4 @c * more details about running lilypond; error messages,
5 @c compiling/viewing (emacs?)
6 @c * where to go from First steps+More basics?
13 Using LilyPond comes down to encoding music in an input file. After
14 entering the music, the program is run on the file producing output
15 which can be viewed or printed. In this tutorial, we will show step
16 by step how to enter such files, and illustrate the process with
17 fragments of input and the corresponding output. At the end of every
18 section, a paragraph will list where to find further information on
21 Many people learn programs by trying and fiddling around with the
22 program. This is also possible with LilyPond. If you click on a
23 picture in the HTML version of this manual, you will see the exact
24 LilyPond input that was used to generate that image.
26 For example, consider the following input:
27 @c TODO: intertext fixme
28 @lilypond[relative 1,singleline,verbatim,intertext="with the following output:"]
29 c'^\markup { \bold \huge { Click on this image! } }
33 By cutting and pasting the full input into a test file, you have a
34 starting template for experiments. If you like learning in this way,
35 you will probably want to print out or bookmark
39 @ref{Cheat sheet}, which is a table listing all commands for quick
43 This tutorial starts with a short introduction to the LilyPond music
44 language. After this first contact, we will show you how to to
45 produce printed output. You should then be able to create and print
46 your first sheets of music.
51 * More about pitches ::
53 * Combining music into compound expressions::
54 * Adding articulation marks to notes::
55 * Combining notes into chords::
58 * Listening to output::
60 * Single staff polyphony::
63 * Fine tuning layout::
64 * Organizing larger pieces::
65 * An orchestral part::
66 * Integrating text and music::
73 We start off by showing how very simple music is entered in LilyPond:
74 you get a note simply by typing its note name, from @samp{a}
75 through @samp{g}. So if you enter
82 then the result looks like this:
85 @c \transpose c c' { c d e f g a b }
87 @c \property Score.timing = ##f
88 @lilypond[notime, relative=2]
92 The length of a note is specified by adding a number, @samp{1} for a
93 @rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
100 \property Score.timing = ##f
101 \property Staff.autoBeaming = ##f
102 \transpose c c' { a1 a2 a4 a16 a32 s16_" " }
105 If you do not specify a @rglos{duration}, the previous one is used:
112 \property Score.timing = ##f
113 \transpose c c' { a a a2 a s16_" " }
117 Rests are entered just like notes, but with the name ``@code{r}'':
126 \property Score.timing = ##f
127 \property Staff.Clef = \turnOff
128 \property Staff.TimeSignature = \turnOff
136 Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
143 \property Score.timing = ##f
144 \transpose c c' { a2. a4 a8. a16 s16_" " }
148 The @rglos{meter} (or @rglos{time signature}) can be set with the
149 @code{\time} command:
157 @c a clef here may lead to confusion
159 \property Staff.Clef \set #'transparent = ##t
169 The @rglos{clef} can be set using the @code{\clef} command:
171 @c what is more common name treble or violin?
172 @c in Dutch, its violin.
173 @c in English its definitely treble.
182 \property Score.timing = ##f
193 Notes and commands like @code{\clef} and @code{\time} , are enclosed
194 in @code{\notes @{@dots{}@}}. This indicates that music (as opposed
195 to @rglos{lyrics}) follows:
205 Now the piece of music is almost ready to be printed. The final step is to
206 combine the music with a printing command.
208 The printing command is the so-called @code{\paper} block:
214 The @code{\paper} block is used to customize printing specifics. The
215 customization commands go between @code{@{} and @code{@}}, but for
216 now, we accept the defaults. The music and the @code{\paper} block
217 are combined by enclosing them in @code{\score @{ ... @}}, so the
218 following is a complete and valid input file:
241 linewidth = 55 * \staffspace
246 In the rest of the tutorial we will often leave out @code{\score}
247 and @code{\paper} for clarity. However, both must be present when
248 feeding the file to LilyPond.
250 For more elaborate information on
253 @item entering pitches and durations
255 @ref{Pitches} and @ref{Durations}.
258 @item Time signatures and other timing commands
259 see @ref{Time signature}.
262 @node Running LilyPond
263 @section Running LilyPond
265 In the last section we explained what kind of things you could enter
266 in a LilyPond file. In this section we explain what commands to run
267 and how to view or print the output. If you have not used LilyPond
268 before, want to test your setup, or want to run an example file
269 yourself, read this section. The instructions that follow are for
270 Unix-like systems. Some additional instructions for Microsoft Windows
271 are given at the end of this section.
273 Begin by opening a terminal window and starting a text editor. For
274 example, you could open an xterm and execute
275 @code{joe}.@footnote{There are macro files for VIM addicts, and there
276 is a @code{LilyPond-mode} for Emacs addicts. If it has not been
277 installed already, then refer to the file @file{INSTALL.txt}}. In
278 your text editor, enter the following input and save the file as
284 \notes @{ c'4 e' g' @}
289 To process @file{test.ly}, proceed as follows:
297 You will see something resembling:
302 Now processing: `/home/fred/ly/test.ly'
304 Interpreting music...[1]
305 @emph{ ... more interesting stuff ... }
306 PDF output to `test.pdf'...
307 DVI output to `test.dvi'...
311 @cindex Viewing music
314 The result is the file @file{test.pdf}.@footnote{For @TeX{}
315 afficionados: there is also a @file{test.dvi} file. It can be viewed
316 with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
317 not show up in the magnifying glass. The specials also mean that the
318 DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
323 } One of the following commands should put the PDF on your
339 If the music on your screen looks good, you can print it by clicking
340 File/Print inside your viewing program.
344 @cindex Printing output
349 On Windows, the same procedure should work, the terminal is started by
350 clicking on the LilyPond or Cygwin icon. Any text editor (such as
351 NotePad, Emacs or Vim) may be used to edit the LilyPond file.
353 To view the PDF file, try the following:
356 If your system has a PDF viewer installed, open
357 @file{C:\Cygwin\home\@var{your-name}} in the explorer and double-click
360 If you prefer the keyboard, you can try to enter one of the commands
361 from the list shown before in the terminal. If none work, go to
362 @uref{http://www.cs.wisc.edu/~ghost/} to install the proper software.
365 The commands for formatting and printing music on all platforms are
366 detailed in @ref{Invoking LilyPond}.
368 @node More about pitches
369 @section More about pitches
371 A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
372 the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
373 you might expect, a @rglos{double sharp} or @rglos{double flat} is
374 made by adding @samp{isis} or @samp{eses}:@footnote{This syntax
375 derived from note naming conventions in Nordic and Germanic languages,
376 like German and Dutch.}
383 \property Score.timing = ##f
384 \transpose c c' { cis1 ees fisis aeses s16_" " }
388 @cindex key signature, setting
390 The key signature is set with the command ``@code{\key}'', followed by
391 a pitch and @code{\major} or @code{\minor}:
401 \property Staff.TimeSignature = \turnOff
410 Key signatures together with the pitch (including alterations) are
411 used together to determine when to print accidentals. This is a
412 feature that often causes confusion to newcomers, so let us explain it
416 LilyPond has a sharp distinction between musical content and
417 layout. The alteration (flat, natural or sharp) of a note is part of
418 the pitch, and is therefore musical content. Whether an accidental (a
419 flat, natural or sharp @emph{sign}) is a printed in front of the
420 corresponding note is a question of layout. Layout is something that
421 follows rules, so accidentals are printed automatically according to
422 those rules. The pitches in your music are works of art, so they will
423 not be added automatically, and you must enter what you want to hear.
425 For example, in this example:
427 \property Staff.TimeSignature = #'()
433 no note gets an explicit accidental, but still you enter
440 The code @code{d} does not mean ``print a black dot just below the
441 staff.'' Rather, it means: ``a note with pitch D-natural.'' In the key
442 of A-flat, it gets an accidental:
445 \property Staff.TimeSignature = #'()
456 Adding all alterations explicitly might require some more effort when
457 typing, but the advantage is that transposing is easier, and music can
458 be printed according to different conventions. See @ref{Accidentals}
459 for some examples how accidentals can be printed according to
464 A tie is created by adding a tilde ``@code{~}'' to the first note
467 @lilypond[fragment,verbatim,relative 2]
473 This example shows the key signature, accidentals and ties in action:
484 fis4 fis8 fis8 eis4 a8 gis~
493 \notes { \transpose c c' {
499 fis4 fis8 fis8 eis4 a8 gis~
502 \paper { linewidth = #(* 50 staffspace) }
508 There are some interesting points to note in this example. Bar lines
509 and beams are drawn automatically. Line breaks are calculated
510 automatically; it does not matter where the lines breaks are in the
511 source file. Finally, the order of time, key and clef changes is not
512 relevant: in the printout, these are ordered according to standard
513 notation conventions.
516 @cindex beams, by hand
517 Beams are drawn automatically, but if you do not like where they are
518 put, they can be entered by hand. Mark the first note to be beamed
519 with @code{[} and the last one with @code{]}:
521 @lilypond[fragment,relative 1, verbatim]
527 For more information on
536 see @ref{Accidentals}
539 see @ref{Key signature}
547 @section Octave entry
550 @c Tim wants to move this quotes example just before the: quotes-do not-work
551 @c score, but we'd need to remove quotes from the other two (key and
554 @c better to have this just before the `octaves are bad' snipped
555 @c but we'd need to remove the ', from \key and tie
556 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
557 the note name, to lower a note one octave, add a ``low quote'' @code{,}
558 (a comma). Middle C is @code{c'}:
562 c'4 c'' c''' \clef bass c c,
566 \property Score.timing = ##f
567 \property Staff.TimeSignature = \turnOff
568 c'4 c'' c''' \clef bass c c,
573 An example of the use of quotes is in the following Mozart fragment:
574 @lilypond[singleline,fragment,verbatim]
577 cis''8. d''16 cis''8 e''4 e''8
578 b'8. cis''16 b'8 d''4 d''8
581 This example shows that music in a high register needs lots of quotes.
582 This makes the input less readable, and it is a source of errors. The
583 solution is to use ``relative octave'' mode. In practice, this is the
584 most convenient way to copy existing music. To use relative mode, add
585 @code{\relative} before the piece of music. You must also give a note
586 from which relative starts, in this case @code{c''}. If you do not
587 use octavation quotes (i.e. do not add ' or , after a note), relative
588 mode chooses the note that is closest to the previous one.
589 For example, @code{c f} goes up while @code{c g} goes down:
599 \property Score.timing = ##f
600 \property Staff.TimeSignature = \turnOff
609 Since most music has small intervals, pieces can be written almost
610 without octavation quotes in relative mode. The previous example is
613 @lilypond[singleline,fragment,verbatim]
623 @c needed better, maybe even redundant explanation
624 @c added another example below.
625 @c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
626 @c in eerste instantie drong het `relative' niet door zonder extra uitleg.
627 Larger intervals are made by adding octavation quotes.
636 \property Score.timing = ##f
637 \property Staff.TimeSignature = \turnOff
645 Quotes or commas do not determine the absolute height of a note; the
646 height of a note is relative to the previous one.
647 @c do not use commas or quotes in this sentence
648 For example: @code{c f,} goes down; @code{f, f} are both the same;
649 @code{c' c} are the same; and @code{c g'} goes up:
653 Here is an example of the difference between relative mode and
654 ``normal'' (non-relative) mode:
665 \property Score.timing = ##f
666 \property Staff.TimeSignature = \turnOff
682 \property Score.timing = ##f
683 \property Staff.TimeSignature = \turnOff
691 For more information on Relative octaves see @ref{Relative octaves}
692 and @ref{Octave check}.
699 @node Combining music into compound expressions
700 @section Combining music into compound expressions
702 To print more than one staff, each piece of music that makes up a
703 staff is marked by adding @code{\context Staff} before it. These
704 @code{Staff}'s are then grouped inside @code{\simultaneous @{} and
705 @code{@}}, as is demonstrated here:
708 @lilypond[fragment,verbatim]
710 \new Staff { \clef violin c'' }
711 \new Staff { \clef bass c }
717 In this example, @code{\simultaneous } indicates that both music
718 fragments happen at the same time, and must be printed stacked
719 vertically. The notation @code{<< .. >>} can also be used as a
720 shorthand for @code{\simultaneous @{ .. @}}.
722 The command @code{\new} introduces a ``notation context''. To
723 understand this concept, imagine that you are performing a piece of
724 music. When you are playing, you combine the symbols printed at a
725 certain point with contextual information. For example, without
726 knowing the current clef, and the accidentals in the last measure, it
727 would be impossible to determine the pitch of a note. In other words,
728 this information forms context that helps you decipher a
729 score. LilyPond produces notation from music, so in effect, it does
730 the inverse of reading scores. Therefore, it also needs to keep track
731 of contextual information. This information is maintained in
732 ``notation contexts.'' There are several types of contexts,
733 e.g. @code{Staff}, @code{Voice} and @code{Score}, but also
734 @code{Lyrics} and @code{ChordNames}. Prepending @code{\new} to a chunk
735 of music indicates what kind of context to use for interpreting it,
736 and ensures that the argument is interpreted with a fresh instance of
737 the context indicated.
742 We can now typeset a melody with two staves:
745 @lilypond[verbatim,singleline]
766 The example shows how small chunks of music, for example, the notes
767 @code{c2}, @code{e4}, etc. of the second staff, are combined to form a
768 larger chunk by enclosing it in braces. Again, a larger chunk is
769 formed by prefix @code{\new Staff} to it, and that chunk is combined
770 with @code{<< >>}. This mechanism is similar with mathematical
771 formulas: a big formula is created by composing small formulas. Such
772 formulas are called expressions, and their definition is recursive, so
773 you can make arbitrarily complex and large expressions. For example,
782 ((1 + 2) * 3) / (4 * 5)
785 @cindex music expression
786 This example shows a sequence of expressions, where each expression is
787 contained in the next one. The simplest expressions are numbers and
788 operators (like +, * and /). Parentheses are used to group
789 expressions. In LilyPond input, a similar mechanism is used. Here,
790 the simplest expressions are notes and rests. By enclosing
791 expressions in @code{<< >>} and @code{@{ @}}, more complex music is
792 formed. The @code{\new} command also forms new expressions; prepending
793 it to a music expression yields a new expression.
795 Like mathematical expressions, music expressions can be nested
796 arbitrarily deep, e.g.
797 @lilypond[verbatim,relative 1]
799 << { e f } { c <<b d>> }
806 When spreading expressions over multiple lines, it is customary to use
807 an indent that indicates the nesting level. Formatting music like this
808 eases reading, and helps you insert the right amount of closing
809 braces at the end of an expression. For example,
824 For more information on context see the Technical manual description
825 in @ref{Interpretation context}.
829 @node Adding articulation marks to notes
830 @section Adding articulation marks to notes
836 Common accents can be added to a note using a dash (`@code{-}') and a
839 @lilypond[verbatim,relative 1]
840 c-. c-- c-> c-^ c-+ c-_
846 Similarly, fingering indications can be added to a note using a dash
847 (`@code{-}') and the digit to be printed:
849 @lilypond[verbatim,relative 1]
854 Dynamic signs are made by adding the markings to the note:
856 @lilypond[verbatim,relative 1]
866 Crescendi and decrescendi are started with the commands @code{\<} and
867 @code{\>}. The command @code{\!} finishes a crescendo on the note it
870 @lilypond[verbatim,relative 1]
871 c2\< c2\!\ff\> c2 c2\!
880 A slur is drawn across many notes, and indicates bound articulation
881 (legato). The starting note and ending note are marked with a
882 ``@code{(}'' and a ``@code{)}'' respectively:
885 @lilypond[fragment,relative 1, verbatim]
886 d4( c16)( cis d e c cis d e)( d4)
890 @cindex slurs versus ties
891 A slur looks like a tie, but it has a different meaning. A tie simply
892 makes the first note sound longer, and can only be used on pairs of
893 notes with the same pitch. Slurs indicate the articulations of notes,
894 and can be used on larger groups of notes. Slurs and ties are also
897 @lilypond[fragment, relative=1]
898 c2~( c8 fis fis4 ~ fis2 g2)
901 @cindex phrasing slurs
902 If you need two slurs at the same time (one for articulation, one for
903 phrasing), you can also make a phrasing slur with @code{\(} and
907 @lilypond[fragment,relative 1, verbatim]
908 a8(\( ais b c) cis2 b'2 a4 cis, c\)
913 For more information on
916 see @ref{Fingering instructions}
918 see @ref{Articulations}
922 see @ref{Phrasing slurs}
928 @node Combining notes into chords
929 @section Combining notes into chords
932 Chords can be made by
933 surrounding pitches with @code{<} and @code{>}:
935 @lilypond[relative 0, fragment,verbatim]
942 You can combine beams and ties with chords. Beam and tie markings
943 must be placed outside the chord markers:
945 @lilypond[relative 0, fragment,verbatim]
946 r4 <c e g>8[ <c f a>]~ <c f a>
952 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
954 @lilypond[relative 0, fragment]
956 r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
964 * Basic rhythmical commands::
965 * Commenting input files::
968 @node Basic rhythmical commands
969 @subsection Basic rhythmical commands
974 @cindex partial measure
975 A pickup (or upstep) is entered with the keyword @code{\partial}. It
976 is followed by a duration: @code{\partial 4} is a quarter note upstep
977 and @code{\partial 8} an eighth note:
978 @lilypond[relative 1,verbatim,fragment]
985 Tuplets are made with the @code{\times} keyword. It takes two
986 arguments: a fraction and a piece of music. The duration of the piece
987 of music is multiplied by the fraction. Triplets make notes occupy
988 2/3 of their notated duration, so a triplet has 2/3 as its fraction:
990 @lilypond[relative 0,verbatim,fragment]
991 \times 2/3 { f8 g a }
997 Grace notes are also made by prefixing a note, or a set of notes with
998 a keyword. In this case, the keywords are @code{\appoggiatura}
999 and @code{\acciaccatura}
1000 @cindex appoggiatura
1001 @cindex acciaccatura
1003 @lilypond[relative 1, verbatim,fragment]
1004 c4 \appoggiatura b16 c4
1005 c4 \acciaccatura b16 c4
1010 For more information on
1013 see @ref{Grace notes},
1017 see @ref{Partial measures}.
1022 @node Commenting input files
1023 @subsection Commenting input files
1026 @cindex line comment
1027 @cindex block comment
1028 Comments are pieces of the input that are ignored. There are two
1029 types of comments. A line comments is introduced by @code{%}: after
1030 that, the rest of that line is ignored. Block comments span larger
1031 sections of input. Anything that is enclosed in @code{%@{} and
1032 @code{%@}} is ignored too. The following fragment shows possible uses
1036 % notes for twinkle twinkle follow:
1041 This line, and the notes below
1042 are ignored, since they are in a
1052 @node Printing lyrics
1053 @section Printing lyrics
1058 Lyrics are entered by separating each syllable with a space, and
1059 surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
1061 \lyrics @{ I want to break free @}
1064 Like notes, lyrics are also a form of music, but they must not be
1065 printed on a staff, which is the default way to print music. To print
1066 them as lyrics, they must be marked with @code{ \new Lyrics}:
1068 \new Lyrics \lyrics @{ I want to break free @}
1070 The melody for this song is as follows:
1072 @lilypond[fragment,relative=1]
1075 \times 2/3 { f4 g g } \times 2/3 { g4( a2) }
1078 The lyrics can be set to these notes, combining both with the
1079 @code{\addlyrics} keyword:
1082 \notes @{ @dots{} @}
1087 @lilypond[verbatim,linewidth=6.0cm]
1094 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1096 \new Lyrics \lyrics { I want to break free }
1103 @cindex extender line
1105 This melody ends on a @rglos{melisma}, a single syllable (``free'')
1106 sung to more than one note. This is indicated with an @emph{extender
1107 line}. It is entered as two underscores, i.e.
1109 \lyrics @{ I want to break free __ @}
1118 \times 2/3 { f g g } \times 2/3 { g4( a2) }
1120 %% ugh, this is to deal with bugs in the extender implementation
1124 \new Lyrics \lyrics { I want to break free __ }
1126 \paper{ linewidth = 9.0 \cm }
1130 Similarly, hyphens between words can be entered as two dashes,
1131 resulting in a centered hyphen between two syllables:
1133 Twin -- kle twin -- kle
1135 @lilypond[singleline]
1137 \addlyrics \notes \relative f' { \time 2/4
1139 \new Lyrics \lyrics { Twin -- kle twin -- kle
1141 \paper { linewidth = 6.0 \cm }
1146 More options, like putting multiple lines of lyrics below a melody are
1147 discussed in @ref{Vocal music}.
1152 @section A lead sheet
1158 In popular music, it is common to denote accompaniment as chord-names.
1159 Using them in LilyPond has two parts, just like lyrics: entering the
1160 chords (with @code{\chords}), and printing them (with @code{\new
1163 Chord names are entered by starting chords mode (with @code{\chords}).
1164 In chords mode, you can enter chords with a letter (indicating the
1165 root of the chord), and a durations following that:
1168 \chords { c2 f4. g8 }
1172 The result of @code{\chords} is a list of chords, and is equivalent
1173 to entering chords with @code{<@dots{}>}.
1175 Other chords can be created by adding modifiers, after a colon. The
1176 following example shows a few common modifiers:
1179 \chords { c2 f4:m g4:maj7 gis1:dim7 }
1182 Printing chords is done by adding @code{\context ChordNames}
1183 before the chords thus entered:
1186 \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
1191 When put together, chord names, lyrics and a melody form
1192 a lead sheet, for example,
1197 \context ChordNames \chords @{ @emph{chords} @}
1199 \notes @emph{the melody}
1200 \context Lyrics \lyrics @{ @emph{the text} @}
1208 \context ChordNames \chords { r8 c2:sus4 f }
1210 \notes \relative c' {
1213 \times 2/3 { f g g } \times 2/3 { g4( a2) } }
1214 \context Lyrics \lyrics { I want to break free __ }
1216 \paper{ raggedright = ##t }
1221 A complete list of modifiers, and other options for layout are in the
1222 reference manual section @ref{Chords}.
1224 @node Listening to output
1225 @section Listening to output
1230 MIDI (Musical Instrument Digital Interface) is a standard for
1231 connecting and recording digital instruments. A MIDI file is like a
1232 tape recording of a MIDI instrument. The @code{\midi} block makes the
1233 music go to a MIDI file, so you can listen to the music you entered.
1234 It is great for checking the music: octaves that are off, or
1235 accidentals that were mistyped, stand out very much when listening to
1236 the musical transcription.
1238 @code{\midi} can be used in similarly to @code{\paper @{ @}}, for
1243 \midi @{ \tempo 4=72 @}
1248 Here, the tempo is specified using the @code{\tempo} command. In this
1249 case the tempo of quarter notes is set to 72 beats per minute. More
1250 information on auditory output is in the @ref{Sound} section in the
1258 Bibliographic information is entered in a separate block, the
1259 @code{\header} block. The name of the piece, its composer, etc. are
1260 entered as an assignment, within @code{\header @{ @dots{} @}}. For
1264 title = "Eight miniatures"
1265 composer = "Igor Stravinsky"
1266 tagline = "small is beautiful"
1269 \score @{ @dots{} @}
1272 @cindex bibliographic information
1275 @cindex Engraved by LilyPond
1277 When the file is processed by the @code{lilypond} wrapper script, then
1278 the title and composer specified are printed above the music. The
1279 `tagline' is a short line printed at bottom of the last page, which
1280 normally says ``Engraved by LilyPond, version @dots{}''. In the
1281 example above, it is replaced by the line ``small is
1282 beautiful.''@footnote{Nicely printed parts are good PR for us, so do
1283 us a favor, and leave the tagline if you can.}
1285 Normally, the @code{\header} is put at the top of the file. However,
1286 for a document that contains multiple pieces (e.g. an etude book, or
1287 an orchestral part with multiple movements), then the header can be
1288 put into the @code{\score} block as follows; in this case, the name of
1289 each piece will be printed before each movement:
1292 @cindex Lily was here
1293 @cindex signature line
1298 title = "Eight miniatures"
1299 composer = "Igor Stravinsky"
1300 tagline = "small is beautiful"
1304 \header @{ piece = "Adagio" @}
1307 \header @{ piece = "Menuetto" @}
1311 More information on titling can be found in @ref{Invoking lilypond}.
1314 @node Single staff polyphony
1315 @section Single staff polyphony
1318 @cindex multiple voices
1319 @cindex voices, more -- on a staff
1321 When different melodic lines are combined on a single staff, these are
1322 printed as polyphonic voices: each voice has its own stems, slurs and
1323 beams, and the top voice has the stems up, while the bottom voice has
1326 Entering such parts is done by entering each voice as a sequence (with
1327 @code{@{ .. @}}), and combining those simultaneously, separating the
1328 voices with @code{\\}:
1331 << @{ a4 g2 f4~ f4 @} \\
1332 @{ r4 g4 f2 f4 @} >>
1334 @lilypond[relative 1]
1335 \context Staff << { a4 g2 f4~ f4 } \\
1339 For polyphonic music typesetting, spacer rests can also be convenient: these
1340 are rests that do not print. It is useful for filling up voices that
1341 temporarily do not play:
1343 << @{ a4 g2 f4~ f4 @} \\
1344 @{ s4 g4 f2 f4 @} >>
1346 @lilypond[relative 1]
1347 \context Staff << { a4 g2 f4~ f4 } \\
1351 Again, these expressions can be nested arbitrarily:
1357 << { a4 g2 f4~ f4 } \\
1360 << { \clef bass <c g>1 ~ <c g>4 } \\
1367 More features of polyphonic typesetting are in the notation manual
1371 @section Piano staves
1373 @cindex staff switch, manual
1374 @cindex cross staff voice, manual
1375 @cindex @code{\translator}
1377 Piano music is always typeset in two staves connected by a brace.
1378 Printing such a staff is done similar to the polyphonic example in
1379 @ref{Combining music into compound expressions}:
1381 << \new Staff @{ @dots{} @}
1382 \new Staff @{ @dots{} @}
1385 but now this entire expression must be interpreted as a
1388 \new PianoStaff << \new Staff @dots{} >>
1391 Here is a full-fledged example:
1393 @lilypond[relative 0,fragment]
1395 << \new Staff { \time 2/4
1398 \clef bass c,, c' e c }
1402 More information on formatting piano music is in @ref{Piano music}.
1404 @node Setting variables
1405 @section Setting variables
1407 When the music is converted from notes to print, it is interpreted
1408 from left-to-right order, similar to what happens when we read
1409 music. During this step, context-sensitive information, such as the
1410 accidentals to print, and where barlines must be placed, are stored in
1411 variables. These variables are called @emph{context properties}.
1412 The properties can also be manipulated from input files. Consider this input:
1414 \property Staff.autoBeaming = ##f
1418 It sets the property named @code{autoBeaming} in the current staff at
1419 this point in the music to @code{##f}, which means `false'. This
1420 property controls whether beams are printed automatically:
1422 @lilypond[relative 1,fragment,verbatim]
1424 \property Staff.autoBeaming = ##f
1429 LilyPond includes a built-in programming language, namely, a dialect
1430 of Scheme. The argument to @code{\property}, @code{##f}, is an
1431 expression in that language. The first hash-mark signals that a piece
1432 of Scheme code follows. The second hash character is part of the
1433 boolean value true (@code{#t}). Values of other types may be
1436 @item a string, enclosed in double quotes, for example,
1438 \property Staff.instrument = #"French Horn"
1440 @item a boolean: either @code{#t} or @code{#f}, for true and false
1443 \property Voice.autoBeaming = ##f
1444 \property Score.skipBars = ##t
1447 @item a number, such as
1449 \property Score.currentBarNumber = #20
1452 @item a symbol, which is introduced by a quote character, as in
1454 \property Staff.crescendoSpanner = #'dashed-line
1457 @item a pair, which is also introduced by a quote character, like in
1458 the following statements, which set properties to the pairs (-7.5, 6)
1459 and (3, 4) respectively:
1462 \property Staff.minimumVerticalExtent = #'(-7.5 . 6)
1463 \property Staff.timeSignatureFraction = #'(3 . 4)
1466 @item a list, which is also introduced by a quote character. In the
1467 following example, the @code{breakAlignOrder} property is set to a
1470 \property Score.breakAlignOrder =
1471 #'(left-edge time-signature key-signatures)
1477 There are many different properties, and not all of them are listed in
1478 this manual. However, the program reference lists them all in the
1479 section @internalsref{Context-properties}, and most properties are
1480 demonstrated in one of the
1482 @uref{../../../input/test/out-www/collated-files.html,tips-and-tricks}
1490 @node Fine tuning layout
1491 @section Fine tuning layout
1493 Sometimes it is necessary to change music layout by hand. When music
1494 is formatted, layout objects are created for each symbol. For
1495 example, every clef and every note head is represented by a layout
1496 object. These layout objects also carry variables, which we call
1497 @emph{layout properties}. By changing these variables from their
1498 values, we can alter the look of a formatted score:
1500 @lilypond[verbatim,relative 0]
1502 \property Voice.Stem \override #'thickness = #3.0
1507 In the example shown here, the layout property @code{thickness} (a
1508 symbol) is set to 3 in the @code{Stem} layout objects of the current
1509 Voice. As a result, the notes following @code{\property} have thicker
1512 In most cases of manual overrides, only a single object must be
1513 changed. This can be achieved by prefixing @code{\once} to the
1514 @code{\property} statement, i.e.
1517 \once \property Voice.Stem \set #'thickness = #3.0
1520 @lilypond[relative 0]
1522 \once \property Voice.Stem \set #'thickness = #3.0
1527 Some overrides are so common that predefined commands are provided as
1528 a short cut. For example, @code{\slurUp} and @code{\stemDown}. These
1529 commands are described in
1533 @ref{Notation manual}, under the sections for slurs and stems
1536 The exact tuning possibilities for each type of layout object are
1537 documented in the program reference of the respective
1538 object. However, many layout objects share properties, which can be
1539 used to apply generic tweaks. We mention a couple of these:
1542 @item The @code{extra-offset} property, which
1543 @cindex @code{extra-offset}
1544 has a pair of numbers as value, moves around objects in the printout.
1545 The first number controls left-right movement; a positive number will
1546 move the object to the right. The second number controls up-down
1547 movement; a positive number will move it higher. The unit of these
1548 offsets are staff-spaces. The @code{extra-offset} property is a
1549 low-level feature: the formatting engine is completely oblivious to
1552 In the following example example, the second fingering is moved a
1553 little to the left, and 1.8 staff space downwards:
1555 @cindex setting object properties
1557 @lilypond[relative 1,verbatim]
1560 \once \property Voice.Fingering
1561 \set #'extra-offset = #'(-0.3 . -1.8)
1566 Setting the @code{transparent} property will make an object be printed
1567 in `invisible ink': the object is not printed, but all its other
1568 behavior is retained. The object still takes space, it takes part in
1569 collisions, and slurs, ties and beams can be attached to it.
1571 @cindex transparent objects
1572 @cindex removing objects
1573 @cindex invisible objects
1574 The following example demonstrates how to connect different voices
1575 using ties. Normally ties only happen between notes of the same
1576 voice. By introducing a tie in a different voice, and blanking a stem
1577 in that voice, the tie appears to cross voices:
1579 @lilypond[fragment,relative 1,verbatim]
1581 \once \property Voice.Stem \set #'transparent = ##t
1589 The @code{padding} property for objects with
1590 @cindex @code{padding}
1591 @code{side-position-interface} can be set to increase distance between
1592 symbols that are printed above or below notes. We only give an
1593 example; a more elaborate explanation is in @ref{Constructing a
1596 @lilypond[relative 1,verbatim]
1598 \property Voice.Script \set #'padding = #3
1604 More specific overrides are also possible. The notation manual
1605 discusses in depth how to figure out these statements for yourself, in
1606 @ref{Tuning output}.
1608 @node Organizing larger pieces
1609 @section Organizing larger pieces
1611 When all of the elements discussed earlier are combined to produce
1612 larger files, the @code{\score} blocks get a lot bigger, because the
1613 music expressions are longer, and, in the case of polyphonic and/or
1614 orchestral pieces, more deeply nested. Such large expressions can
1617 By using variables, also known as identifiers, it is possible to break
1618 up complex music expressions. An identifier is assigned as follows:
1621 namedMusic = \notes @{ @dots{}
1624 The contents of the music expression @code{namedMusic}, can be used
1625 later by preceding the name with a backslash, i.e. @code{\namedMusic}.
1626 In the next example, a two note motive is repeated two times by using
1627 variable substitution:
1629 @lilypond[singleline,verbatim]
1638 The name of an identifier should have alphabetic characters only, and
1639 no numbers, underscores or dashes. The assignment should be outside of
1640 the @code{\score} block.
1642 It is possible to use variables for many other types of objects in the
1647 aFivePaper = \paper @{ paperheight = 21.0 \cm @}
1649 Depending on its contents, the identifier can be used in different
1650 places. The following example uses the above variables:
1653 \notes @{ c4^\name @}
1661 More information on the possible uses of identifiers is in the
1662 technical manual, in @ref{Scheme datatypes}.
1665 @node An orchestral part
1666 @section An orchestral part
1668 In orchestral music, all notes are printed twice: both in a part for
1669 the musicians, and in a full score for the conductor. Identifiers can
1670 be used to avoid double work: the music is entered once, and stored in
1671 variable. The contents of that variable is then used to generate
1672 both the part and the score.
1674 It is convenient to define the notes in a special file, for example,
1675 suppose that the @file{horn-music.ly} contains the following part of a
1678 hornNotes = \notes \relative c @{
1684 Then, an individual part is made by putting the following in a file:
1686 \include "horn-music.lyinc"
1688 instrument = "Horn in F"
1691 \notes \transpose f c' \hornNotes
1694 The @code{\include} command substitutes the contents of the file at
1695 this position in the file, so that @code{hornNotes} is defined
1696 afterwards. The code @code{\transpose f c'} indicates that the
1697 argument, being @code{\hornNotes}, should be transposed by a fifth
1698 downwards: sounding @code{f} is denoted by notated @code{c'}, which
1699 corresponds with tuning of a normal French Horn in F. The
1700 transposition can be seen in the following output:
1702 @lilypond[singleline]
1704 \notes \transpose f c' \notes \relative c {
1711 In ensemble pieces, one of the voices often does not play for many
1712 measures. This is denoted by a special rest, the multi-measure
1713 rest. It is entered with a capital R, and followed by a duration (1
1714 for a whole note, 2 for a half note, etc.) By multiplying the
1715 duration, longer rests can be constructed. For example, the next rest
1716 takes 3 measures in 2/4 time:
1721 When printing the part, the following @code{skipBars} property must be
1722 set to false, to prevent the rest from being expanded in three one bar
1725 \property Score.skipBars = ##t
1727 Prepending the rest and the property setting above, leads to the
1730 @lilypond[singleline]
1731 \score {\notes { \transpose f c' \relative c { \time 2/4
1732 \property Score.skipBars = ##t
1734 r4 f8 a cis4 f e d } }}
1737 The score is made by combining all of the music in a @code{\score}
1738 block, assuming that the other voice is in @code{bassoonNotes}, in the
1739 file @file{bassoon-music.ly}:
1741 \include "bassoon-music.lyinc"
1742 \include "horn-music.lyinc"
1746 \new Staff \hornNotes
1747 \new Staff \bassoonNotes
1751 This would lead to the simple score depicted below:
1753 @lilypond[singleline]
1755 \notes \relative c \simultaneous {
1756 \new Staff { \time 2/4
1758 r4 f8 a cis4 f e d }
1759 \new Staff { \clef bass
1760 r4 d,8 f | gis4 c | b bes |
1761 a8 e f4 | g d | gis f }
1765 More in-depth information on preparing parts and scores is in the
1766 notation manual, in @ref{Orchestral music}.
1769 @node Integrating text and music
1770 @section Integrating text and music
1772 @cindex La@TeX{}, music in
1773 @cindex HTML, music in
1774 @cindex Texinfo, music in
1776 Sometimes you might want to use music examples in a text that you are
1777 writing (for example, a musicological treatise, a songbook, or (like us)
1778 the LilyPond manual). You can make such texts by hand, simply by
1779 importing a PostScript figure into your word processor. However,
1780 there is an automated procedure to reduce the amount of work.
1782 If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
1783 code. A script called @code{lilypond-book} will extract the music
1784 fragments, run LilyPond on them, and put back the resulting notation.
1785 This program is fully described in @ref{lilypond-book manual}. Here
1786 we show a small example; since the example contains also explanatory
1787 text, we will not comment it further:
1790 \documentclass[a4paper]@{article@}
1793 In a lilypond-book document, you can freely mix music and text. For
1796 \score @{ \notes \relative c' @{
1797 c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
1801 If you have no \verb+\score+ block in the fragment,
1802 \texttt@{lilypond-book@} will supply one:
1808 In the example you see here, two things happened: a
1809 \verb+\score+ block was added, and the line width was set to natural
1810 length. You can specify options by putting them in brackets:
1812 \begin[26pt,verbatim]@{lilypond@}
1816 If you want to include large examples into the text, it is more
1817 convenient to put it in a separate file:
1819 \lilypondfile@{screech-boink.ly@}
1824 Under Unix, you can view the results as follows:
1828 $ lilypond-book --outdir=out/ lilbook.tex
1829 lilypond-book (GNU LilyPond) 1.7.23
1830 Reading `input/tutorial/lilbook.tex'
1831 Reading `input/screech-boink6.ly'
1832 @var{lots of stuff deleted}
1833 Writing `out/lilbook.latex'
1835 $ latex lilbook.latex
1836 @var{lots of stuff deleted}
1840 To convert the file into a nice PDF document, run the following
1843 $ dvips -Ppdf -u +lilypond lilbook
1848 Running lilypond-book and running latex creates a lot of temporary
1849 files, and you would not want those to clutter up your working
1850 directory. The @code{outdir} option to lilypond-book creates the
1851 temporary files in a separate subdirectory @file{out}.
1853 The result looks more or less like this:
1857 In a lilypond-book document, you can freely mix music and text. For
1861 \notes \relative c' {
1862 c2 g'2 \times 2/3 { f8 e d } c'2 g4
1870 If you have no @code{\score} block in the fragment,
1871 @code{lilypond-book} will supply one:
1877 In the example you see here, two things happened: a
1878 @code{score} block was added, and the line width was set to natural
1879 length. You can specify options by putting them in brackets:
1881 @lilypond[26pt,verbatim]
1885 If you want to include large examples into the text, it is more
1886 convenient to put it in a separate file:
1888 @lilypondfile{screech-boink.ly}