1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond-learning.tely
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
6 When revising a translation, copy the HEAD committish of the
7 version that you are working on. See TRANSLATION for details.
12 @node Working on LilyPond projects
13 @chapter Working on LilyPond projects
15 This section explains how to solve or avoid certain common
16 problems. If you have programming experience, many of these
17 tips may seem obvious, but it is still advisable to read
22 * Suggestions for writing LilyPond input files::
23 * When things don't work::
25 * Make and Makefiles::
29 @node Suggestions for writing LilyPond input files
30 @section Suggestions for writing LilyPond input files
32 Now you're ready to begin writing larger LilyPond input files --
33 not just the little examples in the tutorial, but whole pieces.
34 But how should you go about doing it?
36 As long as LilyPond can understand your input files and produce
37 the output that you want, it doesn't matter what your input files
38 look like. However, there are a few other things to consider when
39 writing LilyPond input files.
42 @item What if you make a mistake? The structure of a LilyPond
43 file can make certain errors easier (or harder) to find.
45 @item What if you want to share your input files with somebody
46 else? In fact, what if you want to alter your own input files in
47 a few years? Some LilyPond input files are understandable at
48 first glance; others may leave you scratching your head
51 @item What if you want to upgrade your LilyPond file for use
52 with a later version of LilyPond? The input syntax changes
53 occasionally as LilyPond improves. Most changes can be
54 done automatically with @code{convert-ly}, but some changes
55 might require manual assistance. LilyPond input files can be
56 structured in order to be easier (or harder) to update.
61 * General suggestions::
62 * Typesetting existing music::
64 * Saving typing with variables and functions::
69 @node General suggestions
70 @subsection General suggestions
72 Here are a few suggestions that can help you to avoid or fix
76 @item @strong{Include @code{\version} numbers in every file}. Note that all
77 templates contain @code{\version} information. We
78 highly recommend that you always include the @code{\version}, no matter
79 how small your file is. Speaking from personal experience, it's
80 quite frustrating to try to remember which version of LilyPond you were
81 using a few years ago. @command{convert-ly} requires you to declare
82 which version of LilyPond you used.
84 @item @strong{Include checks}: @ruser{Bar and bar number checks},
85 @ruser{Octave checks}. If you include checks every so often, then
86 if you make a mistake, you can pinpoint it quicker. How often is
87 @q{every so often}? It depends on the complexity of the music.
88 For very simple music, perhaps just once or twice. For very
89 complex music, perhaps every bar.
91 @item @strong{One bar per line of text}. If there is anything complicated,
93 itself or in the output you desire, it's often good to write only one bar
94 per line. Saving screen space by cramming eight bars per line just isn't
95 worth it if you have to @q{debug} your input files.
97 @item @strong{Comment your input files}. Use either bar numbers
99 references to musical themes (@q{second theme in violins,} @q{fourth
100 variation,} etc.). You may not need comments when you're writing the piece
101 for the first time, but if you want to go back to change something two or
102 three years later, or if you pass the source over to a friend, it will
104 challenging to determine your intentions or how your file is structured if
105 you didn't comment the file.
107 @item @strong{Indent your braces}. A lot of problems are caused by an
109 in the number of @code{@{} and @code{@}}.
111 @item @strong{Explicitly add durations} at the beginnings of sections
112 and variables. If you specify @code{c4 d e} at the beginning of a
113 phrase (instead of just @code{c d e}) you can save yourself some
114 problems if you rearrange your music later.
116 @item @strong{Separate tweaks} from music definitions. See
117 @ref{Saving typing with variables and functions}, and
123 @node Typesetting existing music
124 @subsection Typesetting existing music
126 If you are entering music from an existing score (i.e., typesetting a
127 piece of existing sheet music),
131 @item Enter one manuscript (the physical copy) system at a time (but still
132 only one bar per line of text), and
133 check each system when you finish it. You may use the
134 @code{showLastLength} or @code{showFirstLength} properties to speed up
135 processing -- see @ruser{Skipping corrected music}.
137 @item Define @code{mBreak = @{ \break @}} and insert @code{\mBreak}
138 in the input file whenever the manuscript has a line break. This
139 makes it much easier to compare the LilyPond music to the original
140 music. When you are finished proofreading your score, you may
141 define @code{mBreak = @{ @}} to remove all those line breaks. This
142 will allow LilyPond to place line breaks wherever it feels are
145 @item When entering a part for a transposing instrument into a
146 variable, it is recommended that the notes are wrapped in
149 \transpose c natural-pitch @{...@}
151 (where @code{natural-pitch} is the open pitch of the instrument) so
152 that the music in the variable is effectively in C. You can transpose
153 it back again when the variable is used, if required, but you might
154 not want to (e.g., when printing a score in concert pitch,
155 converting a trombone part from treble to bass clef, etc.)
156 Mistakes in transpositions are less likely if all the music in
157 variables is at a consistent pitch.
159 Also, only ever transpose to/from C. That means that the only other
160 keys you will use are the natural pitches of the instruments - bes
161 for a B-flat trumpet, aes for an A-flat clarinet, etc.
167 @subsection Large projects
169 When working on a large project, having a clear structure to your
170 lilypond input files becomes vital.
174 @item @strong{Use a variable for each voice}, with a minimum of
175 structure inside the definition. The structure of the
176 @code{\score} section is the most likely thing to change;
177 the @code{violin} definition is extremely unlikely to change
178 in a new version of LilyPond.
181 violin = \relative c'' @{
194 @item @strong{Separate tweaks from music definitions}. This
195 point was made previously, but for large
196 projects it is absolutely vital. We might need to change
197 the definition of @code{fthenp}, but then we only need
198 to do this once, and we can still avoid touching anything
199 inside @code{violin}.
203 \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
204 violin = \relative c'' @{
212 @node Saving typing with variables and functions
213 @subsection Saving typing with variables and functions
218 By this point, you've seen this kind of thing:
220 @lilypond[quote,verbatim,ragged-right]
221 hornNotes = \relative c'' { c4 b dis c }
229 You may even realize that this could be useful in minimalist music:
231 @lilypond[quote,verbatim,ragged-right]
232 fragmentA = \relative c'' { a4 a8. b16 }
233 fragmentB = \relative c'' { a8. gis16 ees4 }
234 violin = \new Staff { \fragmentA \fragmentA \fragmentB \fragmentA }
242 However, you can also use these variables (also known as
243 variables, macros, or (user-defined) command) for tweaks:
245 @lilypond[quote,verbatim,ragged-right]
246 dolce = \markup{ \italic \bold dolce }
247 padText = { \once \override TextScript #'padding = #5.0 }
248 fthenp=_\markup{ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p }
249 violin = \relative c'' {
251 c4._\dolce b8 a8 g a b |
253 c4.^"hi there!" d8 e' f g d |
254 c,4.\fthenp b8 c4 c-. |
261 \layout{ragged-right=##t}
265 These variables are obviously useful for saving
266 typing. But they're worth considering even if you
267 only use them once -- they reduce complexity. Let's
268 look at the previous example without any
269 variables. It's a lot harder to read, especially
273 violin = \relative c'' @{
275 c4._\markup@{ \italic \bold dolce @} b8 a8 g a b |
276 \once \override TextScript #'padding = #5.0
277 c4.^"hi there!" d8 e' f g d |
278 c,4.\markup@{ \dynamic f \italic \small @{ 2nd @}
279 \hspace #0.1 \dynamic p @} b8 c4 c-. |
284 @c TODO Replace the following with a better example -td
285 @c Skylining handles this correctly without padText
287 So far we've seen static substitution -- when LilyPond
288 sees @code{\padText}, it replaces it with the stuff that
289 we've defined it to be (ie the stuff to the right of
292 LilyPond can handle non-static substitution, too (you
293 can think of these as functions).
295 @lilypond[quote,verbatim,ragged-right]
297 #(define-music-function (parser location padding) (number?)
299 \once \override TextScript #'padding = #$padding
307 c4^"piu mosso" fis a g
311 Using variables is also a good way to reduce work if the
312 LilyPond input syntax changes (see @ref{Updating old input files}). If
313 you have a single definition (such as @code{\dolce}) for all your
314 input files (see @ref{Style sheets}), then if the syntax changes, you
315 only need to update your single @code{\dolce} definition,
316 instead of making changes throughout every @code{.ly} file.
320 @subsection Style sheets
322 The output that LilyPond produces can be heavily modified; see
323 @ref{Tweaking output}, for details. But what if you have many
324 input files that you want to apply your tweaks to? Or what if you
325 simply want to separate your tweaks from the actual music? This
328 Let's look at an example. Don't worry if you don't understand
329 the parts with all the @code{#()}. This is explained in
330 @ref{Advanced tweaks with Scheme}.
332 @lilypond[quote,verbatim,ragged-right]
333 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
334 #:line(#:dynamic "mp" #:text #:italic "dolce" )))
336 inst = #(define-music-function (parser location string) (string?)
340 'text (markup #:bold (#:box string))))
344 a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
346 cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
350 There are some problems with overlapping output; we'll fix those using
351 the techniques in @ref{Moving objects}. But let's also
352 do something about the @code{mpdolce} and @code{inst}
353 definitions. They produce the output we desire, but we might want
354 to use them in another piece. We could simply copy-and-paste them
355 at the top of every file, but that's an annoyance. It also leaves
356 those definitions in our input files, and I personally find all
357 the @code{#()} somewhat ugly. Let's hide them in another file:
360 %%% save this to a file called "definitions.ily"
361 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
362 #:line(#:dynamic "mp" #:text #:italic "dolce" )))
364 inst = #(define-music-function (parser location string) (string?)
368 'text (markup #:bold (#:box string))))
371 We will refer to this file using the @code{\include} command near
372 the top of the music file. (The extension @code{.ily} is used to
373 distinguish this included file, which is not meant to be compiled
374 on its own, from the main file.)
375 Now let's modify our music (let's save this file as @file{"music.ly"}).
377 @c We have to do this awkward example/lilypond-non-verbatim
378 @c because we can't do the \include stuff in the manual.
381 \include "definitions.ily"
385 a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
387 cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
391 @lilypond[quote,ragged-right]
392 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
393 #:line(#:dynamic "mp" #:text #:italic "dolce" )))
395 inst = #(define-music-function (parser location string) (string?)
399 'text (markup #:bold (#:box string))))
403 a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
405 cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
409 That looks better, but let's make a few changes. The glissando is hard
410 to see, so let's make it thicker and closer to the note heads. Let's
411 put the metronome marking above the clef, instead of over the first
412 note. And finally, my composition professor hates @q{C} time signatures,
413 so we'd better make that @q{4/4} instead.
415 Don't change @file{music.ly}, though. Replace our @file{definitions.ily}
420 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
421 #:line( #:dynamic "mp" #:text #:italic "dolce" )))
423 inst = #(define-music-function (parser location string) (string?)
427 'text (markup #:bold (#:box string))))
431 \override MetronomeMark #'extra-offset = #'(-9 . 0)
432 \override MetronomeMark #'padding = #'3
435 \override TimeSignature #'style = #'numbered
438 \override Glissando #'thickness = #3
439 \override Glissando #'gap = #0.1
444 @lilypond[quote,ragged-right]
445 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
446 #:line( #:dynamic "mp" #:text #:italic "dolce" )))
448 inst = #(define-music-function (parser location string) (string?)
452 'text (markup #:bold (#:box string))))
456 \override MetronomeMark #'extra-offset = #'(-9 . 0)
457 \override MetronomeMark #'padding = #'3
460 \override TimeSignature #'style = #'numbered
463 \override Glissando #'thickness = #3
464 \override Glissando #'gap = #0.1
470 a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
472 cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
476 That looks nicer! But now suppose that I want to publish this
477 piece. My composition professor doesn't like @q{C} time
478 signatures, but I'm somewhat fond of them. Let's copy the
479 current @file{definitions.ily} to @file{web-publish.ily} and
480 modify that. Since this music is aimed at producing a pdf which
481 will be displayed on the screen, we'll also increase the
482 overall size of the output.
486 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
487 #:line( #:dynamic "mp" #:text #:italic "dolce" )))
489 inst = #(define-music-function (parser location string) (string?)
493 'text (markup #:bold (#:box string))))
495 #(set-global-staff-size 23)
498 \override MetronomeMark #'extra-offset = #'(-9 . 0)
499 \override MetronomeMark #'padding = #'3
504 \override Glissando #'thickness = #3
505 \override Glissando #'gap = #0.1
510 @lilypond[quote,ragged-right]
511 mpdolce = #(make-dynamic-script (markup #:hspace 0 #:translate '(5 . 0)
512 #:line( #:dynamic "mp" #:text #:italic "dolce" )))
514 inst = #(define-music-function (parser location string) (string?)
518 'text (markup #:bold (#:box string))))
520 #(set-global-staff-size 23)
523 \override MetronomeMark #'extra-offset = #'(-9 . 0)
524 \override MetronomeMark #'padding = #'3
527 \override Glissando #'thickness = #3
528 \override Glissando #'gap = #0.1
534 a4.\mpdolce d8 cis4--\glissando a | b4 bes a2
536 cis4.\< d8 e4 fis | g8(\! fis)-. e( d)-. cis2
540 Now in our music, I simply replace
541 @code{\include "definitions.ily"} with
542 @code{\include "web-publish.ily"}. Of course, we could make this
543 even more convenient. We could make a @file{definitions.ily} file which
544 contains only the definitions of @code{mpdolce} and @code{inst}, a
545 @file{web-publish.ily} file which contains only the @code{\layout}
546 section listed above, and a @file{university.ily} file which
547 contains only the tweaks to produce the output that my professor
548 prefers. The top of @file{music.ly} would then look like this:
551 \include "definitions.ily"
553 %%% Only uncomment one of these two lines!
554 \include "web-publish.ily"
555 %\include "university.ily"
558 This approach can be useful even if you are only producing
559 one set of parts. I use half a dozen different
560 @q{style sheet} files for my projects. I begin every music
561 file with @code{\include "../global.ily"}, which contains
565 \version @w{"@version{}"}
566 #(ly:set-option 'point-and-click #f)
567 \include "../init/init-defs.ly"
568 \include "../init/init-layout.ly"
569 \include "../init/init-headers.ly"
570 \include "../init/init-paper.ly"
574 @node When things don't work
575 @section When things don't work
578 * Updating old input files::
579 * Troubleshooting (taking it all apart)::
583 @node Updating old input files
584 @subsection Updating old input files
586 The LilyPond input syntax occasionally changes. As LilyPond itself
587 improves, the syntax (input language) is modified accordingly. Sometimes
588 these changes are made to make the input easier to read and write or
589 sometimes the changes are made to accommodate new features of LilyPond.
591 LilyPond comes with a file that makes this updating easier:
592 @code{convert-ly}. For details about how to run this program, see
593 @rprogram{Updating files with convert-ly}.
595 Unfortunately, @code{convert-ly} cannot handle all input changes. It
596 takes care of simple search-and-replace changes (such as @code{raggedright}
597 becoming @code{ragged-right}), but some changes are too
598 complicated. The syntax changes that @code{convert-ly} cannot handle
599 are listed in @rprogram{Updating files with convert-ly}.
601 For example, in LilyPond 2.4 and earlier, accents and non-English
602 letters were entered using LaTeX -- for example,
603 @code{No\"el} (this would print the French word for
604 @q{Christmas}). In LilyPond 2.6 and above, the special
605 @code{ë} must be entered directly into the LilyPond file as an
606 UTF-8 character. @code{convert-ly} cannot change all the LaTeX
607 special characters into UTF-8 characters; you must manually update
608 your old LilyPond input files.
611 @node Troubleshooting (taking it all apart)
612 @subsection Troubleshooting (taking it all apart)
614 Sooner or later, you will write a file that LilyPond cannot
615 compile. The messages that LilyPond gives may help
616 you find the error, but in many cases you need to do some
617 investigation to determine the source of the problem.
619 The most powerful tools for this purpose are the
620 single line comment (indicated by @code{%}) and the block
621 comment (indicated by @code{%@{ ... %@}}). If you don't
622 know where a problem is, start commenting out huge portions
623 of your input file. After you comment out a section, try
624 compiling the file again. If it works, then the problem
625 must exist in the portion you just commented. If it doesn't
626 work, then keep on commenting out material until you have
627 something that works.
629 In an extreme case, you might end up with only
643 (in other words, a file without any music)
645 If that happens, don't give up. Uncomment a bit -- say,
646 the bass part -- and see if it works. If it doesn't work,
647 then comment out all of the bass music (but leave
648 @code{\bass} in the @code{\score} uncommented.
651 bass = \relative c' @{
659 Now start slowly uncommenting more and more of the
660 @code{bass} part until you find the problem line.
662 Another very useful debugging technique is constructing
663 @ref{Minimal examples}.
666 @node Minimal examples
667 @subsection Minimal examples
669 A minimal example is an example which is as small as possible. These
670 examples are much easier to understand than long examples. Minimal
671 examples are used for
675 @item Sending a help request to mailing lists
676 @item Adding an example to the @uref{http://lsr.dsi.unimi.it/,
677 LilyPond Snippet Repository}
680 To construct an example which is as small as possible, the rule is
681 quite simple: remove anything which is not necessary. When trying to
682 remove unnecessary parts of a file, it is a very good idea to comment
683 out lines instead of deleting them. That way, if you discover that you
684 actually @emph{do} need some lines, you can uncomment them, instead of
685 typing them in from scratch.
687 There are two exceptions to the @qq{as small as possible} rule:
690 @item Include the @code{\version} number.
691 @item If possible, use @code{\paper@{ ragged-right=##t @}} at the
695 The whole point of a minimal example is to make it easy to read:
698 @item Avoid using complicated notes, keys, or time signatures, unless you
699 wish to demonstrate something is about the behavior of those items.
700 @item Do not use @code{\override} commands unless that is the point of the
706 @node Scores and parts
707 @section Scores and parts
709 TODO: this is really old stuff from the really old tutorial.
710 Rewrite, fix, etc. Or maybe delete entirely. -gp
711 Include section on tags -td
712 and then move to section 5. Working ... -td
714 In orchestral music, all notes are printed twice. Once in a part for
715 the musicians, and once in a full score for the conductor. Variables can
716 be used to avoid double work. The music is entered once, and stored in
717 a variable. The contents of that variable is then used to generate
718 both the part and the full score.
720 It is convenient to define the notes in a special file. For example,
721 suppose that the file @file{horn-music.ly} contains the following part
722 of a horn/@/bassoon duo
725 hornNotes = \relative c @{
732 Then, an individual part is made by putting the following in a file
735 \include "horn-music.ly"
737 instrument = "Horn in F"
741 \transpose f c' \hornNotes
748 \include "horn-music.ly"
752 substitutes the contents of @file{horn-music.ly} at this position in
753 the file, so @code{hornNotes} is defined afterwards. The command
754 @code{\transpose f@tie{}c'} indicates that the argument, being
755 @code{\hornNotes}, should be transposed by a fifth upwards. Sounding
756 @code{f} is denoted by notated @code{c'}, which corresponds with the
757 tuning of a normal French Horn in@tie{}F. The transposition can be seen
758 in the following output
760 @lilypond[quote,ragged-right]
761 \transpose f c' \relative c {
767 In ensemble pieces, one of the voices often does not play for many
768 measures. This is denoted by a special rest, the multi-measure
769 rest. It is entered with a capital @code{R} followed by a duration
770 (@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
771 etc.). By multiplying the
772 duration, longer rests can be constructed. For example, this rest
773 takes 3@tie{}measures in 2/4 time
779 When printing the part, multi-rests
780 must be condensed. This is done by setting a run-time variable
783 \set Score.skipBars = ##t
787 This command sets the property @code{skipBars} in the
788 @code{Score} context to true (@code{##t}). Prepending the rest and
789 this option to the music above, leads to the following result
791 @lilypond[quote,ragged-right]
792 \transpose f c' \relative c {
794 \set Score.skipBars = ##t
801 The score is made by combining all of the music together. Assuming
802 that the other voice is in @code{bassoonNotes} in the file
803 @file{bassoon-music.ly}, a score is made with
806 \include "bassoon-music.ly"
807 \include "horn-music.ly"
810 \new Staff \hornNotes
811 \new Staff \bassoonNotes
818 @lilypond[quote,ragged-right]
826 r4 d,8 f | gis4 c | b bes |
827 a8 e f4 | g d | gis f
834 @node Make and Makefiles
835 @section Make and Makefiles
840 Pretty well all the platforms Lilypond can run on support a software
841 facility called @code{make}. This software reads a special file called a
842 @code{Makefile} that defines what files depend on what others and what
843 commands you need to give the operating system to produce one file from
844 another. For example the makefile would spell out how to produce
845 @code{ballad.pdf} and @code{ballad.midi} from @code{ballad.ly} by
848 There are times when it is a good idea to create a @code{Makefile}
849 for your project, either for your own convenience or
850 as a courtesy to others who might have access to your source files.
851 This is true for very large projects with many included files and
852 different output options (e.g. full score, parts, conductor's
853 score, piano reduction, etc.), or for projects that
854 require difficult commands to build them (such as
855 @code{lilypond-book} projects). Makefiles vary greatly in
856 complexity and flexibility, according to the needs and skills of
857 the authors. The program GNU Make comes installed on GNU/Linux
858 distributions and on MacOS X, and it is also available for Windows.
860 See the @strong{GNU Make Manual} for full details on using
861 @code{make}, as what follows here gives only a glimpse of what it
864 The commands to define rules in a makefile differ
865 according to platform; for instance the various forms of Linux and
866 MacOS use @code{bash}, while Windows uses @code{cmd}. Note that on
867 MacOS X, you need to configure the system to use the command-line
868 intepreter. Here are some example makefiles, with versions for both
869 Linux/MacOS and Windows.
871 The first example is for an orchestral work in four
872 movements with a directory structure as follows:
889 | |-- symphony-cello.ly
890 | |-- symphony-horn.ly
891 | |-- symphony-oboes.ly
892 | |-- symphony-viola.ly
893 | |-- symphony-violinOne.ly
894 | `-- symphony-violinTwo.ly
904 The @code{.ly} files in the @code{Scores} and
905 @code{Parts} directories get their notes from @code{.ily}
906 files in the @code{Notes} directory:
909 %%% top of file "symphony-cello.ly"
910 \include ../definitions.ily
911 \include ../Notes/cello.ily
914 The makefile will have targets of @code{score} (entire piece in
915 full score), @code{movements} (individual movements in full score),
916 and @code{parts} (individual parts for performers). There
917 is also a target @code{archive} that will create a tarball of
918 the source files, suitable for sharing via web or email. Here is
919 the makefile for GNU/Linux or MacOS X. It should be saved with the
920 name @code{Makefile} in the top directory of the project:
922 @warning{When a target or pattern rule is defined, the
923 subsequent lines must begin with tabs, not spaces.}
926 # the name stem of the output files
928 # determine how many processors are present
929 CPU_CORES=`cat /proc/cpuinfo | grep -m1 "cpu cores" | sed s/".*: "//`
930 # The command to run lilypond
931 LILY_CMD = lilypond -ddelete-intermediate-files \
932 -dno-point-and-click -djob-count=$(CPU_CORES)
934 # The suffixes used in this Makefile.
935 .SUFFIXES: .ly .ily .pdf .midi
937 # Input and output files are searched in the directories listed in
938 # the VPATH variable. All of them are subdirectories of the current
939 # directory (given by the GNU make variable `CURDIR').
946 # The pattern rule to create PDF and MIDI files from a LY input file.
947 # The .pdf output files are put into the `PDF' subdirectory, and the
948 # .midi files go into the `MIDI' subdirectory.
950 $(LILY_CMD) $<; \ # this line begins with a tab
951 if test -f "$*.pdf"; then \
954 if test -f "$*.midi"; then \
955 mv "$*.midi" MIDI/; \
966 # The dependencies of the movements.
967 $(piece)I.pdf: $(piece)I.ly $(notes)
968 $(piece)II.pdf: $(piece)II.ly $(notes)
969 $(piece)III.pdf: $(piece)III.ly $(notes)
970 $(piece)IV.pdf: $(piece)IV.ly $(notes)
972 # The dependencies of the full score.
973 $(piece).pdf: $(piece).ly $(notes)
975 # The dependencies of the parts.
976 $(piece)-cello.pdf: $(piece)-cello.ly cello.ily
977 $(piece)-horn.pdf: $(piece)-horn.ly horn.ily
978 $(piece)-oboes.pdf: $(piece)-oboes.ly oboe.ily
979 $(piece)-viola.pdf: $(piece)-viola.ly viola.ily
980 $(piece)-violinOne.pdf: $(piece)-violinOne.ly violinOne.ily
981 $(piece)-violinTwo.pdf: $(piece)-violinTwo.ly violinTwo.ily
983 # Type `make score' to generate the full score of all four
984 # movements as one file.
988 # Type `make parts' to generate all parts.
989 # Type `make foo.pdf' to generate the part for instrument `foo'.
990 # Example: `make symphony-cello.pdf'.
992 parts: $(piece)-cello.pdf \
993 $(piece)-violinOne.pdf \
994 $(piece)-violinTwo.pdf \
999 # Type `make movements' to generate files for the
1000 # four movements separately.
1002 movements: $(piece)I.pdf \
1007 all: score parts movements
1010 tar -cvvf stamitz.tar \ # this line begins with a tab
1011 --exclude=*pdf --exclude=*~ \
1012 --exclude=*midi --exclude=*.tar \
1017 There are special complications on the Windows platform. After
1018 downloading and installing GNU Make for Windows, you must set the
1019 correct path in the system's environment variables so that the
1020 DOS shell can find the Make program. To do this, right-click on
1021 "My Computer," then choose @code{Properties} and
1022 @code{Advanced}. Click @code{Environment Variables}, and then
1023 in the @code{System Variables} pane, highlight @code{Path}, click
1024 @code{edit}, and add the path to the GNU Make executable file, which
1025 will look something like this:
1028 C:\Program Files\GnuWin32\bin
1031 The makefile itself has to be altered to handle different shell
1032 commands and to deal with spaces that are present
1033 in some default system directories. The @code{archive} target
1034 is eliminated since Windows does not have the @code{tar} command,
1035 and Windows also has a different default extension for midi files.
1042 LILY_CMD = lilypond -ddelete-intermediate-files \
1043 -dno-point-and-click \
1044 -djob-count=$(NUMBER_OF_PROCESSORS)
1046 #get the 8.3 name of CURDIR (workaround for spaces in PATH)
1047 workdir = $(shell for /f "tokens=*" %%b in ("$(CURDIR)") \
1050 .SUFFIXES: .ly .ily .pdf .mid
1059 $(LILY_CMD) $< # this line begins with a tab
1060 if exist "$*.pdf" move /Y "$*.pdf" PDF/ # begin with tab
1061 if exist "$*.mid" move /Y "$*.mid" MIDI/ # begin with tab
1073 $(piece)I.pdf: $(piece)I.ly $(notes)
1074 $(piece)II.pdf: $(piece)II.ly $(notes)
1075 $(piece)III.pdf: $(piece)III.ly $(notes)
1076 $(piece)IV.pdf: $(piece)IV.ly $(notes)
1078 $(piece).pdf: $(piece).ly $(notes)
1080 $(piece)-cello.pdf: $(piece)-cello.ly cello.ily
1081 $(piece)-horn.pdf: $(piece)-horn.ly horn.ily
1082 $(piece)-oboes.pdf: $(piece)-oboes.ly oboe.ily
1083 $(piece)-viola.pdf: $(piece)-viola.ly viola.ily
1084 $(piece)-violinOne.pdf: $(piece)-violinOne.ly violinOne.ily
1085 $(piece)-violinTwo.pdf: $(piece)-violinTwo.ly violinTwo.ily
1091 parts: $(piece)-cello.pdf \
1092 $(piece)-violinOne.pdf \
1093 $(piece)-violinTwo.pdf \
1094 $(piece)-viola.pdf \
1095 $(piece)-oboes.pdf \
1099 movements: $(piece)I.pdf \
1104 all: score parts movements
1108 The next Makefile is for a @command{lilypond-book} document done in
1109 LaTeX. This project has an index, which requires that the
1110 @command{latex} command be run twice to update links. Output files are
1111 all stored in the @code{out} directory for .pdf output and in the
1112 @code{htmlout} directory for the html output.
1121 LILYBOOK_PDF=lilypond-book --output=$(OUTDIR) --pdf $(FILE).lytex
1122 LILYBOOK_HTML=lilypond-book --output=$(WEBDIR) $(FILE).lytex
1123 PDF=cd $(OUTDIR) && pdflatex $(FILE)
1124 HTML=cd $(WEBDIR) && latex2html $(FILE)
1125 INDEX=cd $(OUTDIR) && makeindex $(FILE)
1126 PREVIEW=$(VIEWER) $(OUTDIR)/$(FILE).pdf &
1131 $(LILYBOOK_PDF) # begin with tab
1132 $(PDF) # begin with tab
1133 $(INDEX) # begin with tab
1134 $(PDF) # begin with tab
1135 $(PREVIEW) # begin with tab
1138 $(LILYBOOK_HTML) # begin with tab
1139 $(HTML) # begin with tab
1140 cp -R $(WEBDIR)/$(FILE)/ ./ # begin with tab
1141 $(BROWSER) $(FILE)/$(FILE).html & # begin with tab
1144 cp $(OUTDIR)/$(FILE).pdf $(FILE).pdf # begin with tab
1147 rm -rf $(OUTDIR) # begin with tab
1150 rm -rf $(WEBDIR) # begin with tab
1153 tar -cvvf myproject.tar \ # begin this line with tab
1155 --exclude=htmlout/* \
1156 --exclude=myproject/* \
1163 TODO: make this thing work on Windows
1165 The previous makefile does not work on Windows. An alternative
1166 for Windows users would be to create a simple batch file
1167 containing the build commands. This will not
1168 keep track of dependencies the way a makefile does, but it at
1169 least reduces the build process to a single command. Save the
1170 following code as @command{build.bat} or @command{build.cmd}.
1171 The batch file can be run at the DOS prompt or by simply
1172 double-clicking its icon.
1175 lilypond-book --output=out --pdf myproject.lytex
1181 copy out\myproject.pdf MyProject.pdf
1187 @rprogram{Setup for MacOS X},
1188 @rprogram{Command-line usage},
1189 @rprogram{LilyPond-book}