Lilylet Language Tutorial

Lilylet is a text-based music notation language inspired by LilyPond. It uses a simplified syntax optimized for embedding music snippets in Markdown documents—ideal for tutorials, analyses, exercises, and documentation where music examples appear alongside explanatory text.

Audience: readers with music theory background who understand Markdown. Some may know LilyPond; others may not. Goal: learn Lilylet basics quickly and use it effectively inside Markdown documents.

Quick Start: Lilylet inside Markdown
Pitches
Rhythms and Durations
Rests
Accidentals
Key and Time Signatures
Barlines
Chords
Articulations
Fingering
Dynamics
Slurs, Ties, and Beams
Ornaments
Grace Notes
Tuplets
Tremolo
Multiple Voices
Multiple Staves
Advanced Features
Complete Examples
Practical Writing Tips

Quick Start: Lilylet inside Markdown

Lilylet is a text-based music notation language with a LilyPond-like command style, but optimized for quick entry and editing. The typical workflow is to embed Lilylet snippets in Markdown code blocks (```lilylet), next to explanations, analyses, exercises, or version comparisons.

Your first score:

\time 4/4 \clef "treble"
c4 d e f | g2 g | a4 a a a | g1

Notes:

Commands like \time, \key, \clef, articulations, and dynamics follow familiar LilyPond conventions.
Bar lines | help you explain or revise music measure by measure, which fits well with Markdown-based teaching materials and documentation.

Pitches

Note names

Use lowercase a–g:

\time 4/4
c4 d e f | g a b c

Relative pitch (default)

Lilylet always uses relative pitch (similar to LilyPond): if you omit octave markers, Lilylet picks the octave so the interval from the previous note is less than a fifth (keeps motion local and predictable).

Reference pitch at the start: middle C (C4)
Each next pitch is interpreted relative to the previous one

\time 4/4
c4 d e f | g a b c | c b a g | f e d c

Why “less than a fifth” matters

\time 4/4 \clef "C"
c4 e c f | c g c a

From middle C, writing g after c selects the nearer G (the one below, a fourth down) rather than jumping up a fifth. This rule reduces unintended octave jumps.

Octave markers

Use octave markers to force larger leaps:

Marker	Effect
`'` (apostrophe)	Raise one octave
`,` (comma)	Lower one octave

\time 4/4
c4 c' c' c' | c,,, c'' c, c'

\time 4/4
c4 g' c g | c' g e c

Newlines reset pitch (Lilylet-specific)

Different from LilyPond: inserting a line break (newline) resets the relative-pitch reference to middle C. This is useful when your Markdown is organized as “one line = one bar/phrase”, because moving or inserting lines won’t unexpectedly shift later octaves.

\time 4/4
c4 d e f | g a b c |
c4 b a g | f e d c |

If you want the second line to start higher, specify it explicitly:

\time 4/4
c4 d e f | g a b c |
c'4 b a g | f e d c |

Why Lilylet differs from LilyPond here

Unlike LilyPond’s typical workflow of writing an entire voice from start to finish, Lilylet favors interleaved, measure-by-measure voice entry: write all voices for a measure before advancing to the next. This makes multi-voice alignment and live editing simpler, and ensures relative-pitch decisions (octave choice, small-interval preference) are resolved locally within each measure.

Resetting the pitch reference on newlines keeps short snippets stable when copied, reordered, or edited inside a Markdown document. Long, continuous monophonic lines remain supported but are primarily useful for educational examples; in practical Lilylet usage, prefer short, interleaved voice segments for clearer notation and more predictable rendering.

Rhythms and Durations

Duration values

Append a number to a note name:

Number	Duration	Name
1	Whole note	Semibreve
2	Half note	Minim
4	Quarter note	Crotchet
8	Eighth note	Quaver
16	Sixteenth note	Semiquaver
32	Thirty-second note	Demisemiquaver
64	Sixty-fourth note	Hemidemisemiquaver

\time 4/4
g'1 | g2 g2 | g4 g4 g4 g4 | g8 g8 g8 g8 g8 g8 g8 g16 g32 g64 g128 g128\rest |

Duration persistence

If you omit the duration, Lilylet reuses the previous one:

\time 4/4
c4 d e f | g a b c

Dotted notes

Add dots after the duration:

Notation	Duration
`c4.`	Dotted quarter
`c2.`	Dotted half
`c4..`	Double-dotted quarter

\time 6/8
c4. d4. | e8 e e f4.

\time 12/8
c2. e | g8. g16 g4.. g16

Rests

Basic rests

Use r plus a duration:

\time 4/4
c4 r4 e4 r4 | g2 r2

Full-measure rests

Use R for a centered full-measure rest (display style), while duration may vary:

\time 4/4
R1 | g'4 a b c

\time 3/4
R2. | c4 d e

Space rests (invisible)

Use s to reserve rhythmic space without printing a rest (common in multi-voice alignment):

\time 4/4 \clef "bass"
r4 d, b b \\
s4 g,2 e4

Accidentals

Lilylet uses LilyPond’s English pitch spelling:

s for sharp
f for flat

Notation	Meaning
`cs`	C sharp
`cf`	C flat
`ds`	D sharp
`ef`	E flat

\time 4/4
c4 cs d ds | e f fs g | gs a as b | c1

Double accidentals:

ss double-sharp
ff double-flat

\time 4/4
c4 css d dff | e1

\key e \minor
\time 4/4
e4 fs g a | b cs ds e | e d c b | a g fs e

Key and Time Signatures

Time signature: `\time`

\time 3/4
c4 d e | f g a | b c d | e2.

Common meters:

\time 4/4
c4 d e f | g1

\time 3/4
c4 d e | f2.

\time 6/8
c4. d | e4. f

\time 2/2
c2 d | e f | g1

Key signature: `\key`

Use \key + tonic + mode:

\key g \major
\time 4/4
g4 a b c | d e fs g

\key d \minor
\time 4/4
d4 e f g | a bf cs d

More examples:

\key c \major
\time 4/4
c4 d e f | g a b c

\key f \major
\time 4/4
f4 g a bf | c d e f

\key a \minor
\time 4/4
a4 b c d | e f gs a

Clef: `\clef`

\clef "bass"
\time 4/4
c,4 d e f | g a b c

\clef "alto"
\time 4/4
c4 d e f | g a b c

Supported clefs: treble, bass, alto

Barlines

By default, Lilylet uses standard single barlines | to separate measures. For special barlines, use the \bar command.

Barline types

Notation	Meaning
`\bar "\|\|"`	Double barline
`\bar "\|."`	Final barline (end of piece)
`\bar ":\|."`	End repeat
`\bar ".\|:"`	Start repeat

\time 4/4
c4 d e f \bar "||" | g a b c

\time 4/4
c4 d e f | g a b c \bar "|."

Repeat barlines

\time 4/4
c4 d e f \bar ".|:" | g a b c | d e f g \bar ":|."

Chords

Basic chords

Enclose pitches in angle brackets < >:

\time 4/4
<c e g>4 <d f a> <e g b> <f a c> | <g b d>1

Progressions / texture examples

\time 4/4
<c e g>2 <f, a c> | <g b d> <c e g> | <c e g>1

\time 4/4
<cs e a cs>4 \arpeggio <b d g b>2. \arpeggio | <a cs e a>1 \arpeggio

Note: only the first pitch in a chord will pass the relative pitch base to next music event. And inside a chord, pitches also follow relative pitch rules.

Example: <c e g>  <d f a>  <e g b>

         Chord 1      Chord 2      Chord 3
           g            a            b
           ↓            ↓            ↓
           e            f            g      (relative to previous pitch in chord)
           ↓            ↓            ↓
           c ←───────── d ←───────── e      (relative pitch bass passing by the root pitch in chords)

Chord duration

The duration applies to the entire chord:

\time 4/4
<c e g>4 <c e g>8 <c e g>8 <c e g>2

Chord symbols (lead sheet style)

Use \chords "symbol" to add chord symbols above the staff, commonly used in lead sheets and jazz charts:

\time 4/4
c'4 \chords "C" e g c | a, \chords "Am" c e a

\time 4/4
c'4 \chords "Cmaj7" d e f | g \chords "G7" a b c

Articulations

Lilylet supports LilyPond-style commands and common shorthand:

Command	Shorthand	Name
`\staccato`	`-.` or `.`	Staccato
`\tenuto`	`--` or `-`	Tenuto
`\accent`	`->` or `>`	Accent
`\marcato`	`-^` or `^`	Marcato
`\staccatissimo`	`-!` or `!`	Staccatissimo
`\portato`	`-_` or `_`	Portato

Dot warning (.):

After a duration number: c4. = dotted rhythm
As an articulation: c4-. or c. = staccato

\time 4/4
c4-. d-. e-. f-. | g4\staccato a\staccato b\staccato c\staccato

\time 4/4
c4\staccato d\tenuto e\accent f\marcato | g4-. a-- b-> c-^

Placement (above/below)

Prefix the articulation with:

^ above
_ below

\time 4/4
c4^. d_. e^> f_>

Fingering

Use -1 through -5 to add fingering numbers to notes, commonly used in piano and guitar music:

\time 4/4
c'4-1 d-2 e-3 f-4 | g-5 a-3 b-2 c-1

Fingering can also be applied to chords:

\time 4/4
<c e c'>2-1-2-5 <e g c>-2-3-5 | <e g b>-1-2-4 <f a c>-1-2-3

Fingering placement

Use ^ for above or _ for below.

\time 4/4
c'4^1 d^2 e^3 f^4 | g_5 a_3 b_2 c_1

Dynamics

Dynamic markings

Notation	Meaning
`\ppp`	Pianississimo
`\pp`	Pianissimo
`\p`	Piano
`\mp`	Mezzo-piano
`\mf`	Mezzo-forte
`\f`	Forte
`\ff`	Fortissimo
`\fff`	Fortississimo
`\sfz`	Sforzando

\time 4/4
c4\pp d e f | g\mf a b c | d\f e f g | a\ff b c d\sfz

Hairpins (crescendo/diminuendo)

Notation	Meaning
`\<`	Start crescendo
`\>`	Start diminuendo
`\!`	End hairpin

\time 4/4
c4\< d e f | g a b c\!

\time 4/4
c'4\> b a g | f e d c\!

\time 4/4
c4\pp\< d e f | g\mf a b c | d e f g\! | a\ff\> b a g | f\p\! e d c

Slurs, Ties, and Beams

Slurs

Use ( to start and ) to end:

\time 4/4
c4( d e f) | g( a b c) | c( b a g) | f1

Ties

Use ~ between the same pitch:

\time 4/4
c2~ c4 d | e2~ e4 f | g1~ | g2 r2

\time 4/4
c4 d8~ d c4 d | e8~ e d4~ d e | f2~ f4 g | a1

Beams

Use [ and ]:

\time 4/4
c8[ d e f] g[ a b c] | c[ b a g] f4 r

\time 6/8
c8[ d e] f[ g a] | b[ c d] e4.

Note: As in LilyPond, ( ) [ ] are postfixes on musical events, not scope delimiters.

Ornaments

Notation	Name
`\trill`	Trill
`\turn`	Turn
`\mordent`	Mordent
`\prall`	Pralltriller
`\fermata`	Fermata
`\shortfermata`	Short fermata
`\arpeggio`	Arpeggio (for chords)

\time 4/4
c2\trill d | e4\trill f g2 | a1\trill

\time 4/4
c4 d e f | g2\fermata r2 | a4 b c d | e1\fermata

\time 4/4
<c e g>2\arpeggio <d f a>\arpeggio | <e g b>1\arpeggio

Grace Notes

Use \grace before a note or a group:

\time 4/4
\grace d16 c4 e g c | \grace { b,16 c } d4 f a d

\time 4/4
\grace e16 d4 f a d | \grace fs16 g4 b d g

\time 4/4
\grace { c16[ d e] } f4 a c f | \grace { g16[ a] } b4 d f b

Tuplets

Use \times numerator/denominator { notes }:

\time 4/4
\times 2/3 { c4 d e } \times 2/3 { f g a } | b2 c

\time 4/4
c4 \times 2/3 { d8[ e f] } g4 \times 2/3 { a8[ b c] } | d1

\time 4/4
\times 4/5 { c8[ d e f g] } \times 4/5 { a[ b c d e] } | f1

Tremolo

Single-note tremolo

Use : followed by the tremolo division:

\time 4/4
c2:16 d:16 | e1:32

Two-note tremolo

Use \repeat tremolo:

\time 4/4
\repeat tremolo 4 { c16 e } \repeat tremolo 4 { d f } | <c e g>1

Multiple Voices

Voice separator: `\\`

Use \\ to separate voices on the same staff:

\time 4/4 \stemUp c'2 d \\
\stemDown g2 a | % 1

\stemUp e'2 f \\
\stemDown b2 c | % 2

\time 4/4 \stemUp e'4 d c b \\
\stemDown c4 g a e | % 1

\stemUp c'2 b \\
\stemDown f2 g | % 2

\stemUp c'1 \\
\stemDown c1 | % 3

Stem direction

Command	Effect
`\stemUp`	Force stems up
`\stemDown`	Force stems down

Multiple Staves

Staff assignment: `\staff "N"`

\time 4/4
\staff "1" \clef "treble" c'4 e g c \\
\staff "2" \clef "bass" c4 g c g | % 1

\staff "1" d'4 f a d \\
\staff "2" d4 a d a | % 2

Part separator: `\\\` (triple backslash)

Use \\\ to separate different staves/parts:

\staff "1" \time 4/4 \clef "treble" c'4 d e f \\
\staff "2" \clef "treble" r4 g' r g \\\
\clef "bass" <c, g' c>1 ~ | % 1

\staff "1" g'1 \\
\staff "2" r4 c r c \\\
<c, g' c>1 | % 2

Advanced Features

Tempo markings

\tempo "Allegro" 4=120
\time 4/4
c4 d e f | g a b c

\tempo "Andante" 4=72
\time 3/4
c4 e g | c2.

Ottava (octave transposition)

\time 4/4
c''4 d e f | \ottava #1 g a b c | b a g f | \ottava #0 e d c2

Pedal markings

\time 4/4
c4\sustainOn e g c\sustainOff | d\sustainOn fs a d\sustainOff |

Text markup

Use \markup "text" to add text annotations to your score. Control placement with ^ (above) or _ (below):

\time 4/4
c'4 \markup "dolce" d e f | g a b c

\time 4/4
c'4^\markup "espressivo" d e f | g_\markup "cantabile" a b c

Markup is useful for expressive indications, technique instructions, or any text that doesn’t fit standard dynamic or tempo markings.

Metadata headers

Put metadata at the top of a snippet. This works well in Markdown collections (handouts, chapters, indexes).

[title "Minuet in G"]
[subtitle "BWV-114"]
[composer "J.S. Bach"]

\key g \major \time 3/4 \clef "treble" \stemDown d'4(\p \stemUp g,8[ a b c] | \stemDown d4) \stemUp g, g

Complete Examples

Example 1: Simple Melody

[title "Twinkle Twinkle"]

\time 4/4
c4 c g' g | a a g2 | f4 f e e | d d c2 | g'4 g f f | e e d2 | g4 g f f | e e d2 | c4 c g' g | a a g2 | f4 f e e | d d c2 \bar "|."

Example 2: Piano Style with Chords

[title "Simple Waltz"]

\key g \major
\time 3/4
\stemUp d'4 g b \\ \stemDown <g b>4 <g b> <g b> |
\stemUp d'4 a c' \\ \stemDown <fs a>4 <fs a> <fs a> |
\stemUp d'4 g b \\ \stemDown <g b>4 <g b> <g b> |
\stemUp d'2. \\ \stemDown <g b d'>2.

Example 3: With Dynamics and Articulations

[title "Expressive Melody"]

\time 4/4
c4\p( d e f) | g2\< a | b4\mf\> a g f | e2\p d | c4\pp( e g c) | c2.\fermata r4

Example 4: Two-Staff Piano Score

Expressive etude in E Major with complex texture.

[title "Etude in E Major (excerpt)"]
[subtitle "Tristesse"]
[composer "Chopin"]

\staff "1" \key e \major \time 2/4 \clef "treble" \stemUp b8\p \\
\staff "2" \clef "bass" g8\rest | %1

\staff "1" \clef "treble" \stemUp e8[ ds16 e] fs4~ \\
\staff "1" \clef "treble" s4 \stemDown ds~ \\
\staff "2" \stemUp \clef "bass" e,,4 b \\
\staff "2" \stemDown \clef "bass" e,,16[ b'8 b16] b,[ b'8 b16] \\
\staff "2" \stemUp \clef "bass" gs16[ b gs b] a[ b a b] | %2

\staff "1" \clef "treble" \stemUp fs16([ gs] gs[ fs)] gs4~ \\
\staff "1" \clef "treble" \stemDown ds8[ ds] e4 \\
\staff "2" \clef "bass" \stemUp b,,4 e \\
\staff "2" \clef "bass" \stemDown b,,16[ b'8 b16] e,[ b'8 b16] \\
\staff "2" \clef "bass" \stemUp a16[ b a b] gs[ b gs b] | %3

\staff "1" \clef "treble" \stemUp gs'16([ a] a[ gs)] cs8.([ b16] \\
\staff "1" \clef "treble" \stemDown gs16[ e' b e] ds[ a' b, ds] \\
\staff "2" \clef "bass" \stemDown e,,16[ b'8 b16] b,[ b'8 b16] \\
\staff "2" \clef "bass" \stemUp e,,4 b | %4

\staff "1" \clef "treble" \stemUp a'16[ gs ds e)] fs4~ \\
\staff "1" \clef "treble" \stemDown b16[ e gs, b] \stemUp <a cs>[ <b ds> <a cs> <b ds>] \\
\staff "2" \clef "bass" \stemDown e,,16[ b'8 b16] b,[ b'8 b16] \\
\staff "2" \clef "bass" \stemUp e,,4 b | %5

\staff "1" \clef "treble" \stemUp fs16([ gs] gs[ fs)] e4 \\
\staff "2" \clef "bass" \stemUp b,,4 e \\
\staff "2" \clef "bass" \stemDown b,,16[ b'8 b16] e,[ b'8 b16] \\
\staff "2" \clef "bass" \stemUp <a cs>16[ <b ds>] <a cs>[ <b ds>] gs[ b gs b] | %6

\staff "1" \clef "treble" \stemUp gs'16([ a fs gs] a[ b gs a)] \\
\staff "1" \stemDown \clef "treble" d16[ e d e] cs[ e cs e] \\
\staff "2" \clef "bass" \stemDown e,,16[ e'8 e16] a,[ e'8 e16] \\
\staff "2" \clef "bass" \stemUp e,,4 a | %7

\staff "1" \clef "treble" \stemUp cs'8 fs,4 \stemUp \grace as8( \stemUp gs16)([ fs)]~ \\
\staff "1" \clef "treble" \stemDown cs16[ e cs e] b[ e b e] \\
\staff "2" \clef "bass" \stemDown a,16[ fs'8 fs16] b,[ fs'8 fs16] \\
\staff "2" \clef "bass" \stemUp a,4 b | %8

Example 5: Baroque Style

Complex contrapuntal writing with three independent voices.

[title "Sinfonia No.1 C Major (excerpt)"]
[arranger "BWV787"]

\staff "1" \key c \major \time 4/4 \clef "treble" g'16\rest \stemUp g([ a b] \stemDown c[ d e f] g[ f g a] f[ a g f] \\
\staff "2" \clef "bass" \stemUp c,4 d8 \stemDown c'( b[ g] a[ b] | %1

\staff "1" \stemUp \clef "treble" e'2)~ e4 fs( \\
\staff "1" \clef "treble" g'16 \stemUp c,[ d e] f[ \stemDown g a b] c[ b c d] c[ e d c] \\
\staff "2" \clef "bass" \stemDown c4)( c8\rest b a[ g] a)[ d,(] | %2

\staff "1" \clef "treble" \stemUp g''8[ f] e4 d8[ e16 f] d4~ \\
\staff "1" \clef "treble" \stemDown b'8([ d]~ d[ c]~ c4 b~ \\
\staff "2" \clef "bass" \stemDown g,16)[ g'( a b] \clef "treble" \stemUp c[ d e f] g[ f g a] f[ a g f] | %3

\staff "1" \clef "treble" \stemUp d'8\f[ g16 f] e4)~ e8[ e] d4~ \\
\staff "1" \clef "treble" \stemDown b'4) g16 d'([ c b] a4.) a8( \\
\staff "2" \clef "treble" \stemUp e16)[ f( e d] \clef "bass" \stemDown c[ b a g] f[ g f e] f[ d e f] | %4

Example 6: Modern Rhythms

[title "Syncopated"]

\time 4/4
c4. d8~ d4 e | f8 g4 a8~ a4 b | c8\< d4 e8 f4 g | a\ff\> g8 f~ f4\p r

Practical Writing Tips

Put setup first: start each snippet/section with \time, \key, \clef so the fragment is portable in Markdown.
Write in short lines: one bar/phrase per line works well with Lilylet’s newline pitch reset and reduces “octave drift”.
Use duration persistence: set the rhythmic unit once (e.g., c4) and omit repeated numbers to keep lines readable.
Add octave markers only when needed: let relative pitch handle defaults; use '/, for intentional wide leaps.
Align voices with s: in multi-voice examples, place invisible rests to lock rhythm before adding details.

This tutorial covers Lilylet’s core notation features. For rarer engraving cases and deeper notation concepts, the corresponding sections of the LilyPond documentation are often helpful, since Lilylet follows similar command conventions.