@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond-learning.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
@menu
* Extending the templates::
-* How LilyPond files work::
-* Score is a single musical expression::
+* Scores and parts::
@end menu
get the staves that you want? The templates are ok, but what if you
want something that isn't covered?
+@menu
+* Soprano and cello::
+* Another example of extending templates::
+@end menu
+
+@node Soprano and cello
+@unnumberedsubsec Soprano and cello
+
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 "2.9.13"
+\version "2.11.23"
melody = \relative c' @{
\clef treble
\key c \major
@}
@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 "2.9.13"
+\version "2.11.23"
melody = \relative c' @{
\clef treble
\key c \major
notes.
@example
-\version "2.9.13"
+\version "2.11.23"
sopranoMusic = \relative c' @{
\clef treble
\key c \major
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
@end lilypond
+@node Another example of extending templates
+@unnumberedsubsec Another example of extending templates
-@node How LilyPond files work
-@section How LilyPond files work
-
-The LilyPond input format is quite free-form, giving experienced
-users a lot of flexibility to structure their files however they
-wish. However, this flexibility can make things confusing for
-new users. This section will explain some of this structure, but
-may gloss over some details in favor of simplicity. For a complete
-description of the input format, see @ref{File structure}.
-
-Most examples in this manual are little snippets -- for example
+TODO: somebody else fill this in. You guys like vocal stuff,
+right? Get to it. :) -gp
-@example
-c4 a b c
-@end example
-As you are (hopefully) aware by now, this will not compile by
-itself. These examples are shorthand for complete
-examples. They all need at least curly braces to compile
-@example
-@{
- c4 a b c
-@}
-@end example
+@node Scores and parts
+@section Scores and parts
-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'}.
+TODO: this is really old stuff from the really old tutorial.
+Rewrite, fix, etc. -gp
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c4 a b c
-}
-@end lilypond
+In orchestral music, all notes are printed twice. Once in a part for
+the musicians, and once in a full score for the conductor. Variables 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.
-Now we get to the only real stumbling block: LilyPond
-input in this form is actually @emph{another}
-shorthand. Although it compiles and displays the
-correct output, it is shorthand for
+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
-\score @{
- \relative c'' @{
- c4 a b c
- @}
+hornNotes = \relative c @{
+ \time 2/4
+ r4 f8 a cis4 f e d
@}
@end example
-A @code{\score} must begin with a single music
-expression. Remember that a music expression could
-be anything from a single note to a huge
+@noindent
+Then, an individual part is made by putting the following in a file
@example
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
+@}
+
@{
- \new GrandStaff <<
- insert the whole score of a Wagner opera in here
- >>
+ \transpose f c' \hornNotes
@}
@end example
-@noindent
-Since everything is inside @code{@{ ... @}}, it counts
-as one music expression.
-
-The @code{\score} can contain other things, such as
+The line
@example
-\score @{
- @{ c'4 a b c' @}
- \layout @{ @}
- \midi @{ @}
- \header @{ @}
-@}
+\include "horn-music.ly"
@end example
@noindent
-Some people put some of those commands outside the
-@code{\score} block -- for example, @code{\header} is
-often placed above the @code{\score}. That's just
-another shorthand that LilyPond accepts.
+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
-Another great shorthand is the ability to define
-variables. All the templates use this
+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
-melody = \relative c' @{
- c4 a b c
-@}
-
-\score @{
- @{ \melody @}
-@}
+R2*3
@end example
-When LilyPond looks at this file, it takes the value of
-@code{melody} (everything after the equals sign) and
-inserts it whenever it sees
-@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. For
-more details, see
-@ref{Saving typing with identifiers and functions}.
-
-For a complete definition
-of the input format, see @ref{File structure}.
-
-
-@node Score is a single musical expression
-@section Score is a single musical expression
-
-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}?
-
-We didn't skip over it at all. The big mystery is simply
-that there @emph{is} no mystery. This line explains it
-all:
-
-@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.
+When printing the part, multi-rests
+must be condensed. This is done by setting a run-time variable
@example
-\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 @{ @}
-@}
+\set Score.skipBars = ##t
@end example
-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.
+@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
-@example
-\score @{
- @{
- <<
- \new Staff = "singer" <<
- >>
- \new PianoStaff = piano <<
- >>
- >>
- @}
- \layout @{ @}
-@}
-@end example
-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!
+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
-\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
+\include "bassoon-music.ly"
+\include "horn-music.ly"
-@example
-\relative c'' @{
- a4 b c d
-@}
+<<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+>>
@end example
-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.
+@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
-@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
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ruser{Orchestral music}.
+
+Setting run-time variables (@q{properties}) is discussed in
+@ruser{Changing context properties on the fly}.
-@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!
projects / lilypond.git / blobdiff