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
@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:
@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
-
-
@node Printing lyrics
@section Printing lyrics
@cindex lyrics
@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}.
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
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