- @c -*-texinfo-*-
+@c -*-texinfo-*-
@c TODO:
@c * LilyPond Lilypond lilypond (sometimes: the program)
@noindent
then the result looks like this:
-@lilypond[notime]
-\property Score.timing = ##f
-\transpose c'' { c d e f g a b }
+@c ?
+@c \transpose c c' { c d e f g a b }
+@c @lily pond[notime]
+@c \property Score.timing = ##f
+@lilypond[notime, relative=2]
+c d e f g a b
@end lilypond
We will continue with this format: First we show a snippet of input,
@lilypond[notime]
\property Score.timing = ##f
\property Staff.autoBeaming = ##f
-\transpose c'' { a1 a2 a4 a16 a32 s16_" " }
+\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
If you don't specify a @rglos{duration}, the previous one is used:
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { a a a2 a s16_" " }
+\transpose c c' { a a a2 a s16_" " }
@end lilypond
A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { cis1 ees fisis aeses s16_" " }
+\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { a2. a4 a8. a16 s16_" " }
+\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
The @rglos{meter} (or @rglos{time signature}) can be set with the
To run LilyPond, input a text file, then run the command @code{ly2dvi} on
that file. The resulting files are either DVI or PostScript, and can
-be viewed with @code{xdvi} (unix) and ghostview (unix and windows)
+be viewed with @code{xdvi} (Unix) and ghostview (Unix and Windows)
respectively. The following table summarizes the constructs that were
discussed in the previous two sections.
@end quotation
@separate
-A tie is created by entering a tilde ``@code{~}'' between the notes to
-be tied. A tie between two notes means that the second note must not be
-played separately; it just makes the first note sound longer:
-
+A tie is created by adding a tilde ``@code{~}'' to the first note
+being tied.
@quotation
@lilypond[fragment,verbatim]
-g'4 ~ g' a'2 ~ a'4
+g'4-~ g' a'2-~ a'4
@end lilypond
@end quotation
@separate
+A tie is different from a slur. A tie simply makes the first note
+sound longer, and can only be used on pairs of notes with the same
+pitch. Slurs indicate the articulations of notes, and can be used on
+larger groups of notes. Slurs and ties are also nested in practice:
+@lilypond[fragment, relative=1]
+c2-~-( c8 fis fis4 ~ fis2 g2-)
+@end lilypond
+
-The key signature is set with the command ``@code{\key}''. One caution:
-you need to specify whether the key is @code{\major} or @code{\minor}.
+The key signature is set with the command ``@code{\key}''. One
+caution word of caution: you need to specify whether the key is
+@code{\major} or @code{\minor}.
@quotation
@example
\key d \major
\key d \minor
\clef violin
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
@}
\paper @{ @}
\clef violin
\key d \minor
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
}
\paper { linewidth = 50*\staffspace }
@quotation
@lilypond[fragment,relative 1, verbatim]
-d4( )c16( cis d e c cis d )e( )d4
+d4-( c16-)-( cis d e c cis d e-)-( d4-)
@end lilypond
@end quotation
@separate
@quotation
@lilypond[fragment,relative 1, verbatim]
-a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
@end lilypond
@end quotation
@separate
Beams are drawn automatically, but if you don't like the choices, you
-can enter beams by hand. Surround the notes to be grouped with @code{[}
-and @code{]}:
+can enter beams by hand. Mark the first note to be beamed with
+@code{[} and the last one with @code{]}:
@quotation
@lilypond[fragment,relative 1, verbatim]
-[a8 ais] [d es r d]
+a8-[ ais-] d-[ es r d-]
@end lilypond
@end quotation
@separate
In this example, @code{staffA} and @code{staffB} are names that are
given to the staves. It doesn't matter what names you give, as long
-as each staff has a different name.
+as each staff has a different name. If you give them the same name,
+LilyPond will assume that you only want one staff, and will but both
+pieces of music on the same staff.
+
@separate
< \context Staff = staffA {
\time 3/4
\clef violin
- \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ \relative c'' { e2-( d4 c2 b4 a8-[ a-] b-[ b-] g-[ g-] a2.-) }
}
\context Staff = staffB {
\clef bass
@separate
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the following
-note.
+@code{\>}. The command @code{\!} finishes a crescendo on the note it
+is attached to.
@quotation
@lilypond[verbatim,relative 1]
-c2\< \!c2-\ff \>c2 \!c2
+c2-\< c2-\!-\ff c2-\> c2-\!
@end lilypond
@end quotation
@separate
-Chords can be made by surrounding notes with @code{<} and @code{>}:
+Chords can be made by surrounding notes with @code{<<} and @code{>>}:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 <c e g> <c f a>
+r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate
-@ignore
-@c te diepzinnig?
-@c hmm, te losjes, iig
-In general, @code{ < @var{stuff} > } is used when @var{stuff} all
-happens at the same time, like in chords, or (like in the two-staff
-example above) in a bunch of stacked staves.
-@end ignore
You can combine beams and ties with chords. Beam and tie markings
must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
@end lilypond
@end quotation
+@ignore
When you want to combine chords with slurs and dynamics, technical
detail crops up: you have type these commands next to the notes, which
means that they have to be inside the @code{< >}. Don't get confused
by the chord @code{< >} and the dynamic @code{\< \>}!
-
+@end ignore
@quotation
@example
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end example
@lilypond[relative 0, fragment]
\slurUp
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
-@end lilypond
-@end quotation
-@separate
-
-@c this example is a bit too strongly worded -- there's nothing wrong
-@c with starting a piece with a chord; you just have to be careful when
-@c you do so. I've rephrased this example below.
-@c There is one golden rule that you should keep in mind when writing
-@c LilyPond input:
-@c @quotation
-@c @strong{DO NOT START A PIECE WITH A CHORD}
-@c @end quotation
-@c Of course, it is a allowed, but the result might not be what you expect:
-
-@c rephrased "don't start with a chord"
-There is one caution when using chords: if you use a chord at the very
-beginning of the piece, LilyPond might not understand what you want:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
-@end lilypond
-@end quotation
-@separate
-
-If you have a piece that begins with a chord, you must explicitly
-state that the notes of the chord are to be put on the same staff, in
-the same voice. This is done by specifying @code{\context Staff} or
-@code{\context Voice} for the notes:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end lilypond
@end quotation
@separate
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c( d )e
+c-( d e-)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c\( c() d \)e
+c-\( c-( d-) e-\)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-[a8 b]
+a8-[ b-]
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-a\> a \!a
+a-\> a a-\!
@end lilypond
-@item @code{< >}
+@item @code{<< >>}
@tab chord
@tab
@lilypond[fragment, relative 1]
-\context Voice <c e>
+<<c e>>
@end lilypond
@end multitable
-
-
@node Printing lyrics
@section Printing lyrics
@cindex lyrics
\score { \notes { \addlyrics
\notes \relative c' {
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 }
\context Lyrics \lyrics {
Join us now __ and
share the soft -- ware; }
@example
\notes \relative c' @{
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 @}
@end example
Both can be combined with the @code{\addlyrics}:
@node A melody with chords
@section A melody with chords
+[TODO: show how to do fixed 4 measures to the line]
+
In this section we show how to typeset a melody with chord
accompaniment. This file is included as @file{input/tutorial/flowing.ly}.
\partial 8
\key c \minor
g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
+ c4 c8 d es-[ -( d-]-) c4 | f4 f8 g es-[-( d-)-] c g |
+ c4 c8 d es-[ -( d-]-) c4 | d4 es8 d c4.
\bar "|."
@}
\partial 8
\key c \minor
g8 |
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
+ c4 c8 d es-[ -( d-)-] c4 | f4 f8 g es-(-[ d-)-] c g |
+ c4 c8 d es-(-[ d-]-) c4 | d4 es8 d c4.
\bar "|."
}
also be used to get melismata on rests correct.
-@c I think we need to change the name of this section, but that
-@c would probably involve a lot of changes in other places too.
@node More movements
@section More movements
creates the title, then calls @code{lilypond} to format the sheet music.
In this section, we show you how to create titles like this:
-@c Old version of the above paragraph.
-@c LilyPond only produces sheet music; it doesn't concern itself with
-@c producing titles. Titles are produced using a simply wrapper program
-@c This is the jobs of a simple wrapper
-@c program called ly2dvi. @code{ly2dvi} calls LilyPond to do the
-@c sheet music formatting. Then it produces titles, and ties together all
-@c inputs into a single @file{dvi} file. In this section, we show some of
-@c the options for titling. We will show how you can produce a file
-@c that looks like this:
-
@center @strong{Two miniatures}
@flushright
Opus 1.
@cindex tag line
Many people find the default tagline (``Lily was here'') too droll.
-If that is the case, you can change @code{tagline} to somethign else,
+If that is the case, you can change @code{tagline} to something else,
as shown above.
@separate
@separate
@example
-<c4-\arpeggio g' c>
+<<c g' c>>4-\arpeggio
@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a chord.
+The delimiters @code{<<} and @code{>>} enclose the pitches of a chord.
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line)
+before the chord.
@cindex arpeggio
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
-the chord.
@separate
@example
@code{\context}.
@separate
@example
-\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
+\voiceOne s4 g8. b,16 c8 r <<e' g>>8. <<f a>>16
@end example
The oboes should have stems up to keep them from interfering with
@separate
@example
-\grace <e8( g> < d4 )f> <c2 e>
+\grace <<e g>>-( <<d f>>4-) <<c e>>2
@end example
@cindex @code{\grace}
@cindex ornaments
of their notated duration, so in this case the fraction is 2/3.
@separate
@example
-@{ <d8 f> <e g> <f a> @}
+@{ <<d f>>8 <<e g>> <<f a>> @}
@end example
The piece of music to be `tripletted' is sequential music containing
three chords.
@separate
@example
\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+\grace <<c, e>>8-( <<b d>>8.-\trill <<c e>>16 |
@end example
@cindex trill
@cindex stemBoth
@separate
@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+\context Voice = reallyLow @{\stemDown g2-~ | g4 c8 @} >
@end example
@cindex tie
@cindex @code{~}
works. We insert an empty text between the 5 and the note. The empty
text pushes the fingering instruction away:
@example
- a^" "^#'(finger "5")
+ a-)^" "^\markup @{ \finger "5" @}
@end example
-Lilypond tries to put fingering instructions as close to the notes as
-possible. To make sure that Lilypond doesn't do that, we disguise the
-fingering as text: @code{(finger "5")}.
-
+A fingering instruction, which would be entered as @code{^5}, is put
+as close to the notes as possible, closer than the space entered to
+push away the 5. Hence, the 5 is entered as a normal text, formatting
+of fingering instructions.
+
@separate
Normally one would specify all dynamics in the same voice, so that
different voice, and blank the stem. This is done in the following
snippet of code.
+@cindex transparent objects
+@cindex removing objects
+@cindex invisible objects
@example
\property Voice.Stem \set #'transparent = ##t
d'
@subsection The full score
-The second file, @file{input/tutorial/os-score.ly}, reads the definitions of the first
-(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
-
+The second file, @file{input/tutorial/os-score.ly}, reads the
+definitions of the first (@file{input/tutorial/os-music.ly}), and
+defines the @code{\score} block for the full conductor's score.
@example
-% os-score.ly
+\version "1.7.6"
+
\include "os-music.ly"
\include "paper13.ly"
#(ly:set-point-and-click 'line-column)
-#(define text-flat '((font-relative-size . -2)
- (music "accidentals--1")))
-
+textFlat = \markup @{\smaller \musicglyph #"accidentals--1"@}
\score @{
<
\global
\property Score.BarNumber \override #'padding = #3
\context StaffGroup = woodwind <
\context Staff = flauti <
- \property Staff.midiInstrument = #"flute"
- \property Staff.instrument = "2 Flauti"
- \property Staff.instr = "Fl."
+ \property Staff.midiInstrument = #"flute"
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
\Key
- \context Voice=one @{ \voiceOne \flautoI @}
- \context Voice=two @{ \voiceTwo \flautoII @}
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
>
>
\context StaffGroup = timpani <
\context Staff = timpani <
- \property Staff.midiInstrument = #"timpani"
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
- \property Staff.instr = #"Timp."
- \clef bass
+ \property Staff.midiInstrument = #"timpani"
+ \property Staff.instrument = \markup @{ \column << "Timpani" "(C-G)" >> @}
+ \property Staff.instr = #"Timp."
+ \clef bass
\Key
- \timpani
+ \timpani
>
>
\context StaffGroup = brass <
\context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
+ \property Staff.midiInstrument = #"trumpet"
+ \property Staff.instrument = \markup @{ \column << "2 Trombe" "(C)" >> @}
+ \property Staff.instr = \markup@{ \column << "Tbe." "(C)">> @}
\Key
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \context Thread=two \tromboII
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
>
\context Staff = corni <
\property Staff.midiInstrument = #"french horn"
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
- \property Staff.instr = #`(lines "Cor."
- (columns "(E" ,text-flat ")"))
- \property Staff.transposing = #3
- \notes \key bes \major
- \context Voice=one \corno
+ \property Staff.instrument
+ = \markup @{ \column << "Corno" @{ "(E" \textFlat ")" @} >> @}
+ \property Staff.instr =
+ \markup @{ \column << "Cor." @{ "(E" \textFlat ")" @} >> @}
+ \property Staff.transposing = #3
+ \notes \key bes \major
+ \context Voice=one \corno
>
>
>
\paper @{
indent = 15 * \staffspace
- linewidth = 55 * \staffspace
+ linewidth = 60 * \staffspace
textheight = 90 * \staffspace
+ \translator@{
+ \VoiceContext
+ \consists "Multi_measure_rest_engraver"
+ @}
\translator@{
\HaraKiriStaffContext
+ \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
projects / lilypond.git / blobdiff