@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.
the result looks like this:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
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'
}
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]
+@lilypond[verbatim,quote]
\relative c' { % set the starting point to middle 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
the @w{@code{\relative c' @{}} command, we can change the starting
octave:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' { % one octave above middle C
e c a c
}
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'
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.
A @notation{rest} is entered just like a note with the name
@code{r}@tie{}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
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
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
this image:
@c no verbatim here
-@lilypond[quote,ragged-right]
+@lilypond[quote]
\relative c'' {
c-\markup { \bold \huge { Click here. } }
}
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
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
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
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
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
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
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
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
@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
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
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
@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. To correct just an occasional beam mark the first note
to be beamed with @code{[} and the last one with @code{]}.
-If you want to turn off automatic beaming entirely or for an
-extended section of music, use the command @code{\autoBeamingOff}
-to turn off automatic beaming and @code{\autoBeamingOn} to turn
-it on again. It will usually be necessary to manually beam music
-with lyrics.
-@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.
+@c It will usually be necessary to manually beam music
+@c with lyrics.
+
+@lilypond[verbatim,quote,relative=2]
+a8 c b4 d8. c16 b4
+\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}.
@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
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] }
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
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
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>> } >>
@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 }
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, }
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
(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 } \\
Here is the start of the melody to a nursery
rhyme, @qq{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
The next line in the nursery rhyme is @q{The moon doth shine as
bright as day}. Let's extend it:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
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,
-marking the start of the slur with a left bracket, (, and the
-end with a right bracket, ), for details, see @ref{Ties and slurs}:
+multiple notes, the simplest being to add a slur across them:
-@lilypond[verbatim,quote,ragged-right]
+@c marking the start of the slur with a left bracket, (, and the
+@c end with a right bracket, ), for details, see @ref{Ties and slurs}:
+
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
The words now line up correctly with the notes, but the automatic
beaming for the notes above @qq{shine as} does not look right. We
can correct this by inserting manual beaming commands to override
-the automatic beaming here. We mark the start of the beam with a
+the automatic beaming here.
+
+@ignore
+ We mark the start of the beam with a
left square bracket, [, and the end with a right square bracket, ],
for details, see @ref{Automatic and manual beams}. Note that the
slur and beam indications do not need to @qq{nest}, i.e., the order
in which they appear is not important, see @ref{On the
un-nestedness of brackets and ties}.
+@end ignore
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \major
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
entered as two underscores @code{__}. Here is an example from the
first three bars of Dido's Lament, from Purcell's Dido and Æneas:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
Here is an example showing this and everything we have learned so
far about aligning lyrics to notes.
+@c TODOgp
@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]
placing lyrics under more than one staff. Here is an
example from Handel's Judas Maccabæus:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
{
\time 6/8
later by placing a backslash in front of the name
(@code{\namedMusic}, just like a normal LilyPond command).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
violin = \new Staff { \relative c'' {
a4 b c b
}}
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 }
@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
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