version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.51"
+
@node Fundamental concepts
@chapter Fundamental concepts
example serves as a useful starting place.
@funindex \book
-@funindex book
@funindex \score
-@funindex score
@cindex book
@cindex score
was wrapped up inside the commands shown above.
@cindex implicit contexts
-@cindex contexts, implicit
@strong{A word of warning!} Many of the examples in the LilyPond
documentation will omit the @code{\new Staff} and @code{\new Voice}
@end example
@funindex \header
-@funindex header
@funindex \layout
-@funindex layout
@funindex \midi
-@funindex midi
@cindex header
@cindex layout
@cindex midi
@ruser{Creating MIDI files}.
@cindex scores, multiple
-@cindex book block, implicit
-@cindex implicit book block
-@funindex \book
-@funindex book
You may code multiple @code{\score} blocks. Each will be
treated as a separate score, but they will be all combined into
Every @code{\score} block is a separate chunk of music within a
@code{\book} block.
-@cindex layout block, effect of location
-
Every @code{\layout} block affects the @code{\score} or
@code{\book} block in which it appears -- i.e., a @code{\layout}
block inside a @code{\score} block affects only that @code{\score}
@subsection Score is a (single) compound musical expression
@funindex \score
-@funindex score
@cindex score
-@cindex contents of a score block
-@cindex score block, contents of
-@cindex compound music expression
-@cindex music expression, compound
+@cindex Compound music expression
+@cindex Music expression, compound
We saw the general organization of LilyPond input files in the
previous section, @ref{Introduction to the LilyPond file structure}.
<<
\new Staff = "singer" <<
>>
- \new PianoStaff = "piano" <<
+ \new PianoStaff = piano <<
>>
>>
\layout @{ @}
(left hand).
At this stage, we could start filling in notes. Inside the curly
-braces next to @code{\new Voice = "vocal"}, we could start writing
+braces next to @code{\new Voice = vocal}, we could start writing
@example
\relative c'' @{
@subsection Nesting music expressions
@cindex staves, temporary
-@cindex temporary staves
@cindex ossias
It is not essential to declare all staves at the beginning; they may
@subsection On the un-nestedness of brackets and ties
@cindex brackets, nesting
-@cindex bracket types
-@cindex brackets, enclosing vs. marking
You have already met a number of different types of bracket in
writing the input file to LilyPond. These obey different rules
encountered in exactly the opposite order to the opening
brackets. This @strong{is} a requirement for the three types of
bracket described by the word @q{Encloses} in the table above --
-they must nest properly. However, the remaining brackets,
-described with the word @q{Marks} in the table above together
-with ties and tuplets, do @strong{not} have to nest properly
-with any of the brackets. In fact, these are not brackets in
-the sense that they enclose something -- they are simply
-markers to indicate where something starts and ends.
+they must nest properly.
+However, the remaining brackets, described with the word
+@q{Marks} in the table above together with ties and tuplets,
+do @strong{not} have to nest
+properly with any of the brackets. In fact, these are not
+brackets in the sense that
+they enclose something -- they are simply markers to indicate
+where something starts and ends.
So, for example, a phrasing slur can start before a manually
inserted beam and end before the end of the beam -- not very
@cindex polyphony
@cindex layers
@cindex multiple voices
-@cindex voices, multiple
@cindex Voice context
@cindex context, Voice
@cindex simultaneous music
-@cindex music, simultaneous
@cindex concurrent music
-@cindex music, concurrent
-@cindex voices vs. chords
-@cindex chords vs. voices
The lowest, most fundamental or innermost layers in a LilyPond
score are called @q{Voice contexts} or just @q{Voices} for short.
@end lilypond
-@cindex voices, naming
-@cindex voices crossing brackets
-@cindex slurs crossing brackets
-@cindex ties crossing brackest
-
This example has just two voices, but the same construct may be
used to encode three or more voices by adding more back-slash
separators.
See @ref{Visibility and color of objects} and
@ref{Using variables for tweaks}.
-@cindex polyphony and relative note entry
-@cindex relative note entry and polyphony
-
Polyphony does not change the relationship of notes within a
@code{\relative @{ @}} block. Each note is still calculated
relative to the note immediately preceding it, or to the first
\relative c' @{ noteE ... @}
@end example
-Let us finally analyze the voices in a more complex piece of music.
-Here are the notes from the first two bars of the second of Chopin's
-Deux Nocturnes, Op 32. This example will be used at later stages in
-this and the next chapter to illustrate several techniques for
-producing notation, so please ignore for now anything in the
-underlying code which looks mysterious and concentrate just on the
-music and the voices -- the complications will all be explained in
-later sections.
+Let us finally analyze the voices in a more complex piece of
+music. Here are
+the notes from the first two bars of the second of Chopin's
+Deux Nocturnes, Op 32. This example will be used at later
+stages in this and the next chapter to illustrate several
+techniques for producing notation, so please ignore for now
+anything in the underlying code which looks mysterious and
+concentrate just on the music and the voices -- the
+complications will all be explained in later sections.
@c The following should appear as music without code
@lilypond[quote,ragged-right]
}
@end lilypond
-The direction of the stems is often used to indicate the continuity of
-two simultaneous melodic lines. Here the stems of the highest notes
-are all pointing up and the stems of the lower notes are all pointing
-down. This is the first indication that more than one voice is
-required.
+The direction of the stems is often used to indicate the
+continuity of two simultaneous melodic lines. Here the
+stems of the highest notes are all pointing up and the
+stems of the lower notes are all pointing down.
+This is the first indication that more than one voice
+is required.
But the real need for multiple voices arises when notes
which start at the same time have different durations.
@end lilypond
@cindex stem down
-@cindex voices and stem directions
-@cindex stem directions and voices
@cindex stem up
The stem directions are automatically assigned with the
@subsection Explicitly instantiating voices
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceTwo
-@funindex voiceTwo
@funindex \voiceThree
-@funindex voiceThree
@funindex \voiceFour
-@funindex voiceFour
@funindex \oneVoice
-@funindex oneVoice
@funindex \new Voice
-@cindex voice contexts, creating
+@cindex Voice contexts, creating
Voice contexts can also be created manually
inside a @code{<< >>} block to create polyphonic music, using
>>
@end lilypond
-@cindex voices, reverting to single
-@cindex reverting to a single voice
-
The @code{\voiceXXX} commands set the direction of stems, slurs,
ties, articulations, text annotations, augmentation dots of dotted
notes, and fingerings. @code{\voiceOne} and @code{\voiceThree}
@cindex nesting music expressions
@cindex nesting simultaneous constructs
-@cindex nesting voices
+
@cindex voices, temporary
@cindex voices, nesting
@subsubheading Note columns
@cindex note column
-@cindex note collisions
-@cindex collisions, notes
@cindex shift commands
@funindex \shiftOff
-@funindex shiftOff
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
would otherwise occur. By default, the outer voices (normally
voices one and two) have @code{\shiftOff} specified, while the
inner voices (three and four) have @code{\shiftOn} specified.
-When a shift is applied, voices one and three are shifted to
+When a shift is applied, Voices one and three are shifted to
the right and voices two and four to the left.
@code{\shiftOnn} and @code{\shiftOnnn} define further shift
@funindex \new Lyrics
@funindex \lyricsto
-@funindex lyricsto
-@funindex Lyrics
@cindex Lyrics context, creating
@cindex lyrics, linking to voice
@cindex lyrics and beaming
@cindex beaming and lyrics
@funindex \autoBeamOff
-@funindex autoBeamOff
The automatic beaming which LilyPond uses by default works well
for instrumental music, but not so well for music with lyrics,
@code{\autoBeamOff} to turn off the automatic beaming.
@funindex \new ChoirStaff
-@funindex ChoirStaff
@funindex \lyricmode
-@funindex lyricmode
@cindex vocal score structure
-@cindex choir staff
Let us reuse the earlier example from Judas Maccabæus to
illustrate this more flexible technique. We first recast
}
@end lilypond
-This is the basic structure of all vocal scores. More staves may be
-added as required, more voices may be added to the staves, more verses
-may be added to the lyrics, and the variables containing the music can
-easily be placed in separate files should they become too long.
+This is the basic structure of all vocal scores. More staves may
+be added as required, more voices may be added to the staves,
+more verses may be added to the lyrics,
+and the variables containing the music can easily be placed
+in separate files should they become too long.
@cindex hymn structure
-@cindex SATB structure
-@cindex vocal scores with multiple verses
-@cindex multiple vocal verses
-@cindex verses, multiple vocal
Here is an example of the first line of a hymn with four
verses, set for SATB. In this case the words for all four
@cindex book, example of using
@funindex \book
-@funindex book
However, although this is an interesting and useful exercise to
help you to understand how sequential and simultaneous blocks work,
projects / lilypond.git / blobdiff