@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 is an extention of the tutorial, dealing with FIXME.
+
@menu
-* Suggestions for writing LilyPond files::
* Extending the templates::
-* Fixing overlapping notation::
* How LilyPond files work::
* Score is a single musical expression::
-* Troubleshooting (taking it all apart)::
+* Organizing larger pieces::
+* An orchestral part::
@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
-
-If you are entering music from an existing score (ie typesetting a
-piece of public domain music),
-
-@itemize @bullet
-
-@item Enter one manuscript (the physical copy) line at a time, and
-check each line when you finish it. You may use the
-@code{showLastLength} command to speed up processing -- see
-@ref{Skipping corrected music}.
-
-@item Define @code{mBreak = @{ \break @}} and insert @code{\mBreak}
-in the input file whenever the manuscript has a line break. This
-makes it much easier to compare the LilyPond music to the original
-music. When you are finished proofreading your score, you may
-define @code{mBreak = @{ @}} to remove all those line breaks. This
-will allow LilyPond to place line breaks wherever it feels are
-best.
-
-@end itemize
-
-
@node Extending the templates
@section Extending the templates
soprano part).
@example
-\version "2.6.0"
+\version "2.7.39"
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 @}
Now we want to add a cello part. Let's look at the ``Notes only'' example:
@example
-\version "2.6.0"
+\version "2.7.39"
melody = \relative c' @{
\clef treble
\key c \major
notes.
@example
-\version "2.6.0"
+\version "2.7.39"
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 @}
@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 @}
@}
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 "2.7.39"
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 }
-@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
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 @{
@{
<<
- \context Staff = singer @{
- @}
- \context PianoStaff = piano @{
- @}
+ \new Staff = "singer" <<
+ >>
+ \new PianoStaff = piano <<
+ >>
>>
@}
\layout @{ @}
\score @{
@{
<<
- \context Staff = singer @{
- \context Voice = vocal @{ @}
- \lyricsto vocal \new Lyrics @{ @}
- @}
- \context PianoStaff = piano @{
- \context Staff = upper @{ @}
- \context Staff = lower @{ @}
- @}
+ \new Staff = "singer" <<
+ \new Voice = "vocal" @{ @}
+ >>
+ \new Lyrics \lyricsto vocal \new Lyrics @{ @}
+ \new PianoStaff = "piano" <<
+ \new Staff = "upper" @{ @}
+ \new Staff = "lower" @{ @}
+ >>
>>
@}
\layout @{ @}
staff (left hand).
At this stage, we could start filling in notes. Inside
-the curly braces next to @code{\context Voice = vocal},
+the curly braces next to @code{\new Voice = vocal},
we could start writing
@example
\score @{
@{
<<
- \context Staff = singer @{
- \context Voice = vocal @{ \melody @}
- \lyricsto vocal \new Lyrics @{ \text @}
- @}
- \context PianoStaff = piano @{
- \context Staff = upper @{ \upper @}
- \context Staff = lower @{ \lower @}
- @}
+ \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 @{ @}
text editor!
-@node Troubleshooting (taking it all apart)
-@section Troubleshooting (taking it all apart)
+@node Organizing larger pieces
+@section Organizing larger pieces
-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.
+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.
-The most powerful tools for this purpose are the
-single line comment (indicated by @code{%}) and the block
-comment (indicated by @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.
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions. An identifier is assigned as follows
-In an extreme case, you might end up with only
+@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
-\score @{
- <<
- % \melody
- % \harmony
- % \bass
- >>
- \layout@{@}
+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
-@noindent
-(in other words, a file without any music)
+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.
+
-If that happens, don't give up. Uncomment a bit -- say,
-the bass part -- and see if it works. If it doesn't work,
-then comment out all of the bass music (but leave
-@code{\bass} in the @code{\score} uncommented.
+@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
-bass = \relative c' @{
-%@{
- c4 c c c
- d d d d
-%@}
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
@}
+
+@{
+ \transpose f c' \hornNotes
+@}
+@end example
+
+The line
+
+@example
+\include "horn-music.ly"
@end example
-Now start slowly uncommenting more and more of the
-@code{bass} part until you find the problem line.
+@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