\section{Introduction}
This document describes the the GNU LilyPond input format, which is an
-effective language for defining music. We call this language
-(rather arrogantly) The Musical Definition Language (Mudela 0.1).
-
-[If anybody comes up with a better name, we'd gladly take
-this. Gourlay already uses Musical Description Language, GSharp Score
-Definition Language. We're not being original here]
+effective language for defining music. We call this language (rather
+arrogantly) The Musical Definition Language or Mudela, for
+short.\footnote{If anybody comes up with a better name, we'd gladly
+ take this. Gourlay already uses Musical Description Language,
+ G-Sharp Score Definition Language. We're not being original here}
The first aim of Mudela is to define a piece of music,
being complete from both from a musical typesetting,
as from a musical performing point of view.
-
-The Musical Definition Language (Mudela) version 2, has a logical
-structure, making use of typing and naming (using identifiers), that
-allows for flexible input, and definition reuse. See MANIFESTO for
-reasons and design considerations.
+The Musical Definition Language (Mudela), has a logical structure,
+making use of identifiers, that allows for flexible input, and
+definition reuse. See MANIFESTO for reasons and design considerations.
The below included for explanatory purposes only (i.e., for a complete
and up-to-date definition, see \file{lily/parser.y} and
may be out of date.
+\section{Basic elements}
+
\subsection{Files}
The de-facto extension of Mudela is \file{.ly}. Files may be included by
\subsection{Comments}
-Line comments are introduced by a \verb+%+. Block comments are delimited
-by \verb+%{+ and \verb+%}+. They do not nest.
+Line comments are introduced by a
+\verb+%+.
+Block comments are delimited
+by
+\verb+%{+
+and
+\verb+%}+.
+They do not nest.
\subsection{Versions}
Identifiers in their normal form consist start with a backslash, a
alpha character, followed by alpha-numerics. Identifiers can contain
-any characters (except whitespace, \verb+$+ and \verb+%+), if you use this
+any characters (except whitespace,
+\verb+$+ and \verb+%+), if you use this
construct:
\begin{verbatim}
\subsection{Slurs and Ties}
-Ties connect the noteheads of adjecent notes. They are entered as follows:
+Ties connect the noteheads of adjacent notes. They are entered as follows:
\begin[fragment]{mudela}
a4 ~ a4
\verb+\octave+ command: These two lines have the same pitch.
\begin{verbatim}
c'' d'' e'' c d e c d e
-
\octave c''; c d e ''c ''d ''e \octave c; c d e
\end{verbatim}
He_could4 not4
\end{verbatim}
-\subsection{ Music direction}
+\section{Composition: forming bigger structures}
-Mudela reads left to right, but you can still stack voices and
-Voice\_elements which are produced in two directions: horizontal
-(voice like) and vertical (chord like)
+The previous examples tacitly assumed that a sequence of notes is
+printed in a left to right manner. This is not entirely correct, you
+will get the bigger picture in this section.
-A note is a prime example of a Music-element is the note:
-\begin{verbatim}
-c4
-\end{verbatim}
+In mathematics you can form expressions by combining expressions,
+which are ultimately some kind of atom or terminal symbol. The same
+goes for mudela: there are some basic building blocks, and by
+combining those you create complex music.
-If you enclose a sequence of Music-elements in braces ( { } ), then you form
-another kind of Music-element (Voice) with those pieces
+You can combine music in three ways:
+\begin{itemize}
+\item If you enclose a sequence of music-elements in braces ( \verb+{+
+ and \verb+}+ ), then you form another kind of music called (Voice) with those pieces.
+ The duration of the Voice is the sum of the durations of its elements
\begin{verbatim}
- { c c g g a a g2 } % twinkle twinkle
- { { c c g g} { a a g2 } }
-
- horOne = \melodic { c c g g }
- horTwo = \melodic { a a g2 }
- twinkle = \melodic { \horOne \horTwo }
+{ c c g g a a g2 } % twinkle twinkle
+{ { c c g g} { a a g2 } }
\end{verbatim}
-
-You can stack Music-elements by enclosing a sequence Music-elements of
-notes with < and >. Example:
+\item You can stack music by enclosing a sequence of music elements
+ with \verb+<+ and \verb+>+. This is called a Chord. The duration of a Chord is
+ the union of the durations of its elements Example:
\begin{verbatim}
-<a cis e'> % a-major chord
+<a4 {cis8 cis8} e'4> % a-major chord
\end{verbatim}
-You can also put vertical music inside horizontal music:
+\item
+ You can form music by transposing music:
\begin{verbatim}
-{ c <c e> <c e g> <c e g c'> } % 4 increasing chords
+\transpose
+ d % from c to the d that's one octave down
+ { e4 f4 } % the horizontal music
\end{verbatim}
-And vice versa
+\end{itemize}
+
+Of course you can also combine these three mechanisms.
\begin{verbatim}
-< \multi 2;
- {c c g g a a g2}
- {r2 r2 c c g g a a g2} > % a canon
+{ c <c e> <c e g> <c e g \transpose d' dis > } % 4 increasing chords
\end{verbatim}
-The duration of a chord equals the union of the durations of each of
-its elements. The \verb+\multi 2+ is a construct which is explained
-below.
+The basic building block in Mudela is called Request. Examples of
+Requests are: Timing (such as Meter), Rhythmic, Melodic, Note (which is a combination of
+Rhythmic and Melodic), Musicscript (put an accent over a note or
+rest), etc. For the actual up to date listing, you should consult the
+LilyPond source code: the Request types form a big class hierarchy.
-You can also create a Music-element by transposing a Music-element:
+Normally you don't enter Requests directly, since that would be
+tedious. Mudela has standard abbreviations for the most common
+combination of Requests. If you enter \verb+c4+, this is an
+abbreviation for:
\begin{verbatim}
-\transpose
- d % from c to the d that's one octave down
- { e4 f4 } % the horizontal music
-
+Request_chord{
+ Note_req{
+ notename: 0 acc: 0 oct: -1
+ duration { 4}
+ }
+ Stem_req{
+ duration { 4}
+ }
+}
\end{verbatim}
+The \verb+Request_chord+ is a special kind of chord which only allows
+Requests as its elements. The examples of the previous section were
+processed with \verb+{+ and \verb+}+ enclosing the input.
+
+
\subsection{Voicegroups}
If more than one "voice" is in a staff, then you have the option of
different musical lines in to different voicegroups effectively makes
LilyPond try to set those lines as independently as possible.
+[adsolete. Has to be fixed in lily]
+
You can set the voicegroup of a voice with the command \verb+\group+, e.g.,
\begin{verbatim}
oboeI = \melodic {
\melodic { oboeII}
}
\end{verbatim}
+
In this example, the two oboe voices share one staff and are initially
in the voicegroup called "oboes". They will share beams, dynamics etc.
After two quavers, oboeI "pushes" its group: a new voicegroup is
\partial 16*3 4;
\end{verbatim}
-Make the piece start with a partial measure [transl?] lasting 1 3/4
-quaver.
+Make the piece start with a partial measure [english translation?]
+lasting 1 3/4 quaver.
These commands are also "voice elements", and constitute simple mudela
(consisting of stuff with duration 0).
-\section{STRUCTURE}
-
-In concrete, a piece of Mudela has the following structure:
-\begin{verbatim}
-% declare pieces of music:
- melody = \music{ <simple mudela> }
- accompany = \music{ <simple mudela> }
-
- % instantiate (=create tex, midi output) the score:
- \score{
- \melodic <
- \multi 3;
- \melody
- \accompany
- >
- \midi{ <midi definitions> }
- \paper{ <paper and layout definitions> }
-}
-\end{verbatim}
-
\subsection{Examples}
Examples are included with the GNU LilyPond distribution. For the sake of
maintenance no long examples are included in this document.
-\section{HISTORY}
+\section{History}
This language has a number of roots. First and foremost, GNU LilyPond's
predecessor mpp was the inspiration of simple Mudela. Secondly, the
projects / lilypond.git / blobdiff