@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@node Putting it all together
@chapter Putting it all together
-This chapter is an extention of the tutorial, dealing with FIXME.
+This chapter discusses general LilyPond concepts and how to
+create @code{\score} blocks.
@menu
* Extending the templates::
* How LilyPond files work::
* Score is a single musical expression::
-* Organizing larger pieces::
* An orchestral part::
@end menu
Start off with the template that seems closest to what you want to end
up with. Let's say that you want to write something for soprano and
-cello. In this case, we would start with ``Notes and lyrics'' (for the
+cello. In this case, we would start with @q{Notes and lyrics} (for the
soprano part).
@example
-\version "2.7.39"
+\version "2.11.23"
melody = \relative c' @{
\clef treble
\key c \major
\new Lyrics \lyricsto "one" \text
>>
\layout @{ @}
- \midi @{ \tempo 4=60 @}
+ \midi @{ @}
@}
@end example
-Now we want to add a cello part. Let's look at the ``Notes only'' example:
+Now we want to add a cello part. Let's look at the @q{Notes only} example:
@example
-\version "2.7.39"
+\version "2.11.23"
melody = \relative c' @{
\clef treble
\key c \major
a4 b c d
@}
-
+
\score @{
\new Staff \melody
\layout @{ @}
-\midi @{ \tempo 4=60 @}
+\midi @{ @}
@}
@end example
@code{\layout} or @code{\midi}.
If we simply cut and paste the @code{melody} section, we would end up with
-two @code{melody} sections. So let's rename them. We'll call the one
-for the soprano @code{sopranoMusic}, and the one for the cello can be
-called @code{celloMusic}. While we're doing this, let's rename @code{text}
+two @code{melody} sections. So let's rename them. We'll call the section
+for the soprano @code{sopranoMusic} and the section for the cello
+@code{celloMusic}. While we're doing this, let's rename @code{text}
to be @code{sopranoLyrics}. Remember to rename both instances of all
these names -- both the initial definition (the
@code{melody = relative c' @{ } part) and the name's use (in the
notes.
@example
-\version "2.7.39"
+\version "2.11.23"
sopranoMusic = \relative c' @{
\clef treble
\key c \major
\new Lyrics \lyricsto "one" \sopranoLyrics
>>
\layout @{ @}
- \midi @{ \tempo 4=60 @}
+ \midi @{ @}
@}
@end example
@noindent
underneath the soprano stuff. We also need to add @code{<<} and
@code{>>} around the music -- that tells LilyPond that there's
-more than one thing (in this case staff) happening at once. The
+more than one thing (in this case, @code{Staff}) happening at once. The
@code{\score} looks like this now
@example
\new Staff \celloMusic
>>
\layout @{ @}
- \midi @{ \tempo 4=60 @}
+ \midi @{ @}
@}
@end example
easily fixed. Here's the complete soprano and cello template.
@lilypond[quote,verbatim,ragged-right]
-\version "2.7.39"
+\version "2.11.23"
sopranoMusic = \relative c' {
\clef treble
\key c \major
\new Staff \celloMusic
>>
\layout { }
- \midi { \tempo 4=60 }
+ \midi { }
}
@end lilypond
\score @{
@{ c'4 a b c' @}
\layout @{ @}
- \paper @{ @}
\midi @{ @}
\header @{ @}
@}
@end example
@noindent
-Most people put some of those commands outside the
+Some people put some of those commands outside the
@code{\score} block -- for example, @code{\header} is
-almost always placed above the @code{\score}. That's
-just another shorthand.
+often placed above the @code{\score}. That's just
+another shorthand that LilyPond accepts.
+
+@cindex variables
+@cindex identifiers
Another great shorthand is the ability to define
variables. All the templates use this
@code{\melody}. There's nothing special about the
names -- it could be @code{melody}, @code{global},
@code{pianorighthand}, or @code{foofoobarbaz}. You
-can use whatever variable names you want.
+can use whatever variable names you want. For
+more details, see
+@ref{Saving typing with identifiers and functions}.
For a complete definition
of the input format, see @ref{File structure}.
that there @emph{is} no mystery. This line explains it
all:
-@example
-A @code{\score} must begin with a single music expression.
-@end example
+@quotation
+@emph{A @code{\score} must begin with a single music expression.}
+@end quotation
@noindent
You may find it useful to review
text editor!
-@node Organizing larger pieces
-@section Organizing larger pieces
-
-When all of the elements discussed earlier are combined to produce
-larger files, the @code{\score} blocks get a lot bigger, because the
-music expressions are longer, and, in the case of polyphonic pieces,
-more deeply nested. Such large expressions can become unwieldy.
-
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
-
-@example
-namedMusic = @{ @dots{} @}
-@end example
-
-@noindent
-The contents of the music expression @code{namedMusic}, can be used
-later by preceding the name with a backslash, i.e., @code{\namedMusic}.
-In the next example, a two-note motive is repeated two times by using
-variable substitution
-
-@lilypond[quote,ragged-right,verbatim,nofragment]
-seufzer = {
- e'4( dis'4)
-}
-{ \seufzer \seufzer }
-@end lilypond
-
-The name of an identifier should have alphabetic characters only; no
-numbers, underscores or dashes. The assignment should be outside of
-running music.
-
-It is possible to use variables for many other types of objects in the
-input. For example,
-
-@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@end example
-Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
-@example
-\paper @{
- \aFivePaper
- line-width = \width
-@}
-@{ c4^\name @}
-@end example
-
-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
@node An orchestral part
In ensemble pieces, one of the voices often does not play for many
measures. This is denoted by a special rest, the multi-measure
rest. It is entered with a capital @samp{R} followed by a duration
-(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
+etc.). By multiplying the
duration, longer rests can be constructed. For example, this rest
takes 3@tie{}measures in 2/4 time
@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
- \set Score.skipBars = ##t
+ \set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d
}
@end example
@noindent
-leading to
+leading to
@lilypond[quote,ragged-right]
\relative c <<
More in-depth information on preparing parts and scores can be found
in the notation manual; see @ref{Orchestral music}.
-Setting run-time variables (`properties') is discussed in
+Setting run-time variables (@q{properties}) is discussed in
@ref{Changing context properties on the fly}.
+
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