COMMENT(-*-text-*-)
-DEFINEMACRO(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\
+redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\
whenhtml(sc(ARG1)))
-
-
COMMENT( This document contains Mudela fragments. You need at least
Yodl-1.30.18 to convert this to tex or html.
latexcommand(\def\postexample{\par\medskip})
latexcommand(\def\file#1{{code(#1)}})
+COMMENT(urg, texinfo include breaks)
whenhtml(
-nsubsect(Disclaimer)
-This document is written in url(Yodl)(ftp://pcnov095.win.tue.nl/pub/yodl)
-and should foremost produce nice LaTeX() output.
-In other formats, such as html, some things will look a bit different,
-while other things will be simply left out.
-Therefore, the authoritive version of this document is the PostScript version,
-produced via LaTeX().
+includefile(html-disclaimer.yo-urg)
)
sect(Introduction)
`code(d''4.)'. There are some features that also make the quotes and
numbers in `code(d''4.)' superfluous in some cases.
-For those who are curious, the numbers in `code(\musicalpitch { 1 2 0
-})' example mean octave, notename, and accidental respectively. The
+For those who are curious, the numbers in
+`code(\musicalpitch { 1 2 0 })'
+example mean octave, notename, and accidental respectively. The
numbers in `code(\duration { 2 1 })' are the (negative) logarithm of the
duration (2 is a quarter note, 3 is an eighth note, etc.) and the number
of augmention dots respectively.
by LilyPond. To
be precise, we wrote code(X Y Z), when we really meant
verb(\score {
- \melodic { X Y Z }
+ \notes { X Y Z }
\paper {}
})
We will continue to leave out the red tape this, until the time is right to explain what
and key in the example from bind(Figure)ref(fig:twinkle1), with red tape:
verb(
\score {
- \melodic {
+ \notes {
c''4 c''4 g''4 g''4
a''4 a''4 g''2
}
What is in your window should approximately look like this:
mudela()(
\score {
- \melodic {
+ \notes {
c''4 c''4 g''4 g''4
a''4 a''4 g''2
}
following example:
mudela()(
-\score{ \melodic {
+\score{ \notes {
\property Voice.textstyle = typewriter
c''4-._"c''4-." s4
c''4--_"c''4--" s4
key signature is given in the form of a list of notes. The notes will
be printed in the key signature in the order that they appear on the list.
For example, the key
-of C-minor can be specified as `code(\accidentals bes es as)'. The
-command `code(\accidentals fis es bis)' provides a more exotic
+of C-minor can be specified as `code(\keysignature bes es as)'. The
+command `code(\keysignature fis es bis)' provides a more exotic
example.
these components. If these components aren't printed, it is still
possible to print music:
mudela()(\score{
-\melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
+\notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
\paper {
linewidth = -1.;
- Staff = \translator {
+ \translator {
\type "Line_group_engraver_group";
-
+ \name Staff ;
defaultclef = violin;
\consists "Timing_engraver";
mudela()(
\score {
- \melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
+ \notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
\paper{
linewidth = -1.;
- Staff = \translator {
+ \translator {
\type "Line_group_engraver_group";
- defaultclef = violin;
+ defaultclef = violin;\name Staff;
\consists "Time_signature_engraver";
\consists "Separating_line_group_engraver";
\accepts "Voice";
the location within the measure of the notes:
mudela()(
\score {
- \melodic \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
+ \notes \relative c' { \time 2/4; g'4 c,4 a'4 f4 e c d2 }
\paper{
linewidth = -1.;
- Staff = \translator {
+ \translator {
\type "Line_group_engraver_group";
- defaultclef = violin;
+ defaultclef = violin;\name Staff ;
\consists "Bar_engraver";
\consists "Time_signature_engraver";
\consists "Separating_line_group_engraver";
symbol:
mudela()(\score{
- \melodic\relative c' { \time 2/4; g'4 c,4
+ \notes\relative c' { \time 2/4; g'4 c,4
a'4 f4 e c d2 } \paper {
linewidth = -1.;
- Staff = \translator {
+ \translator {
\type "Line_group_engraver_group";
-
+ \name Staff ;
defaultclef = violin;
\consists "Bar_engraver";
\consists "Time_signature_engraver";
know what the pitches of the notes above are. So this is still not
enough. But suppose you see the following notation:
mudela()(\score {
- \melodic \relative c' {\clef alto; \time 2/4; g'4 c,4 a'4 f4 e c d2 }
+ \notes \relative c' {\clef alto; \time 2/4; g'4 c,4 a'4 f4 e c d2 }
\paper {
linewidth = -1.;
- Staff = \translator {
+ \translator {
\type "Line_group_engraver_group";
-
+ \name Staff;
defaultclef = violin;
\consists "Bar_engraver";
\consists "Time_signature_engraver";
durations. Previously we only entered note names, so for entering
lyrics we have to instruct LilyPond that what we enter are not note
names but words---or rather: strings. This instruction is the keyword
-code(\lyric). After entering this keyword you can enter a musical
+code(\lyrics). After entering this keyword you can enter a musical
construct---sequential music, simultaneous music, code(\type)
entries, etc.--- but with syllables in stead of pitches. For example:
-verb( \lyric { 'got8 me on my knees4, Le-8 lie! })
+verb( \lyrics { 'got8 me on my knees4, Le-8 lie! })
-The effect of code(\lyric) can be compared with the effect of the
+The effect of code(\lyrics) can be compared with the effect of the
doublequote character, code("), for it also changes the lexical
meaning of spaces and characters. This mode is another example of a
handy input feature of the language.
the code(\type) keyword. Here is a simple example:
mudela(fragment,verbatim)(
- \type Lyrics \lyric { 'got8 me on my knees,4 Le-8 lie! })
+ \type Lyrics \lyrics { 'got8 me on my knees,4 Le-8 lie! })
The result is technically more or less correct, but without a melody it
just doesn't work, so let's add a blob of cream:
mudela(fragment,verbatim)(
<
\type Staff { c''8. c''16 bes'8. a'16 g'4 f'8 g'4. }
- \type Lyrics \lyric { 'got8. me16 on8. my16 knees,4 Le-8 lie!4. }
+ \type Lyrics \lyrics { 'got8. me16 on8. my16 knees,4 Le-8 lie!4. }
>
)
the following example:
COMMENT( urg
-\type Lyrics \lyric { 'got_m\textbf{e}4 on8. m$\cal_Y$16 knees,4 Le-8 lie!4.}
-\type Lyrics \lyric { 'got_m{\bf e}4 on8. m$\cal_Y$16 knees,4 Le-8 lie!4.}
+\type Lyrics \lyrics { 'got_m\textbf{e}4 on8. m$\cal_Y$16 knees,4 Le-8 lie!4.}
+\type Lyrics \lyrics { 'got_m{\bf e}4 on8. m$\cal_Y$16 knees,4 Le-8 lie!4.}
)
mudela(fragment,verbatim)(<
\type Staff { c''8. c''16 bes'8. a'16 g'4 f'8 g'4. }
- \type Lyrics \lyric { 'got_me4 on8. m$\cal_Y$16 "3s,"4 Le-8 lie!4.}
+ \type Lyrics \lyrics { 'got_me4 on8. m$\cal_Y$16 "3s,"4 Le-8 lie!4.}
>
)
of the previous examples. The precise context reads thus:
verb(
\score {
- \melodic { ... }
+ \notes { ... }
\paper {}
})
On the ellipsis, you entered what shown as the example input.
You can see that in the
-above example, the code(\melodic { ... }) forms the music, the
+above example, the code(\notes { ... }) forms the music, the
code(\paper {}) is a conversion to paper (notation, that is). The
code(\paper) definition is copied from a default definition
(which is in the initialisation file file(paper16.ly)).
The paper part also contains
the definition of the contexts.
-The keyword code(\melodic) is analogous to the code(\lyric) keyword. It
+The keyword code(\notes) is analogous to the code(\lyrics) keyword. It
will switch the tokenizer into a mode that interprets plain words as
note names. If it can't recognize the words as a note name, it will
assume that they are strings. That is the reason why you can write
code(\clef bass) in stead of code(\clef "bass"); most of the strings
-in code(\melodic) mode can be written without quotes.
+in code(\notes) mode can be written without quotes.
-The braces that you see after the code(\melodic) keyword are the
+The braces that you see after the code(\notes) keyword are the
braces that are around sequential music. Because of these braces, the
sequences of notes in our simple examples were sequential (and not
simultaneous). As a result the notes were printed from left to right,
to the abbreviated entity, you must precede code(identifierName)
with a backslash, i.e., code(\identifierName). For example:
mudela(verbatim)(
- czerny = \melodic { [c16 g e g] }
+ czerny = \notes { [c16 g e g] }
\score {
- \melodic \type GrandStaff <
+ \notes \type GrandStaff <
{ c''2 g''2 }
{ \clef bass; \czerny \czerny \czerny \czerny}
>
\paper {
linewidth = -1.0;
- stem_length = 12.0*\internote;
+ stem_length = 6.0*\interline;
}
}
)
stemdown = \property Voice.ydirection = "-1"
shift = \property Voice.hshift = "1"
\score {
- \type "Staff" \melodic <
+ \type "Staff" \notes <
\type "Voice" = "one" {
\stemup
r4 as'4 () as'4 g'4 }
\translator
{
\type "Engraver_group_engraver";
+
+ \name "ContextName";
+
\accepts "...";
\accepts "...";
\accepts "...";
+
+
\consists " ... ";
\consists " ... ";
\consists " ... ";
mudela(verbatim)(
polymetricpaper = \paper {
- Score = \translator {
- \type Score_engraver;
- \consists "Score_priority_engraver";
- \consists "Priority_horizontal_align_engraver";
- \consists "Vertical_align_engraver";
- % \consists "Timing_engraver"; % removed Timing_engraver
- \accepts "Staff";
+ \translator {
+ \ScoreContext
+ \remove "Timing_engraver";
}
- Staff = \translator {
- \type "Line_group_engraver_group";
-
- defaultclef = violin;
-
- \consists "Bar_engraver";
- \consists "Clef_engraver";
- \consists "Key_engraver";
- \consists "Local_key_engraver";
- \consists "Time_signature_engraver";
- \consists "Timing_engraver"; % added Timing_engraver
- \consists "Staff_sym_engraver";
- \consists "Separating_line_group_engraver";
-
- \accepts "Voice";
+ \translator {
+ \StaffContext
+ \consists "Timing_engraver";
}
}
\score {
- \melodic <
+ \notes <
\type Staff = one { \time 2/4; c'4 c'4 c'4 c'4 c'4 c'4 }
\type Staff = two { \time 3/4; c'4 c'4 c'4 c'4 c'4 c'4 }
>
is entered as a note with the name code(s).
mudela(verbatim)(
- bach = \melodic { [c16 g e' d'] [e' g e' g] }
+ bach = \notes { [c16 g e' d'] [e' g e' g] }
- staffStuff = \melodic { \clef bass; \time 4/4; s1 \bar "|."; }
+ staffStuff = \notes { \clef bass; \time 4/4; s1 \bar "|."; }
- slursOne = \melodic { s16( s s s s16 s s )s }
- slursTwo = \melodic { s16-. s s() s s16() s s ()s }
+ slursOne = \notes { s16( s s s s16 s s )s }
+ slursTwo = \notes { s16-. s s() s s16() s s ()s }
\score{
{ < \type Voice = celloVoice { \bach \bach }
mudela(verbatim)(
-scale = \melodic \relative c' { [c8 d e f] }
+scale = \notes \relative c' { [c8 d e f] }
\score {
- \melodic {
+ \notes {
\type Staff { \scale \transpose cis' \scale }
}
\paper { linewidth = -1.0; }
mudela(verbatim)(
% real music
-aVoice = \type Voice = voiceA \melodic { c''4 c4 c4 c''4 }
-bVoice = \type Voice = voiceB \melodic { g,4 g,4 g,4 g,4 }
+aVoice = \type Voice = voiceA \notes { c''4 c4 c4 c''4 }
+bVoice = \type Voice = voiceB \notes { g,4 g,4 g,4 g,4 }
% staff switching stuff
-switch = \type Voice = voiceA \melodic { s4 \translator Staff = staffB s4
+switch = \type Voice = voiceA \notes { s4 \translator Staff = staffB s4
s4 \translator Staff = staffA s4 }
\score {
bf(Important) the construct with code([/3) and
code([/1) is a hack that sets a mode in the parser. This means that
-verb(id = \melodic { c8 c8 c8 }
-notATriplet =\melodic { [2/3 \id ]1/1 })
+verb(id = \notes { c8 c8 c8 }
+notATriplet =\notes { [2/3 \id ]1/1 })
does not produce a triplet. It will hopefully
soon be replaced by a construction that mixes more elegantly with the
grammar for Music.
Briefly introduced before, identifiers are your biggest help in structurising
a large piece of music. As an example, we'll consider a string quartet.
In short, it will look like this: verb(
- global = \melodic{ }
- violinoOne = \melodic \relative c { .. }
- violinoTwo = \melodic \relative c { .. }
- viola = \melodic \relative c { .. }
- violoncello = \melodic \relative c { .. }
+ global = \notes{ }
+ violinoOne = \notes \relative c { .. }
+ violinoTwo = \notes \relative c { .. }
+ viola = \notes \relative c { .. }
+ violoncello = \notes \relative c { .. }
)
The code(\global) part contains everything that is global, i.e., the
projects / lilypond.git / blobdiff