-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@node Putting it all together
@chapter Putting it all together
-This section will demonstrate more complicated stuff in LilyPond, probably
-via annotated examples. It's currently incomplete and serves as a
-placeholder so that the chapter numbering doesn't change later.
+This section explains how to use the rest of the documentation and
+how to solve common problems.
@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)::
@end menu
-@c explain \score{} ? Add a note to the tutorial?
@node Suggestions for writing LilyPond files
@section Suggestions for writing LilyPond files
@itemize @bullet
@item Include @code{\version} numbers in every file. Note that all
-templates contain a @code{\version "2.4.0"} string. We
+templates contain a @code{\version "2.7.32"} 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
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
+@item One bar per line of text. 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.
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
-don't comment the file.
+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 existing sheet music),
+
+@itemize @bullet
+
+@item Enter one manuscript (the physical copy) system at a time (but still
+only one bar per line of text), and
+check each system 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
+
+You've read the tutorial, you know how to write music. But how can you
+get the staves that you want? The templates are ok, but what if you
+want something that isn't covered?
+
+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
+soprano part).
+
+@example
+\version "2.7.39"
+melody = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+@}
+
+text = \lyricmode @{
+ Aaa Bee Cee Dee
+@}
+
+\score@{
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \melody
+ @}
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout @{ @}
+ \midi @{ \tempo 4=60 @}
+@}
+@end example
+
+Now we want to add a cello part. Let's look at the ``Notes only'' example:
+
+@example
+\version "2.7.39"
+melody = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+@}
+
+\score @{
+\new Staff \melody
+\layout @{ @}
+\midi @{ \tempo 4=60 @}
+@}
+@end example
+
+We don't need two @code{\version} commands. We'll need the @code{melody}
+section. We don't want two @code{\score} sections -- if we had two
+@code{\score}s, we'd get the two parts separately. We want them together,
+as a duet. Within the @code{\score} section, we don't need two
+@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}
+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
+@code{\score} section).
+
+While we're doing this, let's change the cello part's staff -- celli
+normally use bass clef. We'll also give the cello some different
+notes.
+
+@example
+\version "2.7.39"
+sopranoMusic = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+@}
+
+sopranoLyrics = \lyricmode @{
+ Aaa Bee Cee Dee
+@}
+
+celloMusic = \relative c @{
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ d4 g fis8 e d4
+@}
+
+\score@{
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \sopranoMusic
+ @}
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \layout @{ @}
+ \midi @{ \tempo 4=60 @}
+@}
+@end example
+
+This is looking promising, but the cello part won't appear in the
+score -- we haven't used it in the @code{\score} section. If we
+want the cello part to appear under the soprano part, we need to add
+
+@example
+\new Staff \celloMusic
+@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
+@code{\score} looks like this now
+
+@example
+\score@{
+ <<
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \sopranoMusic
+ @}
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
+ >>
+ \layout @{ @}
+ \midi @{ \tempo 4=60 @}
+@}
+@end example
+
+@noindent
+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 "2.7.39"
+sopranoMusic = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+
+ a4 b c d
+}
+
+sopranoLyrics = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+celloMusic = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+
+ d4 g fis8 e d4
+}
+
+\score{
+ <<
+ <<
+ \new Voice = "one" {
+ \autoBeamOff
+ \sopranoMusic
+ }
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
+ >>
+ \layout { }
+ \midi { \tempo 4=60 }
+}
+@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,ragged-right,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; it is measured in staff spaces. For most
+objects, this value 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,ragged-right,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,ragged-right,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,ragged-right,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
+
+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
+
+@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
+
+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,ragged-right,verbatim]
+\relative c'' {
+ c4 a b c
+}
+@end lilypond
+
+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
+
+@example
+\score @{
+ \relative c'' @{
+ c4 a b c
+ @}
+@}
+@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
+
+@example
+@{
+ \new GrandStaff <<
+ insert the whole score of a Wagner opera in here
+ >>
+@}
+@end example
+
+@noindent
+Since everything is inside @code{@{ ... @}}, it counts
+as one music expression.
+
+The @code{\score} can contain other things, such as
+
+@example
+\score @{
+ @{ c'4 a b c' @}
+ \layout @{ @}
+ \paper @{ @}
+ \midi @{ @}
+ \header @{ @}
+@}
+@end example
+
+@noindent
+Most 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.
+
+Another great shorthand is the ability to define
+variables. All the templates use this
+
+@example
+melody = \relative c' @{
+ c4 a b c
+@}
+
+\score @{
+ @{ \melody @}
+@}
+@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 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:
+
+@example
+A @code{\score} must begin with a single music expression.
+@end example
+
+@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 @{
+ @{ % 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
+
+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
+
+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
+\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
+
+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!
+
+
+@node Troubleshooting (taking it all apart)
+@section Troubleshooting (taking it all apart)
+
+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.
+
+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 doesn't
+work, then keep on commenting out material until you have
+something that works.
+
+In an extreme case, you might end up with only
+
+@example
+\score @{
+ <<
+ % \melody
+ % \harmony
+ % \bass
+ >>
+ \layout@{@}
+@}
+@end example
+
+@noindent
+(in other words, a file without any music)
+
+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.
+
+@example
+bass = \relative c' @{
+%@{
+ c4 c c c
+ d d d d
+%@}
+@}
+@end example
+
+Now start slowly uncommenting more and more of the
+@code{bass} part until you find the problem line.
+
projects / lilypond.git / blobdiff