{/}) and parentheses.
720 Like mathematical expressions, music expressions can be nested
721 arbitrarily deep, which is necessary for complex music like
725 @node Simultaneous music expressions multiple staves
726 @unnumberedsubsubsec Simultaneous music expressions: multiple staves
729 @cindex multiple staves
730 @cindex staves, multiple
732 @cindex combining expressions in parallel
733 @cindex parallel expressions
734 @cindex expressions, parallel
735 @cindex relative notes and simultaneous music
736 @cindex relative notes and parallel expressions
737 @cindex simultaneous music and relative notes
738 @cindex parallel expressions and relative notes
744 Music Glossary: @rglos{polyphony}.
746 This technique is useful for @notation{polyphonic} music. To
747 enter music with more voices or more staves, we combine
748 expressions in parallel. To indicate that two voices should play
749 at the same time, simply enter a simultaneous combination of music
750 expressions. A @q{simultaneous} music expression is formed by
751 enclosing expressions inside @code{<<} and @code{>>}. In the
752 following example, three sequences (all containing two separate
753 notes) are combined simultaneously:
755 @lilypond[verbatim,quote]
765 Note that we have indented each level of the input with a
766 different amount of space. LilyPond does not care how much (or
767 little) space there is at the beginning of a line, but indenting
768 LilyPond code like this makes it much easier for humans to read.
770 @warning{each note is relative to the previous note in the input,
771 only the first is relative to the @code{c''} in the initial
772 @code{@bs{}relative} command.}
775 @node Simultaneous music expressions single staff
776 @unnumberedsubsubsec Simultaneous music expressions: single staff
779 To determine the number of staves in a piece, LilyPond looks at
780 the beginning of the first expression. If there is a single note,
781 there is one staff; if there is a simultaneous expression, there
782 is more than one staff. The following example shows a complex
783 expression, but as it begins with a single note it will be set
784 out on a single staff.
786 @lilypond[verbatim,quote]
789 << { e2 f } { c2 <<b d>> } >> |
793 @node Multiple staves
794 @subsection Multiple staves
796 @cindex multiple staves
797 @cindex staves, multiple
799 @cindex context, notation
800 @cindex notation context
812 LilyPond input files are constructed out of music expressions, as
813 we saw in @ref{Music expressions explained}. If the score begins
814 with simultaneous music expressions, LilyPond creates multiples
815 staves. However, it is easier to see what happens if we create
816 each staff explicitly.
818 To print more than one staff, each piece of music that makes up a
819 staff is marked by adding @code{\new Staff} before it. These
820 @code{Staff} elements are then combined in parallel with @code{<<}
823 @lilypond[verbatim,quote]
826 \new Staff { \clef "treble" c4 }
827 \new Staff { \clef "bass" c,,4 }
832 The command @code{\new} introduces a @q{notation context.} A
833 notation context is an environment in which musical events (like
834 notes or @code{\clef} commands) are interpreted. For simple
835 pieces, such notation contexts are created automatically. For
836 more complex pieces, it is best to mark contexts explicitly.
838 There are several types of contexts. @code{Score}, @code{Staff},
839 and @code{Voice} handle melodic notation, while @code{Lyrics} sets
840 lyric texts and @code{ChordNames} prints chord names.
842 In terms of syntax, prepending @code{\new} to a music expression
843 creates a bigger music expression. In this way it resembles the
844 minus sign in mathematics. The formula @math{(4+5)} is an
845 expression, so @math{-(4+5)} is a bigger expression.
847 Time signatures entered in one staff affect all other staves by
848 default. On the other hand, the key signature of one staff does
849 @emph{not} affect other staves. This different default behavior
850 is because scores with transposing instruments are more common
851 than polyrhythmic scores.
853 @lilypond[verbatim,quote]
856 \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
857 \new Staff { \clef "bass" c,,4 }
863 @subsection Staff groups
882 Piano music is typeset in two staves connected by a
884 Printing such a staff is similar to the polyphonic example in
885 @ref{Multiple staves}. However, now this entire expression is
886 inserted inside a @code{PianoStaff}:
895 Here is a small example:
897 @lilypond[verbatim,quote]
900 \new Staff { \time 2/4 c4 e | g g, | }
901 \new Staff { \clef "bass" c,,4 c' | e c | }
906 Other staff groupings are introduced with @code{\new GrandStaff},
907 suitable for orchestral scores, and @w{@code{\new ChoirStaff}},
908 suitable for vocal scores. These staff groups each form another
909 type of context, one that generates the brace at the left end of
910 every system and also controls the extent of bar lines.
915 @ruser{Keyboard and other multi-staff instruments},
916 @ruser{Displaying staves}.
919 @node Combining notes into chords
920 @subsection Combining notes into chords
922 Music Glossary: @rglos{chord}
925 @cindex note durations in chords
931 We saw earlier how notes can be combined into @notation{chords} by
932 indicating they are simultaneous by enclosing them in double angle
933 brackets. However, the normal way of indicating a chord is to
934 surround the pitches with @emph{single} angle brackets. Note that
935 all the notes in a chord must have the same duration, and that the
936 duration is placed after the closing bracket.
938 @lilypond[verbatim,quote,relative=2]
942 Think of chords as almost equivalent to single notes:
943 almost everything you can attach to a single note can be attached
944 to a chord, and everything must go @emph{outside} the angle
945 brackets. For example, you can combine markings like beams and
946 ties with chords. They must be placed outside the angle brackets.
948 @lilypond[verbatim,quote,relative=2]
949 r4 <c e g>~ <c f a>2 |
950 <c e g>8[ <c f a> <c e g> <c f a>]
951 <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
952 r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
957 @ruser{Chorded notes}.
960 @node Single staff polyphony
961 @subsection Single staff polyphony
964 @cindex multiple voices
965 @cindex voices, more on one staff
966 @cindex single staff polyphony
970 @funindex << ... \\ ... >>
975 Polyphonic music in lilypond, while not difficult, uses concepts
976 that we haven't discussed yet, so we're not going to introduce
977 them here. Instead, the following sections introduce these concepts
978 and explain them thoroughly.
982 @ref{Voices contain music}.
985 @ruser{Simultaneous notes}.
990 This section introduces vocal music and simple song sheets.
993 * Setting simple songs::
994 * Aligning lyrics to a melody::
995 * Lyrics to multiple staves::
999 @node Setting simple songs
1000 @subsection Setting simple songs
1005 @funindex \addlyrics
1008 Music Glossary: @rglos{lyrics}.
1010 Here is the start of the melody to a nursery
1011 rhyme, @notation{Girls and boys come out to play}:
1013 @lilypond[verbatim,quote]
1017 d4 b8 c4 a8 | d4 b8 g4
1021 The @notation{lyrics} can be set to these notes, combining both
1022 with the @code{\addlyrics} keyword. Lyrics are entered by
1023 separating each syllable with a space.
1025 @lilypond[verbatim,quote]
1030 d4 b8 c4 a8 | d4 b8 g4
1033 Girls and boys come | out to play,
1038 Note the double angle brackets @w{@code{<<@dots{}>>}} around the
1039 whole piece to show that the music and lyrics are to occur at the
1042 @node Aligning lyrics to a melody
1043 @subsection Aligning lyrics to a melody
1046 @cindex extender line
1049 @cindex lyrics, aligning
1050 @cindex aligning lyrics
1051 @cindex lyrics, multi-syllable words
1052 @cindex words with multiple syllables in lyrics
1054 Music Glossary: @rglos{melisma}, @rglos{extender line}.
1056 The next line in the nursery rhyme is @notation{The moon doth
1057 shine as bright as day}. Let's extend it:
1059 @lilypond[verbatim,quote]
1064 d4 b8 c4 a8 | d4 b8 g4 g8 |
1065 a4 b8 c b a | d4 b8 g4. |
1068 Girls and boys come | out to play,
1069 The | moon doth shine as | bright as day; |
1074 If you compile the code in the example above, you should see some
1075 warnings in the console output:
1078 song.ly:12:29: warning: barcheck failed at: 5/8
1079 The | moon doth shine as
1081 song.ly:12:46: warning: barcheck failed at: 3/8
1082 The | moon doth shine as | bright as day;
1086 This is a good example of the usefulness of bar checks. Now,
1087 looking at the music, we see that the extra lyrics do not align
1088 properly with the notes. The word @notation{shine} should be sung
1089 on two notes, not one. This is called a @notation{melisma}, a
1090 single syllable sung to more than one note. There are several
1091 ways to spread a syllable over multiple notes, the simplest being
1092 to add a slur across them, for details, see @ref{Ties and slurs}:
1094 @lilypond[verbatim,quote]
1099 d4 b8 c4 a8 | d4 b8 g4 g8 |
1100 a4 b8 c( b) a | d4 b8 g4. |
1103 Girls and boys come | out to play,
1104 The | moon doth shine as | bright as day; |
1109 The words now line up correctly with the notes, but the automatic
1110 beaming for the notes above @notation{shine as} does not look right.
1111 We can correct this by inserting manual beaming commands to override
1112 the automatic beaming here, for details, see @ref{Automatic and
1115 @lilypond[verbatim,quote]
1120 d4 b8 c4 a8 | d4 b8 g4 g8 |
1121 a4 b8 c([ b]) a | d4 b8 g4. |
1124 Girls and boys come | out to play,
1125 The | moon doth shine as | bright as day; |
1130 As an alternative to using slurs, the melismata may be indicated
1131 in just the lyrics by using an underscore @code{_} for each note
1132 that should be included in the melisma:
1134 @lilypond[verbatim,quote]
1139 d4 b8 c4 a8 | d4 b8 g4 g8 |
1140 a4 b8 c[ b] a | d4 b8 g4. |
1143 Girls and boys come | out to play,
1144 The | moon doth shine _ as | bright as day; |
1149 If a syllable extends over several notes or a single very long
1150 note an @notation{extender line} is usually drawn from the
1151 syllable extending under all the notes for that syllable. It is
1152 entered as two underscores @code{__}. Here is an example from the
1153 first three bars of @notation{Dido's Lament}, from Purcell's
1154 @notation{Dido and Æneas}:
1156 @lilypond[verbatim,quote]
1161 g2 a bes | bes2( a) b2 |
1162 c4.( bes8 a4. g8 fis4.) g8 | fis1
1166 am | laid __ in | earth,
1171 None of the examples so far have involved words containing more
1172 than one syllable. Such words are usually split one syllable to a
1173 note, with hyphens between syllables. Such hyphens are entered as
1174 two dashes, resulting in a centered hyphen between the syllables.
1175 Here is an example showing this and everything we have learned so
1176 far about aligning lyrics to notes.
1178 @c no ragged-right here because otherwise the hyphens get lost,
1179 @c but the example is long enough to avoid looking strange.
1180 @lilypond[verbatim,quote,noragged-right]
1186 d4 | g4 g a8( b) | g4 g b8( c) |
1190 A -- | way in a __ | man -- ger,
1191 no __ | crib for a | bed, __
1196 Some lyrics, especially those in Italian, require the opposite:
1197 setting more than one syllable to a single note. This is
1198 achieved by linking the syllables together with a single
1199 underscore @code{_} (with no spaces), or enclosing them in quotes.
1200 Here's an example from Rossini's @notation{Figaro}, where
1201 @notation{al} has to be sung on the same note as the @notation{go} of
1202 @notation{Largo} in Figaro's aria @notation{Largo al factotum}:
1204 @c no ragged-right here because otherwise the hyphens get lost,
1205 @c but the example is long enough to avoid looking strange.
1206 @lilypond[verbatim,quote,noragged-right]
1212 c4.~ 8 d b | c8([ d]) b c d b | c8
1215 Lar -- go_al fac -- | to -- tum del -- la cit -- | tÃ
1223 @ruser{Vocal music}.
1226 @node Lyrics to multiple staves
1227 @subsection Lyrics to multiple staves
1229 @cindex lyrics and multiple staves
1230 @cindex multiple staves and lyrics
1232 The simple approach using @code{\addlyrics} can be used for
1233 placing lyrics under more than one staff. Here is an
1234 example from Handel's @notation{Judas Maccabæus}:
1236 @lilypond[verbatim,quote]
1242 c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
1245 Let | flee -- cy flocks the | hills a -- | dorn, __
1251 r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4
1254 Let | flee -- cy flocks the | hills a -- dorn,
1259 Scores any more complex than this simple example are better
1260 produced by separating out the score structure from the notes and
1261 lyrics with variables. These are discussed in @ref{Organizing
1262 pieces with variables}.
1267 @ruser{Vocal music}.
1271 @section Final touches
1273 This is the final section of the tutorial; it demonstrates how to
1274 add the final touches to simple pieces, and provides an
1275 introduction to the rest of the manual.
1278 * Organizing pieces with variables::
1280 * Absolute note names::
1281 * After the tutorial::
1285 @node Organizing pieces with variables
1286 @subsection Organizing pieces with variables
1289 @cindex variables, defining
1292 @cindex assigning variables
1293 @cindex using variables
1294 @cindex variables, using
1295 @cindex variables, characters allowed in
1296 @cindex characters allowed in variables
1298 When all of the elements discussed earlier are combined to produce
1299 larger files, the music expressions get a lot bigger. In
1300 polyphonic music with many staves, the input files can become very
1301 confusing. We can reduce this confusion by using
1304 With variables (also known as identifiers or macros), we can break
1305 up complex music expressions. A variable is assigned as
1309 namedMusic = @{ @dots{} @}
1312 The contents of the music expression @code{namedMusic} can be used
1313 later by placing a backslash in front of the name
1314 (@code{\namedMusic}, just like a normal LilyPond command).
1316 @lilypond[verbatim,quote]
1317 violin = \new Staff {
1323 cello = \new Staff {
1339 The name of a variable must have alphabetic characters only, no
1340 numbers, underscores, or dashes.
1342 Variables must be defined @emph{before} the main music
1343 expression, but may be used as many times as required anywhere after
1344 they have been defined. They may even be used in a later definition
1345 of another variable, giving a way of shortening the input if a
1346 section of music is repeated many times.
1348 @lilypond[verbatim,quote]
1349 tripletA = \tuplet 3/2 { c,8 e g }
1350 barA = { \tripletA \tripletA \tripletA \tripletA }
1357 Variables may be used for many other types of objects in
1358 the input. For example,
1363 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1366 Depending on its contents, the variable can be used in different
1367 places. The following example uses the above variables:
1382 @subsection Adding titles
1386 @cindex header block
1391 The title, composer, opus number, and similar information are
1392 entered in the @code{\header} block. This exists outside of the
1393 main music expression; the @code{\header} block is usually placed
1394 underneath the version number.
1397 \version @w{"@version{}"}
1406 @dots{} music @dots{}
1410 When the file is processed, the title and composer are printed
1411 above the music. More information on titling can be found in
1412 @ruser{Creating titles headers and footers}.
1415 @node Absolute note names
1416 @subsection Absolute note names
1419 @cindex note names, absolute
1420 @cindex absolute mode
1421 @cindex absolute values for pitches
1422 @cindex pitches, absolute values
1423 @cindex absolute note names
1425 So far we have always used @code{\relative} to define pitches.
1426 This is usually the fastest way to enter most music. Without
1427 @code{\relative}, pitches are interpreted in absolute mode.
1429 In this mode, LilyPond treats all pitches as absolute values. A
1430 @code{c'} will always mean middle C, a @code{b} will always mean
1431 the note one step below middle C, and a @code{g,} will always mean
1432 the note on the bottom staff of the bass clef.
1434 @lilypond[verbatim,quote]
1442 Here is a four-octave scale:
1444 @lilypond[verbatim,quote]
1459 As you can see, writing a melody in the treble clef involves a lot
1460 of quote @code{'} marks. Consider this fragment from Mozart:
1462 @lilypond[verbatim,quote]
1466 cis''8. d''16 cis''8 e''4 e''8 |
1467 b'8. cis''16 b'8 d''4 d''8 |
1471 All these quotes makes the input less readable and they are a source
1472 of errors. With @code{\relative}, the previous example is much
1473 easier to read and type:
1475 @lilypond[verbatim,quote]
1479 cis8. d16 cis8 e4 e8 |
1480 b8. cis16 b8 d4 d8 |
1484 If you make a mistake with an octave mark (@code{'} or @code{,})
1485 while working in @code{\relative} mode, it is very obvious -- many
1486 notes will be in the wrong octave. When working in absolute mode,
1487 a single mistake will not be as visible, and will not be as easy
1490 However, absolute mode is useful for music which has large
1491 intervals, and is extremely useful for computer-generated LilyPond
1492 files. When cutting and pasting melody fragments, absolute mode
1493 preserves the original octave.
1495 Sometimes music is arranged in more complex ways. If you are
1496 using @code{\relative} inside of @code{\relative}, the outer and
1497 inner relative sections are independent:
1499 @lilypond[verbatim,quote]
1500 \relative c { c'4 \relative c'' { f g } c }
1504 If you are using absolute music inside of relative, you'll need to
1505 mark the absolute music explicitly with @code{\absolute} to stop
1506 it from becoming part of the relative music:
1508 @lilypond[verbatim,quote]
1509 \relative c { c'4 \absolute { f'' g'' } c }
1512 @node After the tutorial
1513 @subsection After the tutorial
1515 After finishing the tutorial, you should probably try writing a
1516 piece or two. Start by adding notes to one of the
1517 @ref{Templates}. If you need any notation that was not covered in
1518 the tutorial, look at the Notation Reference, starting with
1519 @ruser{Musical notation}. If you want to write for an instrument
1520 ensemble that is not covered in the templates, take a look at
1521 @ref{Extending the templates}.
1523 Once you have written a few short pieces, read the rest of the
1524 Learning Manual (chapters 3-5). There's nothing wrong with
1525 reading it now, of course! However, the rest of the Learning
1526 Manual assumes that you are familiar with LilyPond input. You may
1527 wish to skim these chapters right now, and come back to them after
1528 you have more experience.
1530 In this tutorial and in the rest of the Learning Manual, there is a
1531 paragraph @strong{See also} at the end of each section, which contains
1532 cross-references to other sections: you should not follow these
1533 cross-references at first reading; when you have read all of the
1534 Learning Manual, you may want to read some sections again and follow
1535 cross-references for further reading.
1537 If you have not done so already, @emph{please} read @ref{Overview
1538 of manuals}. There is a lot of information about LilyPond, so
1539 newcomers often do not know where they should look for help. If
1540 you spend five minutes reading that section carefully, you might
1541 save yourself hours of frustration looking in the wrong places!