-@c -*-texinfo-*-
+@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
@node Introduction
@chapter Introduction
-LilyPond is a system for formatting music prettily. This chapter
-discusses the backgrounds of LilyPond. It explains the problem of
-printing music with computers, and our approach to solving those
-problems.
-
@menu
* Engraving::
@node Engraving
@section Engraving
-The art of music typography is called @emph{(plate) engraving}. The
-term derives from the traditional process of music printing. Only a
+The art of music typography is called @emph{(plate) engraving}. The
+term derives from the traditional process of music printing. Just a
few decades ago, sheet music was made by cutting and stamping the
-music into zinc or pewter plates in mirror image. The plate would be
-inked, and the depressions caused by the cutting and stamping would
-hold ink. An image was formed by pressing paper to the plate. The
-stamping and cutting was completely done by hand. Making corrections
-was cumbersome, so engraving had to be done correctly in one go. Of
-course, this was a highly specialized skill, and a craftsman had to
-complete around 10 years of practical training before he could be a
-master engraver.
-
-
-Nowadays, all newly printed music is produced on computers. This has
-obvious advantages: prints are cheaper to make, and editorial work can
-be done over e-mail. Unfortunately, the pervasive use of computers has
-also decreased the graphical quality of scores. Computer printouts
-have a bland, mechanical look, which makes them unpleasant to play
-from.
-
+music into a zinc or pewter plate in mirror image. The plate would be
+inked, the depressions caused by the cutting and stamping would hold
+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 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
+has obvious advantages; prints are cheaper to make, and editorial work
+can be delivered by email. Unfortunately, the pervasive use of
+computers has also decreased the graphical quality of scores.
+Computer printouts have a bland, mechanical look, which makes them
+unpleasant to play from.
+
+
+@c introduce illustrating aspects of engraving, font...
The images below illustrate the difference between traditional
engraving and typical computer output, and the third picture shows how
-LilyPond mimics the traditional look. The left picture shows a scan
-of a flat symbol from a Henle edition published in 2000. In the center
-show symbol from a hand engraved B@"{a}renreiter edition of the same
-music. The left scan illustrates typical flaws of computer print: the
-staff line are thin, the weight of the symbol matches the light lines,
-and the glyph has a straight layout with sharp corners. By contrast,
-the B@"{a}renreiter has a bold and almost voluptuous rounded look.
-Our flat symbol is designed after, among others, this one. It is
-rounded, and its weight harmonizes with the thickness of our staff
-lines, which are also much thicker than Henle's lines.
-
-@multitable @columnfractions .1 .3 .3 .3
+LilyPond mimics the traditional look. The left picture shows a scan
+of a flat symbol from an edition published in 2000. The center
+depicts a symbol from a hand-engraved B@"{a}renreiter edition of the
+same music. The left scan illustrates typical flaws of computer
+print: the staff lines are thin, the weight of the flat symbol matches
+the light lines and it has a straight layout with sharp corners. By
+contrast, the B@"{a}renreiter flat has a bold, almost voluptuous
+rounded look. Our flat symbol is designed after, among others, this
+one. It is rounded, and its weight harmonizes with the thickness of
+our staff lines, which are also much thicker than lines in the
+computer edition.
+
+@multitable @columnfractions .05 .3 .3 .3 .05
@item @tab
@ifnotinfo
@iftex
-@image{henle-flat-bw,4cm}
+@image{henle-flat-gray,,8cm}
@end iftex
@ifnottex
-@image{henle-flat-bw,,,png}
+@image{henle-flat-gray,,,png}
@end ifnottex
@tab
@iftex
-@image{baer-flat-bw,4cm}
+@image{baer-flat-gray,,8.4cm}
@end iftex
@ifnottex
-@image{baer-flat-bw,,,png}
+@image{baer-flat-gray,,,png}
@end ifnottex
@tab
@iftex
-@image{lily-flat-bw,4cm}
+@image{lily-flat-bw,,8cm}
@end iftex
@ifnottex
@image{lily-flat-bw,,,png}
@end ifnotinfo
@ifinfo
@c workaround for makeinfo-4.6: line breaks and multi-column cookies
-@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} @image{lily-flat-bw,,,png}
+@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png}
+@image{lily-flat-bw,,,png}
@end ifinfo
@item @tab
@cindex blackness
@cindex balance
+@c introduce illustrating aspects of engraving, spacing...
In spacing, the distribution of space should reflect the durations
between notes. However, many modern scores adhere to the durations
-with mathematical precision, and that leads to a poor result. In the
-next example, a motive is printed twice. It is printed using exact
-mathematical spacing, and with some corrections. Can you spot which
-fragment is which?
+with mathematical precision, which leads to poor results. In the
+next example a motive is printed twice. It is printed once using
+exact mathematical spacing, and once with corrections. Can you
+spot which fragment is which?
@cindex optical spacing
-@lilypond[noindent]
- \score { \notes {
- \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| \stemBoth
- \bar "||"
- \override Staff.NoteSpacing #'stem-spacing-correction
- = #0.0
- \override Staff.StaffSpacing #'stem-spacing-correction
- = #0.0
- c'4 e''4 e'4 b'4 |
- \stemDown b'4 e''4 a'4 e''4|
+@c file spacing-optical.
+@c need to include it here, because we want two images.
+@lilypond
+\paper {
+ ragged-right = ##t
+ indent = #0.0
+}
+
+music = {
+ c'4 e''4 e'4 b'4 |
+ \stemDown
+ b'8[ e'' a' e'']
+ \stemNeutral
+ e'8[ e'8 e'8 e'8]
+}
+
+\score
+{
+ \music
+ \layout {
+ \context {
+ \Staff
+ \override NoteSpacing #'stem-spacing-correction = #0.6
+ }
+ }
+}
+@end lilypond
+
+@lilypond
+\paper {
+ ragged-right = ##t
+ indent = #0.0
+}
+
+music = {
+ c'4 e''4 e'4 b'4 |
+ \stemDown
+ b'8[ e'' a' e'']
+ \stemNeutral
+ e'8[ e'8 e'8 e'8]
+}
+\score
+{
+ \music
+ \layout {
+ \context {
+ \Staff
+ \override NoteSpacing #'stem-spacing-correction = #0.0
+ \override NoteSpacing #'same-direction-correction = #0.0
+ \override StaffSpacing #'stem-spacing-correction = #0.0
}
- \paper { raggedright = ##t } }
+ }
+}
@end lilypond
@cindex regular rhythms
@cindex regular spacing
The fragment only uses quarter notes: notes that are played in a
-constant rhythm. The spacing should reflect that. Unfortunately, the
-eye deceives us a little: not only does it notice the distance between
+constant rhythm. The spacing should reflect that. Unfortunately, the
+eye deceives us a little; not only does it notice the distance between
note heads, it also takes into account the distance between
-consecutive stems. As a result, the notes of an up-stem/down-stem
-combination should be put farther apart, and the notes of a down-up
+consecutive stems. As a result, the notes of an up-stem/@/down-stem
+combination should be put farther apart, and the notes of a
+down-stem/@/up-stem
combination should be put closer together, all depending on the
-combined vertical positions of the notes. The first two measures are
-printed with this correction, the last two measures without. The notes
-in the last two measures form down-stem/up-stem clumps of notes.
+combined vertical positions of the notes. The first two measures are
+printed with this correction, the last two measures without. The notes
+in the last two measures form down-stem/@/up-stem clumps of notes.
@cindex typography
-Musicians are usually more absorbed with performing the music than
-with studying its looks, so this nitpicking about typographical
-details may seem academical. That is not justified. In larger pieces
-with monotonous 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, 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.
+Musicians are usually more absorbed with performing than with studying
+the looks of a piece of music, so nitpicking about typographical details
+may seem academical. But it is not. In larger pieces with monotonous
+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 a musician looks away once or has a lapse in
+concentration, the lines 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
-it is on a music stand. A careful distribution of white space allows
+stands out better when the music is far away from the reader, for example,
+if it is on a music stand. A careful distribution of white space allows
music to be set very tightly without cluttering symbols together. The
-result minimizes the number of page turns,
+result minimizes the number of page turns, which is a great advantage.
-This is a common characteristic of typography. Layout should be
+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
-doubly important: musicians have a limited amount of attention. The
+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
+playing the music. In other words, better typography translates to better
performances.
-Hopefully, these examples also demonstrate that music typography is an
-art that is subtle and complex, and to produce it requires
-considerable expertise, which musicians usually do not have. LilyPond
-is our effort to bring the graphical excellence of hand-engraved music
-to the computer age, and make it available to normal musicians. We
-have tuned our algorithms, font-designs, and program settings to
-produce prints that match the quality of the old editions we love to
-see and love to play from.
+These examples demonstrate that music typography is an art that is
+subtle and complex, and that producing it requires considerable
+expertise, which musicians usually do not have. LilyPond is our
+effort to bring the graphical excellence of hand-engraved music to the
+computer age, and make it available to normal musicians. We have
+tuned our algorithms, font-designs, and program settings to produce
+prints that match the quality of the old editions we love to see and
+love to play from.
ten years to become true masters, how could we simple hackers ever
write a program to take over their jobs?
-The answer is: we cannot. Typography relies on human judgment of
-appearance, so people cannot be replaced ultimately. However, much of
-the dull work can be automated. If LilyPond solves most of the common
-situations correctly, then this will be a huge improvement over
-existing software. The remaining cases can be tuned by hand. Over the
-course of years, the software can be refined to do more and more
+The answer is: we cannot. Typography relies on human judgment of
+appearance, so people cannot be replaced completely. However, much of
+the dull work can be automated. If LilyPond solves most of the common
+situations correctly, this will be a huge improvement over existing
+software. The remaining cases can be tuned by hand. Over the course
+of years, the software can be refined to do more and more things
automatically, so manual overrides are less and less necessary.
-When we started, we wrote the program in C++. With this design, the
-program functionality was set in stone stone by us developers. That
-proved to be unsatisfactory:
-
+When we started, we wrote the LilyPond program entirely in the C++
+programming language; the program's functionality was set in stone by
+the developers. That proved to be unsatisfactory for a number of
+reasons:
@itemize @bullet
@item When LilyPond makes mistakes,
- users need to override formatting decisions. Therefore, the user
-must access to the formatting engine. Hence, rules and settings cannot
-be fixed by us at compile time, but they must be accessible for users
-at run-time.
+users need to override formatting decisions. Therefore, the user must
+have access to the formatting engine. Hence, rules and settings cannot
+be fixed by us at compile-time but must be accessible for users at
+run-time.
@item Engraving is a matter of visual judgment, and therefore a matter of
-taste. As knowledgeable as we are, users can disagree with our
-personal decisions. Therefore, the definitions of typographical style
+taste. As knowledgeable as we are, users can disagree with our
+personal decisions. Therefore, the definitions of typographical style
must also be accessible to the user.
-@item Finally, we continually refine the formatting algorithms, so we
-need a flexible approach to rules. The C++ language forces a certain
+@item Finally, we continually refine the formatting algorithms, so we
+need a flexible approach to rules. The C++ language forces a certain
method of grouping rules that do not match well with how music
notation works.
-
@end itemize
-The formatting architecture of LilyPond addresses these needs. It is
-built around the notion graphical objects, carrying variables. The
-architecture encompasses formatting rules, typographical style and
-individual formatting decisions.
-
-Variables control layout decisions. For example, many objects have a
-direction variable that encodes the choice between up and down (or
-left and right). Here you see two chords, with accents and
-arpeggio. In the first chord, the objects have all directions down (or
-left). The second chord has all directions up (right).
-
-@lilypond[raggedright,relative=1]
+These problems have been addressed by integrating an interpreter for
+the Scheme programming language and rewriting parts of LilyPond in
+Scheme. The current formatting architecture is built around the
+notion of graphical objects, described by Scheme variables and
+functions. This architecture encompasses formatting rules,
+typographical style and individual formatting decisions. The user has
+direct access to most of these controls.
+
+Scheme variables control layout decisions. For example, many
+graphical objects have a direction variable that encodes the choice
+between up and down (or left and right). Here you see two chords,
+with accents and arpeggios. In the first chord, the graphical objects
+have all directions down (or left). The second chord has all
+directions up (right).
+
+@lilypond[quote,ragged-right]
\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
+} \relative {
+ \stemDown <e g b>4_>-\arpeggio
+ \override Arpeggio #'direction = #RIGHT
+ \stemUp <e g b>4^>-\arpeggio
}
@end lilypond
-The process of formatting a score consists of reading and
-writing object variables.
-
-Some variables have a preset value. For example, the thickness of many
-lines ---a characteristic of typographical style--are preset
-variables. Changing them gives a different typographical impression:
-
-@lilypond[]
-frag= \notes {
- \clef bass f8 as8
- c'4-~ c'16 as g f e16 g bes c' des'4
- }
-\paper { raggedright = ##t }
-
-\score {
-<< \new Staff \frag
- \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)
- } \frag
- >>
+@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 -- is a variable with a preset value. You are free to alter this
+value, giving your score a different typographical impression.
+
+@lilypond[quote,ragged-right]
+fragment = {
+ \clef bass f8 as8
+ c'4-~ c'16 as g f e16 g bes c' des'4
}
+<<
+ \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
+>>
@end lilypond
Formatting rules are also preset variables: each object has variables
-containing procedures. These procedure perform the actual formatting,
-and by substituting different ones, we can change behavior. In the
-following example, the rule that note head objects use to produce
-their symbol is changed during the music fragment:
-
-
-@lilypond[raggedright]
-#(define (mc-squared gr org cur)
- (let*
- ((ifs (ly:grob-property gr 'interfaces))
- (sp (ly:grob-property gr 'staff-position)) )
- (if (and (memq 'note-head-interface ifs)
- (memq sp '(-2 -3 -5)))
- (begin
- (ly:grob-set-property! gr 'print-function brew-new-markup-stencil)
- (ly:grob-set-property! gr 'font-family 'roman)
- (ly:grob-set-property!
- gr 'text
- (make-raise-markup -0.5
- (case sp
- ((-5) (make-simple-markup "m"))
- ((-3) (make-simple-markup "c "))
- ((-2) (make-smaller-markup (make-bold-markup "2")))
- (else (make-simple-markup "bla"))
- ))))
- )))
-
-\score {
- \notes \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>
- << { d8[ es-( fis^^ g] fis2-) }
- \repeat unfold 5 { \applyoutput #mc-squared s8 } >>
-
- }
-
- }
+containing procedures. These procedures perform the actual
+formatting, and by substituting different ones, we can change the
+appearance of objects. In the following example, the rule which note
+head objects are used to produce their symbol is changed during the music
+fragment.
+
+@lilypond[quote,ragged-right]
+#(define (mc-squared grob orig current)
+ (let ((interfaces (ly:grob-property grob 'interfaces))
+ (pos (ly:grob-property grob 'staff-position)))
+ (if (and (memq 'note-head-interface interfaces)
+ (memq pos '(-2 -3 -5)))
+ (begin
+ (ly:grob-set-property! grob 'stencil ly:text-interface::print)
+ (ly:grob-set-property! grob 'font-family 'roman)
+ (ly:grob-set-property!
+ grob 'text
+ (make-raise-markup
+ -0.5
+ (case pos
+ ((-5) (make-simple-markup "m"))
+ ((-3) (make-simple-markup "c "))
+ ((-2) (make-smaller-markup (make-bold-markup "2")))
+ (else (make-simple-markup "bla")))))))))
+
+\new Voice \relative c' {
+ \stemUp
+ \set autoBeaming = ##f
+ \time 2/4
+ <d f g>4
+ \once \override NoteHead #'stencil = #ly:note-head::brew-ez-stencil
+ <d f g>
+ \once \override NoteHead #'style = #'cross
+ <d f g>
+ \applyOutput #'Voice #mc-squared
+ <d f g>
+ <<
+ { d8[ es-( fis^^ g] fis2-) }
+ \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
+ >>
}
@end lilypond
@cindex engraving
@cindex typography
-The formatting process in LilyPond decides where to place
-symbols. However, this can only be done once it is decided @emph{what}
+The formatting process decides where to place
+symbols. However, this can only be done once it is decided @emph{what}
symbols should be printed, in other words what notation to use.
Common music notation is a system of recording music that has evolved
-over the past 1000 years. The form that is now in common use, dates
-from the early renaissance. Although, the basic form (i.e. note heads on a
-5-line staff) has not changed, the details still change to express the
+over the past 1000 years. The form that is now in common use dates
+from the early renaissance. Although the basic form (i.e., note heads on a
+5-line staff) has not changed, the details still evolve to express the
innovations of contemporary notation. Hence, it encompasses some 500
-years of music. Its applications range from monophonic melodies to
-monstrous counterpoint for large orchestras.
+years of music. Its applications range from monophonic melodies to
+monstrous counterpoints for large orchestras.
How can we get a grip on such a many-headed beast, and force it into
-the confines of a computer program? We have broken up the problem of
-notation (as opposed to engraving, i.e. typography) into digestible
-and programmable chunks: every type of symbol is handled by a separate
-module, a so-called plug-in. Each plug-in is completely modular and
-independent, so each can be developed and improved separately. People
-that translate musical ideas to graphic symbols are called copyists or
-engravers, so by analogy, each plug-in is called @code{engraver}.
+the confines of a computer program? Our solution is to break up the
+problem of notation (as opposed to engraving, i.e., typography) into
+digestible and programmable chunks: every type of symbol is handled by
+a separate module, a so-called plug-in. Each plug-in is completely
+modular and independent, so each can be developed and improved
+separately. Such plug-ins are called @code{engraver}s, by analogy with
+craftsmen who translate musical ideas to graphic symbols.
In the following example, we see how we start out with a plug-in for
note heads, the @code{Note_heads_engraver}.
-@lilypond[]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
-\score { \topVoice
-\paper {
- \context { \VoiceContext
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
-
- }
- \context { \StaffContext
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Clef_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- \consists "Pitch_squash_engraver"
- }
-
-}
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Clef_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ \remove "Staff_symbol_engraver"
+ \consists "Pitch_squash_engraver"
+ }
+}
}
@end lilypond
-Then a @code{Staff_symbol_engraver} adds the staff:
+@noindent
+Then a @code{Staff_symbol_engraver} adds the staff
-@lilypond[]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
-\score { \topVoice
-\paper {
- \context { \VoiceContext
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
-
- }
- \context { \StaffContext
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Clef_engraver"
- \remove "Bar_engraver"
- \consists "Pitch_squash_engraver"
- \remove "Time_signature_engraver"
- }
-
-}
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Clef_engraver"
+ \remove "Bar_engraver"
+ \consists "Pitch_squash_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
}
@end lilypond
- The @code{Clef_engraver} defines a reference point for the staff:
+@noindent
+the @code{Clef_engraver} defines a reference point for the staff
-@lilypond[]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
-\score { \topVoice
-\paper {
- \context { \VoiceContext
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context { \StaffContext
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- }
-
-}
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Stem_engraver"
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
}
@end lilypond
-And the @code{Stem_engraver} adds stems:
+@noindent
+and the @code{Stem_engraver} adds stems.
-@lilypond[]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
-\score { \topVoice
-\paper {
- \context { \VoiceContext
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context { \StaffContext
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- }
-}
+\score {
+ \topVoice
+ \layout {
+ \context {
+ \Voice
+ \remove "Phrasing_slur_engraver"
+ \remove "Slur_engraver"
+ \remove "Script_engraver"
+ \remove "Beam_engraver"
+ \remove "Auto_beam_engraver"
+ }
+ \context {
+ \Staff
+ \remove "Accidental_engraver"
+ \remove "Key_engraver"
+ \remove "Bar_engraver"
+ \remove "Time_signature_engraver"
+ }
+ }
}
@end lilypond
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[]
-\include "engraver-example.lyinc"
-
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
\score { \topVoice }
@end lilypond
-
-
This system works well for monophonic music, but what about
-polyphony? In polyphonic notation, many voices can share a staff.
+polyphony? In polyphonic notation, many voices can share a staff.
-@lilypond[]
-\include "engraver-example.lyinc"
-\score { \context Staff << \topVoice \\ \botVoice >> }
+@lilypond[quote,ragged-right]
+\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. In polyphonic notation, many voices can share a staff:
-Similarly, more Staff contexts can be put into a single Score context.
-
-@lilypond[]
-\include "engraver-example.lyinc"
+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, multiple 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,ragged-right]
+\include "engraver-example.ily"
\score {
-<< \new Staff << \topVoice \\ \botVoice >>
-\new Staff << \pah \\ \hoom >>
- >>
+ <<
+ \new Staff << \topVoice \\ \botVoice >>
+ \new Staff << \pah \\ \hoom >>
+ >>
}
@end lilypond
@section Music representation
Ideally, the input format for any high-level formatting system is an
-abstract description of the content. In this case, that would be the
-music itself. This poses a formidable problem: how can we define what
+abstract description of the content. In this case, that would be the
+music itself. This poses a formidable problem: how can we define what
music really is? Instead of trying to find an answer, we have reversed
the question. We write a program capable of producing sheet music,
-and adjust the format to be as lean as possible. When the format can
+and adjust the format to be as lean as possible. When the format can
no longer be trimmed down, by definition we are left with content
itself. Our program serves as a formal definition of a music
document.
+The syntax is also the user-interface for LilyPond, hence it is easy
+to type
-The syntax is also the user-interface for LilyPond, hence it is easily typable, e.g.,
@example
- c'4 d'8
+c'4 d'8
@end example
-Are a quarter note C (middle C) and eighth note D1 (D above middle C),
-as in this example:
-@lilypond[fragment]
- c'4 d'8
+@noindent
+a quarter note C1 (middle C) and an eighth note D1 (D above middle C)
+
+@lilypond[quote,fragment]
+c'4 d'8
@end lilypond
-On a microscopic scale, such syntax is easy to use. On a larger scale,
-syntax also needs structure. How else can you enter complex pieces
-like symphonies and operas? The structure is formed by the concept of
-music expressions: by combining small fragments of music into larger
-ones, more complex music can be expressed. For example,
+On a microscopic scale, such syntax is easy to use. On a larger
+scale, syntax also needs structure. How else can you enter complex
+pieces like symphonies and operas? The structure is formed by the
+concept of music expressions: by combining small fragments of music
+into larger ones, more complex music can be expressed. For example
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[quote,verbatim,fragment,relative=1]
c4
@end lilypond
-Combine this simultaneously with two other notes by enclosing in << and >>.
+@noindent
+Chords can be constructed with @code{<<} and @code{>>} enclosing the notes
+@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.
+@example
+<<c4 d4 e4>>
+@end example
-@lilypond[verbatim,fragment,relative=1]
- <<c4 d4 e4>>
+@lilypond[quote,fragment,relative=1]
+\new Voice { <<c4 d4 e>> }
@end lilypond
+@noindent
+This expression is put in sequence by enclosing it in curly braces
+@code{@{@tie{}@dots{}@tie{}@}}
-
-This expression is put in sequence by enclosing it in braces, i.e.,
-
-@verbatim
- { <<c4 d4 e4>> f4 }
-@end verbatim
+@example
+@{ f4 <<c4 d4 e4>> @}
+@end example
-@lilypond[relative=1]
- \new Voice { <<c4 d4 e4>> f4 }
+@lilypond[quote,relative=1,fragment]
+{ f4 <<c d e4>> }
@end lilypond
-
-The above is another expression, and therefore, it many combined again
-with a simultaneous expression (in this case, a half note).
-
-@verbatim
- << { <<c4 d4 e4>> f4 } g2 >>
-@end verbatim
-@lilypond[fragment,relative=1]
-<< g2 \\ { <c d e>4 f4 } >>
+
+@noindent
+The above is also an expression, and so it may be combined
+again with another simultaneous expression (a half note) using <<,
+@code{\\}, and >>
+
+@example
+<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
+@end example
+
+@lilypond[quote,fragment,relative=2]
+\new Voice { << g2 \\ { f4 <<c d e>> } >> }
@end lilypond
-
Such recursive structures can be specified neatly and formally in a
-context-free grammar. The parsing code is also generated from this
-grammar. In other words, the syntax of LilyPond is clearly and
+context-free grammar. The parsing code is also generated from this
+grammar. In other words, the syntax of LilyPond is clearly and
unambiguously defined.
User-interfaces and syntax are what people see and deal with
-most. They are partly a matter of taste, and also subject of much
-discussion. Although discussions on taste do have their merit, they
-are not very productive. In the larger picture of LilyPond, the
-importance of input syntax is small: inventing neat syntax is easy,
-writing decent formatting code is much harder. This is also
+most. They are partly a matter of taste, and also subject of much
+discussion. Although discussions on taste do have their merit, they
+are not very productive. In the larger picture of LilyPond, the
+importance of input syntax is small: inventing neat syntax is easy, while
+writing decent formatting code is much harder. This is also
illustrated by the line-counts for the respective components: parsing
-and representation take up less than 10% of the code.
+and representation take up less than 10% of the source code.
@node Example applications
@section Example applications
We have written LilyPond as an experiment of how to condense the art
-of music engraving into a computer program. Thanks to all that hard
+of music engraving into a computer program. Thanks to all that hard
work, the program can now be used to perform useful tasks. The
-simplest application is printing notes:
+simplest application is printing notes.
-@lilypond[relative=1]
- \time 2/4 c4 c g'4 g a4 a g2
+@lilypond[quote,relative=1,fragment]
+\time 2/4 c4 c g'4 g a4 a g2
@end lilypond
-By adding chord names and lyrics we obtain a lead sheet:
+@noindent
+By adding chord names and lyrics we obtain a lead sheet.
-@lilypond[raggedright]
-\score { <<
- \context ChordNames \chords { c2 c f2 c }
- \new Staff \notes \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
- \context Lyrics \lyrics { twin4 kle twin kle lit tle star2 } >> }
+@lilypond[quote,ragged-right]
+<<
+ \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
-example combines some more exotic constructs:
+Polyphonic notation and piano music can also be printed. The following
+example combines some more exotic constructs.
-@lilypondfile{screech-boink.ly}
+@lilypondfile[quote,ragged-right]{screech-boink.ly}
The fragments shown above have all been written by hand, but that is
-not a requirement. Since the formatting engine is mostly automatic, it
+not a requirement. Since the formatting engine is mostly automatic, it
can serve as an output means for other programs that manipulate
-music. For example, it can also be used to convert databases of
+music. For example, it can also be used to convert databases of
musical fragments to images for use on websites and multimedia
presentations.
-This manual also shows an application: the input format is plain text,
-and can therefore be easily embedded in other text-based formats, such
-as La@TeX{}, HTML or in the case of this manual, Texinfo. By means of a
-special program, the input fragments can be replaced by music images in
-the resulting PostScript or HTML output files. This makes it easy to
-mix music and text in documents.
+This manual also shows an application: the input format is text, and
+can therefore be easily embedded in other text-based formats such as
+La@TeX{}, HTML, or in the case of this manual, Texinfo. By means of a
+special program, the input fragments can be replaced by music images
+in the resulting PDF or HTML output files. This makes it easy
+to mix music and text in documents.
The manual is divided into the following chapters:
@itemize @bullet
-@item
-@ifhtml The
-@end ifhtml
-@emph{@ref{Tutorial}}
-gives a gentle introduction to typesetting music.
-First time users should start here.
+
@item
@ifhtml
The
@end ifhtml
-@emph{@ref{Notation manual}}
-discusses topics grouped by notation construct. Once you master the
-basics, this is the place to look up details.
+@emph{@ref{Tutorial}}
+gives a gentle introduction to typesetting music. First time
+users should start here.
+
@item
-@ifhtml
-The
-@end ifhtml
-@emph{@ref{Literature list}}
- contains a set of useful reference books, for those who wish to know
- more on notation and engraving.
+@emph{@ref{Working on LilyPond projects}}
+demonstrates practical uses of LilyPond.
+
+@item
+@emph{@ref{Running LilyPond}}
+shows how to run LilyPond and its helper
+programs. In addition, this section explains how to upgrade input
+files from previous versions of LilyPond.
+
+@item
+@emph{@ref{Basic notation}}
+discusses topics grouped by notation construct. This section gives
+details about basic notation that will be useful in almost any
+notation project.
+
+@item
+@emph{@ref{Instrument-specific notation}}
+discusses topics grouped by notation construct. This section gives
+details about special notation that will only be useful for particular
+instrument (or vocal) groups.
+
+@item
+@emph{@ref{Advanced notation}}
+discusses topics grouped by notation construct. This section gives
+details about complicated or unusual notation.
+
@item
-@ifhtml
- The
- @end ifhtml
@emph{@ref{Changing defaults}}
-@c
-Explains how to fine tune layout.
+explains how to fine tune layout.
+
@item
-@ifhtml
-The chapter
-@end ifhtml
-@emph{@ref{Invoking LilyPond}} explains how to run LilyPond and its helper
-programs.
+@emph{@ref{Global issues}}
+discusses issues which affect the global output, such as selecting
+paper size or which MIDI instruments to use.
@item
-@ifhtml
-The
-@end ifhtml
-@emph{@ref{lilypond-book manual}}
-explains the details behind creating documents with in-line music
-examples (like this manual).
+@emph{@ref{LilyPond-book}} 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.
@item
@ifhtml
-The chapter
+The
@end ifhtml
-@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
-how to upgrade input files from previous versions of LilyPond.
+@emph{@ref{Literature list}}
+contains a set of useful reference books for those who wish to know
+more on notation and engraving.
+
+@item
+@emph{@ref{Example templates}}
+provides templates of LilyPond pieces. Just cut and paste a
+template into a file, add notes, and you're done!
@end itemize
+
Once you are an experienced user, you can use the manual as reference:
there is an extensive index@footnote{If you are looking for something,
and you cannot find it in the manual, that is considered a bug. In
that case, please file a bug report.}, but the document is also
available in
-@ifnothtml
+@iftex
a big HTML page,
-@end ifnothtml
+@end iftex
@ifhtml
-@uref{../lilypond.html, a big HTML page}
+@uref{source/Documentation/user/lilypond.html, one big page},
@end ifhtml
which can be searched easily using the search facility of a web
browser.
@cindex search in manual
@cindex using the manual
-
+@c FIXME:
+@c add/integrate glossary, put in list above
If you are not familiar with music notation or music terminology
-(especially if you are a non-native English speaker), then it is
-advisable to consult the glossary as well. The glossary explains
-musical terms, and includes translations to various languages. It is a
-@ifhtml
-@uref{../music-glossary.html,separate document}.
-@end ifhtml
-@ifnothtml
-separate document, available in HTML and PDF.
-@end ifnothtml
+(especially if you are a non-native English speaker), it is advisable
+to consult the glossary as well.
+@iftex
+The music glossary explains musical terms, and includes translations
+to various languages. It is a separate document, available in HTML
+and PDF.
+@end iftex
+@ifnottex
+The @ref{Top,Music glossary,,music-glossary}, explains musical terms and
+includes translations to various languages. It is also available in
+PDF.
+@end ifnottex
@cindex idiom
@cindex jargon
@cindex terminology
@cindex language
-This manual is not complete without a number of other documents. They
+This manual is not complete without a number of other documents. They
are not available in print, but should be included with the
-documentation package for your platform:
+documentation package for your platform
@itemize @bullet
@item
+@iftex
Program reference
-@ifhtml
-(available @uref{../lilypond-internals/lilypond-internals.html,here})
-@end ifhtml
+@end iftex
+@ifnottex
+@ref{Top,Program reference,,lilypond-internals}.
+@end ifnottex
The program reference is a set of heavily cross linked HTML pages,
-which documents the nit-gritty details of each and every LilyPond
-class, object and function. It is produced directly from the
+which document the nitty-gritty details of each and every LilyPond
+class, object, and function. It is produced directly from the
formatting definitions used.
Almost all formatting functionality that is used internally, is
-available directly to the user. For example, all variables that
-control thicknesses, distances, etc, can be changed in input
-files. There are a huge number of formatting options, and all of them
-are described in the generated documentation. Each section of the
+available directly to the user. For example, all variables that
+control thickness values, distances, etc., can be changed in input
+files. There are a huge number of formatting options, and all of them
+are described in this document. Each section of the
notation manual has a @b{See also} subsection, which refers to the
-the generated documentation. In the HTML document, these subsections
+generated documentation. In the HTML document, these subsections
have clickable links.
+@cindex snippets
@item
- Templates
-@ifhtml
-(available @uref{../../../input/template/out-www/collated-files.html,here})
-@end ifhtml
-
-After you have gone through the tutorial, you should be able to write
-input files. In practice, writing files from scratch turns out to be
-intimidating. To give you a head start, we have collected a number of
-often-used formats in example files. These files can be used as a
-start: simply copy the template, and add notes in the appropriate
-places.
-
-@item
- Various input examples
+@ifnothtml
+Various input examples.
+@end ifnothtml
@ifhtml
-(available @uref{../../../../input/test/out-www/collated-files.html,here})
+@c Works, but link name is not so nice; so write-out macro
+@c @inputfileref{input/test,Various input examples}.
+@uref{source/input/test/collated-files.html,Various input examples}.
@end ifhtml
-@cindex snippets
-
-These small files show various tips and tricks, and are available as a
-big HTML document, with pictures and explanatory texts included.
+This collection of files shows various tips and tricks, and is
+available as a big HTML document, with pictures and explanatory texts
+included.
@item
- The regression tests
+@ifnothtml
+The regression tests.
+@end ifnothtml
@ifhtml
-(available @uref{../../../input/regression/out-www/collated-files.html,here})
+@c Works, but link name is not so nice; so write-out macro
+@c @inputfileref{input/regression,The regression tests}.
+@uref{source/input/regression/collated-files.html,The regression tests}.
@end ifhtml
This collection of files tests each notation and engraving feature of
-LilyPond in one file. The collection is primarily there to help us
+LilyPond in one file. The collection is primarily there to help us
debug problems, but it can be instructive to see how we exercise the
-program. The format is like the tips and tricks document.
-
+program. The format is similar to the tips and tricks document.
@end itemize
The location of the documentation files that are mentioned here can
vary from system to system. On occasion, this manual refers to
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
-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
-usually found in the directory @file{/usr/share/lilypond/}.
+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@/-2.8.0/@/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 usually found in the directory
+@file{/usr/@/share/@/lilypond/}.
@cindex adjusting output
@cindex variables
@cindex internal documentation
@cindex Scheme
@cindex extending lilypond
-@cindex bug report
@cindex index
Finally, this and all other manuals, are available online both as PDF
files and HTML from the web site, which can be found at
-@uref{http://www.lilypond.org/}.
+@uref{http://@/www@/.lilypond@/.org/}.
-@cindex website
-@cindex URL
projects / lilypond.git / blobdiff