* Page layout::
* Sound::
* Music entry::
-* Using LilyPond::
+* Skipping corrected music::
* Interpretation context::
* Syntactic details::
* Lexical details::
@c . {Polyphony}
@node Polyphony
@section Polyphony
-@cindex Polyphony
+@cindex polyphony
-[TODO: collisions, rest-collisinos, voiceX identifiers, how to
-which contexts to instantiate. some small examples? ]
+Polyphonic parts, i.e. parts with more than one voice on a staff can be
+typeset with LilyPond. To use this, instantiate a separate Voice
+context for each part, and assign a stem direction to each part.
+@lilypond[fragment,verbatim]
+\context Staff
+< \context Voice = VA { \stemUp b'4 a' g' f' e' }
+ \context Voice = VB { \stemDown g'4 g' g' g' g' } >
+@end lilypond
+When there are more than two voices on a staff, you must also indicate
+which voice should moved horizontally in case of a collision. This can
+be done with the identifiers @code{\shiftOff}, @code{\shiftOn},
+@code{\shiftOnn}, etc. (which sets grob property @code{horizontal-shift}
+in @code{NoteColumn}).
+
+@lilypond[fragment, verbatim]
+ \context Staff \notes\relative c''<
+ \context Voice=one {
+ \shiftOff \stemUp e4
+ }
+ \context Voice=two {
+ \shiftOn \stemUp cis
+ }
+ \context Voice=three {
+ \shiftOnn \stemUp ais
+ }
+ \context Voice=four {
+ \shiftOnnn \stemUp fis-2
+ }
+ >
+@end lilypond
-@table @code
-@cindex @code{\shiftOff}
- @item @code{\shiftOff}
- Disable horizontal shifting of note heads that collide.
-
-@cindex @code{\shiftOn}
- @item @code{\shiftOn}
- Enable note heads that collide with other note heads to be
- shifted horiztonally. Also @code{\shiftOnn} and @code{\shiftOnnn}
-set different shift values.
-
-@cindex @code{\stemBoth}
- @item @code{\stemBoth}
- Allow stems and beams to point either upwards or
- downwards, decided automatically by LilyPond.
-
-@cindex @code{\stemDown}
- @item @code{\stemDown}
- Force stems and beams to point down.
-
-@cindex @code{\stemUp}
- @item @code{\stemUp}
- Force stems and beams to point up.
-@end table
+The most convenient way is to use the identifiers @code{\voiceOne}
+through @code{\voiceFour}, which also set slur and tie directions in the
+correct manner.
+
+@lilypond[singleline, verbatim]
+\relative c''
+\context Staff < \context Voice = VA { \voiceOne cis2 b }
+ \context Voice = VB { \voiceThree b4 ais ~ ais4 gis4 }
+ \context Voice = VC { \voiceTwo fis4~ fis4 f ~ f } >
+@end lilypond
+
+
+LilyPond also vertically shifts rests that are opposite of a stem.
+
+@lilypond[singleline,verbatim]
+\context Staff <
+\context Voice { \stemUp c''4 }
+\context Voice =VB { r4 }
+>
+@end lilypond
-@cindex @code{\slurBoth}
-@cindex @code{\slurDown}
-@cindex @code{\slurUp}
-Similarly, for slurs use
-@code{\slurBoth},
-@code{\slurDown},
-@code{\slurUp}.
-
-@cindex @code{\tieBoth}
-@cindex @code{\tieDown}
-@cindex @code{\tieUp}
-For ties use
-@code{\tieBoth},
-@code{\tieDown},
-@code{\tieUp}.
-
-@cindex @code{\dynacmicBoth}
-@cindex @code{\dynamicDown}
-@cindex @code{\dynamicUp}
-For dynamics use
-@code{\dynamicBoth},
-@code{\dynamicDown},
-@code{\dynamicUp}.
-
-@c text scripts? articulation scripts? fingering?
-
-@cindex @code{\voiceOne}
-@cindex @code{\voiceTwo}
-@cindex @code{\voiceThree}
-@cindex @code{\voiceFour}
-@cindex @code{\oneVoice}
-@cindex @code{\shiftOn}
-@cindex @code{\shiftOff}
-
-If two voices sharing one staff have the same stem directions, their
-note heads may collide. You can shift the note heads of one voice by
-setting @code{\shiftOn}. This can be undone by setting
-@code{\shiftOff}.
-
-For simple polyphonic music, shorthands are available that combine
-directions and shift settings: @code{\voiceOne}, @code{\voiceTwo},
-@code{\voiceThree}, @code{\voiceFour} and @code{\oneVoice}.
+Note head collisions (horizontal shifting of note heads) are handled by
+the @code{NoteCollision} grob. @code{RestCollision} handles vertical
+shifting of rests.
+@cindex @code{NoteCollision}
+@cindex @code{RestCollision}
+
+
+@refbugs
+
+Resolving collisions is a very intricate subject, and LilyPond only
+handles a few situations. When it can not cope, you are advised to use
+@code{force-hshift} of the NoteColumn grob and @code{staff-position} of
+the Rest grob to override typesetting decisions.
+
+[TODO: doc merge-differently-dotted]
@node Beaming
@section Beaming
with 32nd notes (and no shorter notes), you would use @code{(end * * 1
32)}.
-[say something about irregular meters. eg 5/8 = 2+3/8, 3+2/8]
+@c not true
+@c Automatic beams can not be put on the last note in a score.
-Automatic beams can not be put on the last note in a score.
+If a score ends while an automatic beam has not been ended and is still
+accepting notes, this last beam will not be typeset at all.
@cindex automatic beam generation
@cindex autobeam
@refbugs
-It is not possible to specify beaming for beams with mixed durations,
-that differs from the beaming of all separate durations, ie, you'll
-have to specify manual beams to get:
+It is not possible to specify beaming parameters for beams with mixed
+durations, that differ from the beaming parameters of all separate
+durations, ie, you'll have to specify manual beams to get:
@lilypond[fragment,singleline,relative]
\property Voice.autoBeamSettings
- \override #'(end * * * *) = #(make-moment 3 8)
- \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
+ \override #'(end * * * *) = #(make-moment 3 8)
+ \time 12/8; c'8 c c c16 c c c c c [c c c c] c8 c c4
@end lilypond
+It is not possible to specify beaming parameters that act differently in
+different parts of a measure, eg, in irregular meters such as @code{5/8}
+that breaks down to @code{2/8 +3/8} or @code{3/8 + 2/8}, automatic beams
+won't act according to the broken down parts @code{2/8} and @code{3/8}.
@c . {Manual beams}
@cindex Automatic beams
rests or bar lines, so if you want that, specify the begin and end point
manually using @code{[} and @code{]}:
-@quotation
@lilypond[fragment,relative,verbatim]
\context Staff {
r4 [r8 g'' a r8] r8 [g | a] r8
[f8 r16 \property Voice.stemLeftBeamCount = #1 f g a]
}
@end lilypond
-@end quotation
@cindex @code{stemRightBeamCount}
The beam symbol can be tweaked through @code{Voice.Beam}'s
Set @code{height} to zero, to get horizontal beams:
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'direction = #1
\property Voice.Beam \set #'height = #0
[a''8 e' d c]
@end lilypond
-@end quotation
Here's how you'd specify a weird looking beam that instead of being
horizontal, falls two staff spaces:
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Beam \set #'staff-position = #2
\property Voice.Beam \set #'height = #-2
[c'8 c]
@end lilypond
-@end quotation
@cindex @code{default-neutral-direction}
@node Expressive marks
Maybe reinclude other slur features and move back to tricks? Esp. the
second example, how to fix, can be very helpful.
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Slur \set #'direction = #1
\property Voice.Stem \set #'length = #5.5
\property Voice.Slur \set #'attachment = #'(stem . stem)
g8(g)g4
@end lilypond
-@end quotation
If a slur would strike through a stem or beam, the slur will be moved
away upward or downward. If this happens, attaching the slur to the
stems might look better:
-@quotation
@lilypond[fragment,relative,verbatim]
\property Voice.Stem \set #'direction = #1
\property Voice.Slur \set #'direction = #1
\property Voice.Slur \set #'attachment = #'(stem . stem)
d,32( d'4 )d8..
@end lilypond
-@end quotation
Similarly, the curvature of a slur is adjusted to stay clear of note
* Articulation::
* Text scripts::
* Grace notes::
+* Glissando ::
+* Dynamics::
@end menu
@c . {Articulation}
stem. This behavior can be controlled with the
@code{Stem}.@code{flag-style} property.
-@quotation
@lilypond[fragment,verbatim]
\relative c'' {
\grace c8 c4 \grace { [c16 c16] } c4
\grace { \property Grace.Stem \override #'flag-style = #'() c16 } c4
}
-
@end lilypond
-@end quotation
At present, nesting @code{\grace} notes is not supported. The following
@c . {Glissando}
@node Glissando
-@subsubsection Glissando
+@subsection Glissando
@cindex Glissando
@cindex @code{\glissando}
A glissando line can be requested by attaching a @code{\glissando} to a
note:
-@quotation
@lilypond[fragment,relative,verbatim]
c'' \glissando c'
@end lilypond
-@end quotation
@refbugs
@c . {Dynamics}
@node Dynamics
-@subsubsection Dynamics
+@subsection Dynamics
@cindex Dynamics
@code{\fff}, @code{\fff}, @code{\fp}, @code{\sf}, @code{\sff},
@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
+@lilypond[verbatim,singleline,fragment,relative]
+ c''\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
+ c2\sf c\rfz
+@end lilypond
@cindex Crescendo and Decrescendo
@cindex crescendo
@lilypond[fragment,verbatim,center]
c'' \< \! c'' d'' \decr e'' \rced
- < f''1 { s4 \< \! s2 \> \! s4 } >
+ < f''1 { s4 s4 \< \! s4 \> \! s4 } >
@end lilypond
-[BUG in \> ! ]
-
You can also use a text saying @emph{cresc.} instead of hairpins. Here
is an example how to do it:
-
-
-
@c . {Repeats}
@node Repeats
@section Repeats
@end lilypond
With alternative endings:
-@quotation
@lilypond[fragment,verbatim]
c'1
\repeat volta 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
Folded repeats look like this:@footnote{Folded repeats offer little
more over simultaneous music. However, it is to be expected that
more functionality -- especially for the MIDI backend -- will be
implemented at some point in the future.}
-@quotation
@lilypond[fragment,verbatim]
c'1
\repeat fold 2 {c'4 d' e' f'}
\alternative { {d'2 d'} {f' f} }
@end lilypond
-@end quotation
-
If you don't give enough alternatives for all of the repeats, then
the first alternative is assumed to be repeated often enough to equal
the specified number of repeats.
-@quotation
@lilypond[fragment,verbatim]
\context Staff {
\relative c' {
}
}
@end lilypond
-@end quotation
@refbugs
printed once, and then the pattern is replaced with a special sign.
@lilypond[verbatim,singleline]
- \context Voice { \repeat "percent" 5 { c'1 } }
+ \context Voice { \repeat "percent" 4 { c'4 }
+ \repeat "percent" 2 { c'2 es'2 f'4 fis'4 g'4 c''4 }
+}
@end lilypond
-At present, only repeats of whole measures are supported.
+@refbugs
+
+You can not nest percent repeats, filling in the first measure with
+slashes, and repeating that measure with percents.
@node Rhythmic music
@section Rhythmic music
@cindex Pedals
Piano pedal instruction can be expressed using
-@code{\sustainDown}, @code{\sustainUp}, @code{\unaChorda},
-@code{\treChorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
+@code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
+@code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp}.
These identifiers are shorthands for spanner commands of the types
-@code{Sustain}, @code{UnaChorda} and @code{Sostenuto}:
+@code{Sustain}, @code{UnaCorda} and @code{Sostenuto}:
@lilypond[fragment,verbatim]
c''4 \spanrequest \start "Sustain" c''4 c''4 \spanrequest \stop "Sustain"
@code{\arpeggio} to a note of the chord.
-@quotation
@lilypond[fragment,relative,verbatim]
\context Voice <c'\arpeggio e g c>
@end lilypond
-@end quotation
When an arpeggio crosses staffs in piano music, you attach an arpeggio
to the chords in both staffs, and set
@code{PianoStaff.connectArpeggios}.
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.connectArpeggios = ##t
\context Voice = other { \clef bass; <c,,\arpeggio e g>}
>
@end lilypond
-@end quotation
This command creates @code{Arpeggio} grobs.
can be printed automatically. This is enabled if the property
@code{PianoStaff.followVoice} is set to true:
-@quotation
@lilypond[fragment,relative,verbatim]
\context PianoStaff <
\property PianoStaff.followVoice = ##t
\context Staff=two {\clef bass; \skip 1*2;}
>
@end lilypond
-@end quotation
@c . {Lyrics}
Throughout these examples, chords have been shifted around the staff
using @code{\transpose}.
-
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c:9 c:9-.5+.7+ c:3-.5- c:4.6.8
}
}
-
@end lilypond
-@end quotation
@cindex @code{aug}
@cindex @code{dim}
`@code{maj}' which adds a raised 7th, and `@code{sus}'
which replaces the 5th with a 4th.
-@quotation
-
@lilypond[fragment,verbatim]
\transpose c'' {
\chords {
c1:m c:min7 c:maj c:aug c:dim c:sus
}
}
-
@end lilypond
-@end quotation
Chord subtractions are used to eliminate notes from a chord. The
The chords may be entered either using the notation described above, or
directly using simultaneous music.
-@quotation
@lilypond[verbatim,singleline]
scheme = \notes {
\chords {a1 b c} <d f g> <e g b>
>
}
@end lilypond
-@end quotation
You can make the chord changes stand out by setting property
@code{ChordNames.chordChanges} to true. This will only display chord
names when there's a change in the chords scheme and at the start of the
line.
-@quotation
@lilypond[verbatim]
scheme = \chords {
c1:m \break c:m c:m c:m d
\context Staff \transpose c'' \scheme
> }
@end lilypond
-@end quotation
LilyPond examines chords specified as lists of notes to determine a name
to give the chord. LilyPond will not try to identify chord inversions or
-added base, which may result in strange chord names when chords are
-entered as a list of pitches:
-
-[base vs. bass ?]
+an added bass note, which may result in strange chord names when chords
+are entered as a list of pitches:
-@quotation
@lilypond[verbatim,center,singleline]
scheme = \notes {
<c'1 e' g'>
\score {
<
- \context ChordNamesVoice \scheme
+ \context ChordNames \scheme
\context Staff \scheme
>
}
@end lilypond
-@end quotation
By default LilyPond uses chord name system proposed by Harald Banter
Routines that determine the names to be printed are written in Scheme,
and may be customized by the user. The code can be found in
-@file{scm/chord-name.scm}.
+@file{scm/chord-name.scm}. Here's an example showing the differences in
+chord name styles:
+
+@c too long?
+@c maybe just junk verbatim option?
+@lilypond[verbatim,singleline]
+scheme = \chords {
+ c1 c:5^3 c:4^3 c:5+
+ c:m7+ c:m5-.7
+ c:5-.7 c:5+.7
+ c:9^7
+}
+
+\score {
+ \notes <
+ \context ChordNames = banter \scheme
+ \context ChordNames = american {
+ \property ChordNames.ChordName \override
+ #'style = #'american \scheme }
+ \context ChordNames = jazz {
+ \property ChordNames.ChordName \override
+ #'style = #'jazz \scheme }
+ \context Staff \transpose c'' \scheme
+ >
+}
+@end lilypond
-[3 short examples showing differences between american, banter and jazz]
@node Writing parts
@section Writing parts
@end lilypond
This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
+staff context. You can also use markup texts to construct more
+complicated instrument names:
+
+@lilypond[verbatim,singleline]
+#(define text-flat
+ '((font-relative-size . -2 ) (music "accidentals--1")))
+
+\score { \notes {
+ \property Staff.instrument = #`((kern . 0.5) (lines
+ "2 Clarinetti" (rows " (B" ,text-flat ")")))
+ c'' 4 }
+ \paper {
+ \translator { \StaffContext
+ \consists "Instrument_name_engraver"; } } }
+@end lilypond
+
+
+@refbugs
+
+When you put a name on a grand staff or piano staff (By adding an
+@code{Instrument_name_engraver} to that context and setting
+e.g. @code{\property GrandStaff.instrument}), the width of the brace is
+not taken into account. You must add extra spaces to the end of the name
+to avoid a collision.
@node Transpose
@subsection Transpose
a tone. The first version will print sharps and the second version
will print flats.
-@quotation
@lilypond[fragment,verbatim]
\context Staff {
\clef "F";
\transpose des'' { \key e \major; c d e f }
\transpose cis'' { \key e \major; c d e f }
}
-
@end lilypond
-@end quotation
If you want to use both @code{\transpose} and @code{\relative}, then
you must use @code{\transpose} first. @code{\relative} will have no
@end example
where the pieces of music @var{musicexpr1} and @var{musicexpr2} will be
-combined into one context @var{context}. The names of the music
+combined into one context @var{context}. The context names of the music
expressions must start with the prefixes @code{one} and @code{two}.
-[Name of music expressions? is that context name? ]
-
The most useful function of the part combiner to combining threads into
one voice, as common for wind parts in orchestral scores:
thus helps the player or singer to manage line breaks during
performance, thus enhancing readability of a score.
-@quotation
@lilypond[verbatim]
\score {
\notes { c'1 d' e' d' \break c' d' e' d' }
}
}
@end lilypond
-@end quotation
Custodes were frequently used in music notation until the 16th century.
There were different appearences for different notation styles.
* What to tune?::
* Font selection::
* Text markup::
+* Embedded @TeX{}::
@end menu
@node Tuning groups of grobs
you can change the resulting grobs.
@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem \override #'meta = #'((interfaces . ())) c'4
+c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
@end lilypond
-The @code{\property} statement effectively empties the definition of the
-Stem object. One of the effects is that property specifying how it
+The @code{\property} assignment effectively empties the definition of
+the Stem object. One of the effects is that property specifying how it
should be printed is erased, with the effect of rendering it invisible.
+The above assignment is available as a standard identifier, lest you
+find this useful:
+@example
+ \property Voice.Stem = \turnOff
+@end example
@cindex \override
@cindex \revert
Here @var{symbol} is a Scheme expression of symbol type, @var{context}
and @var{grobname} are strings and @var{value} is a Scheme expression.
+If you want to be
+Correct nesting of @code{\override}, @code{\set}, @code{\revert} is as
+follows
+
+@example
+\override \set \set \set \set
+\revert
+@end example
+
+This is always correct, but if you know the default value, you can also use
+@example
+\set \set \set \set
+\set @var{to default value}
+@end example
+
+If there is no default (i.e. by default, the grob property is unset),
+then you can use
+@example
+\set \set \set \set \set
+\revert
+@end example
+
+
@refbugs
LilyPond will hang or crash if @var{value} contains cyclic references.
+The backend is not very strict in type-checking grob properties. If you
+@code{\revert} properties that are expected to be set by default,
+LilyPond may crash.
@cindex font magnification
@cindex @code{font-interface}
-@refbugs
-
@node Text markup
@subsection Text markup
exact length of the string, which may lead to collisions. Also, @TeX{}
commands won't work with direct postscript output.
+@cindex metronome mark
+
+One practical application of complicated markup is to fake a metronome
+marking:
+
+@lilypond[verbatim]
+#(define note '(rows
+ (music "noteheads-2" ((kern . -0.1) "flags-stem"))))
+#(define eight-note `(rows ,note ((kern . -0.1)
+ (music ((raise . 3.5) "flags-u3")))))
+#(define dotted-eight-note
+ `(rows ,eight-note (music "dots-dot")))
+
+\score {
+ \notes\relative c'' {
+ a1^#`((rows (font-relative-size . -1)) ,dotted-eight-note " = 64")
+ }
+ \paper {
+ linewidth = -1.;
+ \translator{
+ \ScoreContext
+ TextScript \override #'font-shape = #'upright
+ }
+ }
+}
+@end lilypond
+
+@node Embedded @TeX{}
+@subsection Embeded @TeX{}
+@cindex embedded tex
+@cindex embedded tex
+
+You can use @TeX{} commands in text scripts, but this should be avoided
+because this makes it impossible for LilyPond to compute the exact
+length of the string, which may lead to collisions. Also, @TeX{}
+commands won't work with direct PostScript output.
+
+@lilypond[fragment,relative,verbatim]
+ a''^"3 $\\times$ \\`a deux"
+@end lilypond
+
+@subsection Embedded PostScript
+@cindex embedded postscript
+@cindex embedded postscript
+
+You can also use raw PostScript commands embedded in text scripts. This
+offers ultimate flexibitily, but you'll have to learn the arcane
+PostScript language. Currently, embedded PostScript will @strong{not}
+work with direct PostScript output. Note that all dimensions that you
+use are in @code{staff-space}s.
+
+@lilypond[verbatim]
+\score {
+ \notes \relative c'' {
+ a-#"\\embeddedps{3 4 moveto 5 3 rlineto stroke}"
+ -#"\\embeddedps{ [ 0 1 ] 0 setdash 3 5 moveto 5 -3 rlineto stroke}"
+ b-#"\\embeddedps{3 4 moveto 0 0 1 2 8 4 20 3.5 rcurveto stroke}"
+ s2
+ a'1
+ }
+ \paper { linewidth = 70 * \staffspace; }
+}
+@end lilypond
+
+
@c . {Page layout}
@node Page layout
@section Page layout
@cindex Sound
LilyPond can produce MIDI output. The performance lacks lots of
-interesting effects, such as swing, articulation, slurring, tieing,
-etc., but it is good enough for proof-hearing the music you enter.
-
-Dynamics and tempo changes are interpreted.
-
-[TODO: mention volume control/Instrument Equaliser]
-
+interesting effects, such as swing, articulation, slurring, etc., but it
+is good enough for proof-hearing the music you have entered. Ties,
+dynamics and tempo changes are interpreted.
+
+The MIDI volume is composed of two elements: the current dynamics of the
+voice and the type of musical instrument.
+
+Dynamic marks, crescendi and decrescendi translate into MIDI volume
+levels. Dynamic marks translate to a fixed fraction of the available
+MIDI volume range, crescendi and decrescendi make the the volume vary
+linearly between their two extremities. The fractions be adjusted by
+overriding the @code{absolute-volume-alist} defined in
+@file{scm/midi.scm}.
+
+For each type of musical instrument (that MIDI supports), a volume range
+can be defined. This gives you basic equaliser control, which can
+enhance the quality of the MIDI output remarkably. You can add
+instruments and ranges or change the default settings by overriding
+the @code{instrument-equaliser-alist} defined in @file{scm/midi.scm}.
@refbugs
A bar check is entered using the bar symbol, @code{|}
-
-
@c . {Point and click}
@node Point and click
@subsection Point and click
@item emacs
@end itemize
-
Add one these lines to the top of your .ly file. The first one is for
line location only. The second one is more convenient, but requires
patching @code{emacsclient}.
harmless, and can be ignored.
-@c . {Using LilyPond}
-@node Using LilyPond
-@section Using LilyPond
-@cindex Using LilyPond
-@cindex Generating output
-
-@c slaat dit ergens op?
-
-@c direct postscript?
-
-@table @code
-@item plain lilypond
-@example
-lilypond foo.ly
-@end example
-For more information on how to use lilypond see
-@ifnottex
-@ref{Invoking LilyPond}.
-@end ifnottex
-@iftex
-the online manual.
-@end iftex
-
-@item ly2dvi
-Ly2dvi produces titling from @code{\header} fields.
-@example
-ly2dvi foo.ly
-@end example
-For more information on how to use ly2dvi see
-@ifnottex
-@ref{ly2dvi}.
-@end ifnottex
-@iftex
-the online manual.
-@end iftex
-
-@item lilypond-book
-Lilypond-book supports interleaving text and music.
-@example
-lilypond-book foo.doc
-@end example
-For more information on how to use lilypond-book see
-@ifnottex
-@ref{lilypond-book}.
-@end ifnottex
-@iftex
-the online manual.
-@end iftex
-@end table
-
-
-An emacs mode for LilyPond is included with the source archive as
-@file{lilypond-mode.el} and @file{lilypond-font-lock.el}. If you have
-an RPM, it is in @file{/usr/share/doc/lilypond-X/}. You have to install
-it yourself.
-
-Add this to your ~/.emacs or ~/.emacs.el:
-@example
- (load-library "lilypond-mode.el")
- (setq auto-mode-alist
- (cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
- (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
-@end example
-
-If you have the latest LilyPond-1.3.x Debian package, LilyPond-mode
-is automatically loaded, so you need not modify your ~/.emacs file.
-
-@menu
-* Pre-cooked makefile::
-@end menu
-
-@node Pre-cooked makefile
-@subsection Pre-cooked makefile
-
-@c waar deze info? is uiteindelijk wel handig, schat ik.
-[TODO: cut blabla]
-If you have a big music project, or just a lot of LilyPond input files,
-all generated output from LilyPond, @TeX{} and metafont will clutter
-your working directory. LilyPond comes with a one-size-fits-all
-pre-cooked makefile that helps you manage producing ouptut. It will
-produce all output in @file{out}, generate and track dependencies.
-Also, it helps in preparing your submission to the @ref{Mutopia
-project}.
-
-@file{make/ly.make}
-@example
-mkdir my-project
-cd my-project
-cp /usr/share/lilypond/make/ly.make GNUmakefile
-cp /usr/share/doc/lilypond/examples/input/tutorial/menuet.ly .
-make menuet
-[..]
-Generated out/menuet.ps for target menuet.
-@end example
+@node Skipping corrected music
+@section Skipping corrected music
-Type @samp{make help} to see possible targets.
+The property @code{Score.skipTypesetting} can be used to switch on and
+off typesetting completely during the interpretation phase. When
+typesetting is switched off, the music is processed much more quickly.
+You can use this to skip over the parts of a score that you have already
+checked for errors.
-[TODO]
-@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
+@lilypond[fragment,singleline,verbatim]
+\relative c'' { c8 d
+\property Score.skipTypesetting = ##t
+ e f g a g c, f e d
+\property Score.skipTypesetting = ##f
+c d b bes a g c2 }
+@end lilypond
@node Interpretation context
of type @var{contexttype} and with name @var{contextname}. If this
context does not exist, it will be created.
-@quotation
-
@lilypond[verbatim,singleline]
\score {
\notes \relative c'' {
}
@end lilypond
-@end quotation
In this example, the @code{c} and @code{d} are printed on the
default staff. For the @code{e}, a context Staff called
such an identifier outside of @code{\score}, you must do
@quotation
-
@example
\paper @{
foo = \translator @{ @dots{} @}
This example replaces the text string of a script. It also shows a dump
of the music it processes, which is useful if you want to know more
about how music is stored.
-@lilypond[verbatim]
+
+@lilypond[verbatim,singleline]
#(define (testfunc x)
(if (equal? (ly-get-mus-property x 'text) "foo")
(ly-set-mus-property x 'text "bar"))
}
@end lilypond
-For more information on what is possible, see the @ref{Tricks} and the
-automatically generated documentation.
+For more information on what is possible, see the automatically
+generated documentation.
Directly accessing internal representations is dangerous: the
implementation is subject to changes, so you should avoid this feature
if possible.
-
-
+
+A final example is a function that reverses a piece of music in time:
+
+@lilypond[verbatim,singleline]
+#(define (reverse-music music)
+ (let* ((elements (ly-get-mus-property music 'elements))
+ (reversed (reverse elements))
+ (span-dir (ly-get-mus-property music 'span-direction)))
+ (ly-set-mus-property music 'elements reversed)
+ (if (dir? span-dir)
+ (ly-set-mus-property music 'span-direction (- span-dir)))
+ (map reverse-music reversed)
+ music))
+
+music = \notes { c'4 d'4( e'4 f'4 }
+
+\score { \context Voice {
+ \music
+ \apply #reverse-music \music
+ }
+}
+@end lilypond
+
@c . {Span requests}
@menu
projects / lilypond.git / blobdiff