@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond-learning.tely
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@node Putting it all together
@chapter Putting it all together

This chapter discusses general LilyPond concepts and how to
create @code{\score} blocks.


@menu
* Extending the templates::     
* Scores and parts::            
@end menu


@node Extending the templates
@section Extending the templates

You've read the tutorial, you know how to write music.  But how can you
get the staves that you want?  The templates are ok, but what if you
want something that isn't covered?

@menu
* Soprano and cello::           
* TODO another example of extending templates::  
@end menu

@node Soprano and cello
@unnumberedsubsec Soprano and cello

Start off with the template that seems closest to what you want to end
up with.  Let's say that you want to write something for soprano and
cello.  In this case, we would start with @q{Notes and lyrics} (for the
soprano part).

@example
\version "2.11.23"
melody = \relative c' @{
  \clef treble
  \key c \major
  \time 4/4

  a4 b c d
@}

text = \lyricmode @{
  Aaa Bee Cee Dee
@}

\score@{
  <<
    \new Voice = "one" @{
      \autoBeamOff
      \melody
    @}
    \new Lyrics \lyricsto "one" \text
  >>
  \layout @{ @}
  \midi @{ @}
@}
@end example

Now we want to add a cello part.  Let's look at the @q{Notes only} example:

@example
\version "2.11.23"
melody = \relative c' @{
  \clef treble
  \key c \major
  \time 4/4

  a4 b c d
@}

\score @{
\new Staff \melody
\layout @{ @}
\midi @{ @}
@}
@end example

We don't need two @code{\version} commands.  We'll need the @code{melody}
section.  We don't want two @code{\score} sections -- if we had two
@code{\score}s, we'd get the two parts separately.  We want them together,
as a duet.  Within the @code{\score} section, we don't need two
@code{\layout} or @code{\midi}.

If we simply cut and paste the @code{melody} section, we would end up with
two @code{melody} sections.  So let's rename them.  We'll call the section
for the soprano @code{sopranoMusic} and the section for the cello
@code{celloMusic}.  While we're doing this, let's rename @code{text}
to be @code{sopranoLyrics}.  Remember to rename both instances of all
these names -- both the initial definition (the
@code{melody = relative c' @{ } part) and the name's use (in the
@code{\score} section).

While we're doing this, let's change the cello part's staff -- celli
normally use bass clef.  We'll also give the cello some different
notes.

@example
\version "2.11.23"
sopranoMusic = \relative c' @{
  \clef treble
  \key c \major
  \time 4/4

  a4 b c d
@}

sopranoLyrics = \lyricmode @{
  Aaa Bee Cee Dee
@}

celloMusic = \relative c @{
  \clef bass
  \key c \major
  \time 4/4

  d4 g fis8 e d4
@}

\score@{
  <<
    \new Voice = "one" @{
      \autoBeamOff
      \sopranoMusic
    @}
    \new Lyrics \lyricsto "one" \sopranoLyrics
  >>
  \layout @{ @}
  \midi @{ @}
@}
@end example

This is looking promising, but the cello part won't appear in the
score -- we haven't used it in the @code{\score} section.  If we
want the cello part to appear under the soprano part, we need to add

@example
\new Staff \celloMusic
@end example

@noindent
underneath the soprano stuff.  We also need to add @code{<<} and
@code{>>} around the music -- that tells LilyPond that there's
more than one thing (in this case, @code{Staff}) happening at once.  The
@code{\score} looks like this now

@example
\score@{
  <<
    <<
      \new Voice = "one" @{
        \autoBeamOff
        \sopranoMusic
      @}
      \new Lyrics \lyricsto "one" \sopranoLyrics
    >>
    \new Staff \celloMusic
  >>
  \layout @{ @}
  \midi @{ @}
@}
@end example

@noindent
This looks a bit messy; the indentation is messed up now.  That is
easily fixed.  Here's the complete soprano and cello template.

@lilypond[quote,verbatim,ragged-right]
\version "2.11.23"
sopranoMusic = \relative c' {
  \clef treble
  \key c \major
  \time 4/4

  a4 b c d
}

sopranoLyrics = \lyricmode {
  Aaa Bee Cee Dee
}

celloMusic = \relative c {
  \clef bass
  \key c \major
  \time 4/4

  d4 g fis8 e d4
}

\score{
  <<
    <<
      \new Voice = "one" {
        \autoBeamOff
        \sopranoMusic
      }
      \new Lyrics \lyricsto "one" \sopranoLyrics
    >>
    \new Staff \celloMusic
  >>
  \layout { }
  \midi { }
}
@end lilypond


@node TODO another example of extending templates
@unnumberedsubsec TODO another example of extending templates

TODO: somebody else fill this in.  You guys like vocal stuff,
right?  Get to it.  :)  -gp



@node Scores and parts
@section Scores and parts

TODO: this is really old stuff from the really old tutorial.
Rewrite, fix, etc.  -gp

In orchestral music, all notes are printed twice.  Once in a part for
the musicians, and once in a full score for the conductor.  Variables can
be used to avoid double work.  The music is entered once, and stored in
a variable.  The contents of that variable is then used to generate
both the part and the full score.

It is convenient to define the notes in a special file.  For example,
suppose that the file @file{horn-music.ly} contains the following part
of a horn/@/bassoon duo

@example
hornNotes = \relative c @{
  \time 2/4
  r4 f8 a cis4 f e d
@}
@end example

@noindent
Then, an individual part is made by putting the following in a file

@example
\include "horn-music.ly"
\header @{
  instrument = "Horn in F"
@}

@{
 \transpose f c' \hornNotes
@}
@end example

The line

@example
\include "horn-music.ly"
@end example

@noindent
substitutes the contents of @file{horn-music.ly} at this position in
the file, so @code{hornNotes} is defined afterwards.  The command
@code{\transpose f@tie{}c'} indicates that the argument, being
@code{\hornNotes}, should be transposed by a fifth upwards.  Sounding
@samp{f} is denoted by notated @code{c'}, which corresponds with the
tuning of a normal French Horn in@tie{}F.  The transposition can be seen
in the following output

@lilypond[quote,ragged-right]
\transpose f c' \relative c {
  \time 2/4
  r4 f8 a cis4 f e d
}
@end lilypond

In ensemble pieces, one of the voices often does not play for many
measures.  This is denoted by a special rest, the multi-measure
rest.  It is entered with a capital @samp{R} followed by a duration
(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
etc.).  By multiplying the
duration, longer rests can be constructed.  For example, this rest
takes 3@tie{}measures in 2/4 time

@example
R2*3
@end example

When printing the part, multi-rests
must be condensed.  This is done by setting a run-time variable

@example
\set Score.skipBars = ##t
@end example

@noindent
This command sets the property @code{skipBars} in the
@code{Score} context to true (@code{##t}).  Prepending the rest and
this option to the music above, leads to the following result

@lilypond[quote,ragged-right]
\transpose f c' \relative c {
  \time 2/4
  \set Score.skipBars = ##t
  R2*3
  r4 f8 a cis4 f e d
}
@end lilypond


The score is made by combining all of the music together.  Assuming
that the other voice is in @code{bassoonNotes} in the file
@file{bassoon-music.ly}, a score is made with

@example
\include "bassoon-music.ly"
\include "horn-music.ly"

<<
  \new Staff \hornNotes
  \new Staff \bassoonNotes
>>
@end example

@noindent
leading to

@lilypond[quote,ragged-right]
\relative c <<
  \new Staff {
    \time 2/4 R2*3
    r4 f8 a cis4 f e d
  }
  \new Staff {
    \clef bass
    r4 d,8 f | gis4 c | b bes |
    a8 e f4 | g d | gis f
  }
>>
@end lilypond