-@c -*-texinfo-*-
+@c -*- coding: latin-1; mode: texinfo; -*-
@c This file is part of lilypond.tely
@node Introduction
ink. An image was formed by pressing paper to the plate. The
stamping and cutting was completely done by hand. Making a correction
was cumbersome, if possible at all, so the engraving had to be perfect
-in one go. Engraving was a highly specialized skill, a craftsman had
-to complete around five years of training before he could
-be a master engraver, and another five years of experience were
+in one go. Engraving was a highly specialized skill; a craftsman had
+to complete around five years of training before earning the title of
+master engraver, and another five years of experience were
necessary to become truly skilled.
Nowadays, all newly printed music is produced with computers. This
@cindex optical spacing
@lilypond[quote,noindent,fragment]
{
- \override Staff.NoteSpacing #'stem-spacing-correction = #0.6
- c'4 e''4 e'4 b'4 |
- \stemDown b'4 e''4 a'4 e''4 | \bar "||"
- \override Staff.NoteSpacing #'stem-spacing-correction = #0.0
- \override Staff.StaffSpacing #'stem-spacing-correction = #0.0
- \stemBoth c'4 e''4 e'4 b'4 |
- \stemDown b'4 e''4 a'4 e''4 |
+ \override Staff.NoteSpacing #'stem-spacing-correction = #0.6
+ c'4 e''4 e'4 b'4 |
+ \stemDown b'4 e''4 a'4 e''4 | \bar "||"
+ \override Staff.NoteSpacing #'stem-spacing-correction = #0.0
+ \override Staff.StaffSpacing #'stem-spacing-correction = #0.0
+ \stemNeutral c'4 e''4 e'4 b'4 |
+ \stemDown b'4 e''4 a'4 e''4 |
}
@end lilypond
rhythms, spacing corrections lead to subtle variations in the layout
of every line, giving each one a distinct visual signature. Without
this signature all lines would look the same, and they become like a
-labyrinth. If the musician looks away once or has a lapse in his
-concentration, he will be lost on the page.
-@c he/she
+labyrinth. If a musician looks away once or has a lapse in
+concentration, they might lose their place on the page.
Similarly, the strong visual look of bold symbols on heavy staff lines
stands out better when music is far away from reader, for example, if
This is a common characteristic of typography. Layout should be
pretty, not only for its own sake, but especially because it helps the
-reader in his task. For performance material like sheet music, this is
+reader in her task. For performance material like sheet music, this is
of double importance: musicians have a limited amount of attention. The
less attention they need for reading, the more they can focus on
playing itself. In other words, better typography translates to better
@lilypond[quote,raggedright,relative=1,fragment]
\new Score \with {
- \override SpacingSpanner #'spacing-increment = #3
- \override TimeSignature #'transparent = ##t
- } {
- \stemDown <e g b>4_>-\arpeggio
- \override Arpeggio #'direction = #RIGHT
- \stemUp <e g b>4^>-\arpeggio
+ \override SpacingSpanner #'spacing-increment = #3
+ \override TimeSignature #'transparent = ##t
+} {
+ \stemDown <e g b>4_>-\arpeggio
+ \override Arpeggio #'direction = #RIGHT
+ \stemUp <e g b>4^>-\arpeggio
}
@end lilypond
@noindent
The process of formatting a score consists of reading and writing the
-variables of graphical objects.
-
-Some variables have a preset value. For example, the thickness of
-many lines---a characteristic of typographical style---are not fixed.
-They are variables, and altering them gives a different typographical
-impression.
+variables of graphical objects. Some variables have a preset value. For
+example, the thickness of many lines -- a characteristic of typographical
+style -- is a variable with a preset value. You are free to alter this
+value, giving your score a different typographical impression.
@lilypond[quote,raggedright]
-fragment = {
- \clef bass f8 as8
- c'4-~ c'16 as g f e16 g bes c' des'4
+fragment = {
+ \clef bass f8 as8
+ c'4-~ c'16 as g f e16 g bes c' des'4
}
-
- <<
- \new Staff \fragment
- \new Staff \with {
+<<
+ \new Staff \fragment
+ \new Staff \with {
\override Beam #'thickness = #0.3
\override Stem #'thickness = #0.5
\override Bar #'thickness = #3.6
\override Tie #'thickness = #2.2
\override StaffSymbol #'thickness = #3.0
\override Tie #'extra-offset = #'(0 . 0.3)
- } \fragment
- >>
+ }
+ \fragment
+>>
@end lilypond
Formatting rules are also preset variables: each object has variables
head objects use to produce their symbol is changed during the music
fragment.
+@c FIXME: this example has errors:
+@c programming error: Grob `NoteHead' has no interface for property `text'
+@c Continuing; crossing fingers
@lilypond[quote,raggedright]
#(define (mc-squared grob orig current)
(let ((interfaces (ly:grob-property grob 'interfaces))
((-2) (make-smaller-markup (make-bold-markup "2")))
(else (make-simple-markup "bla")))))))))
- \context Voice \relative c' {
- \stemUp
- \set autoBeaming = ##f
- \time 2/4
- <d f g>4
- \once \override NoteHead #'print-function = #Note_head::brew_ez_stencil
- <d f g>
- \once \override NoteHead #'style = #'cross
- <d f g>
- \applyoutput #mc-squared
- <d f g>
- <<
+\new Voice \relative c' {
+ \stemUp
+ \set autoBeaming = ##f
+ \time 2/4
+ <d f g>4
+ \once \override NoteHead #'print-function = #Note_head::brew_ez_stencil
+ <d f g>
+ \once \override NoteHead #'style = #'cross
+ <d f g>
+ \applyoutput #mc-squared
+ <d f g>
+ <<
{ d8[ es-( fis^^ g] fis2-) }
\repeat unfold 5 { \applyoutput #mc-squared s8 }
- >>
- }
+ >>
+}
@end lilypond
note heads, the @code{Note_heads_engraver}.
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score {
- \topVoice
- \paper {
- \context {
+ \topVoice
+ \layout {
+ \context {
\Voice
\remove "Stem_engraver"
\remove "Phrasing_slur_engraver"
\remove "Script_engraver"
\remove "Beam_engraver"
\remove "Auto_beam_engraver"
- }
- \context {
+ }
+ \context {
\Staff
\remove "Accidental_engraver"
\remove "Key_engraver"
\remove "Time_signature_engraver"
\remove "Staff_symbol_engraver"
\consists "Pitch_squash_engraver"
- }
- }
+ }
+}
}
@end lilypond
Then a @code{Staff_symbol_engraver} adds the staff
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Stem_engraver"
the @code{Clef_engraver} defines a reference point for the staff
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Stem_engraver"
and the @code{Stem_engraver} adds stems.
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Phrasing_slur_engraver"
The @code{Stem_engraver} is notified of any note head coming along.
Every time one (or more, for a chord) note head is seen, a stem
-object is created and connected to the note head.
-By adding engravers for beams, slurs, accents, accidentals, bar lines,
+object is created and connected to the note head. By adding
+engravers for beams, slurs, accents, accidentals, bar lines,
time signature, and key signature, we get a complete piece of
notation.
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score { \topVoice }
@end lilypond
polyphony? In polyphonic notation, many voices can share a staff.
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
-\context Staff << \topVoice \\ \botVoice >>
+\include "engraver-example.ily"
+\new Staff << \topVoice \\ \botVoice >>
@end lilypond
-In this situation, the accidentals and staff are shared, but the
-stems, slurs, beams, etc., are private to each voice. Hence, engravers
-should be grouped. The engravers for note heads, stems, slurs, etc., go
-into a group called `Voice context,' while the engravers for key,
-accidental, bar, etc., go into a group called `Staff context.' In the
-case of polyphony, a single Staff context contains more than one Voice
-context.
-Similarly, more Staff contexts can be put into a single Score context.
+In this situation, the accidentals and staff are shared, but the stems,
+slurs, beams, etc., are private to each voice. Hence, engravers should
+be grouped. The engravers for note heads, stems, slurs, etc., go into a
+group called `Voice context,' while the engravers for key, accidental,
+bar, etc., go into a group called `Staff context.' In the case of
+polyphony, a single Staff context contains more than one Voice context.
+Similarly, more Staff contexts can be put into a single Score
+context. The Score context is the top level notation context.
+
+@seealso
+
+Program reference: @internalsref{Contexts}.
@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+\include "engraver-example.ily"
\score {
- <<
- \new Staff << \topVoice \\ \botVoice >>
- \new Staff << \pah \\ \hoom >>
- >>
+ <<
+ \new Staff << \topVoice \\ \botVoice >>
+ \new Staff << \pah \\ \hoom >>
+ >>
}
@end lilypond
@c < > is not a music expression,
@c so we use <<>> iso. <> to drive home the point of
-@c expressions. Don't change this back --hwn.
+@c expressions. Don't change this back --hwn.
@example
<<c4 d4 e4>>
@end example
By adding chord names and lyrics we obtain a lead sheet.
@lilypond[quote,raggedright]
- <<
- \context ChordNames \chords { c2 c f2 c }
- \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
- \context Lyrics \lyrics { twin4 kle twin kle lit tle star2 }
- >>
+<<
+ \chords { c2 c f2 c }
+ \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
+ \new Lyrics \lyricmode { twin4 kle twin kle lit tle star2 }
+>>
@end lilypond
Polyphonic notation and piano music can also be printed. The following
The
@end ifhtml
@emph{@ref{Tutorial}}
-gives a gentle introduction to typesetting music.
-First time users should start here.
+gives a gentle introduction to typesetting music. First time
+users should start here.
@item
@ifhtml
The
-@endifhtml
+@end ifhtml
@emph{@ref{Example templates}}
provides templates of LilyPond pieces. Just cut and paste a
template into a file, add notes, and you're done!
@ifhtml
The chapter
@end ifhtml
-@emph{@ref{Invoking LilyPond}} shows how to run LilyPond and its helper
+@emph{@ref{Running LilyPond}} shows how to run LilyPond and its helper
programs.
@item
The
@end ifhtml
@emph{@ref{Integrating text and music}}
-explains the details behind creating documents with in-line music
+explains the details behind creating documents with in-line music
examples (like this manual).
@item
@emph{@ref{Converting from other formats}}
explains how to run the conversion programs. These programs
are supplied with the LilyPond package, and convert a variety of music
-formats to the @code{.ly} format. In addition, this section explains
+formats to the @code{.ly} format. In addition, this section explains
how to upgrade input files from previous versions of LilyPond.
@item
@end ifhtml
@emph{@ref{Literature list}}
contains a set of useful reference books for those who wish to know
-more on notation and engraving.
+more on notation and engraving.
@end itemize
Once you are an experienced user, you can use the manual as reference:
initialization and example files. Throughout this manual, we refer to
input files relative to the top-directory of the source archive. For
example, @file{input/test/bla.ly} may refer to the file
-@file{lilypond-1.7.19/input/test/bla.ly}. On binary packages for the
+@file{lilypond-2.3.14/input/test/bla.ly}. On binary packages for the
Unix platform, the documentation and examples can typically be found
somewhere below @file{/usr/share/doc/lilypond/}. Initialization files,
for example @file{scm/lily.scm}, or @file{ly/engraver-init.ly}, are
projects / lilypond.git / blobdiff