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12 @c -*- coding: utf-8; mode: texinfo; -*-
14 @node Fundamental concepts
15 @chapter Fundamental concepts
21 * How LilyPond input files work::
22 * Voices contain music::
23 * Contexts and engravers::
24 * Extending the templates::
27 @node How LilyPond input files work
28 @section How LilyPond input files work
34 * Introduction to the LilyPond file structure::
35 * Score is a (single) compound musical expression::
36 * Nesting music expressions::
37 * On the un-nestedness of brackets and ties::
40 @node Introduction to the LilyPond file structure
41 @subsection Introduction to the LilyPond file structure
47 @c index file structure
50 @c ode{\score@{@}} command. This is because LilyPond automatically
51 @c index implicit contexts
52 @c index contexts, implicit
53 @ref{Contexts and engravers}.
54 @c ode{\score} command, leaving the others to default.
58 @c ode{\midi} -- are special: unlike many other commands which begin
59 @c ode{\header} is often placed above the @code{\score} command, as the
60 @c ode{\layout @{ @}} and @code{\midi @{@}}. If these appear as
61 @c index scores, multiple
62 @c index book block, implicit
63 @c index implicit book block
64 @c ode{\book} command should be used to separate the different
66 @c index layout block, effect of location
67 @c ode{\book} block in which it appears -- i.e., a @code{\layout}
69 @c ode{melody} (everything after the equals sign) and inserts it
71 @c ode{pianorighthand}, or @code{foofoobarbaz}. For more details,
72 @node Score is a (single) compound musical expression
73 @subsection Score is a (single) compound musical expression
79 @c index contents of a score block
80 @c index score block, contents of
81 @c index compound music expression
82 @c index music expression, compound
85 @ref{Music expressions explained}. In that section, we saw how to
86 @c ode{StaffGroup} for this ensemble, which simply groups a number
87 @c ode{\lyricmode}. These are essential to tell LilyPond
88 @node Nesting music expressions
89 @subsection Nesting music expressions
94 @c index staves, temporary
95 @c index temporary staves
97 @c index staff, positioning
98 @node On the un-nestedness of brackets and ties
99 @subsection On the un-nestedness of brackets and ties
104 @c index brackets, nesting
105 @c index bracket types
106 @c index brackets, enclosing vs. marking
107 @c attempt to force this onto a new page
108 @node Voices contain music
109 @section Voices contain music
115 * I'm hearing Voices::
116 * Explicitly instantiating voices::
117 * Voices and vocals::
120 @node I'm hearing Voices
121 @subsection I'm hearing Voices
128 @c index multiple voices
129 @c index voices, multiple
130 @c index Voice context
131 @c index context, Voice
132 @c index simultaneous music
133 @c index music, simultaneous
134 @c index concurrent music
135 @c index music, concurrent
136 @c index voices vs. chords
137 @c index chords vs. voices
138 @c ode{\\}, to place them in separate voices. Without these, the
139 @c index voices, naming
140 @c index voices crossing brackets
141 @c index slurs crossing brackets
142 @c index ties crossing brackest
143 @ref{Using variables for tweaks}.
144 @c index polyphony and relative note entry
145 @c index relative note entry and polyphony
146 @c ode{\relative @{ @}} block. Each note is still calculated
147 @c ode{noteB} is relative to @code{noteA} @*
148 @c ode{noteC} is relative to @code{noteB}, not @code{noteA}; @*
149 @c ode{noteD} is relative to @code{noteB}, not @code{noteA} or
151 @c ode{noteE} is relative to @code{noteD}, not @code{noteA}.
152 @c The following should appear as music without code
153 @c The following should appear as music without code
154 @c The three voice styles should be defined in -init
156 @c index voices and stem directions
157 @c index stem directions and voices
159 @node Explicitly instantiating voices
160 @subsection Explicitly instantiating voices
165 @c index voice contexts, creating
166 @c ode{\voiceOne} ... @code{\voiceFour} to indicate the required
167 @c The following example should not display the code
168 @c index voices, reverting to single
169 @c index reverting to a single voice
170 @c ode{\voiceFour} make them point downwards. These commands also
171 @c ode{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on
172 @c index nesting music expressions
173 @c index nesting simultaneous constructs
174 @c index nesting voices
175 @c index voices, temporary
176 @c index voices, nesting
177 @c index spacing notes
178 @subsubheading Note columns
180 @c index note collisions
181 @c index collisions, notes
182 @c index shift commands
183 @c ode{\shiftOff} commands specify the degree to which notes and
184 @c ode{\shiftOnn} and @code{\shiftOnnn} define further shift
185 @node Voices and vocals
186 @subsection Voices and vocals
191 @c index Lyrics context, creating
192 @c index lyrics, linking to voice
193 @c index lyrics and beaming
194 @c index beaming and lyrics
195 @c ode{\autoBeamOff} to turn off the automatic beaming.
196 @c index vocal score structure
198 @c ode{\lyricmode} to ensure they are interpreted as lyrics
199 @c index hymn structure
200 @c index SATB structure
201 @c index vocal scores with multiple verses
202 @c index multiple vocal verses
203 @c index verses, multiple vocal
204 @c index verse and refrain
205 @c index book, example of using
206 @c ode{\score} blocks within an implicit @code{\book} block, as
207 @node Contexts and engravers
208 @section Contexts and engravers
214 * Contexts explained::
215 * Creating contexts::
216 * Engravers explained::
217 * Modifying context properties::
218 * Adding and removing engravers::
221 @node Contexts explained
222 @subsection Contexts explained
227 @c index contexts explained
230 @c ode{Score} and @code{Staff} contexts.
231 @c ode{Voice} contexts there are contexts which fit between
232 @c ode{PianoStaff} and @code{ChoirStaff} contexts. There
233 @c ode{GregorianTranscriptionStaff}.
234 @node Creating contexts
235 @subsection Creating contexts
240 @c index new contexts
241 @c index creating contexts
242 @c index contexts, creating
243 @c ode{Staff} contexts may be left to be created automatically, but for
244 @c ode{Voice}). This command creates a new context, and starts
245 @c ode{Staff} and @code{Voice} contexts in earlier sections, but
246 @c index contexts, naming
247 @c index naming contexts
248 @c ode{Staff}, @code{Voice}, etc, and the identifying name of a
249 @node Engravers explained
250 @subsection Engravers explained
256 @c ode{Metronome_mark_engraver}, whose action and output apply to the
257 @c ode{Score} context.
258 @c The old Dynamic_engraver is deprecated. -jm
259 @node Modifying context properties
260 @subsection Modifying context properties
265 @c index context properties
266 @c index context properties, modifying
267 @c index modifying context properties
268 @c ode{\set} command. This takes the form
269 @c ode{Staff} or @code{Voice}. It may be omitted,
270 @c attempt to force this onto a new page
271 @c index properties operating in contexts
272 @c index setting properties within contexts
273 @c ode{instrumentName} clearly lives in the @code{Staff} context, since
274 @c ode{\set} command set the property @code{instrumentName} in the
275 @c ode{Voice} context to @qq{Alto}, but as LilyPond does not look
276 @c ode{\set} or @code{\unset} again. Let's try changing the
277 @c ode{##t} and @code{##f}, with two hash signs. A text property
278 @subsubheading Setting context properties with @code{\with}
279 @c index context properties, setting with \with
280 @c ode{\with @{ .. @}} block in which the property values are
281 @c ode{\set} and returned to their default value with @code{\unset}.
282 @c index fontSize, default and setting
283 @c ode{\unset fontSize} command.
284 @subsubheading Setting context properties with @code{\context}
285 @c index context properties, setting with \context
286 @c ode{\with} block, introduced above. It is placed in a
287 @c ode{\context} block within a @code{\layout} block. Each
288 @c ode{\context} block will affect all contexts of the type specified
289 @c ode{\layout} block appears. Here is a example to show the format:
290 @c ode{\set} commands embedded in music statements.
292 @c uncomment when backslash-node-name issue is resolved -pm
293 @c @ruser{The set command}.
294 @node Adding and removing engravers
295 @subsection Adding and removing engravers
300 @c index engravers, adding
301 @c index adding engravers
302 @c index engravers, removing
303 @c index removing engravers
304 @subsubheading Changing a single context
305 @c ode{\with} command placed immediately after the context creation
306 @c index ambitus engraver
307 @c ode{\consists @var{Engraver_name}},
308 @c ode{Ambitus_engraver}, which is not normally included in any
309 @c ode{Staff} context, it calculates the range from all
310 @subsubheading Changing all contexts of the same type
311 @c ode{\set} command in a @code{\context} block in the
312 @node Extending the templates
313 @section Extending the templates
319 * Soprano and cello::
320 * Four-part SATB vocal score::
321 * Building a score from scratch::
322 * Saving typing with variables and functions::
326 @node Soprano and cello
327 @subsection Soprano and cello
332 @c index template, modifying
333 @c index modifying templates
334 @c ode{melody} section. We don't want two @code{\score} sections
335 @c ode{text} to be @code{sopranoLyrics}. Remember to rename both
336 @c ode{melody = \relative c' @{ } part) and the name's use (in the
337 @c ode{\score} section).
338 @c ode{>>} around the music -- that tells LilyPond that there's
339 @c Indentation in this example is deliberately poor
340 @node Four-part SATB vocal score
341 @subsection Four-part SATB vocal score
346 @c index template, SATB
347 @c index SATB template
348 @c The following should appear as music without code
349 @c ode{\voiceXXX} commands should be removed. We also need to specify
350 @node Building a score from scratch
351 @subsection Building a score from scratch
356 @c index template, writing your own
357 @c index example of writing a score
358 @c index writing a score, example
359 @c index score, example of writing
360 @c ode{<< .. >>} for the manual two staff and the pedal organ staff,
361 @c ode{@{ .. @}} in case your music is coded in several variables
362 @c ode{\voiceOne} and @code{\voiceTwo}, and enter the time signature
363 @node Saving typing with variables and functions
364 @subsection Saving typing with variables and functions
371 @c TODO Avoid padtext - not needed with skylining
372 @c TODO Replace the following with a better example -td
373 @c Skylining handles this correctly without padText
375 @node Scores and parts
376 @subsection Scores and parts
381 @c ode{\transpose f@tie{}c'} indicates that the argument, being
382 @c ode{\hornNotes}, should be transposed by a fifth upwards. Sounding
383 @c ode{f} is denoted by notated @code{c'}, which corresponds with the
384 @c ode{Score} context to true (@code{##t}). Prepending the rest and
386 @c -- SKELETON FILE --