Guide for the Absolute Beginner
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[edit] A simple melody
LilyPond's Guide for the Absolute Beginner (Mac OS X version). This guide also in Spanish.
[edit] Begin
Open a new LilyPond window.
Then type this inside:
{ c' d' e' f' g' a' b' c'' }
Save the file and then select "Typeset file" from the "Compile" menu.
(The first time you run LilyPond on your computer, it will take longer than normal to compile. This is because Lilypond has to analyze the fonts on your computer the first time it runs.)
A small window will open, where you can follow the proceedings, and then a ".pdf" document will appear, with this result:
It is a little C-major scale. Let us consider it:
The "curly braces", as they are known,
{
and
}
are essential. You must always start and end your music using curly braces.
Also, LilyPond is "case sensitive", meaning it treats capitals and lower-case letters as different characters. In our little example this means "c" (that's lower case) is right, but "C" (that's upper case) would be wrong.
LilyPond has certain pre-set values, called "defaults", which it will assume you want whenever you do not ask for a specific value. In our present example, for instance, the defaults applied are: the treble clef, 4/4 time signature, quarter notes (or "crotchets", for non-American English speakers).
You can, of course, change these and all other defaults; indeed you can engrave contemporary notation, orchestral scores, produce MIDI files, and more.
But all that lies further down the road. For the moment, we will teach you how to engrave a simple melody.
[edit] Relative mode
First, we'll give you a very useful tool to input your notes, called "relative mode".
In our example, we have written each note with an octave denomination: one apostrophe:
'
for the "first octave", which is the octave immediately above and including the middle c - that's the central c in the piano keyboard - and two apostrophes:
''
for the "second octave", the one immediately above the first octave.
But now, using "relative mode", you will save yourself a lot of work. Erase what you wrote before in the LilyPond window and write this instead:
\relative
{ c d e f g a b c }
Note that the \relative command comes before and outside the { } . Also, be very precise in the way you write this and all other commands: don't allow a space between the backslash and the word, since for instance:
\ relative
will not work, and only
\relative
will be fine.
Save the file again, close the .pdf and select "Typeset file" from the "Compile" menu. The result will be the same C-major scale:
But now, with the
\relative
command, the first note is automatically engraved as close as possible to the middle c and every further note will be engraved as close as possible to the previous note. "As close as possible" means calculating the smallest interval. Thus if you modify your input to this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf before compiling)
You will get this result:
You can analyze the exercise and see that the first note e appears a third above middle c rather than a sixth below; the same happens with the following g, a third above in relation to the preceding e; then comes the c that is a fourth above the g instead of a fifth below, and so forth.
Now in this mode, when you add an apostrophe:
{ c' }
it makes the note appear one octave higher than it would have appeared without the apostrophe. Two apostrophes:
{ c'' }
make for two octaves, and so forth.
To make a note one octave lower than it would otherwise appear, add a comma:
{ c, }
or two or more for more octaves:
{ c,,, }
See it here:
\relative
{ c' g e' d c c, d c }
[edit] Other variables
Good. Now let's see how to set the following:
- Clefs
- Time signatures
- Rhythmic values
- Keys major and minor
- Sharps and flats
- Double bars, repeat bars and ending bars
- Anacrusis (upbeats or pickups)
These are simple things to do. Write this example:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f g a b c
}
The result is our first example of a C-major scale:
but this time you see the way some defaults are set. Note that the clef, key and time commands are typed after the opening curly brace. Change them easily, like this:
\relative
{
\clef alto
\key cis \minor
\time 2/2
c d e f g a b c
}
This should look thus:
Don't worry just yet about the naturals. We'll explain them when we come to talk about keys.
[edit] Clefs
You set the clef by naming the one you want: in the preceeding example, we wrote "alto" instead of "treble". Other clefs are called:
- tenor (C clef on the fourth line)
- bass (F clef on the fourth line)
as well as
- french (G clef on the first line)
- soprano (C clef on the first line)
- mezzosoprano (C clef on the second line)
- baritone (C clef on the fifth line)
- varbaritone (F clef on the third line)
- subbass (F clef on the fifth line)
- percussion (percussion clef)
- tab (tablature clef)
and also "chiavette"-type clefs like
- "G_8"
which is the one used for guitar music and modern tenor parts. And there are more!
[edit] Keys
To set the key, proceed in this way:
\key (name of the tonic) \major (or) \minor
For example:
\key g \minor
[edit] Time Signatures
Time signatures are set similarly:
\time x/y
for example:
\time 6/8
[edit] Rhythmic values
You specify these values with a number after the name of the note:
{ c1 }
will make a whole note (also called a semi-breve),
{ d8 }
an eighth note (or quaver), etc.
Add full stops (called "periods" in American English) for dotted or double dotted notes:
{ g4. }
for a dotted quarter note,
{ a8.. }
for a double dotted eighth note, and so on.
Rhythmic values must be entered after octave marks. Thus:
{ c'2 }
is right, whereas:
{ c2' }
would be wrong.
[edit] Rests
Insert rests with the letter "r" and specify their duration with numbers:
{ r4. }
will be a dotted quarter rest.
Once a rhythmic value is entered it remains the same for all the following notes or rests until you change it. Lets see this with an example:
\relative
{ c4 r8 e g4 c r8 g c r c,4 r }
Analyze this and see how the rhythmic values are automatically repeated.
Working fine? Then let's go for sharps and flats:
[edit] Sharps and Flats
Just add
is
to the name of a note to make it a sharp, like this:
-
cis -
dis -
eis -
fis -
gis -
ais -
bis
and add
es
to the name of a note to make it a flat, like this:
-
ces -
des -
ees -
fes -
ges -
aes -
bes
Please note that this is not necessarily the way you are used to naming the notes, just a quick, logical and easy way to input them, similar to the German naming system (if you would prefer to use more familiar names, see the section in the manual on "note names in other languages").
"cisis" and "ceses" will give you double alterations. Get it?
Whatever key you have chosen, you must always input the exact name of the note you wish to have printed. For example in the key of D-Major you must type in "fis" and "cis" to get f-sharp and c-sharp, otherwise a natural sign will be printed before the note. This is not a disadvantage, as you will surely notice after a time.
[edit] Double bars and repeats
Insert double bars and end-bars with the
\bar
command, like this:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f
\bar "||"
g a b c
\bar "|."
}
You can also use the \bar command to print repeats, using
\bar "|:"
or
\bar ":|"
or
\bar ":|:"
as is shown in this example:
\relative
{ c e g c \bar "|:" b g f d \bar ":|:" f e d e \bar ":|" c1 \bar "|." }
But for repeats, the
\repeat volta
command is preferable. Use it this way:
\relative
{
\clef treble
\key c \major
\time 4/4
c e g c \repeat volta 2 { b g f d } f e d c
\bar "|."
}
As you can see, we set the command, specified the number of repeats (called "volta") and embraced the music to be repeated in an extra pair of curly braces: { and } Thus the model is:
{ ... \repeat volta 2 {...} ... }
This makes alternative endings possible:
\relative
{
\repeat volta 2 {c e g c b g f d }
\alternative { { e1 } { c } }
\bar "|."
}
We added the
\alternative
command, embraced each alternative with a pair of curly braces and then embraced both alternatives together.
Please note that the rhythmic value of the first alternative, e1, is automatically transferred to the following c.
Three (or more) alternative endings? No problem. Change the number after "volta" accordingly and proceed in the same way:
\relative
\repeat volta 3 {c e g c b g f d }
\alternative { { e1 } { g } { c, } }
\bar "|."
Once again, we put curly braces around each aternative and an extra pair of curly braces around the three of them.
Note that this time we added a comma to the final c, to make it a fifth lower than the preceding g.
[edit] Anacrusis (upbeats or pickups)
And last but not least in our little first beginners' chapter, we'll give you the tool for beginning your melodies with an anacrusis, also known as "upbeat" or "pickup". This is the
\partial
command. If you need, say, an eighth-note anacrusis, you type
\partial 8
For example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 8
b8 c4 d e f g a b c
\bar "|."
}
Just state the rhythmic value you need, including dots:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 4.
d8 b d c4 d e f g a b c
\bar "|."
}
Now consider the following example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
c16 d c b d c4 d e f g a b c
\bar "|."
}
There is no rhythmic value equivalent to that anacrusis, so we used a formula:
\partial x * y
where "x" stands for a rhythmic value - like "16" for a sixteenth note or "semiquaver" and "y" stands for the quantity of those, like "5" . The sign in between is an asterisk. Thus
\partial 16*5
will give you the preceding example's result. Change the values of this formula to suit your needs. Remember that it doesn't matter how the rhythmic value of the anacrusis is distributed among several notes:
\partial 2
is good for a half note, or two quarter notes, or two eighth notes and a quarter note, or any other combination of rhythmic values adding up to a half note.
[edit] Conclusion
You can now amuse yourself by writing away melodies, trying things and see how they look. Don't worry, if what you write is impossible and does not compile, you will get an instructive error message in the little "process log window" we mentioned at the beginning and no printout, but you won't crash the program.
The exercises you have done so far should enable you to write any simple melody. As you are surely aware, we have not said anything yet about tuplets, lyrics, polyphony and many other things, which are certainly no problem to do with this program. Indeed, if you wonder whether you can do any imaginable thing with LilyPond, the answer is very probably "YES!"
Look for ways to do more things in the other tutorials or in the next chapters, if and when they are written. Any unsolved questions can be directed to the mailing list, including an example of your problem. Take great care where you put your { and } around your music, and
have fun!
[edit] Polyphony
In this chapter, we will show you how to engrave music in several staves, i.e. with parts that should play at the same time, like for a choir or for a keyboard instrument.
[edit] Future compatibility
You may have noticed by now that words in the process log window we just mentioned:
please add \version "2.10.0" for future compatibility
If and when you decide to update to a new LilyPond version, you'll find that it may work in a somewhat different way than the old one, requiring changes in the old files to make them work properly under the new version. If you start all your files typing in the version of LilyPond you are using, this will facilitate their automatic conversion in the future and save you a lot of work.
So, for "future compatibility", begin all your files like this:
\version "2.10.0"
(Of course, if you use a different version, type the correct number instead of 2.10.0)
Now for further learning.
[edit] Several staves
If you write two musical expressions, one after the other, like this:
\version "2.10.0"
{ ... }
{ ... }
as is shown in this example:
\version "2.10.0"
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\relative
{
\clef bass
\time 3/4
\key bes \major
\partial 4
\repeat volta 2
{ bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2 }
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
\bar "|."
}
The result will be, of course, exactly that:
(Just in case you noticed: do not worry about some dotted quarter notes being "too long" for the measures they are in. They aren't, really - look where the notes in the following measure begin. This is a great advantage of LilyPond which we will explain when we talk about "ties")
But if the music in both staves is meant to be played at the same time, you must enclose them between double angle brackets:
<<
and
>>
and explicitly set a new staff each time with the
\new Staff
command (yes, you need a space between the words "new" and "Staff"), like this:
\version
<<
\new Staff
{ ... }
\new Staff
{ ... }
>>
Then our file will look like this:
\version "2.10.0"
<<
\new Staff
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
\bar "|."
}
>>
With the desired result:
Let's analyze this example and see what we did.
(Don't worry yet about some quirks like the line breaking and other things you may notice, we'll talk about those later, as we gradually refine our file)
After stating our current version number, we opened the
<<
and then inserted the command:
\new Staff
before each part. In the end, we closed the whole with
>>
(And don't forget that LilyPond is "case sensitive", as we explained in the first chapter)
Note that we set the time signature only once for the whole, but we set the clefs and keys for each staff separately. Also, we took away the \repeat command and its extra pair of curly braces, as well as the end-bar, from the bass part: these are entered in one part and automatically apply for the other.
Now try and see for yourself what happens if you choose not to put the \relative command at the beginning of the bass part. You will see that the relative mode set at the very beginning of the piece takes over, and makes the first note of the second staff be relative to the last note of the first staff, appearing now one octave higher than we want to engrave it.
One possibility is to add a comma to it:
bes,
to lower it one octave or, as in our example, to set the \relative command again. Your choice!
[edit] A piano staff
If you want a "piano staff", set it with the
\new PianoStaff
command before the opening << in this way:
\version
\new PianoStaff
<<
\new Staff
{ ... }
\new Staff
{ ... }
>>
In our example:
\version "2.10.0"
\new PianoStaff
<<
\new Staff
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
[edit] A choir staff
If you want a choir staff, write "ChoirStaff" instead of "PianoStaff":
\version
\new ChoirStaff
<<
\new Staff
{...}
\new Staff
{...}
>>
which in our example looks like this:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
Add more staves as you need them, like for a four-part choir piece:
\version
\new ChoirStaff
<<
\new Staff
{ ... }
\new Staff
{ ... }
\new Staff
{ ... }
\new Staff
{ ... }
>>
And here is the whole Bach choral:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef treble
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\clef "G_8"
\key bes \major
bes4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
We used modern clefs. Here is the same with the historical clefs:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\clef soprano
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef alto
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\clef tenor
\key bes \major
bes4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
[edit] Line breaks
As you can see, our layout is still a little rough. The repeat should not appear where it does, and it is all somewhat compressed.
So, we introduce the
\break
command where we want to break the line. We put it only once in the treble part, and it will automatically work for all the others, in the same way as the \bar commands.
In its basic form, this command must always coincide with a bar line. Look for it here and see the new layout:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 \break
d es d c d8 c d bes a bes bes4. c8 c2 \break }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 \break
a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\clef treble
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\clef "G_8"
\key bes \major
bes4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
This will be fine as long as you are using A4 paper size. If not, change the position of the \break commands to suit your needs.
[edit] Instrument names
To engrave the names of the parts, add:
\set Staff.instrumentName = " "
according with this model:
\version
\new ChoirStaff
<<
\new Staff
{ \set Staff.instrumentName = "Treble"
... }
\new Staff
{ \set Staff.instrumentName = "Alto"
... }
\new Staff
{ \set Staff.instrumentName = "Tenor"
... }
\new Staff
{ \set Staff.instrumentName = "Bass"
... }
>>
Note that we typed the \set Staff.instrumentName commands after the opening curly braces for each voice.
Our file now looks like this:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble"
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 \break
d es d c d8 c d bes a bes bes4. c8 c2 \break }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 \break
a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto"
\clef treble
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor"
\clef "G_8"
\key bes \major
bes4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass"
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
Do you find that the words stand too close to the choir bracket? Add empty spaces to the words:
"Treble " "Alto " "Tenor " "Bass "
See the modified file:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 \break
d es d c d8 c d bes a bes bes4. c8 c2 \break }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 \break
a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef treble
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef "G_8"
\key bes \major
bes4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
Now, were this a string quartet, you would type "Violino I", "Violino II", "Viola" and "Violoncello" instead of "Treble", "Alto", "Tenor" and "Bass". Or you type whatever you want: "I" - "II" - "III" - "IV" ; "1" - "2" - "3" - "4" ; "First Part" - "Second Part" - "Third Part" - "Fourth Part"; this is not case sensitive and you can type the letters or numbers you prefer.
[edit] Chords
To print chords, type the pertaining notes between angle brackets:
\version "2.10.0"
\relative
{ < c e g > < c f a > < b d g > < c e g > }
Enter the rhythmic values you want after the closing brackets:
\version "2.10.0"
\relative
{ < c e g > 4 < c f a > 8 < b d g > < c e g > 2 }
And enter rests outside the brackets:
\version "2.10.0"
\relative
{ r8 < c e g > 8 r4 < c f a > 8 < b d g > < c e g > 4 }
For a keyboard instrument, set a piano staff and enter the chords for each single staff:
\version "2.10.0"
\new PianoStaff
<<
\new Staff
\relative
{
\clef treble
< e c' > < f c' > < d b'> < e c' >
}
\new Staff
\relative
{
\clef bass
< c, g' > < f, a' > < g g' > < c g' >
}
>>
And of course, change from chords to monody and back as you like:
\version "2.10.0"
\new PianoStaff
<<
\new Staff
\relative
{
\clef treble
< e c' > e8 c' < f,c' > 4 f8 c' < d, b'> 4 d8 b' < e, c' > 2
}
\new Staff
\relative
{
\clef bass
< c, g' > < f, a' > < g g' > < c g' >
}
>>
Please note how the last entered rhythmic value in the first staff - a half note - is automatically continued in the second.
[edit] Single staff polyphony
Other than simple chords, single staff polyphony will show different rhythms at the same time and in the same staff.
For this, enter the different voices separately and let LilyPond do the maths for you:
Embrace all the voices which must appear in the same staff with
<< >>
but separate them from each other with a double backslash:
\\
After this model:
\version
<< { ... } \\ { ... } >>
Thus we can easily combine the treble and alto parts of our choral:
\version "2.10.0"
\relative
<<
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\\
{
d,4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
>>
We can add the tenor part according to the same model, always inserting
\\
between the voices:
\version
<< { ... } \\ { ... } \\ { ... } >>
but of course, our single staff gets too crowded in this case:
\version "2.10.0"
\relative
<<
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\\
{
d,4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\\
{
bes,4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
>>
But if you need it, you can do it.
For a piano reduction of the whole choral, we work as in our first example of the piano staff, adding the signs for single staff polyphony for each staff.
Here is the model:
\version
\new PianoStaff
<<
\new Staff << { ... } \\ { ... } >>
\new Staff << { ... } \\ { ... } >>
>>
Here is the choral in its piano reduction:
\version "2.10.0"
\relative
\new PianoStaff
<<
\new Staff
<<
{
\clef treble
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8 c d bes g'4 es2 f4 bes, es c2 bes4 d es d c d8 c d bes a bes bes4. c8 c2 }
a4 bes c d g, g'8 es c b c d d4. es8 es2 c4 a bes8 a g f f'4. bes,8 g'4. f8 d4 c8 bes bes2 \bar "|."
}
\\
{
d,4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8 es f e f2
f4 f2 f4 es4. g8 es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
>>
\new Staff
<<
{
\clef "bass"
\key bes \major
bes,4 bes f'8 es f4 es bes8 a bes c d2 g4 f4. es8 d4 c8 bes c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\\
{
bes4 d, c bes es g8 f g es bes' a g4 es f2 bes,4 a'8 g a f bes4 f es d c d8 c d bes f2
f'8 es d4 es8 d c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8 f es d es4 f f, bes2
}
>>
>>
Of course, you can set a choir staff if you like, or no special staff at all.
Single staff polyphony may begin and end at any time:
\version "2.10.0"
\relative
{ c d e f << { d e f g } \\ { b, c d e } >> f e d c }
(Note the comma after the b: the "relative mode" takes this b as the first note after the previous g:
... g } \\ { b ...
and would have it appear a third above it; so we lowered it)
If your melodies have rests, like this beginning of a fuga by J. K. F. Fischer:
\version "2.10.0"
\relative
<<
{ r1 r2 r8 d' a b c4 d8. d16 e8 d16 c d8 e }
\\
{ r8 a, d, e f4 g8. g16 a8 g16 f g8 a d,2 r8 a' g f e4 f8 g }
>>
you may prefer them to be invisible. This is accomplished easily, replacing the letter "r" by an "s":
\version "2.10.0"
\relative
<<
{ s1 s2 s8 d' a b c4 d8. d16 e8 d16 c d8 e }
\\
{ r8 a, d, e f4 g8. g16 a8 g16 f g8 a d,2 s8 a' g f e4 f8 g }
>>
(The letter s comes from "spacer" and creates an "empty" space of the length adequate to the rhythmic value. It is also used for other purposes, as will be seen later)
[edit] A melody instrument and keyboard
To engrave music for a melody instrument and a keyboard instrument, use this model:
\version
\relative
<<
<< \new Staff { ... } >>
\new PianoStaff
<< \new Staff { ... } \new Staff { ... } >>
>>
We embraced the staff for the melody instrument in an extra pair of double angle braces and did the same for both the staves of the keyboard part together.
When setting the "instrument name" for the piano part, use the
\set PianoStaff.instrumentName = " ... "
command, in order to have the instrument name appear in the proper place. See this in the following Menuet for violin and piano by Mozart. Also, when viewing the output in the pdf, click on the rest in bar 15 (make sure Preview is in the text modus). This will take you directly to the same place in the LilyPond file. Note the capital "R" for the rest. With this option, the rest appears as a whole rest, rather than as a dotted half rest.
\version "2.10.0"
\relative
<<
<<
\new Staff
{
\set Staff.instrumentName = "Violino "
\key d \major
\time 3/4
r d8 fis a d fis4 d a b8 b a g fis e fis2.
r8 d b' d fis4 e,2. r8 d b' d fis4 e2.
r8 b a4 gis a2. \bar ":|:"
cis,4 e g cis a e' cis,8 e e g cis, e a,4 r r R2.
d''2 a8 fis b4 r r d,2 a8 fis <g, d' b' > 4 r r
d'' cis d r8 b a g fis e d2. \bar "|."
}
>>
\new PianoStaff
<<
\new Staff
\relative
{
\set PianoStaff.instrumentName = "Piano "
\key d \major
d'2 fis8 d a2 fis8 d e g fis e d cis d2.
fis2 b'8 a a gis fis e a4 fis2 b8 a a gis fis e a e fis d cis4 b a2.
a2 cis8 a e'2 cis8 a g4 g g fis8 a g b a4
b2 d8 b a4 r r
b2 d8 b a4 r r
b2 d8 b a4 g fis e8 g fis e d cis d2.
}
\new Staff
\relative
{
\key d \major
d8 a' fis a d, a' d, a' fis a d, a' g4 a a, r8 d fis a d4
d,8 b' fis b dis, b' e, b' d, b' cis, a' d, b' fis b dis, b' e, b' d, b' cis, a'
d,4 e
\clef bass
e, r8 a e c a4
a'8 e' cis e a, e'
a, e' cis e a, e'
e, g cis, e a, cis d4 e fis
g8 d' b d g, d'
fis, d' a d fis, d'
g,8 d' b d g, d'
fis, d' a d fis, d'
g,8 d' b d g, d'
fis, d' e, cis' d, d'
g,4 a a, r8 d a fis d4
}
>>
>>
Please take into account that we are showing you easy ways to do simple things. Nevertheless, LilyPond can also be used for rather complex engraving projects, with procedures not yet mentioned. In the process of learning, you may stumble upon things that don't work quite that easily, or can be done in a different way as is shown here. The program's documentation contains further information about how LilyPond files work and concepts that have not yet been part of our work in this guide.
Also, there are so many things that might be a user's main interest when learning the program, that only a small fraction of them can be dealt with in a guide like this. We will help you expand your capabilities until you are no longer an absolute beginner, but a general user of LilyPond and can, we hope, find your own way in the program's reference.
Keep playing with what you are in the process of learning and - always:
have fun!
[edit] Additions to the notes
In this chapter we'll show you how to add to your music such elements as articulations, dynamics, fingerings and graces, as well as special beaming. We'll start with the last.
[edit] Beaming
In our previous choral, we just let the program calculate the appropriate beaming for the eighth notes, which it did logically and correctly. But composers have their own ideas, and so did Bach.
We'll now modify our choral's engraving to have the same beaming as in the urtext.
By default, the following notes:
\version "2.10.0"
\relative
{c8 d e f g a b c c b a g f e d c }
will be beamed like this:
But you can beam together any number of notes using square brackets:
[
and
]
Put the opening [ after the note with which the beam begins, and the closing ] after the last. Let's see how this works:
\version "2.10.0"
\relative
{c8[ d e f g a b c c b a g f e d c] }
or
\version "2.10.0"
\relative
{c8 d[ e f] g a[ b c] c[ b a] g[ f e d c] }
Be aware that these and all other additions must be typed in after octave marks and rhythmic values. Thus:
c'8[
is a valid input, whereas
c'[8
will get you an error message.
You can also have a beamless note with the
\noBeam
command, putting it after any note you want to be beamless. When you do, LilyPond will automatically calculate the new correct beaming for the remaining notes. Observe the results:
\version "2.10.0"
\relative
{c8 \noBeam d e f g \noBeam a b c c \noBeam b a g f \noBeam e d c }
Play a little with this file, adding \noBeam commands or changing their positions and see what happens.
Another option, especially useful for vocal music, is to disable the beaming altogether, with the
\autobeamOff
command:
\version "2.10.0"
\relative
{
\autoBeamOff
\time 6/8
c8 e g c e c g c g e d e c2.
}
And here is the Bach choral with the urtext beaming:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef soprano
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes d8[ c] d bes g'4 es2 f4 bes, es c2 bes4 \break
d es d c d8[ c] d[ bes a] bes bes4. c8 c2 \break }
a4 bes c d g, g'8[ es] c[ b c] d d4. es8 es2 c4 \break
a bes8[ a] g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef alto
\key bes \major
d4 f bes8 a bes4 bes g2 f4 g8 a bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8[ es] f e f2
f4 f2 f4 es4. g8\noBeam es d es4 as g f2 g4 f g a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef tenor
\key bes \major
bes4 bes f'8 es f4 es bes8[ a] bes c d2 g4 f4. es8 d4 c8[ bes] c a bes4 c f, f c' bes f8 g a2
c4 f, a bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8 d d2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
bes4 d, c bes es g8[ f] g es bes' a g4 es f2 bes,4 a'8[ g] a f bes4 f es d c d8[ c] d bes f2
f'8 es d4 es8[ d] c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8[ f] es d es4 f f, bes2
}
>>
[edit] Ties and slurs
A tie connects two notes of the same pitch. Enter it with a tilde:
~
between the notes to be tied:
\version "2.10.0"
\relative
{c' d e f~f e d c}
A slur is an articulation sign - for legato - and connects any notes with each other. Enter it using common brackets:
(
and
)
with the opening bracket after the first note to be included in the slur and the closing bracket after the last:
\version "2.10.0"
\relative
{c( d e f) g( a b c) }
A phrasing slur is entered with a backslash before the brackets:
\(
and
\)
as is shown here:
\version "2.10.0"
\relative
{c \( ( d e f) d( e f g~g f e d) f( e d c) \) }
This is now our choral with the urtext slurs:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef soprano
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes( d8[ c]) d bes g'4 es2 f4( bes,) es c2 bes4 \break
d es d c d8[( c]) d[( bes a]) bes bes4. c8 c2 \break }
a4 bes( c) d g, g'8[ es] c[( b c]) d d4. es8 es2 c4 \break
a( bes8[ a]) g f f'4. bes,8 g'4. f8 d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef alto
\key bes \major
d4 f( bes8 a) bes4 bes g2 f4( g8 a) bes4 bes a f f f4. g8 a4 bes8 a bes4 es, f8[( es] f e) f2
f4 f2 f4 es4. g8\noBeam es d es4 as g f2 g4 f( g) a bes4. bes8 bes4. bes8 bes4 a f2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef tenor
\key bes \major
bes4 bes( f'8 es) f4 es( bes8[ a]) bes c d2 g4 f4.( es8) d4 c8[ bes] c a bes4 c f, f c' bes f8 g a2
c4 f,( a) bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8( d) d2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
bes4 d,( c) bes es g8[( f]) g es bes'( a g4) es f2 bes,4 a'8[ g] a f bes4 f es d c d8[ c] d bes f2
f'8( es) d4( es8[ d]) c bes es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8[ f] es d es4 f f, bes2
}
>>
Bars 10 - 11 and 14 - 15 would usually be engraved with ties across the bar lines:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef soprano
\key bes \major
\time 3/4
g'4 g'8[ es] c[( b c]) d d4. es8 es2 c4 \break
a( bes8[ a]) g f f'4. bes,8 g'4~g8 f d4 c8 bes bes2
\bar "|."
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef alto
\key bes \major
es4. g8\noBeam es d es4 as g f2 g4 f( g) a bes4. bes8 bes4~bes8 bes bes4 a f2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef tenor
\key bes \major
bes4. bes8 c4~c8 c c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8( d) d2
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
es,4. es8 aes4~as8 g f4 g c,2 es4 f2 es4 d g8[ f] es d es4 f f, bes2
}
>>
But Bach - because of the hemiolas - chose to write dotted quarter notes in the third time of bars 10 and 14, placing the following eighth notes further to the right. This poses no problem working with LilyPond.
[edit] Articulations
Add a dash
-
to the notes:
{ c4- d- e- f- g- a- b- c- }
and then the necessary code for the articulation sign you want:
A dot for staccato:
\version "2.10.0"
\relative
{ c-. d-. e-. f-. g-. a-. b-. c-. }
A second dash for tenuto:
\version "2.10.0"
\relative
{ c-- d-- e-- f-- g-- a-- b-- c-- }
A dash and an underscore for portato:
\version "2.10.0"
\relative
{ c-_ d-_ e-_ f-_ g-_ a-_ b-_ c-_ }
And so on:
\version "2.10.0"
\relative
{ c-> d-> e-> f-> g-> a-> b-> c-> }
\version "2.10.0"
\relative
{ c-^ d-^ e-^ f-^ g-^ a-^ b-^ c-^ }
\version "2.10.0"
\relative
{ c-| d-| e-| f-| g-| a-| b-| c-| }
\version "2.10.0"
\relative
{ c-+ d-+ e-+ f-+ g-+ a-+ b-+ c-+ }
[edit] Grace notes
You can use four different commands for this purpose:
\grace \appoggiatura \acciaccatura \afterGrace
As can be seen in this example:
\version "2.10.0"
\relative
{
\grace d'8 c4 \appoggiatura d8 c4 \acciaccatura d8 c4 \afterGrace d c8 c1
}
A grace is not slurred, an appoggiatura is slurred and an acciaccatura is slurred and slashed.
For an after grace, the command is entered before the main note and the grace note after it.
Note that all rhythmic values must be entered.
Graces with more than one note are entered between curly braces:
\version "2.10.0"
\relative
{
\grace { g'8 a b } c4 \appoggiatura { g8 a b } c4 \acciaccatura { g8 a b } c4 \afterGrace d { d16 c b } c1
}
Beams must be specified:
\version "2.10.0"
\relative
{
\grace { g'8[ a b] } c4 \appoggiatura { g8[ a b] } c4 \acciaccatura { g8 a b } c4 \afterGrace d { d16[ c b] } c1
}
[edit] Dynamics
Type a backslash after a note and then the usual letters, from
ppppp
to
ffff
including:
mp mf fp sf sff sfz rfz sp spp
Here is a little example:
\version "2.10.0"
\relative
{ c8\pp d\p e\mp f\mf g\f a\ff b\sf c\fff }
Start dynamic regulators, called hairpins, with
\<
for crescendo, or
\>
for decrescendo, and terminate them with
\!
As demonstrated here:
\version "2.10.0"
\relative
{ c8\< d e f g a b c\! b\> a g f e d c\! }
Alternatively, you can replace the ! with a dynamic sign:
\< ... \f
For example:
\version "2.10.0"
\relative
{ c8\< d e f g a b c d\f\> c b a g f e d c1\p }
Use spacers for placing hairpins where you want to have them:
\version "2.10.0"
\relative
{ c' d e f << g1~ {s4 s s\< s } >> g4\sf f e d c1 }
As you can see, just before the note associated with the spacers, double angle brackets are opened; the spacers are enclosed in curly braces, after which the double angle brackets are closed.
The tie connects the preceding note, g1, to the note after the closing angle brackets, g4.
[edit] Fingering
As for articulations, type a dash after the note name and enter the finger numbers:
\version "2.10.0"
\relative
{ c-1 d-2 e-3 f-1 g-2 a-3 b-4 c-5 }
Enter chord fingerings in the same way:
\version "2.10.0"
\relative
{ < c-1 e-3 g-5 > < c-1 f-3 a-5 > < b-1 d-2 g-5 > < c-1 e-3 g-5 > }
To change the fingering during one note, you need a little markup - we'll come down to it in another chapter, but we show you now how it is done. See the model:
\version
{ ... ^markup {\finger " x - y " } ... }
In the following example:
\version "2.10.0"
\relative
{ a'-3 g-2 f2^\markup { \finger " 1 - 4 " } e4-3 d-2 c2-1 }
we inserted
^\markup
right after entering the half note f, then opened curly braces
{
and added the
\finger
command. Then we typed the desired fingering between double quotes, with a dash in between:
" 1 - 4 "
and closed the curly braces
}
This is the whole little line:
f2^\markup { \finger " 1 - 4 " }
which gave us the desired result.
[edit] Further additions
Additions to the music can also be entered typing a backslash after the note name
{c\ d\ e\ f\ g\ a\ b\ c\ }
and then entering the proper term:
\version "2.10.0"
\relative
{
c\fermata d\fermata e\fermata f\fermata g\fermata a\fermata b\fermata c\fermata
}
Here is a list of possible commands:
{ c'\accent }
{ c'\marcato }
{ c'\staccatissimo }
{ c'\espressivo }
{ c’\staccato }
{ c'\tenuto }
{ c'\portato }
{ c'\upbow }
{ c'\downbow }
{ c'\flageolet }
{ c'\thumb }
{ c'^\lheel }
{ c'\rheel }
{ c'^\ltoe }
{ c'\rtoe }
{ c'\open }
{ c'\stopped }
{ c'\turn }
{ c'\reverseturn }
{ c'\trill }
{ c'\prall }
{ c'\mordent }
{ c'\prallprall }
{ c'\prallmordent }
{ c'\upprall }
{ c'\downprall }
{ c'\upmordent }
{ c'\downmordent }
{ c'\pralldown }
{ c'\prallup }
{ c'\lineprall }
{ c'\signumcongruentiae }
{ c'\shortfermata }
{ c'\longfermata }
{ c'\verylongfermata }
{ c'\segno }
{ c'\coda }
{ c'\varcoda }
{ c'\breathe }
{ c \glissando c' }
{ < c f b e a > \arpeggio }
Now we can add the urtext articulations and graces to our previous Menuet by Mozart:
\version "2.10.0"
\relative
<<
<<
\new Staff
{
\set Staff.instrumentName = "Violino "
\key d \major
\time 3/4
r d8([fis)] a( d) fis4( d) a( b8) b a g fis e \appoggiatura e4 fis2.
r8 d-| b'( d) fis4 e,2. r8 d-| b'( d) fis4 e2.
r8 b a4 gis a2. \bar ":|:"
cis,4( e) g-| cis( a) e'-| cis,8([ e)] e([ g)] cis,( e) a,4 r r R2.
d''2 a8( fis) b4 r r d,2 a8( fis) <g, d' b' > 4 r r
d'' cis d r8 b-. a-. g-. fis-. e-. d2. \bar "|."
}
>>
\new PianoStaff
<<
\new Staff
\relative
{
\set PianoStaff.instrumentName = "Piano "
\key d \major
d'2\trill fis8( d) a2 fis'8( d) e g fis e d cis d2.\trill
fis2\trill b8( a) a( gis) fis-| e-| a4 fis2 b8( a) a( gis) fis-| e-| a e fis( d) cis4 b\trill a2.
a2\trill cis8( a) e'2 cis8( a) g4 g g fis8 a g b a4
b2 d8( b) a4 r r
b2\trill d8( b) a4 r r
b2\trill d8( b) a4 g fis e8 g fis e d cis d2.
}
\new Staff
\relative
{
\key d \major
d8 a' fis a d, a' d, a' fis a d, a' g4 a a, r8 d fis a d4
d,8 b' fis b dis, b' e, b' d, b' cis, a' d, b' fis b dis, b' e, b' d, b' cis, a'
d,4 e
\clef bass
e, r8 a e c a4
a'8 e' cis e a,[ e']
a, e' cis e a,[ e']
e,( g) cis,( e) a,( cis) d4 e fis
g8 d' b d g,[ d']
fis, d' a d fis,[ d']
g,8 d' b d g,[ d']
fis, d' a d fis,[ d']
g,8 d' b d g,[ d']
fis, d' e, cis' d,[ d']
g,4 a a, r8 d a fis d4
}
>>
>>
[edit] Above or below
If you want to force a sign - articulations, slurs, ornaments - to appear either above or below the notes, use a
^
to make them appear above, or
_
(undescore) to make them appear below.
See some examples:
\version "2.10.0"
\relative
{ c8^( d e f g a b c) d_( c b a g f e d) c1_\fermata }
Observe that in the case of a \command, like our fermata, the special sign comes before the backslash.
Where a dash is required, substitute ^ or _ for the dash:
\version "2.10.0"
\relative
{ c8^| d^| e^| f^| g^| a^| b^| c^| d_. c_. b_. a_. g^. f^. e^. d^. c1^^ }
[edit] Lyrics
In this chapter you'll learn how to add lyrics to your music.
[edit] Simple lyrics
[edit] Setting up the basics
For a simple melody, we can use
\addlyrics
after the model:
\version
{ ... }
\addlyrics
{ ...abc... }
See it done here:
\version "2.10.0"
\relative
{
c c g' g a a g2
f4 f e e d d c2
g'4 g f f e e e d
g g f f e e e d
c c g' g a a g2
f4 f e e d d c2 \bar"|."
}
\addlyrics
{
Ah! vous di rai je, ma man,
Ce qui cau se mon tour ment?
De puis que j'ai vu Sil van dre,
Me re gar der d'un air ten dre;
Mon coeur dit a chaque ins tant:
Peut on vi vre sans a mant?
}
[edit] Adding hyphens between syllables
We entered the text separating the syllables with spaces, to have each of them automatically assigned to one note.
We add now double dashes between syllables of the same word:
\version "2.10.0"
\relative
{
c c g' g a a g2
f4 f e e d d c2
g'4 g f f e e e d
g g f f e e e d
c c g' g a a g2
f4 f e e d d c2 \bar"|."
}
\addlyrics
{
Ah! vous di rai -- je, ma -- man,
Ce qui cau -- se mon tour -- ment?
De -- puis que j'ai vu Sil -- van -- dre,
Me re -- gar -- der d'un air ten -- dre;
Mon coeur dit a chaque ins -- tant:
Peut on vi -- vre sans a -- mant?
}
In this way, single dashes (called hyphens) will be engraved between the syllables:
[edit] Adjusting the dashes as necessary
In this case, many dashes do not appear because the space between the syllables is too short. To correct this, you can either use the \break command to better the general layout or "cheat" a little, adding an extra dash to the preceding syllables:
ma- -- man Sil- -- van- -- dre
We'll do both. First, we introduce line breaks:
\version "2.10.0"
\relative
{
c c g' g a a g2
f4 f e e d d c2 \break
g'4 g f f e e e d
g g f f e e e d \break
c c g' g a a g2
f4 f e e d d c2
}
\addlyrics
{
Ah! vous di rai -- je, ma -- man
Ce qui cau -- se mon tour -- ment?
De -- puis que j'ai vu Sil -- van -- dre,
Me re -- gar -- der d'un air ten -- dre;
Mon coeur dit a chaque ins -- tant:
Peut on vi -- vre sans a -- mant?
}
Now the first syllable of the word "tourment" gets another dash:
\version "2.10.0"
\relative
{
c c g' g a a g2
f4 f e e d d c2 \break
g'4 g f f e e e d
g g f f e e e d \break
c c g' g a a g2
f4 f e e d d c2
}
\addlyrics
{
Ah! vous di rai -- je, ma -- man
Ce qui cau -- se mon tour- -- ment?
De -- puis que j'ai vu Sil -- van -- dre,
Me re -- gar -- der d'un air ten -- dre;
Mon coeur dit a chaque ins -- tant:
Peut on vi -- vre sans a -- mant?
}
[edit] Using spaces, quotation marks and other special characters in lyrics
Any text surrounded by quotation marks will be interpreted as a single syllable. So
Only you are "the one"
will produce only four syllables.
If the original text contains some double quotes, like in:
"Peut-on vivre sans amant?"
you must enter them specially, so the quotation marks will not be interpreted as usual. The "official" method is to use the special sequence
\"
within quotation marks. So if the lyrics read,
He said, "I am the greatest," and left.
this should be written
He said, "\"I" am the "greatest,\"" and left.
A shortcut technique is to use two single quotes in a row:
He said, ''I am the greatest,'' and left.
For truly fine typography, use the the Unicode "left double quotation mark" and "right double quotation mark" characters:
He said, “I am the greatest,” and left.
We can add the following stanzas with a new \addlyrics command for each stanza:
\version
{ ... }
\addlyrics { ...abc... }
\addlyrics { ...def... }
\addlyrics { ...ghi... }
And so we go further with our little song:
\version "2.10.0"
\relative
{
c c g' g a a g2
f4 f e e d d c2 \break
g'4 g f f e e e d
g g f f e e e d \break
c c g' g a a g2
f4 f e e d d c2
}
\addlyrics
{
Ah! vous di rai -- je, ma -- man,
Ce qui cau -- se mon tour- -- ment?
De -- puis que j'ai vu Sil -- van -- dre,
Me re -- gar -- der d'un air ten -- dre;
Mon coeur dit a chaque ins -- tant:
''Peut on vi -- vre sans a -- mant?''
}
\addlyrics
{
L'au -- tre jour, dans un bos -- quet,
De fleurs il fit un bou -- quet;
Il en pa -- ra ma hou -- let -- te
Me di -- sant: ''Bel -- le bru -- net -- te,
Flore est moins bel -- le que toi;
L'a -- mour moins ten -- dre que moi''.
}
Remember to open and close all necessary curly braces!
Now you can practise a little, adding the two remaining stanzas:
Je rougis et par malheur Un soupir trahit mon cœur. Le cruel avec adresse, Profita de ma faiblesse: Hélas, Maman! Un faux pas Me fit tomber dans ses bras. Je n'avais pour tout soutien Que ma houlette et mon chien. L'amour, voulant ma défaite, Ecarta chien et houlette; Ah ! Qu'on goûte de douceur, Quand l'amour prend soin d'un coeur!
Well, lyrics don't always go so easily as a shepherd's love, so we will show you now how to engrave melismas and other things.
[edit] Melismas
If a single syllable is sung to several notes, connect the involved notes with a slur and add two underscores to the corresponding syllable:
\version "2.10.0"
\relative
{
\key g \major
\time 3/4
b'2.(~b4 a c8 a) g4 r r
}
\addlyrics
{
Träu__ -- me.
}
[edit] Choir lyrics
We will now add the lyrics to our Bach choral. The model in this case is:
\version
\new ChoirStaff
<<
\new Staff { ... }
\addlyrics { ...abc... }
\new Staff { ... }
\addlyrics { ...abc... }
\new Staff { ... }
\addlyrics { ...abc... }
\new Staff { ... }
\addlyrics { ...abc... }
>>
with further \addlyrics commands for further stanzas:
\version
\new ChoirStaff
<<
\new Staff { ... }
\addlyrics { ...abc... }
\addlyrics { ...def... }
\new Staff { ... }
\addlyrics { ...abc... }
\addlyrics { ...def... }
\new Staff { ... }
\addlyrics { ...abc... }
\addlyrics { ...def... }
\new Staff { ... }
\addlyrics { ...abc... }
\addlyrics { ...def... }
>>
Here is our choral with the Lyrics:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef soprano
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes( d8[ c]) d[( bes]) g'4 es2 f4( bes,) es c2 bes4 \break
d es d c d8[( c]) d[( bes a]) bes bes4. c8 c2 \break }
a4 bes( c) d g, g'8([ es)] c[( b c]) d d4. es8 es2 c4 \break
a( bes8[ a]) g f f'4. bes,8 g'4. f8 d4 c8(bes) bes2
\bar "|."
}
\addlyrics
{
Dir, dir__ -- Je__ -- ho -- va, will__ ich sin -- gen,
denn, wo ist so ein sol__ -- cher Gott wie du?
daß ich__ es tu' im__ Na__ -- men Je -- su Christ,
so wie__ es__ dir durch ihn ge - fäl -- lig__ ist.
}
\addlyrics
{
Dir will__ -- ich__ -- mei -- ne Lie -- der brin -- gen.
ach! gib mir dei -- nes Gei -- stes Kraft dar -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef alto
\key bes \major
d4 f( bes8 a) bes4 bes g2 f4( g8 a) bes4 bes( a) f f f4. g8 a4 bes8( a) bes4 es, f8([ es)] f( e) f2
f4 f2 f4 es4. g8\noBeam es( d) es4 as g f2 g4 f( g) a bes4. bes8 bes4. bes8 bes4 a f2
}
\addlyrics
{
Dir, dir__ -- Je -- ho -- va, wil__ -- ich sin__ -- gen,
denn, wo ist so ein__ sol -- cher Gott__ wie__ du?
daß ich es tu im Na__ -- men Je -- su Christ,
so wie__ -- es dir durch ihn ge -- fäl -- lig ist.
}
\addlyrics
{
Dir will__ -- ich mei -- ne Lie -- der brin -- gen,
Ach! gib mir dei -- nes__ Gei -- stes Kraft dar__ -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef tenor
\key bes \major
bes4 bes( f'8 es) f4 es( bes8[ a]) bes( c) d2 g4 f4.( es8) d4 c8([ bes)] c( a) bes4 c f, f c' bes f8( g) a2
c4 f,( a) bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8( d) d2
}
\addlyrics
{
Dir, dir__ -- Je -- ho__ -- va,__ -- will ich sin__ -- gen,
denn,__ wo__ ist so ein sol -- cher Gott wie__ du?
daß ich__ es tu' im Na__ -- men Je -- su Christ,
so wie__ -- es dir durch ihn ge -- fäl -- lig ist.
}
\addlyrics
{
Dir will__ -- ich mei__ -- ne__ Lie -- der brin -- gen,
ach!__ gib__ mir dei -- nes Gei -- stes Kraft dar -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
bes4 d,( c) bes es( g8[ f]) g( es) bes'( a g4) es f2 bes,4 a'8([ g)] a( f) bes4 f es d c d8([ c)] d( bes) f2
f'8( es) d4( es8[ d]) c( bes) es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8([ f)] es( d) es4 f f, bes2
}
\addlyrics
{
Dir, dir__ -- Je -- ho__ -- va,__ wil__ ich sin -- gen,
denn__ wo__ ist so ein sol -- cher Gott__ wie__ du?
daß ich__ es__ tu' im Na -- men Je -- su Christ,
so wie es dir durch__ ihn__ ge -- fäl -- lig ist
}
\addlyrics
{
Dir will__ -- ich mei__ -- ne__ Lie__ -- der brin -- gen,
ach!__ gib__ mir dei -- nes Gei -- stes Kraft__ dar__ -- zu,
}
>>
[edit] A solo song with piano accompaniment
Basically, we'll first enter the notes of the vocal part, then the lyrics and finally the piano part. We will also use an identifier, which is a very useful tool for many tasks with LilyPond. An identifier is a name we make up to denote a musical expression. For our present purpose, we choose
songmusic
You could change this to whatever suits you: "vocalnotes", "niceSounds", etc, but be aware that you can use only letters!
The following is a beautiful song by Mendelssohn, at first without the lyrics:
\version "2.10.0"
\relative
<<
<<
\new Staff
{ \key g \major \time 3/4 \autoBeamOff
b'4. b8 b b d8. c16 b2
g4. g8 a a b( d) a4 r
b4. b8 b b d8. c16 b2 g4. g8 a a b2 fis8 r
fis g fis4 b fis8 g fis4 r
g8 fis g a b cis e4. d8 cis c
b4. b8 b b d8. c16 b2
g8 fis g4 a b2.~b4 a c8 b g4 r r R2. \bar "|."
}
>>
\new PianoStaff
<<
\new Staff
\relative
{ \key g \major
< g'b > 4. < g b > 8 < g b > < g b >
<< { d'8. c16 } \\ { g4 } >>
< g b > 2 < b, g' > 4. < b g' > 8 < c g'> < c g'>
<< { b' d a4 } \\ { d,4 d } >>
r
<< { b'4. b8 b b d8. c16 b2 } \\ { g4 fis f e es d } >>
< b g' > 4. < b g' > 8 < cis a' > < cis a' > < dis b' > 2
r4
< dis fis > 8 <e g > < dis fis > 4 < dis b' > < dis fis > 8 < e g > < dis fis > 4
< dis b' > 8 < dis a' > < e g > fis g < e a > < e b' > g fis2.
< d g b > 4. < d g b > 8 < d g b > < g b >
<< { d'8. c16 } \\ { g4 } >>
< g b > 2
< b, g' > 2 < cis a' > 4
<< { b'2.~b4 } \\ { dis,2 d4~d } >>
<< { < a' c, > 2 } \\ { s4 fis } >>
< b, g' > 4. < b g' > 8 < b g' > < b g' >
<< { g'4 } \\ { d8. c16 } >>
< b g' > 2
}
\new Staff
\relative
{ \clef bass \key g \major
< g d'> 4. < g d'> 8 < g d'> < g d'> < g es' > 4 < g d'> 2
< e g> 4. < e g> 8 < e g> < e g>
<< { g8 b fis4 } \\ { d4 d } >>
r
<< { g4 fis f e es d } \\ { g,2. g4 g2 } >>
< e' g > 4. < e g > 8 < e g > < e g > < b fis' > 2 r4
b'8 ais b4 fis b8 ais b4
< g b > 8 < fis b > < e b' > < dis b' > < e b' > < fis b > < g b > < e a > < d a' > 2.
g4. g8 g < g d' > < g es' > 4 < g d' > 2 < e g > <e g > 4 < b fis > 2 < g f' > 4
<< { f' e } \\ { c2 } >>
< d, d' > 4 < g g' > 4. < g d' > 8 < g d' > < g d' >
<< { f'8[ e] } \\ { g,4 } >>
< g d' > 2
}
>>
>>
You can find here the same file model as we used for the Mozart menuet. Now we will introduce the lyrics, as well as the necessary commands to have them correctly assigned to the vocal part.
The model looks like this:
\version
\relative
<<
<<
\new Staff
<< \new Voice = "songmusic" { ... } >>
\new Lyrics \lyricsto songmusic
\new Lyrics { ...abc... }
>>
\new PianoStaff << \new Staff { ... } \new Staff { ... } >>
>>
After setting the \new Staff command for the vocal music, open another pair of double angle brackets, introduce the identifier with \new Voice = "songmusic", then enter the notes between curly braces, and close the angle brackets.
Then tell Lilypond that the lyrics you are about to enter are to be correlated to the identifier's music:
\new Lyrics \lyricsto songmusic
Now enter the words with \new Lyrics { ...abc... } and close the angle brackets you opened before the previous \new Staff command.
-and that's it. The piano part needs no further modification. See it done here:
\version "2.10.0"
\relative
<<
<<
\new Staff
<<
\new Voice = "songmusic"
{
\key g \major \time 3/4 \autoBeamOff
b'4. b8 b b d8. c16 b2
g4. g8 a a b[( d]) a4 r
b4. b8 b b d8. c16 b2 g4. g8 a a b2 fis8 r
fis g fis4 b fis8 g fis4 r
g8 fis g[( a]) b[( cis]) e4.( d8) cis[( c])
b4. b8 b b d8. c16 b2
g8 fis g4 a b2.~(b4 a c8[ b]) g4 r r R2. \bar "|."
}
>>
\new Lyrics \lyricsto songmusic
\new Lyrics
{
Wißt ihr wo ich ger -- ne weil'
in der A -- bend Küh -- le? \break
In dem stil -- len Ta -- le geht
ein -- ne klei -- ne Müh -- le,
und ein klei -- ner Bach da -- bei,
rings- -- um -- her__ stehn__ Bäu__ -- me__
Oft sitz ich da \break
stun- -- den- -- lang,
schau um- -- her und träu__ -- me
}
>>
\new PianoStaff
<<
\new Staff
\relative
{ \key g \major
< g'b > 4. < g b > 8 < g b > < g b >
<< { d'8. c16 } \\ { g4 } >>
< g b > 2 < b, g' > 4. < b g' > 8 < c g'> < c g'>
<< { b' d a4 } \\ { d,4 d } >>
r
<< { b'4. b8 b b d8. c16 b2 } \\ { g4 fis f e es d } >>
< b g' > 4. < b g' > 8 < cis a' > < cis a' > < dis b' > 2
r4
< dis fis > 8 <e g > < dis fis > 4 < dis b' > < dis fis > 8 < e g > < dis fis > 4
< dis b' > 8 < dis a' > < e g > fis g < e a > < e b' > g fis2.
< d g b > 4. < d g b > 8 < d g b > < g b >
<< { d'8. c16 } \\ { g4 } >>
< g b > 2
< b, g' > 2 < cis a' > 4
<< { b'2.~b4 } \\ { dis,2 d4~d } >>
<< { < a' c, > 2 } \\ { s4 fis } >>
< b, g' > 4. < b g' > 8 < b g' > < b g' >
<< { g'4 } \\ { d8. c16 } >>
< b g' > 2
}
\new Staff
\relative
{ \clef bass \key g \major
< g d'> 4. < g d'> 8 < g d'> < g d'> < g es' > 4 < g d'> 2
< e g> 4. < e g> 8 < e g> < e g>
<< { g8 b fis4 } \\ { d4 d } >>
r
<< { g4 fis f e es d } \\ { g,2. g4 g2 } >>
< e' g > 4. < e g > 8 < e g > < e g > < b fis' > 2 r4
b'8 ais b4 fis b8 ais b4
< g b > 8 < fis b > < e b' > < dis b' > < e b' > < fis b > < g b > < e a > < d a' > 2.
g4. g8 g < g d' > < g es' > 4 < g d' > 2 < e g > <e g > 4 < b fis > 2 < g f' > 4
<< { f' e } \\ { c2 } >>
< d, d' > 4 < g g' > 4. < g d' > 8 < g d' > < g d' >
<< { f'8[ e] } \\ { g,4 } >>
< g d' > 2
}
>>
>>
Notice that we added the \break commands in the lyrics this time. Add the second and third stanzas with a
\new Lyrics \lyricsto ''identifier''
command each time:
\version
\relative
<<
<<
\new Staff
<< \new Voice = "songmusic" { ... } >>
\new Lyrics \lyricsto songmusic
\new Lyrics { ...abc... }
\new Lyrics \lyricsto songmusic
\new Lyrics { ...def... }
\new Lyrics \lyricsto songmusic
\new Lyrics { ...ghi... }
>>
\new PianoStaff << \new Staff { ... } \new Staff { ... } >>
>>
Here is the text for the exercise:
Auch die Blümlein in dem Grün anzusprechen fangen, und das blaue Blümlein sagt: sieh mein Köpfchen hangen! Röslein mit dem Dornenkuß hat mich so gestochen: ach! das macht mich gar betrübt, hat mein Herz gebrochen. Da naht sich ein Spinnlein weiß, spricht: sei doch zufrieden; einmal muß du doch vergehn, so ist es hienieden; besser, daß das Herz dir bricht von dem Kuß der Rose, als du kennst die Liebe nicht und stirbst liebelose.
[edit] Numbering stanzas
Number the stanzas with the
\set Stanza
command after the opening curly braces for each stanza:
{ \set stanza = "1." ...abc... }
See it done in our Bach choral:
\version "2.10.0"
\new ChoirStaff
<<
\new Staff
\relative
{
\set Staff.instrumentName = "Treble "
\clef soprano
\key bes \major
\time 3/4
\partial 4
\repeat volta 2
{ f4 bes( d8[ c]) d[( bes]) g'4 es2 f4( bes,) es c2 bes4 \break
d es d c d8[( c]) d[( bes a]) bes bes4. c8 c2 \break }
a4 bes( c) d g, g'8([ es)] c[( b c]) d d4. es8 es2 c4 \break
a( bes8[ a]) g f f'4. bes,8 g'4. f8 d4 c8(bes) bes2
\bar "|."
}
\addlyrics
{ \set stanza = "1. "
Dir, dir__ -- Je__ -- ho -- va, will__ ich sin -- gen,
denn, wo ist so ein sol__ -- cher Gott wie du?
daß ich__ es tu' im__ Na__ -- men Je -- su Christ,
so wie__ es__ dir durch ihn ge - fäl -- lig__ ist.
}
\addlyrics
{ \set stanza = "2. "
Dir will__ -- ich__ -- mei -- ne Lie -- der brin -- gen.
ach! gib mir dei -- nes Gei -- stes Kraft dar -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Alto "
\clef alto
\key bes \major
d4 f( bes8 a) bes4 bes g2 f4( g8 a) bes4 bes( a) f f f4. g8 a4 bes8( a) bes4 es, f8([ es)] f( e) f2
f4 f2 f4 es4. g8\noBeam es( d) es4 as g f2 g4 f( g) a bes4. bes8 bes4. bes8 bes4 a f2
}
\addlyrics
{ \set stanza = "1. "
Dir, dir__ -- Je -- ho -- va, wil__ -- ich sin__ -- gen,
denn, wo ist so ein__ sol -- cher Gott__ wie__ du?
daß ich es tu im Na__ -- men Je -- su Christ,
so wie__ -- es dir durch ihn ge -- fäl -- lig ist.
}
\addlyrics
{ \set stanza = "2. "
Dir will__ -- ich mei -- ne Lie -- der brin -- gen,
Ach! gib mir dei -- nes__ Gei -- stes Kraft dar__ -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Tenor "
\clef tenor
\key bes \major
bes4 bes( f'8 es) f4 es( bes8[ a]) bes( c) d2 g4 f4.( es8) d4 c8([ bes)] c( a) bes4 c f, f c' bes f8( g) a2
c4 f,( a) bes bes4. bes8 c4. c8 c4 b c2 c4 c2 c4 d4. d8 es4 bes f' es8( d) d2
}
\addlyrics
{ \set stanza = "1. "
Dir, dir__ -- Je -- ho__ -- va,__ -- will ich sin__ -- gen,
denn,__ wo__ ist so ein sol -- cher Gott wie__ du?
daß ich__ es tu' im Na__ -- men Je -- su Christ,
so wie__ -- es dir durch ihn ge -- fäl -- lig ist.
}
\addlyrics
{ \set stanza = "2. "
Dir will__ -- ich mei__ -- ne__ Lie -- der brin -- gen,
ach!__ gib__ mir dei -- nes Gei -- stes Kraft dar -- zu,
}
\new Staff
\relative
{
\set Staff.instrumentName = "Bass "
\clef bass
\key bes \major
bes4 d,( c) bes es( g8[ f]) g( es) bes'( a g4) es f2 bes,4 a'8([ g)] a( f) bes4 f es d c d8([ c)] d( bes) f2
f'8( es) d4( es8[ d]) c( bes) es4. es8 aes4. g8 f4 g c,2 es4 f2 es4 d g8([ f)] es( d) es4 f f, bes2
}
\addlyrics
{ \set stanza = "1. "
Dir, dir__ -- Je -- ho__ -- va,__ wil__ ich sin -- gen,
denn__ wo__ ist so ein sol -- cher Gott__ wie__ du?
daß ich__ es__ tu' im Na -- men Je -- su Christ,
so wie es dir durch__ ihn__ ge -- fäl -- lig ist
}
\addlyrics
{ \set stanza = "2. "
Dir will__ -- ich mei__ -- ne__ Lie__ -- der brin -- gen,
ach!__ gib__ mir dei -- nes Gei -- stes Kraft__ dar__ -- zu,
}
>>
You can also use words instead of numbers:
{ \set stanza = "The Knight:" ...abc... }
to suit your needs.
