Remove Info dir entries correctly in 'make install'

[lilypond.git] / Documentation / user / putting.itely

diff --git a/Documentation/user/putting.itely b/Documentation/user/putting.itely
index e66126d243659013707ecc971c0fa0436cef0d24..8090efd6df5745fb5540e34395020a4b71b090e8 100644 (file)
--- a/Documentation/user/putting.itely
+++ b/Documentation/user/putting.itely
@@ -1,4 +1,12 @@
 @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
 
@@ -10,6 +18,7 @@ create @code{\score} blocks.
 * Extending the templates::     
 * How LilyPond files work::     
 * Score is a single musical expression::  
+* An orchestral part::          
 @end menu
 
 
@@ -26,7 +35,7 @@ cello.  In this case, we would start with @q{Notes and lyrics} (for the
 soprano part).
 
 @example
-\version "2.9.13"
+\version "2.11.23"
 melody = \relative c' @{
   \clef treble
   \key c \major
@@ -55,7 +64,7 @@ text = \lyricmode @{
 Now we want to add a cello part.  Let's look at the @q{Notes only} example:
 
 @example
-\version "2.9.13"
+\version "2.11.23"
 melody = \relative c' @{
   \clef treble
   \key c \major
@@ -91,7 +100,7 @@ normally use bass clef.  We'll also give the cello some different
 notes.
 
 @example
-\version "2.9.13"
+\version "2.11.23"
 sopranoMusic = \relative c' @{
   \clef treble
   \key c \major
@@ -161,7 +170,7 @@ This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
 @lilypond[quote,verbatim,ragged-right]
-\version "2.9.13"
+\version "2.11.23"
 sopranoMusic = \relative c' {
   \clef treble
   \key c \major
@@ -284,7 +293,7 @@ often placed above the @code{\score}.  That's just
 another shorthand that LilyPond accepts.
 
 @cindex variables
-@cindex indentifiers
+@cindex identifiers
 
 Another great shorthand is the ability to define
 variables.  All the templates use this
@@ -450,3 +459,136 @@ layer starts on the same horizontal position in your
 text editor!
 
 
+
+
+
+
+@node An orchestral part
+@section An orchestral part
+
+In orchestral music, all notes are printed twice.  Once in a part for
+the musicians, and once in a full score for the conductor.  Identifiers can
+be used to avoid double work.  The music is entered once, and stored in
+a variable.  The contents of that variable is then used to generate
+both the part and the full score.
+
+It is convenient to define the notes in a special file.  For example,
+suppose that the file @file{horn-music.ly} contains the following part
+of a horn/@/bassoon duo
+
+@example
+hornNotes = \relative c @{
+  \time 2/4
+  r4 f8 a cis4 f e d
+@}
+@end example
+
+@noindent
+Then, an individual part is made by putting the following in a file
+
+@example
+\include "horn-music.ly"
+\header @{
+  instrument = "Horn in F"
+@}
+
+@{
+ \transpose f c' \hornNotes
+@}
+@end example
+
+The line
+
+@example
+\include "horn-music.ly"
+@end example
+
+@noindent
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards.  The command
+@code{\transpose f@tie{}c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth upwards.  Sounding
+@samp{f} is denoted by notated @code{c'}, which corresponds with the
+tuning of a normal French Horn in@tie{}F.  The transposition can be seen
+in the following output
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+  \time 2/4
+  r4 f8 a cis4 f e d
+}
+@end lilypond
+
+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
+(@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
+
+@example
+R2*3
+@end example
+
+When printing the part, multi-rests
+must be condensed.  This is done by setting a run-time variable
+
+@example
+\set Score.skipBars = ##t
+@end example
+
+@noindent
+This command sets the property @code{skipBars} in the
+@code{Score} context to true (@code{##t}).  Prepending the rest and
+this option to the music above, leads to the following result
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+  \time 2/4
+  \set Score.skipBars = ##t
+  R2*3
+  r4 f8 a cis4 f e d
+}
+@end lilypond
+
+
+The score is made by combining all of the music together.  Assuming
+that the other voice is in @code{bassoonNotes} in the file
+@file{bassoon-music.ly}, a score is made with
+
+@example
+\include "bassoon-music.ly"
+\include "horn-music.ly"
+
+<<
+  \new Staff \hornNotes
+  \new Staff \bassoonNotes
+>>
+@end example
+
+@noindent
+leading to
+
+@lilypond[quote,ragged-right]
+\relative c <<
+  \new Staff {
+    \time 2/4 R2*3
+    r4 f8 a cis4 f e d
+  }
+  \new Staff {
+    \clef bass
+    r4 d,8 f | gis4 c | b bes |
+    a8 e f4 | g d | gis f
+  }
+>>
+@end lilypond
+
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ref{Orchestral music}.
+
+Setting run-time variables (@q{properties}) is discussed in
+@ref{Changing context properties on the fly}.
+
+
+