@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
a4 b c d
@}
-
+
\score @{
\new Staff \melody
\layout @{ @}
@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
@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
@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.
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
-@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
-(1@tie{}for a whole note, 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 (`properties') is discussed in
-@ref{Changing context properties on the fly}.
-
-
projects / lilypond.git / blobdiff