Gradations

Starting out with Lilypond music notation software

Over the past 4 years or so, Lilypond has become the primary software I use for music typesetting. I use it because it’s workflow suits the way I write music, because it is relatively easy to customize and make one’s own, and because it is open-source software and is not at the mercy of a company’s current interests/priorities (ahem).

This post is meant to provide someone with knowledge of writing music some basic tools for getting started using Lilypond and will hopefully open the door for some people to start using this great software.

Lilypond - What is it?

Lilypond is a markup language and interpreter (kind of like HTML on a web page and a web browser) that reads markup language and outputs a PDF file of music notation (and if you want a MIDI file as well). You tell Lilypond what music you want printed by writing it out in code. The code is fairly straight forward and once you get the hang of it, can be entered very quickly. I think of it as akin to taking a handwritten letter and typing it out in a word processor like Microsoft Word. You can get straight to downloading here if you want.

Lilypond Code - What does it look like?

When you first open Lilypond, a file opens up with a little introduction typed out and the following code:

\header{
  title = "A scale in LilyPond"
}

\relative {
  c d e f g a b c
}

You save the file to your desktop (or wherever) and then select “Compile - Typeset file” from the menu. A PDF file will then open up and you will see the music.

Now, Lilypond made a lot of assumptions from our limited input. We only entered in note names, but Lilypond put in a treble clef, 4/4 time signature (common time), and made each note a quarter note. Lilypond has some defaults assumed so that it is easier to jump right in and see the music. But let’s get right to adjusting the output. 

Note names are written as is “c d e f g”. Sharps and flats are written with -is and -es appended to the end of the note names. So C# is cis and Db is des. This is based on the German words for sharp and flat. If you would prefer to use the english spelling (C# is cs, Db is df), then include the following line of code at the top of the file.

\include "english.ly"

So let’s change the code to write a D Major scale instead of C Major.

\header{
  title = "A D Major scale in LilyPond"
}

\relative {
  d e fis g a b cis d
}

Rhythms are written directly after the note name. So a half note D would be written d2 Quarter note F# is fis4 Dotted Eighth C# is cis8. (with the period after the “8”). Let’s now change the rhythm.

\header{
  title = "Rhythms in LilyPond"
}

\relative {
  d1 e2 fis4 g4 a2 b4. cis8 d1
}

As you can see Lilypond automatically adds measures when you need them. Finally let’s change the clef to bass clef and change the time signature to read “4/4” instead of “C”.

\header{
  title = "End of Lilypond Tutorial"
}

\relative c {
  \clef bass
  \numericTimeSignature
  d1 e2 fis4 g4 a2 b4. cis8 d1
}

Now I have added a “c” to the \relative command so that the notes will sit on the bass staff. The \clef command is used to change to any clef. And the command \numericTimeSignature tells Lilypond than I don’t want that Common Time time signature.

So that will hopefully get some people started. I highly recommend reading this, this, and the whole Lilypond.org site in general. And whenever you get stuck just search “Lilypond ___________” (The blank  being whatever you have a question about), like “Lilypond trills” or “Lilypond remove bar lines” and you will probably find your answer. Feel free to ask me any questions or if you need clarification on anything.

Southeastern US Tour Details

Next week I will be touring the southeastern US with the trio Broadcloth featuring Adam Matlock, Anne Rhodes, and Nathan Bontrager. For each show I will play a set for solo bass and electronics and Broadcloth will play music from their ever-growing repertoire. I wanted to post the details of the tour here. If you are in the area of any of these shows or know people in the area, please consider coming out or telling your friends.

Broadcloth and Carl Testa Solo - Southeastern US Tour

Friday June 22 2012
The Rotunda, 4014 Walnut St, Philadelphia, PA

Saturday June 23 2012
ForInstance Gallery, 107 E Cary St, Richmond, VA

Sunday June 24 2012
Bobo Gallery, 22 Lexington Ave, Asheville, NC

Monday June 25 2012
Noni’s, 357 Edgewood Ave, Atlanta, GA

Tuesday June 26 2012
Squidco, 928 North 5th St, Wilmington, NC

Wednesday June 27 2012
The Nightlight Bar & Club, 405 1/2 W Rosemary St, Chapel Hill, NC

Thursday June 28 2012
The Red Room, 425 E 31st St, Baltimore, MD

Homecoming Show!

Friday June 29 2012
Presented by Intercambio and The Uncertainty Music Series
Intercambio, 756 Chapel St, New Haven, CT

I’m really looking forward to the chance to play my own music for new audiences every night. This is my first tour performing my own music and my first real extended run of shows. Now, to finish the rest of my music!

Differences between the Analog and Digital Mediums

So as you may know, I have been exploring analog synths a bit more in depth recently. I am at once very intrigued by the sound/process of analog synths and hesitant to leave my glorious digital domain that I have inhabited for 6 years or so (via SuperCollider). I find it very exciting to explore the analog side of things because I feel like I’ve never really had a handle on sound synthesis at all. I have always gravitated towards digital sampling/granular synthesis techniques when using SuperCollider and never felt satisfied with my attempts at creating purely synthesized (i.e. not sampled) sounds in SuperCollider. Exploring the analog synthesis side of things is really opening my eyes and ears to how sounds are created, shaped, and modulated. What is great about analog synthesis is that it gives you immediate access (via a knob or slider) to shaping a sound without having to think too much about what you are doing. So you can feel free to explore the sound more and just try things and have immediate feedback to what you are doing.

Now there are still numerous advantages to working with digital software (like SuperCollider). One of the reasons I enjoy working with SC is that I can think on a purely conceptual level. For example, I might be away from an instrument and have an idea about a sound. I can think about the sound conceptually and then sketch out how I might construct it in SC. It might take me a while to execute the idea, but it is most likely possible to achieve. It is more difficult/costly to think purely conceptually in the analog world because if you have an idea for something which you don’t currently have the equipment for, you would have to invest some money/resources into finding the right piece of hardware to execute the idea. Software modules (especially in an open-source environment like SC) are much cheaper than hardware modules. Analog stuff is good for exploring what you already have and opening doors which you may not have realized are there. In other words, I am seeing lots of value on both the analog and digital side.

I am looking forward to continuing my work with digital sampling/granular synthesis in SC but also exploring more analog synthesis. Understanding the analog side of things will certainly aid in my understanding of digital synthesis. I am particularly interested in the possibilities of digital sequencing an analog synth with the computer. For example, creating a generative sequencer that runs by itself and evolves over time . I could then modulate parameters on the synth in realtime. Anyway, lots of possibilities. Comments/replies/reblogs/welcome.