% has been installed. The rules have been precooked into the
% Documentation/Rules.make file; do
%
-% make out/introduction.dvi
+% make out/mudela.dvi
%
% or
%
-% mudela-book --outdir=out/ --outname=introduction.mudtex introduction.doc
-% latex '\nonstopmode \input out/introduction.mudtex'
+% mudela-book --outdir=out/ --outname=mudela.mudtex mudela.doc
+% latex '\nonstopmode \input out/mudela.mudtex'
% Hoi Tim, hier staan wat 'enge' commando's (die dingen met een '\'
% zoals \documentclass en \def\mudela...).
\usepackage{a4wide}
\title{Mudela}
\author{Jan Nieuwenhuizen \& Han-Wen Nienhuys}
-\date{March 2, 1998}
\def\file#1{\verb+#1+}
\chapter{A tutorial}
-\emph{\Large ***Under construction***}
+\emph{\Large ***Under construction: may 98***}
\section{Introduction}
\end{mudela}
\end{enumerate}
+The above is quite a lot of work. Moreover, the result is pretty
+crude: the page does include prettily printed titles, composer. Jan
+Arne Fagertun wrote a tool to take the above tedious steps out of
+your hands. The tool is called ly2dvi, and it should be on your
+system if you run Unix. If you use ly2dvi, then you can do
+\begin{verbatim}
+ ly2dvi silly.ly
+\end{verbatim}
+in stead of steps 2 and 3. You feel the real win of ly2dvi when you
+add titling to the music. This is something that we will discuss in [XXX]
+
+
The remainder of this document is not about \TeX, and mostly not even
about LilyPond. What you entered into your text editor in step~1. and
fed to LilyPond is a special kind of file composed of notenames,
how to combine these elements to express a piece of music in the
language that LilyPond understands. In other words, we try to explain
how to use LilyPond, and not how LilyPond works. For want of a better
-name we call this language Mudela (short for Music Description
+name we call the language Mudela (short for Music Description
Language).
This document does not cover all of Mudela. Due to technical details,
for music notation, then you should consult XXXX [FIXME], it contains
a glossary of musical terms.
-\section{Music copying versus music definition}
+\section{Music copying versus music definition versus music entry}
If you have done music copying before, then using LilyPond may seem
awkward to you in the beginning. The purpose of LilyPond is informally
means; you just copy the symbols. With LilyPond such a thing is not
possible: we expect you to enter the meaning of the score, not the
score itself. If put more concretely: you do not enter ``black
-notehead without flag, fourth staff line'', but ``a quarter note,
-pitch d$^2$''. LilyPond will figure out from the musical info what
-kind of graphic presentation is needed.
+notehead without flag, fourth staff line, with dot'', but ``a dotted
+quarter note, pitch d$^2$''. LilyPond will figure out from the
+musical info what kind of graphic presentation is needed.
This has some drawbacks: most notably, it is difficult to enter sheet
music that you cannot read. On the other hand, any piece of music
once entered can be played and transposed automatically.
+Finally, in some spots we will cheat a bit when it comes to musical
+definition. Mudela has some entry modes that help you to make typing
+mudela pleasant. For example, the verbose phrase ``a dotted quarter
+note, pitch d$^2$'' translates to the following longhand
+\begin{verbatim}
+ \musical_pitch { 1 2 0 } \duration { 2 1}
+\end{verbatim}
+You can be conveniently abbreviate this to \verb+d''4.+, which is
+considerably shorter. There are some features that also make the
+quotes and numbers in \verb+d''4.+ superfluous in some cases.
\section{When you know the notes to print\ldots}
\end{mudela}
The pitch \verb+c'+ actually consists of two parts: one for the note
name, and one part for the octave. The number of apostrophes
-specifies the octave to use, and the letter which note name to use.
-The note names simply are the letters \verb+a+ to \verb+g+.
+specifies the octave to use if you are above central c. If you want
+the octaves below central c, use the comma, eg, \verb+c,,+ (The comma
+is meant to represent a ``sunken'' apostrophe). The letter specifies
+which note name to use. The note names simply are the letters
+\verb+a+ to \verb+g+.
+
+By convention, the \verb+a'+ concert pitch is the tone that is used to
+tune instruments. The exact frequency of this tone has wandered: in
+Baroque time it was 335 Hz, most textbooks will tell you it is 440 Hz,
+and a lot of orchestras nowadays tune at 441.5 Hz.
For example,
\begin{mudela}[fragment,verbatim]
denoted by 1, the half note by 2, the quarter by 4, and so on. Here
are some random notes to show how it works
\begin{mudela}[fragment,verbatim]
-'c8 c8 c'16 c''32 d''64 b'64 c'''2 c1 c'4 d'4 e'4 f'4 g'4 a'4
+c,8 c8 c'16 c''32 d''64 b'64 c'''2 c1 c'4 d'4 e'4 f'4 g'4 a'4
\end{mudela}
This gives us already enough material to make simple songs:
\begin{table}[h]
\begin{center}
- \caption{Defaults note names}\label{notename-tab}
+ \caption{Default note names}\label{notename-tab}
+
\begin{tabular}{ll}
english &LilyPond\\
\hline\\
for different languages, among others English (C sharp is abbreviated
to cs), Italian, Swedish, Norwegian
-\section{Hairy rhythms}
+\section{[chords]}
+
+Up till so far we have only considered music that was rather simple.
+All the music had notes going in one direction, from left to right,
+the one following the other. You might be wondering if this is all
+Lily could do, or whether is possible to stack notes as well (creating
+\emph{chords}). Rest assured: we designed LilyPond with the goal mind
+that she must handle any notation construct that can be expressed
+conveniently. Of course, we did not leave out chords.
+
+In mudela you can form a chord of several notes, by enclosing them in
+pointed parentheses, ie, $\langle$ and $\rangle$, for example a
+D-major chord can be described by
+\begin{mudela}[fragment,verbatim]
+ <d'8 fis'8 a'8 d''8>
+\end{mudela}
+Recall what was said in the previous section about flats and sharps:
+the \texttt{fis} is an f sharp. Chords can be entered in the music in
+same places that notes can. As an example we give a snippet of
+``twinkle twinkle little star'' in chords. The chords may seem, well,
+unconventional, but they mostly serve to show how chords work
+\begin{mudela}[verbatim, fragment]
+ c''4 c''4 <c''4 g''4> <c''4 e''4 g''4>
+ <c''4 e''4 a''4> <b'4 d''4 a''4> <b'2 d''2 g''2>
+ <a'4 d''4 f''4> <bes'4 d''4 f''4> <bes'4 c''4 e''4> <g'4 c''4 e''4>
+ <e'4 a'4 d''4> <a4 g'4 cis''4> <d'2 f'2 d''2>
+\end{mudela}
+
+\section{Shortcuts}
+
+If you have typed the last example in to a mudela file, you will have
+noticed that the input has lots of repetitions. You probably made
+some little errors with the right amount of \texttt{'}'s as well. For
+these reasons, saving keystrokes and preventing errors, mudela has
+some handy shortcuts. You don't have to type the duration, if it the
+same as the last duration entered. This saves a considerable number
+of keystrokes, and thus it reduces the potential for errors. The
+previous example can be reduced to
+\begin{verbatim}
+ c''4 c'' <c'' g''> <c'' e'' g''>
+ <c'' e'' a''> <b' d'' a''> <b'2 d'' g''>
+ <a'4 d'' f''> <bes' d'' f''> <bes' c'' e''> <g' c'' e''>
+ <e' a' d''> <a g' cis''> <d'2 f' d''>
+\end{verbatim}
+
+The need for quotes can also be reduced: most of the pitch intervals
+in traditional music are small. Therefore, it makes sense to leave
+out the quotes when the interval is small. This is called the
+relative mode for octaves. You can switch it on by entering
+\verb+\relative+. From then on, the pitch of a note will be the
+closest to the last one. You have to specify the first pitch because
+the first note of a row obviously has no predecessor. Thus, you can
+enter a scale without using octavation quotes, eg,
+
+\begin{mudela}[fragment,verbatim]
+ \relative c' { c d e f g a b c }
+\end{mudela}
+
+For chords, the relative mode works slightly differently. In a
+sequence of chords, the first note of a chord gives the starting point
+for the next. We can demonstrate this with our twinkle twinkle example
+\begin{verbatim}
+ \relative c' {
+ c4 c <c g'> <c e g>
+ <c e a> <b d a'> <b2 d g>
+ <a4 d f> <bes d f> <bes c e> <g c e>
+ <e a d> <a, g' cis'> <d2 f d'>
+ }
+\end{verbatim}
+
+
+
+\section{Finishing touch}
+
-\section{Handy input}
-% \subsection{Durations}
+\chapter{Features}
-However, having only quarter notes may get a bit dull.
Durations are entered as their reciproce values
% a1 a2 a4 a a8 a a16 a a32 a a64 a a a a
\begin{mudela}[fragment,verbatim,center]
Prefixing the pitch with a quote \verb+'+
produces a note by one octave lower
\begin{mudela}[fragment,verbatim,center]
-a 'a ''a
+a a, a,,
\end{mudela}
\section{Slurs and Ties}
\section{Commands}
\begin{mudela}[fragment,verbatim,center]
-\clef "bass"; 'c
+\clef "bass"; c,
\end{mudela}
and a clef-change
\begin{mudela}[fragment,verbatim,center]
\key fis cis;
-'g 'a 'b cis d e fis g'
+g, a, b, cis d e fis g'
\end{mudela}
Note how Mudela allows you to
convey a musical message
\begin{mudela}[fragment,verbatim,center]
<
{ \voiceone c g c g }
- { \voicetwo 'c2 'g2 }
+ { \voicetwo c,2 g,2 }
>
\end{mudela}
Hz concert-pitch. \verb+c'+ is also known as the central c. More examples:
\begin{mudela}[fragment,verbatim]
- 'a % 110
+ a, % 110
a % 220
A % 110, uppercase octavates down
a' % 440
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