@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 section explains how to use the rest of the documentation and
-how to solve common problems.
+This chapter discusses general LilyPond concepts and how to
+create @code{\score} blocks.
+
@menu
-* Suggestions for writing LilyPond files::
* Extending the templates::
-* Fixing overlapping notation::
* How LilyPond files work::
-* Troubleshooting (taking it all apart)::
+* Score is a single musical expression::
@end menu
-@node Suggestions for writing LilyPond files
-@section Suggestions for writing LilyPond files
-
-Now you're ready to begin writing larger LilyPond files -- not just the
-little examples in the tutorial, but whole pieces. But how should you
-go about doing it?
-
-The best answer is ``however you want to do it.'' As long as LilyPond
-can understand your files and produces the output that you want, it
-doesn't matter what your files look like. That said, sometimes we
-make mistakes when writing files. If LilyPond can't understand your
-files, or produces output that you don't like, how do you fix the
-problem?
-
-Here are a few suggestions that can help you to avoid or fix
-problems:
-
-@itemize @bullet
-@item Include @code{\version} numbers in every file. Note that all
-templates contain a @code{\version "2.6.0"} string. We
-highly recommend that you always include the @code{\version}, no matter
-how small your file is. Speaking from personal experience, it's
-quite frustrating to try to remember which version of LilyPond you were
-using a few years ago. @code{convert-ly} requires you to declare
-which version of LilyPond you used.
-
-@item Include checks: See @ref{Bar check} and @ref{Octave check}. If you
-include checks every so often, then if you make a mistake, you can pinpoint
-it quicker. How often is ``every so often''? It depends on the complexity
-of the music. For very simple music, perhaps just once or twice. For
-very complex music, every bar.
-
-@item One bar per line. If there is anything complicated, either in the music
-itself or in the output you desire, it's often good to write only one bar
-per line. Saving screen space by cramming eight bars per line just isn't
-worth it if you have to `debug' your files.
-
-@item Comment your files, with either bar numbers (every so often) or
-references to musical themes (``second theme in violins'', ``fourth
-variation''). You may not need it when you're writing the piece for
-the first time, but if you want to go back and change something two
-or three years later, you won't know how your file is structured if you
-didn't comment the file.
-
-@item Ident your braces. A lot of problems are caused by an imbalance
-in the number of @code{@{} and @code{@}}.
-
-@end itemize
-
-
@node Extending the templates
@section Extending the templates
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 "2.6.0"
+\version "2.9.13"
melody = \relative c' @{
\clef treble
\key c \major
\score@{
<<
- \context Voice = one @{
+ \new Voice = "one" @{
\autoBeamOff
\melody
@}
- \lyricsto "one" \new Lyrics \text
+ \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 "2.6.0"
+\version "2.9.13"
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 "2.6.0"
+\version "2.9.13"
sopranoMusic = \relative c' @{
\clef treble
\key c \major
\score@{
<<
- \context Voice = one @{
+ \new Voice = "one" @{
\autoBeamOff
\sopranoMusic
@}
- \lyricsto "one" \new Lyrics \sopranoLyrics
+ \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
\score@{
-<<
<<
- \context Voice = one @{
- \autoBeamOff
- \sopranoMusic
- @}
- \lyricsto "one" \new Lyrics \sopranoLyrics
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \sopranoMusic
+ @}
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
>>
- \new Staff \celloMusic
->>
\layout @{ @}
- \midi @{ \tempo 4=60 @}
+ \midi @{ @}
@}
@end example
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,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.9.13"
sopranoMusic = \relative c' {
\clef treble
\key c \major
\score{
<<
- <<
- \context Voice = one {
- \autoBeamOff
- \sopranoMusic
- }
- \lyricsto "one" \new Lyrics \sopranoLyrics
- >>
- \new Staff \celloMusic
+ <<
+ \new Voice = "one" {
+ \autoBeamOff
+ \sopranoMusic
+ }
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
>>
\layout { }
- \midi { \tempo 4=60 }
+ \midi { }
}
@end lilypond
-@node Fixing overlapping notation
-@section Fixing overlapping notation
-
-This may come as a surprise, but LilyPond isn't perfect. Some notation
-elements can overlap. This is unfortunate, but (in most cases) is easily
-solved.
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-@cindex padding
-
-The easiest solution is to increase the distance between the object
-(in this case text, but it could easily be fingerings or dynamics
-instead) and the note. In LilyPond, this is called the
-@code{padding} property. For most objects, it is around 1.0 or
-less (it varies with each object). We want to increase it, so let's
-try 1.5
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'padding = #1.5
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-That looks better, but it isn't quite big enough. After experimenting
-with a few values, we think 2.3 is the best number in this case. However,
-this number is merely the result of experimentation and my personal
-taste in notation. Try the above example with 2.3... but also try higher
-(and lower) numbers. Which do you think looks the best?
-
-@cindex extra-offset
-
-Another solution gives us complete control over placing the object -- we
-can move it horizontally or vertically. This is done with the
-@code{extra-offset} property. It is slightly more complicated and can
-cause other problems. When we move objects with @code{extra-offset},
-the movement is done after LilyPond has placed all other objects. This means
-that the result can overlap with other objects.
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'extra-offset = #'( 1.0 . -1.0 )
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-With @code{extra-offset}, the first number controls the horizontal
-movement (left is negative); the second number controls the vertial
-movement (up is positive). After a bit of experimenting, we decided
-that these values look good
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'extra-offset = #'( -1.6 . 1.0 )
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-@noindent
-Again, these numbers are simply the result of a few experiments and
-looking at the output. You might prefer the text to be slightly higher,
-or to the left, or whatever. Try it and look at the result!
-
-
-@seealso
-
-This manual: @ref{The \override command}, @ref{Common tweaks}.
-
-
@node How LilyPond files work
@section How LilyPond files work
@}
@end example
-@noindent
-but most examples also make use of the @code{\relative c'}
+Most examples also make use of the @code{\relative c'}
(or @code{c''}) command. This is not necessary to merely
compile the examples, but in most cases the output will
look very odd if you omit the @code{\relative c'}.
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
\relative c'' {
c4 a b c
}
\score @{
\relative c'' @{
c4 a b c
- @}
+ @}
@}
@end example
@example
@{
- \new GrandStaff @{
- insert the whole score of a Wager opera in here
- @}
+ \new GrandStaff <<
+ insert the whole score of a Wagner opera in here
+ >>
@}
@end example
@example
\score @{
@{ c'4 a b c' @}
- \layout @{ @}
- \paper @{ @}
- \midi @{ @}
- \header @{ @}
+ \layout @{ @}
+ \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 indentifiers
Another great shorthand is the ability to define
variables. All the templates use this
@end example
When LilyPond looks at this file, it takes the value of
-@code{melody} (ie everything to the right of the
-@code{melody = }) and inserts it whenever it sees
+@code{melody} (everything after the equals sign) and
+inserts it whenever it sees
@code{\melody}. There's nothing special about the
-name @code{melody}, @code{global}, @code{pianorighthand},
-or @code{foofoobarbaz}. You can use whatever variable
-names you want.
+names -- it could be @code{melody}, @code{global},
+@code{pianorighthand}, or @code{foofoobarbaz}. You
+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}.
-@node Troubleshooting (taking it all apart)
-@section Troubleshooting (taking it all apart)
+@node Score is a single musical expression
+@section Score is a single musical expression
-Sooner or later, you will write a file that LilyPond cannot
-compile. The messages that LilyPond gives may help
-you find the error, but in many cases you need to do some
-investigation to determine the source of the problem.
+In the previous section, @ref{How LilyPond files work},
+we saw the general organization of LilyPond input
+files. But we seemed to skip over the most important
+part: how do we figure out what to write after
+@code{\score}?
-The most powerful tool for this purpose is the
-comment (@code{%} and @code{%@{ ... %@}}). If you don't
-know where a problem is, start commenting out huge portions
-of your input file. After you comment out a section, try
-compiling the file again. If it works, then the problem
-must exist in the portion you just commented. If it doens't
-work, then keep on commenting out material until you have
-something that works.
+We didn't skip over it at all. The big mystery is simply
+that there @emph{is} no mystery. This line explains it
+all:
-In an extreme case, you might end up with only
+@quotation
+@emph{A @code{\score} must begin with a single music expression.}
+@end quotation
+
+@noindent
+You may find it useful to review
+@ref{Music expressions explained}. In that section, we
+saw how to build big music expressions from small
+pieces -- we started from notes, then chords, etc. Now
+we're going to start from a big music expression and
+work our way down.
@example
-\score @{ <<
- % \melody
- % \harmony
- % \bass
->>
- \layout@{@}
+\score @{
+ @{ % this brace begins the overall music expression
+ \new GrandStaff <<
+ insert the whole score of a Wagner opera in here
+ >>
+ @} % this brace ends the overall music expression
+ \layout @{ @}
@}
@end example
-@noindent
-(in other words, an empty file)
+A whole Wagner opera would easily double the length of
+this manual, so let's just do a singer and piano. We
+don't need a @code{GrandStaff} for this ensemble, so we
+shall remove it. We @emph{do} need a singer and a piano,
+though.
+
+@example
+\score @{
+ @{
+ <<
+ \new Staff = "singer" <<
+ >>
+ \new PianoStaff = piano <<
+ >>
+ >>
+ @}
+ \layout @{ @}
+@}
+@end example
-If that happens, don't give up. Uncomment a bit -- say,
-the bass part -- and see if it works. If it doesn't,
-then comment out all of the bass music (but leave
-@code{\bass} in the @code{\score} uncommented.
+Remember that we use @code{<<} and @code{>>} to show
+simultaneous music. And we definitely want to show
+the vocal part and piano part at the same time!
@example
-bass = \relative c' {
-%{
- c4 c c c
- d d d d
-%}
-}
+\score @{
+ @{
+ <<
+ \new Staff = "singer" <<
+ \new Voice = "vocal" @{ @}
+ >>
+ \new Lyrics \lyricsto vocal \new Lyrics @{ @}
+ \new PianoStaff = "piano" <<
+ \new Staff = "upper" @{ @}
+ \new Staff = "lower" @{ @}
+ >>
+ >>
+ @}
+ \layout @{ @}
+@}
+@end example
+
+Now we have a lot more details. We have the singer's
+staff: it contains a @code{Voice} (in LilyPond, this
+term refers to a set of notes, not necessarily vocal
+notes -- for example, a violin generally plays one
+voice) and some lyrics. We also have a piano staff:
+it contains an upper staff (right hand) and a lower
+staff (left hand).
+
+At this stage, we could start filling in notes. Inside
+the curly braces next to @code{\new Voice = vocal},
+we could start writing
+
+@example
+\relative c'' @{
+ a4 b c d
+@}
@end example
-Now start slowly uncommenting more and more of the
-@code{bass} part until you find the problem line.
+But if we did that, the @code{\score} section would
+get pretty long, and it would be harder to understand
+what was happening. So let's use identifiers (or
+variables) instead.
+
+@example
+melody = @{ @}
+text = @{ @}
+upper = @{ @}
+lower = @{ @}
+\score @{
+ @{
+ <<
+ \new Staff = "singer" <<
+ \new Voice = "vocal" @{ \melody @}
+ >>
+ \new Lyrics \lyricsto vocal \new Lyrics @{ \text @}
+ \new PianoStaff = "piano" <<
+ \new Staff = "upper" @{ \upper @}
+ \new Staff = "lower" @{ \lower @}
+ >>
+ >>
+ @}
+ \layout @{ @}
+@}
+@end example
+
+@noindent
+Remember that you can use almost any name you like. The
+limitations on identifier names are detailed in
+@ref{File structure}.
+
+When writing a @code{\score} section, or when reading
+one, just take it slowly and carefully. Start with
+the outer layer, then work on each smaller
+layer. It also really helps to be strict with
+indentation -- make sure that each item on the same
+layer starts on the same horizontal position in your
+text editor!
+
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