-@c -*-texinfo-*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
@node Introduction
@menu
-* Engraving::
-* Automated engraving::
-* What symbols to engrave?::
-* Music representation::
-* Example applications::
-* About this manual::
+* Engraving::
+* Automated engraving::
+* What symbols to engrave?::
+* Music representation::
+* Example applications::
+* About this manual::
@end menu
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 she 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
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. The center
+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
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 Henle's lines.
+our staff lines, which are also much thicker than lines in the
+computer edition.
-@multitable @columnfractions .05 .3 .3 .3 .05
+@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
spot which fragment is which?
@cindex optical spacing
-@lilypond[quote,noindent,fragment]
+@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
{
- \override Staff.NoteSpacing #'stem-spacing-correction = #0.6
+ \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'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 |
+ \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
+ }
+ }
}
@end lilypond
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.
+in the last two measures form down-stem/@/up-stem clumps of notes.
@cindex typography
Musicians are usually more absorbed with performing than with studying
-the looks of piece of music, so nitpicking about typographical details
+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 the musician looks away once or has a lapse in her
-concentration, she will have lost her place on the page.
+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, which is a great advantage.
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.
These examples demonstrate that music typography is an art that is
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
+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 LilyPond program entirely in the C++
+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:
@item When LilyPond makes mistakes,
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
+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
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 arpeggio. In the first chord, the graphical objects
+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,raggedright,relative=1,fragment]
+@lilypond[quote,ragged-right]
\new Score \with {
\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
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]
+@lilypond[quote,ragged-right]
fragment = {
\clef bass f8 as8
c'4-~ c'16 as g f e16 g bes c' des'4
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 use to produce their symbol is changed during the music
+head objects are used to produce their symbol is changed during the music
fragment.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
#(define (mc-squared grob orig current)
(let ((interfaces (ly:grob-property grob 'interfaces))
- (pos (ly:grob-property grob 'staff-position)))
+ (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 'print-function brew-new-markup-stencil)
- (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")))))))))
+ (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 #'print-function = #Note_head::brew_ez_stencil
+ \once \override NoteHead #'stencil = #ly:note-head::brew-ez-stencil
<d f g>
\once \override NoteHead #'style = #'cross
<d f g>
- \applyoutput #mc-squared
+ \applyOutput #'Voice #mc-squared
<d f g>
<<
{ d8[ es-( fis^^ g] fis2-) }
- \repeat unfold 5 { \applyoutput #mc-squared s8 }
+ \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
>>
}
@end lilypond
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
+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.
+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? Our solution is break up the
+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}, by analogy with
+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[quote,raggedright]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Stem_engraver"
@noindent
Then a @code{Staff_symbol_engraver} adds the staff
-@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Stem_engraver"
@noindent
the @code{Clef_engraver} defines a reference point for the staff
-@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Stem_engraver"
@noindent
and the @code{Stem_engraver} adds stems.
-@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
\score {
\topVoice
- \paper {
+ \layout {
\context {
\Voice
\remove "Phrasing_slur_engraver"
time signature, and key signature, we get a complete piece of
notation.
-@lilypond[quote,raggedright]
-\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.
-@lilypond[quote,raggedright]
-\include "engraver-example.lyinc"
-\new 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.
-Similarly, more Staff contexts can be put into a single Score context.
-
-@lilypond[quote,raggedright]
-\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 >>
@noindent
Chords can be constructed with @code{<<} and @code{>>} enclosing the notes
-@c < > is not a music expression,
+@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
@code{@{@tie{}@dots{}@tie{}@}}
@example
-@{ f4 <<c4 d4 e4>> @}
+@{ f4 <<c4 d4 e4>> @}
@end example
@lilypond[quote,relative=1,fragment]
@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
@noindent
By adding chord names and lyrics we obtain a lead sheet.
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
- \new ChordNames \chords { c2 c f2 c }
+ \chords { c2 c f2 c }
\new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
- \new Lyrics \lyrics { twin4 kle twin kle lit tle star2 }
+ \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.
-@lilypondfile[quote,raggedright]{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
users should start here.
@item
-@ifhtml
-The
-@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!
+@emph{@ref{Working on LilyPond projects}}
+demonstrates practical uses of LilyPond.
@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{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}}
explains how to fine tune layout.
@item
-@ifhtml
-The chapter
-@end ifhtml
-@emph{@ref{Running LilyPond}} shows 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{Integrating text and music}}
-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
-@ifhtml
-The chapter
-@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.
+formats to the @code{.ly} format.
@item
@ifhtml
@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.
@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), 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
+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
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 document the nit-gritty details of each and every LilyPond
+which document the nitty-gritty details of each and every LilyPond
class, object, and function. It is produced directly from the
formatting definitions used.
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
-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
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
debug problems, but it can be instructive to see how we exercise the
-program. The format is similar to the the tips and tricks document.
+program. The format is similar to the tips and tricks document.
@end itemize
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-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
-usually found in the directory @file{/usr/share/lilypond/}.
+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