@c -*-texinfo-*-
-@c TODO: LilyPond LilyPond LilyPond
+@c TODO:
+@c * LilyPond Lilypond lilypond (sometimes: the program)
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
@menu
* First steps:: Music language of LilyPond
-* Cheat sheet::
* Running LilyPond:: Printing music
-* The first real tune:: The first real tune
-* Lyrics and chords:: Lyrics and chords
+* More basics::
+* Printing lyrics::
+* A melody with chords ::
+* More stanzas::
* More movements :: Joining separate pieces of music
* A piano excerpt:: Piano music
* Fine tuning a piece::
* An orchestral score:: Conductor's score and individual parts
-* Other ways to run LilyPond:: Other ways to run LilyPond
* Integrating text and music:: Integrating text and music
-* End of tutorial:: The end
@end menu
-Operating lilypond is done through text files: to print a piece of
-music, you enter the music in a file. When you run lilypond, that
-file is read, and after some computations, the program produces a file
-containing the sheet music that you can print or view.
+Operating lilypond is done through text files: To print a piece of
+music, you enter the music in a file. When you run lilypond (normally
+using the program @code{ly2dvi}) on that file, the program produces
+another file which contains sheet music that you can print or view.
This tutorial starts with a small introduction to the LilyPond music
language. After this first contact, we will show you how to run
LilyPond to produce printed output; you should then be able to create
-your first sheets of music. The tutorial continues with more and more
+your first sheets of music. The tutorial continues with more and more
complex examples.
-@c title?
-
@node First steps
@section First steps
-@c @node Music language of LilyPond
-@c @section Music language of LilyPond
-
-In this section, we show how to make small, very simple pieces of
-music in LilyPond. If you have not seen LilyPond input files before,
-this section is for you. The contents of this section are summarized
-in the Cheat Sheet (See @ref{Cheat sheet}).
+We start off by showing how very simple music is entered in LilyPond:
+you get a note simply by typing its @htmlref{note name}, from @samp{a}
+through @samp{g}. So if you enter
-You get a simple note by typing its note name, from @code{a} through
-@code{g}. So if you enter
-@quotation
@example
c d e f g a b
@end example
-@end quotation
+
+@noindent
then the result looks like this:
-@quotation
-@lilypond[fragment]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\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
-@end quotation
-@separate
-We continue showing LilyPond input like we did previously: first a
-snippet of input, then the resulting output.
+We will continue with this format: First we show a snippet of input,
+then the resulting output.
-The length of a note is specified by adding a number, ``@code{1}'' for a
-whole note, ``@code{2}'' for a half note, and so on:
+The length of a note is specified by adding a number, @samp{1} for a
+@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
-@quotation
@example
a1 a2 a4 a16 a32
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
-%\property Staff.Clef = \turnOff
-\transpose c'' { a1 a2 a4 a16 a32 }
-s16_" "
+\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-@end quotation
-@separate
-If you don't specify a duration, the previous one is used:
-@quotation
+If you do not specify a @rglos{duration}, the previous one is used:
+
@example
-a a a2 a
+a4 a a2 a
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-%\property Staff.Clef = \turnOff
-\transpose c'' { a a a2 a }
-s16_" "
+\transpose c c' { a a a2 a s16_" " }
@end lilypond
-@end quotation
-@separate
-A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
-(@texiflat{}) by adding ``@code{es}'':
+A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
+@rglos{flat} (@texiflat{}) by adding @samp{es}. As you would expect,
+a @rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}:
-@quotation
@example
cis1 ees fisis aeses
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\transpose c'' { cis1 ees fisis aeses }
-s16_" "
+\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
-@end quotation
-@separate
-Add a dot ``@code{.}'' after the duration to get a dotted note:
-@quotation
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
+
@example
a2. a4 a8. a16
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature \set #'transparent = ##t
-%\property Staff.Clef = \turnOff
-\transpose c'' { a2. a4 a8. a16 }
-s16_" "
+\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
-@end quotation
-@separate
-The meter (or time signature) can be set with the @code{\time} command:
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command:
-@quotation
@example
\time 3/4
\time 6/8
@end example
@c a clef here may lead to confusion
-@lilypond[fragment]
+@lilypond
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
\time 4/4
s16_" "
@end lilypond
-@end quotation
-@separate
-The clef can be set using the ``@code{\clef}'' command:
+The @rglos{clef} can be set using the @code{\clef} command:
@c what is more common name treble or violin?
@c in Dutch, its violin.
-@quotation
+@c in English its definitely treble.
@example
-\clef violin
+\clef treble
\clef bass
\clef alto
\clef tenor
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\clef violin
s4_" "
\clef bass
\clef tenor
s16_" "
@end lilypond
-@end quotation
-@separate
-From these commands and notes, a piece of music can be formed. A piece
-of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
-LilyPond then knows that music follows (and not lyrics, for example):
+When you enter these commands in a file, you must to enclose them in
+@code{\notes @{@dots{}@}}. This lets LilyPond know that music (as
+opposed to @rglos{lyrics}) follows:
-@quotation
@example
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
@end example
-@end quotation
-@separate
-
-At this point, the piece of music is ready to be printed. This is done
-by combining the music with a printing command.
+Now the piece of music is almost ready to be printed. The final step is to
+combine the music with a printing command.
-The printing command is the so-called ``@code{\paper}'' block. You
-will see later that the \paper block is necessary to customize all
-kinds of printing specifics. The music and the \paper block are
-combined by enclosing them in ``@code{\score @{ ... @}}''. This is
-what a full LilyPond source file looks like:
+The printing command is the so-called @code{\paper} block. Later on
+you will see that the @code{\paper} block is used to customize
+printing specifics. The music and the @code{\paper} block are combined by
+enclosing them in @code{\score @{ ... @}}. This is what a full
+LilyPond source file looks like:
-@quotation
@example
\score @{
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
\paper @{ @}
@}
@end example
-@lilypond
+@lilypond[noindent]
\score {
\notes {
\time 3/4
c2 e4 g2.
f4 e d c2.
}
- \paper { linewidth = 60 * \staffspace }
+ \paper {
+ linewidth = 55 * \staffspace
+ }
}
@end lilypond
+
+
+@node Running LilyPond
+@section Running LilyPond
+
+In the last section we explained what kind of things you could enter
+in a lilypond file. In this section we explain how to run LilyPond
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup of LilyPond, or want to run an example
+file yourself, read this section. The instructions that follow
+are for running LilyPond on Unix-like systems. Some additional
+instructions for running LilyPond on Windows are given at the end of
+this section.
+
+Begin by opening a terminal window and starting a text editor.
+For example, you could open an xterm and execute @code{joe}. In your
+text editor, enter the following input and save the file as
+@file{test.ly}:
+
+@quotation
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
@end quotation
-@separate
+@cindex ly2dvi
-We continue with the introduction of the remaining musical constructs.
+@c now this is weird, running ly2dvi to run LilyPond
+@c (therefore name change proposal)
+
+LilyPond is the program that computes the sheet music. All other
+things, such as adding titles, page breaking and other page layout,
+are done by a small wrapper program called
+@code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
+then adds the titling and page layout instructions. To process
+@file{test.ly} with @code{ly2dvi}, proceed as follows:
+
+@quotation
+@example
+ly2dvi -p test.ly
+@end example
+@end quotation
+
+You will see the following on your screen:
+
+@quotation
+@example
+GNU LilyPond 1.7.16
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PDF output to `test.pdf'...
+DVI output to `test.dvi'...
+@end example
+@end quotation
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.pdf}. The PDF file (@file{test.pdf}) is the one you can
+print or view. For example, viewing PDF can be done with ghostview.
+If a version of ghostview is installed on your system, one of these
+commands will produce a window with some music notation on your
+screen:
+@c eeek
+@quotation
+@example
+ gv test.pdf
+ ghostview test.pdf
+ ggv test.pdf
+ kghostview test.pdf
+@end example
+@end quotation
+If the music on your screen looks good, you can print it by clicking
+File/Print inside ghostview.
+
+The DVI file (@file{test.dvi}) contains the same sheet music in a
+different format. DVI files are more easily processed by the computer,
+so viewing them usually is quicker. You can run @code{xdvi test.dvi} or
+@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse burtons
+activate magnifying glasses. Unfortunately, variable symbols (such as
+beams and slurs) are not displayed in the magnifying glasses.
+
+
+@cindex Ghostscript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+@cindex PDF
+
+If you are familiar with @TeX{}, be warned: do not use other DVI
+drivers like @code{dvilj}. The @TeX{} coming out of LilyPond uses
+embedded PostScript code and will not render correctly if you use
+anything other than @code{dvips}.
+
+@cindex dvips
+@cindex dvilj
+@cindex DVI driver
+
+@unnumberedsubsec Windows users
+Windows users can start the terminal by clicking on the LilyPond or
+Cygwin icon. You can use any text editor (such as NotePad, Emacs or
+Vim) to edit the LilyPond file. If you install the Cygwin's
+@code{XFree86} X11 window system, @code{tetex-x11} and
+@code{ghostscript-x11} packages too, you can view the @code{dvi}
+output doing @code{xdvi test.dvi} as described above. If you have
+installed a PostScript/PDF viewer, such as @code{GSView} from
+@uref{http://www.cs.wisc.edu/~ghost}, viewing the PDF file can be done
+with:
+@quotation
+@example
+@code{gsview32 test.pdf}
+@end example
+@end quotation
+You can also print from the command line by executing:
+@quotation
+@example
+@code{gsview32 /s test.pdf}
+@end example
+@end quotation
+
+
+@strong{SUMMARY}
+
+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)
+respectively. The following table summarizes the constructs that were
+discussed in the previous two sections.
+
+@multitable @columnfractions .3 .3 .4
+
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
+
+@item @code{1 2 8 16}
+@tab durations
+@tab
+@lilypond[relative 1, notime]
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c1 c2 c8 c16
+@end lilypond
+
+@item @code{. ..}
+@tab augmentation dots
+@tab
+@lilypond[relative 1, notime]
+\property Staff.Clef = \turnOff
+c4. c4..
+@end lilypond
+
+@item @code{c d e f g a b }
+@tab scale
+@tab
+@lilypond[relative 1, notime]
+\property Staff.Clef = \turnOff
+c d e f g a b
+@end lilypond
+
+@item @code{\clef treble \clef bass }
+@tab clefs
+@tab
+@lilypond[notime]
+\clef treble
+s4_" "
+\clef bass
+s4_" "
+@end lilypond
+
+@item @code{\time 3/4 \time 4/4 }
+@tab time signature
+@tab
+@lilypond
+\property Staff.Clef \set #'transparent = ##t
+\time 3/4
+s4_" "
+\time 4/4
+s16_" "
+@end lilypond
+
+@end multitable
-@c maybe legend here?
+@node More basics
+@section More basics
+
+We continue with the introduction of the remaining musical constructs.
Normal rests are entered just like notes with the name ``@code{r}'':
@quotation
@end quotation
@separate
-@c Tim wants to move this quotes example just before the: quotes-don't-work
+@c Tim wants to move this quotes example just before the: quotes-do not-work
@c score, but we'd need to remove quotes from the other two (key and
@c tie) examples...
@c but we'd need to remove the ', from \key and tie
To raise a note by an octave, add a high quote @code{'} (apostrophe) to
the note name, to lower a note one octave, add a ``low quote'' @code{,}
-(a comma). The central C is @code{c'}:
+(a comma). Middle C is @code{c'}:
@quotation
@example
@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, but 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}'':
+
+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
@c bit on the long/complex/scary taste
@c cheating a bit: two lines makes for a friendlier look
This example shows notes, ties, octave marks, and rests in action.
-Don't worry about all the quotes.
@quotation
@example
\score @{
\notes @{
\time 4/4
- \clef violin
\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 }
@end quotation
@c accidentals...
-There are some interesting points to note in this example. Firstly,
-accidentals (sharps and flats) don't have to be marked explicitly: you
+There are some interesting points to note in this example.
+Accidentals (sharps and flats) do not have to be marked explicitly: you
just enter the note name, and LilyPond determines whether or not to
-print an accidental. Secondly, bar lines and beams are drawn
-automatically. Thirdly, LilyPond calculates line breaks for you; it
-doesn't matter where you make new lines in the source file.
+print an accidental. Bar lines and beams are drawn automatically.
+LilyPond calculates line breaks for you; it does not matter where you
+make new lines in the source file. Finally, the order of time, key and
+clef changes is not relevant: lilypond will use standard notation
+conventions for ordering these items.
The example also indicates that a piece of music written in a high
-register needs lots of quotes. This makes the input a bit unreadable,
-and is therefore also a potential source of errors.
-
-@separate
-
-The solution is to use ``relative octave'' mode. In practice, most
-music is entered using this mode.
-
-To use relative mode, add @code{\relative} before the piece of music.
-You must also give a note from which relative starts, in this case
-@code{c''}.
-
-@c In relative octave mode, quotes are used to mark large jumps in the
-@c melody. Without any quotes or commas, the interval between a note and
-@c its predecessor is assumed to be a fourth or less. Quotes and commas
-@c add octaves in up and down direction.
-
-If you type no octaviation quotes, relative mode chooses the note that
-is closest to the previous one, which is often just the one you need.
-@c don't use commas or quotes in this sentence
+register needs lots of quotes. This makes the input less readable,
+and is also a potential source of errors.
+
+The solution is to use ``relative octave'' mode. In practice, this is
+the most convenient way to copy existing music. To use relative mode,
+add @code{\relative} before the piece of music. You must also give a
+note from which relative starts, in this case @code{c''}. If you do not
+use octavation quotes (ie do not add ' or , after a note), relative mode
+chooses the note that is closest to the previous one. Since most music
+has small intervals, you can write quite a lot in relative mode without
+using octavation quotes.
+@c do not use commas or quotes in this sentence
For example: @code{c f} goes up; @code{c g} goes down:
@quotation
@end quotation
@separate
+
@c needed better, maybe even redundant explanation
+@c added another example below.
@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
-You can make a large interval by adding octaviation quotes. Note that
+You can make larger intervals by adding octavation quotes. Note that
quotes or commas do not determine the absolute height of a note;
the height of a note is relative to the previous one.
-@c don't use commas or quotes in this sentence
+@c do not use commas or quotes in this sentence
For example: @code{c f,} goes down; @code{f, f} are both the same;
-@code{c c'} are the same; and @code{c g'} goes up:
+@code{c' c} are the same; and @code{c g'} goes up:
@quotation
@example
@end quotation
@separate
-A slur is drawn across many notes, and indicates bound articulation
-(legato). The starting note and ending note are marked with a
-``@code{(}'' and a ``@code{)}'' respectively:
-
-@quotation
-@lilypond[fragment,relative 1, verbatim]
-d4( )c16( cis d e c cis d )e( )d4
-@end lilypond
-@end quotation
-@separate
-If you need two slurs at the same time (one for articulation, one for
-phrasing), you can also make a phrasing slur with @code{\(} and
-@code{\)}.
+Here's an example of the difference between relative mode and
+``normal'' (non-relative) mode:
-@c lousy example
@quotation
-@lilypond[fragment,relative 1, verbatim]
-a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@example
+\relative a @{
+\clef bass
+ a d a e d c' d'
+@}
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\relative a {
+\clef bass
+ a d a e d c' d'
+}
@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{]}:
@quotation
-@lilypond[fragment,relative 1, verbatim]
-[a8 ais] [d es r d]
+@example
+\clef bass
+ a d a e d c' d'
+@end example
+
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\clef bass
+ a d a e d c' d'
@end lilypond
@end quotation
@separate
-To print more than one staff, each piece of music that makes up a staff
-is marked by adding @code{\context Staff} before it. These
-@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is
-demonstrated here:
+@strong{SUMMARY}
-@quotation
-@lilypond[fragment,verbatim]
-<
- \context Staff = staffA { \clef violin c'' }
- \context Staff = staffB { \clef bass c }
->
-@end lilypond
-@end quotation
+The following table summarizes the syntax in this section.
-In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. For now, it doesn't matter what names you give, as
-long as each staff has a unique name.
+@c Is it possible to avoid page breaks directly after the
+@c table head? /Mats
-@separate
+@multitable @columnfractions .3 .3 .4
-We can typeset a melody with two staves now:
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
-@quotation
-@lilypond[verbatim]
-\score {
- \notes
- < \context Staff = staffA {
- \time 3/4
- \clef violin
- \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
- }
- \context Staff = staffB {
- \clef bass
- c2 e4 g2.
- f4 e d c2.
- }
- >
- \paper {}
-}
+@item @code{r4 r8}
+@tab rest
+@tab
+@lilypond[relative 1, notime]
+\property Staff.Clef = \turnOff
+r4 r8
@end lilypond
-@end quotation
-Notice that the time signature is specified in one melody staff only
-(the top staff), but is printed on both. LilyPond knows that the time
-signature should be the same for all staves.
+@item @code{~}
+@tab tie
+@tab
+@lilypond[relative 1, notime]
+\property Score.timing = ##f
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+d ~ d
+@end lilypond
-@separate
+@item @code{\key es \major }
+@tab key signature
+@tab
+@lilypond[notime]
+\clef treble
+\key es \major
+s4
+@end lilypond
+
+@item @var{note}@code{'}
+@tab raise octave
+@tab
+@lilypond[relative 1, notime]
+\property Score.timing = ##f
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a a'
+@end lilypond
+
+@item @var{note}@code{,}
+@tab lower octave
+@tab
+@lilypond[relative 1, notime]
+\property Score.timing = ##f
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c c,
+@end lilypond
+
+@end multitable
+
+A slur is drawn across many notes, and indicates bound articulation
+(legato). The starting note and ending note are marked with a
+``@code{(}'' and a ``@code{)}'' respectively:
-Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
@quotation
-@lilypond[verbatim,relative 1]
-c-. c-- c->
+@lilypond[fragment,relative 1, verbatim]
+d4-( c16-)-( cis d e c cis d e-)-( d4-)
@end lilypond
@end quotation
@separate
-Dynamic signs are made by adding the markings to the note:
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
+
+@c lousy example
+@c ? --hwn
+@c fragment of 1st hrn in Adams' The Chairman Dances, with creative
+@c chromatic thing pasted in front. (admittedly the original does not
+@c have a phrasing slur. The problem is that we do not want the slur
+@c and the Phrasing slur to collide. We are trying to make a good
+@c impression here.
+
@quotation
-@lilypond[verbatim,relative 1]
-c-\ff c-\mf
+@lilypond[fragment,relative 1, verbatim]
+a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
@end lilypond
@end quotation
@separate
-Crescendi are started with the commands @code{\<} and @code{\>}. The
-command @code{\!} finishes a crescendo on the following note.
+Beams are drawn automatically, but if you do not like the choices, you
+can enter beams by hand. Mark the first note to be beamed with
+@code{[} and the last one with @code{]}:
@quotation
-@lilypond[verbatim,relative 1]
-c2\< \!c2-\ff \>c2 \!c2
+@lilypond[fragment,relative 1, verbatim]
+a8-[ ais-] d-[ es r d-]
@end lilypond
@end quotation
@separate
-Chords can be made by surrounding notes with @code{<} and @code{>}:
+To print more than one staff, each piece of music that makes up a staff
+is marked by adding @code{\context Staff} before it. These
+@code{Staff}'s are then grouped inside @code{<} and @code{>}, as is
+demonstrated here:
+
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <c e g> <c f a>
+@lilypond[fragment,verbatim]
+<
+ \context Staff = staffA { \clef violin c'' }
+ \context Staff = staffB { \clef bass c }
+>
@end lilypond
@end quotation
+
+In this example, @code{staffA} and @code{staffB} are names that are
+given to the staves. It does not matter what names you give, as long
+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
-@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
+We can now typeset a melody with two staves:
-Of course, you can combine beams and ties with chords. Notice that
-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>
+@lilypond[verbatim,singleline]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef violin
+ \relative c'' {
+ e2-( d4 c2 b4 a8-[ a-]
+ b-[ b-] g-[ g-] a2.-) }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
@end lilypond
@end quotation
-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{< >}:
+Notice that the time signature is specified in one melody staff only
+(the top staff), but is printed on both. LilyPond knows that the time
+signature should be the same for all staves.
+
+@separate
+Common accents can be added to a note using @code{-.}, @code{--}, @code{->}:
@quotation
-@lilypond[relative 0, fragment,verbatim]
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@lilypond[verbatim,relative 1]
+c-. c-- c->
@end lilypond
@end quotation
@separate
-There is one golden rule that you should keep in mind when writing
-LilyPond input:
+Dynamic signs are made by adding the markings to the note:
@quotation
-@strong{DO NOT START A PIECE WITH A CHORD}
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
@end quotation
-Of course, it is a allowed, but the result might not be what you expect:
+@separate
+
+Crescendi and decrescendi are started with the commands @code{\<} and
+@code{\>}. The command @code{\!} finishes a crescendo on the note it
+is attached to.
@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
+@lilypond[verbatim,relative 1]
+c2-\< c2-\!-\ff c2-\> c2-\!
@end lilypond
@end quotation
@separate
-Of course, it is possible to typeset pieces that start with a chord,
-but you must make explicit that the notes of chord are to be put on
-the same staff, in the same voice. This is done by specifying
-@code{\context Staff} for the notes:
-
+Chords can be made by surrounding notes with @code{<<} and @code{>>}:
@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+@lilypond[relative 0, fragment,verbatim]
+r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate
-
+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 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
+@end lilypond
+@end quotation
@ignore
-[TODO add some more here
-
-* lyrics, chords (?)
-
-* \header
-
-* identifiers?
-
-]
+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{< >}. Do Not get confused
+by the chord @code{< >} and the dynamic @code{\< \>}!
@end ignore
-This is the end of the simple tutorial. You know the basic ingredients
-of a music file, so this is the right moment to try your at hand at
-doing it yourself: try to type some simple examples, and experiment a
-little.
-
-When you're comfortable with the basics, then you might want to read the
-rest of this chapter. It also a manual in tutorial-style, but it is much
-more in-depth. It will also be very intimidating if you're not familiar
-with the basics. It deals with some of the more advanced features of
-LilyPond. Topics include lyrics, chords, orchestral scores and parts,
-fine tuning output, polyphonic music, and integrating text and music.
-
-
-@c refer to this section
-@node Cheat sheet
-@section Cheat sheet
-
-
-@c need texinfo-4.0a or later for this
-
-
-@c both Tim and my father came independently with a request for a
-@c `legend' like this.
-
-@c what should be in it?
-
-
-
@quotation
-@multitable @columnfractions .20 .20 .40
-
-
-@item @code{1 2 8 16}
-@tab durations
-@tab
-@lilypond[fragment, relative 1]
-c1 c2 c8 c16
-@end lilypond
-
-@item @code{. ..}
-@tab augmentation dots
-@tab
-@lilypond[fragment, relative 1]
-c4. c4..
-@end lilypond
-
-@item @code{c d e f g a b }
-@tab scale
-@tab
-@lilypond[fragment, relative 1]
-c d e f g a b
-@end lilypond
-
-@item @code{es is}
-@tab flat/sharp
-@tab
-@lilypond[fragment, relative 2]
-bes4 cis4
-@end lilypond
-
-@item @code{-. -^ ->}
-@tab articulations (1)
-@tab
-@lilypond[fragment, relative 2]
-c-. c-^ c->
-@end lilypond
-
-
-@item @code{-\trill -\fermata}
-@tab articulations (2)
-@tab
-@lilypond[fragment, relative 2]
-c-\trill c-\fermata
-@end lilypond
-
-
-@item @code{\time 3/4 \time 6/8 \time 4/4 }
-@tab time signature
-@tab
-@lilypond[fragment]
-\property Staff.Clef \set #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
+@example
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
+@end example
+@lilypond[relative 0, fragment]
+\slurUp
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end lilypond
+@end quotation
+@separate
-@item @code{\clef treble \clef bass }
-@tab clefs
-@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-@end lilypond
+@strong{SUMMARY}
+@multitable @columnfractions .3 .3 .4
-@item @code{\sfz \mf }
-@tab dynamics
-@tab
-@lilypond[fragment,relative 1]
-c\sfz c\mf
-@end lilypond
-
-@item @code{[ ]}
-@tab beam
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-[a8 b]
-@end lilypond
+@item @b{Syntax}
+@tab @b{Description}
+@tab @b{Example}
-@item @code{~}
-@tab tie
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-d ~ d
-@end lilypond
@item @code{( )}
@tab slur
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c( d )e
-@end lilypond
-@item @code{'}
-@tab raise octave
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a a'
+c-( d e-)
@end lilypond
-@item @code{,}
-@tab lower octave
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c c,
-@end lilypond
-@item @code{< >}
-@tab chord
+@item @code{\( \)}
+@tab phrasing slur
@tab
@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-\context Voice { <a c> }
-@end lilypond
-
-@item @code{\< \!}
-@tab crescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a\< a \!a
-@end lilypond
-
-@item @code{\> \!}
-@tab decrescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a\> a \!a
-@end lilypond
-
-@end multitable
-@end quotation
-
-
-
-@node Running LilyPond
-@section Running LilyPond
-
-In the last section, we explained what kind of things you could enter
-in a lilypond file. In this section we explain how to run LilyPond,
-and how view or print the output. If you have not used LilyPond
-before, want to test your setup of LilyPond, or try to run an example
-file yourself, then read this section. The instructions that follow
-are for running LilyPond on Unix-like systems. Some additional
-instructions for running LilyPond on Windows are given at the end of
-this section.
-
-You begin with opening a terminal window, and start up a text editor.
-For example, open an xterm and execute @code{joe}. In your text editor,
-enter the following input, and save the file as @file{test.ly}:
-
-@quotation
-@example
-\score @{
- \notes @{ c'4 e' g' @}
-@}
-@end example
-@end quotation
-
-@cindex ly2dvi
-
-@c now this is weird, running ly2dvi to run LilyPond
-@c (therefore name change proposal)
-
-LilyPond is the program that computes the sheet music. All other
-things, such as adding titles, page breaking and other page layout,
-are done by a small wrapper program called
-@code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
-then adds the titling and page layout instructions. To process
-@file{test.ly} with ly2dvi, proceed as follows:
-
-@quotation
-@example
-ly2dvi -P test.ly
-@end example
-@end quotation
-
-You will see the following on your screen:
-
-@quotation
-@example
-GNU LilyPond 1.4.0
-Now processing: `/home/fred/ly/test.ly'
-Parsing...
-Interpreting music...[1]
- @emph{ ... more interesting stuff ... }
-PS output to `test.ps'...
-DVI output to `test.dvi'...
-@end example
-@end quotation
-@cindex DVI file
-@cindex Viewing music
-@cindex xdvi
-
-The results of the ly2dvi run are two files, @file{test.dvi} and
-@file{test.ps}. The PS file (@file{test.ps}) is the one you can print.
-You can view the PS file using the program ghostview. If a version of
-ghostview is installed on your system, one of these commands will
-produce a window with some music notation on your screen:
-@c eeek
-@quotation
-@example
- gv test.ps
- ghostview test.ps
- ggv test.ps
- kghostview test.ps
-@end example
-@end quotation
-If you are satisfied with the looks of the music displayed on your
-screen, you can print the PS file by clicking File/Print inside
-ghostview.
-
-The DVI file (@file{test.dvi}) contains the same sheet music in a
-different format. DVI files are more easily processed by the computer,
-so viewing them usually is quicker. Execute @code{xdvi test.dvi}
-to view the DVI file.
-
-If your DVI viewer does not have a "Print" button, you can print the
-file by executing @code{lpr test.ps}.
-
-@c volgende alinea schrappen?
-
-If you can't get the examples to print, then you should look into
-installing and configuring ghostscript. Refer to GhostScript's website
-at @uref{http://www.ghostscript.com}.
-
-@cindex GhostScript
-@cindex @code{lpr}
-@cindex Printing output
-@cindex PostScript
-
-@unnumberedsubsec Windows users
-Windows users start the terminal by clicking on the LilyPond or Cygwin
-icon. Notepad is sufficient for editing the LilyPond file. Viewing
-the PS file can be done with:
-@quotation
-@example
-@code{gsview32 test.ps}
-@end example
-@end quotation
-You can also print from the command line by executing:
-@quotation
-@example
-@code{gsview32 /s test.ps}
-@end example
-@end quotation
-
-
-@node The first real tune
-@section The first real tune
-
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+c-\( c-( d-) e-\)
+@end lilypond
-The rest of this tutorial will demonstrate how to use Lilypond by
-presenting examples of input along with resulting output. We will use
-English terms for notation. In case you are not familiar with those,
-you may consult the glossary that is distributed with LilyPond.
-The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
-they are relative to the top directory of the source package. }
+@item @code{[ ]}
+@tab beam
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a8-[ b-]
+@end lilypond
-To demonstrate what LilyPond input looks like, we start off with a
-full-fledged, yet simple example. It is a convoluted version
-of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
-is included in the distribution as @file{minuet.ly}.
-@cindex Bach, Johann Sebastian
-@lilypond[verbatim]
-% all text after a percent sign is a comment
-% and is ignored by LilyPond
-\include "paper16.ly"
-\score {
- \notes
- \relative c'' \sequential {
- \time 3/4
- \key g \major
-
- \repeat "volta" 2 {
- d4 g,8 a b c d4 g, g |
- e'4 c8 d e fis g4 g, g |
- c4 d8( )c b a( )b4 c8 b a g |
- a4 [b8 a] [g fis] g2. |
- }
-
- b'4 g8 a b g
- a4 d,8 e fis d |
- g4 e8 fis g d cis4 b8 cis a4 |
- a8-. b-. cis-. d-. e-. fis-.
- g4 fis e |
- fis a, r8 cis8
- d2.-\fermata
- \bar "|."
- }
- \paper {
- % standard settings are too big and wide for a book
- indent = 1.0 \cm
- linewidth = 15.0 \cm
- }
-}
+@item @code{< \context Staff ... >}
+@tab more staffs
+@tab
+@lilypond[fragment]
+< \context Staff = SA { c'1 }
+ \context Staff = SB { c'1 } >
@end lilypond
-We will analyse the input, line by line.
-@separate
-@example
- % all text after a percent sign is a comment
- % and is ignored by LilyPond
-@end example
-Percent signs introduce comments: everything after a percent sign is
-ignored. You can use this If you want to write down mental notes to
-yourself in a file, then you can enter preceded with a @code{%} sign.
-These lines are called comments. If you have long winded mental notes,
-you can make comments that span several lines by enclosing text in
-@code{%@{} and @code{%@}}.
-@cindex comment
-@cindex block comment
-@cindex line comment
-@separate
-@example
-
- \include "paper16.ly"
-
-@end example
-@cindex @code{\include}
-@cindex point, printer's
-@cindex staff size, setting
-@cindex font size, setting
+
+@item @code{-> -.}
+@tab articulations
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c-> c-.
+@end lilypond
-By default, LilyPond will typeset the music in a size such that each
-staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
-(16 point staff height), so we must import the settings for that size,
-which is done here.
-@separate
-@example
- \score @{
-
-@end example
-Music is printed by combining a piece of music with directions for
-outputting it. This combination is formed in the @code{\score} block.
-@separate
-@example
+@item @code{-\mf -\sfz}
+@tab dynamics
+@tab
+@lilypond[fragment, relative 1]
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+c-\mf c-\sfz
+@end lilypond
- \notes
-
-@end example
-Prepare LilyPond for accepting notes.
-@cindex octaves, choosing
-@cindex pitch
-@separate
-@example
- \relative c''
-
-@end example
-@cindex relative
-@c removed duplicate introduction to octave marks /MB
-@c Shorten even more?
-
-@c As we will see, each note is described by its note name, duration,
-@c octave and possibly a chromatic alteration. In this setup, the octave
-@c is indicated by using high quotes (@code{'}) and ``lowered quotes''
-@c (commas: @code{,}). The central C is denoted by @code{c'}. The C one
-@c octave higher is @code{c''}. One and two octaves below the central C is
-@c denoted by @code{c} and @code{c,} respectively.
-
-Even though a piece of music often spans a range of several octaves,
-often melodies move in small intervals. Such melodies can be entered
-easily using @code{\relative}. In this ``relative octave mode'',
-octaves of notes without quotes are chosen such that a note is as
-close as possible (graphically, on the staff) to the preceding note.
-If you add a high-quote an extra octave is added. A lowered quote (a
-comma) will subtract an extra octave.
-
-Absolute starting pitch for this relative mode is given as the
-argument to @code{\relative}. In this case it is the @code{c''}, one
-octave above central C.
-
-@separate
-@example
+@item @code{\< \!}
+@tab crescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a\< a \!a
+@end lilypond
- \sequential @{
-
-@end example
-What follows is sequential music, i.e.,
-@cindex sequential music
-notes that are to be played and printed after each other.
-@separate
-@example
+@item @code{\> \!}
+@tab decrescendo
+@tab
+@lilypond[fragment, relative 1]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.autoBeaming = ##f
+\property Staff.Clef = \turnOff
+a-\> a a-\!
+@end lilypond
- \time 3/4
-
-@end example
-@cindex time signature, setting
-@cindex @code{\time}
-The @code{\time} command sets (or changes) the time signature of the
-current piece: a 3/4 sign is printed. This setting is also used to
-generate bar lines at the right spots.
-@separate
-@example
- \key g \major
-
-@end example
-@cindex key signature, setting
-@cindex @code{\key}
-Set (or change) the current key signature to G-major. Although in this
-example, the @code{\key} command happened to be entered after the
-@code{\time} command, in the output the time signature will be printed
-after the key signature; LilyPond knows about music typesetting
-conventions.
-@separate
-@example
+@item @code{<< >>}
+@tab chord
+@tab
+@lilypond[fragment, relative 1]
+<<c e>>
+@end lilypond
- \repeat "volta" 2
-
-@end example
-The following piece of music is played twice. The first argument
-indicates the type of repeat. In this case, @code{"volta"} means that
-prima volta/secunda volta brackets are used for the alternative
-endings---if there were any.
+@end multitable
-A special notation for repeats allows you to get correct repeats in
-MIDI output. However, some extra trickery is needed to get this
-working, See @ref{Repeats and MIDI}.
-@separate
-@example
+Now you know the basic ingredients of a music file, so this is the
+right moment to experiment and try your at hand typing some simple
+files.
- @{
-
-@end example
-The subject of the repeat is again sequential music. Since
-@code{\sequential} is such a common construct, a shorthand is provided:
-just leave off @code{\sequential}, and the result is the same.
-@separate
-@example
+When you are comfortable with the basics, you might want to read the
+rest of this chapter. It continues in tutorial-style, but it is much
+more in-depth, dealing with more advanced topics such as lyrics,
+chords, orchestral scores and parts, fine tuning of output, polyphonic
+music, and integrating text and music.
- d4 g,8
-
-@end example
-Two notes. The first note is a quarter note with relative pitch
-@code{d}. The relative music was started with a @code{c''}, so the real
-pitch of this note is @code{d''}. The duration of a note is designated
-by a number; the @code{4} here represents a quarter note.
-The second note is an eight note with relative pitch @code{g,}. The
-pitch is taken relative to the previous @code{d''}, making this
-note have real pitch @code{g'}. The @code{8} represents an eight note.
-@separate
-@example
- a b
-
-@end example
-Two more notes, with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g,8}, there is no need to enter the
-duration, but you may enter it anyway, i.e., @code{a8 b8}
-@separate
-@example
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
- d4 g, g |
-
-@end example
-@cindex bar check
-@cindex @code{|}
-@cindex errors, finding
-Three more notes. The @code{|} character is a ``bar check''. LilyPond
-will verify that bar checks are found at the start of a measure. This can
-help you track down typing errors.
+In this section we shall explain how to typeset the following
+fragment of The Free Software Song:
+
+@lilypond[singleline]
+\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 }
+ \context Lyrics \lyrics {
+ Join us now __ and
+ share the soft -- ware; }
+}
+\paper { raggedright = ##t }
+}
+@end lilypond
-@cindex alteration, chromatic
-@cindex chromatic alteration
-@separate
-@example
- c8 d e fis
+@cindex lyric mode
+@cindex @code{\lyrics}
-@end example
-So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. LilyPond uses Dutch note names, and ``Fis'' is
-the name for ``F sharp''. There is no sharp sign in the output. The
-program keeps track of key signatures, and will only print accidentals
-if they are needed. If you can not get used to Dutch names, then
-there also are names available in several other languages.
+Lyrics are a form of music. To get them printed, you must do two
+things: indicate that lyrics are entered with @code{\lyrics}, and
+indicate that this type of music must be interpreted as texts (and not
+notes). This is done with @code{\context Lyrics}.
-For groups of eighth notes and shorter, LilyPond can determine how the
-notes should form a beam. In this case, the 4 eights are automatically
-printed as a beam.
-@separate
-@example
+You can enter lyrics in a special input mode of LilyPond. This mode is
+called Lyrics mode, and it is introduced by the keyword
+@code{\lyrics}. In this mode you can enter lyrics, with punctuation
+and accents without any hassle. Syllables are entered like notes, but
+with pitches replaced by text. For example,
+@example
+ Twin- kle twin- kle
+@end example
+enters four syllables. Spaces can be introduced into a lyric either
+by using quotes: @code{"He could" not} or by using an underscore
+without quotes: @code{He_could not}.
- c4 d8( )c b a( )b4 c8 b a g |
-
-@end example
-The beginning and ending notes of a slur are marked with parentheses,
-@code{(} and @code{)} for start and end respectively. The line above
-indicates two slurs. These slur markers (parentheses) are entered
-between the slurred notes.
-@separate
-@example
+These are the lyrics for the free software song:
- a4 [b8 a] [g fis]
-
-@end example
-Automatic beaming can be overridden by inserting beam marks, @code{[}
-and @code{]}. These beam markers (brackets) are put around the notes
-you want beamed.
-@separate
@example
-
- g2. |
-
+ \lyrics @{
+ Join us now __ and
+ share the soft -- ware; @}
@end example
-@cindex augmentation dot
-@cindex dotted note
-A period adds a dot to the note.
-@separate
-@example
- @}
-
-@end example
-The end of the sequential music to be repeated. LilyPond will typeset a
-repeat bar.
-@separate
-@example
+ Extender lines are entered as @code{__}. This will create an
+extender, which is a line that extends over the entire duration of the
+lyric. This line will run all the way to the start of the next lyric,
+so you may want to shorten it by using a blank lyric (using @code{_}).
- cis'4 b8 cis a4 |
-
-@end example
-Accidentals are printed whenever necessary: the first C sharp of the bar
-will be printed with an accidental, the second one without.
-@separate
-@example
- a8-. b-. cis-. d-. e-. fis-.
-
+You can use ordinary hyphens at the end of a syllable, i.e.
+@example
+ soft- ware
@end example
-@cindex articulation
-Staccato signs are entered as a dash and a period. Some other
-articulations may also be entered in this short form.
-@separate
-@example
-
- fis a, r8 cis8
-
-@end example
+but then the hyphen will be attached to the end of the first syllable.
-Rests are denoted by the special note name @code{r}.
-@separate
-@example
-
- d2.-\fermata
+If you want them centered between syllables you can use the special
+`@code{-}@code{-}' lyric as a separate word between syllables. The
+hyphen will have variable length depending on the space between
+the syllables and it will be centered between the syllables.
-@end example
-All articulations have a verbose form, like @code{\fermata}. The
-command @code{\fermata} is not part of the core of the language, but it
-is a shorthand for a more complicated description of a fermata symbol.
-@code{\fermata} names that description and is therefore called an
-identifier.
-@cindex identifier
-@cindex @code{\fermata}
-@separate
+Normally the notes that you enter are transformed into note heads.
+Note heads alone make no sense. They need surrounding information: a
+key signature, a clef, staff lines, etc. They need @emph{context}.
+In LilyPond, these symbols are created by objects called
+`interpretation contexts'. Interpretation contexts exist for
+generating notation (`notation context') and for generating sound
+(`performance context'). These objects only exist while LilyPond is
+executing. For lyrics, the command
@example
- \bar "|."
- @}
-@end example
-Here the music ends. LilyPond does not automatically typeset an end
-bar, we must explicitly request one, using @code{"|."}.
-
-@separate
-@example
-
- \paper @{
- % standard settings are too big and wide for a book
- indent = 1.0\cm
- linewidth = 15.0\cm
- @}
-
-@end example
-The @code{\paper} block specifies how entered music should be converted
-to notation output. Most of the details of the conversion (font sizes,
-dimensions, etc.) have been taken care of, but to fit the output in this
-document, it has to be narrower. We do this by setting the line width
-to 14 centimeters (approximately 5.5 inches).
-@separate
-@example
+ \context Lyrics
+@end example
+must be used to interpret a set of syllables as lyrics.
- @}
-
-@end example
-The last brace ends the @code{\score} block.
+@cindex context
+@cindex interpretation context
+@cindex notation context
-@node Lyrics and chords
-@section Lyrics and chords
+The melody and the lyrics can be combined with the @code{\addlyrics}:
+@example
+\addlyrics
+ \notes \relative c' @dots{}
+ \context Lyrics \lyrics @dots{}
+@end example
-In this section we show how to typeset a song. This file is
-included as @file{flowing.ly}.
+The lyrics are also music expressions, similar to notes. Each lyric
+syllable is put under a note of the melody. The complete file is
+listed here:
-@example
-\header @{
- title = "The river is flowing"
- composer = "Traditional"
-@}
-\include "paper16.ly"
-melody = \notes \relative c' @{
- \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.
- \bar "|."
+@example
+\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 @}
+ \context Lyrics \lyrics @{
+ Join us now __ and
+ share the soft -- ware; @}
@}
-
-text = \lyrics @{
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
+\paper @{ raggedright = ##t @}
@}
+@end example
-accompaniment =\chords @{
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min @}
-
-\score @{
- \simultaneous @{
- %\accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel @{
- \property Staff.autoBeaming = ##f
- \property Staff.automaticMelismata = ##t
- \melody
- @}
- \context Lyrics \text
- @}
- \midi @{ \tempo 4=72 @}
- \paper @{ linewidth = 10.0\cm @}
-@}
-@end example
-
-
-The result would look this.@footnote{The titling and font size shown
-may differ, since the titling in this document is not generated by
-@code{ly2dvi}.}
-
-@center @strong{The river is flowing}
-@center Traditional
-
-@lilypond[center]
-\header {
- title = "The river is flowing"
- composer = "Traditional"
-}
-\include "paper16.ly"
-melody = \notes \relative c' {
- \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.
- \bar "|."
-}
-text = \lyrics {
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri -- ver is flo -- wing down to the sea.
-}
-accompaniment =\chords {
- r8
- c2:3- f:3-.7 d:min es4 c8:min r8
- c2:min f:min7 g:7^3.5 c:min }
+@node A melody with chords
+@section A melody with chords
-\score {
- \simultaneous {
- %\accompaniment
- \context ChordNames \accompaniment
-
- \addlyrics
- \context Staff = mel {
- \property Staff.autoBeaming = ##f
- \property Staff.automaticMelismata = ##t
- \melody
- }
- \context Lyrics \text
- }
- \midi { \tempo 4=72 }
- \paper { linewidth = 10.0\cm }
-}
-@end lilypond
+In this section we show how to typeset a melody with chord
+accompaniment. This file is included in
+@inputfileref{input/tutorial,flowing.ly}.
-Again, we will dissect the file line by line.
-@separate
-@example
+@lilypondfile[verbatim,intertext="the result looks like"]{flowing.ly}
- \header @{
-
-@end example
-@cindex @code{\header}
-Information about the music you are about to typeset goes into a
-@code{\header} block. The information in this block is not used by
-LilyPond, but it is passed into the output. @file{ly2dvi} uses this
-information to print titles above the music.
-@separate
-@example
- title = "The river is flowing"
- composer = "Traditional (?)"
-@end example
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value.
@separate
@example
\include "paper16.ly"
@end example
-Smaller size for inclusion in a book.
+Smaller size (suitable for inclusion in a book).
@separate
@example
melody = \notes \relative c' @{
@end example
-The structure of the file will be the same as the previous one, a
+The structure of the file will be the same as the previous one: a
@code{\score} block with music in it. To keep things readable, we will
-give names to the different parts of music, and use the names to
-construct the music within the score block.
+give different names to the different parts of music, and use the names
+to construct the music within the score block.
@separate
@example
@cindex @code{\partial}
@cindex anacrusis
-The piece starts with an anacrusis of one eighth.
+The piece starts with an anacrusis (or ``pickup'') of one eighth.
@separate
-@example
- \key c \minor
-@end example
-The key is C minor: we have three flats.
@separate
@example
@cindex manual beaming
@cindex automatic beaming, turning off
-We use explicit beaming. Since this is a song, we turn automatic
-beams off, and use explicit beaming where needed.
+We use explicit beaming. Since this is a song, we turn automatic
+beams off and use explicit beaming where needed.
@separate
@example
@cindex lyrics
@cindex identifier assignment
@cindex syllables, entering
-Another identifier assignment. This one is for the lyrics.
-Lyrics are formed by syllables that have duration, and not by
-notes. To make LilyPond parse words as syllables, switch it into
-lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
-is a shorthand for @code{\sequential @{}.
-@separate
-@example
+This defines the lyrics, similar to what we have seen before.
- The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
- ri- ver is flo- __ wing down to the sea.
-@}
-
-@end example
-@cindex extenders, lyric
-@cindex hyphens, lyric
-The syllables themselves are separated by spaces. You can get syllable
-extenders by entering @code{__}, and centered hyphens with
-@code{-}@code{-}. We don't enter durations for the syllables. They
-are aligned with the melody later.
@separate
@example
@end example
@cindex chords
@cindex mode, chords
-We'll put chords over the music. To enter them, there is a special mode
+We will put chords over the music. To enter them, we use a special mode
analogous to @code{\lyrics} and @code{\notes} mode, where you can give
-the names of the chords you want, instead of listing the notes
+the names of the chords you want instead of listing the notes
comprising the chord.
@separate
@example
@cindex tonic
@cindex chord modifier
@cindex modifier, chord
-This is a c minor chord, lasting half a note. Chord are entered by
-entering the tonic. Then notes can be changed. In this case, a small third
-is used. The cod for this is @code{3-}.
+This is a c minor chord, lasting for a half note. Chords are entered using
+the tonic. Notes can be changed to create different chords. In this case,
+a lowered third is used (making a C major chord into a C minor chord).
+The code for this is @code{3-}.
@separate
@example
to be separated by a dot. Tones from a chord are removed with chord
subtractions. Subtractions are started with a caret, and they are
also separated by dots. In this example, @code{g:7^3.5} produces a
-minor seventh. The brace ends the sequential music.
+minor seventh (a G7 chord without the third or the fifth). The
+brace ends the sequential music.
@separate
@example
@code{\simultaneous}.
@cindex @code{\simultaneous}
@separate
-@example
-
- %\accompaniment
-
-@end example
-Chord mode generates notes grouped in @code{\simultaneous} music. If
-you remove the comment sign, you can see the chords in normal
-notation: they will be printed as note heads on a separate
-staff. To print them as chords names, they have to be interpreted as
-being chords, not notes. This is done with the following command:
-@separate
+To print chords as chords names, they have to be interpreted as
+such. This is done with the following command: The following command
+explicitly creates an interpretation context of @code{ChordNames} type
+to interpret the music @code{\accompaniment}.
@example
\context ChordNames \accompaniment
@end example
-@cindex context
-@cindex interpretation context
-@cindex notation context
-
-
-Normally, the notes that you enter are transformed into note heads.
-Note heads alone make no sense, they need surrounding information: a key
-signature, a clef, staff lines, etc. They need @emph{context}. In
-LilyPond, these symbols are created by objects called `interpretation
-contexts'. Interpretation contexts exist for generating notation
-(`notation context') and for generating sound (`performance
-context'). These objects only exist during a run of LilyPond.
-
-When LilyPond interprets music, it will create a Staff context. If
-the @code{%} sign in the previous line were removed, you could see
-that mechanism in action.
-
-We don't want that default here, because we want chord names. The
-command above explicitly creates an interpretation context of
-@code{ChordNames} type to interpret the music @code{\accompaniment}.
-@separate
-@example
-
- \addlyrics
-
-@end example
-@cindex @code{\addlyrics}
-@cindex lyrics and melody, combining
-@cindex combining lyrics and melody
-The lyrics should be aligned with the melody. This is done by
-combining both with @code{\addlyrics}. @code{\addlyrics} takes two
-pieces of music (usually a melody and lyrics, in that order) and
-aligns the syllables of the second piece under the notes of the
-first piece.
@separate
@example
- \context Staff = mel @{
+ \context Staff @{
@end example
-We place the melody on a staff called @code{mel}. We give it a name to
-differentiate it from the one that would contain note heads for the
-chords, if you would remove the comment before the ``note heads''
-version of the accompaniment. By giving this staff a name, it is
-forced to be different.
+We place the melody on a staff.
@separate
@example
@cindex \property
@cindex context variables
@cindex setting context variables
-An interpretation context has variables, called properties, that tune
-its behavior. One of the variables is @code{autoBeaming}. Setting
-this @code{Staff}'s property to @code{##f}, which is the boolean value
-@var{false}, turns the automatic beaming mechanism off for the current
-staff.
-
-@ignore
-@cindex GUILE
-@cindex Scheme
-@cindex accessing Scheme
-@cindex evaluating Scheme
-@cindex LISP
-
-LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
-language from the LISP family. You can learn more about Scheme at
-@uref{http://www.scheme.org}. It is used to represent data throughout
-the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
-code following the hash-sign is evaluated as Scheme. The boolean value
-@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
-@code{##t}.
-
-If Scheme scares you, don't worry. You don't need to know Scheme to
-create beautiful sheet music.
-@end ignore
+An interpretation context has variables that tune its behavior. These
+variables are also called @emph{properties}. The @code{autoBeaming}
+variable in a @code{Staff} controls whether 8th and shorter notes are
+beamed automatically. Setting the variable to @code{##f}, which is the
+boolean value @var{false}, turns it off.
-@separate
-@example
-
- \property Staff.automaticMelismata = ##t
-
-@end example
-@cindex automaticMelismata
-@cindex melismata
-@cindex @code{\addlyrics} and slurs
-Similarly, we don't want to print a syllable when there is
-a slur. This sets up @code{\addlyrics} to not put lyrics under each
-separate note while there is a slur.
@separate
@example
Finally, we put the melody on the current staff. Note that the
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
-processed.
-@separate
-@example
+processed.
- \context Lyrics \text
-
-@end example
-The second argument of @code{\addlyrics} is the text. The text also
-should not land on a Staff, but on a interpretation context for
-syllables, extenders, hyphens etc. This context is called
-Lyrics.
@separate
@example
@end example
MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and recording digital instruments. So a MIDI file is like a
-tape recording of an instrument. The @code{\midi} block makes the
-music go to a MIDI file, so you can listen to the music you entered. It
-is great for checking the music. Whenever you hear something weird, you
-probably hear a typing error.
+connecting and recording digital instruments. A MIDI file is like a
+tape recording of a MIDI instrument. The @code{\midi} block makes the
+music go to a MIDI file, so you can listen to the music you entered.
+It is great for checking the music. Whenever you hear something
+weird, you probably hear a typing error.
-Syntactically, @code{\midi} is similar to @code{\paper @{ @}}, since it
-also specifies an output method. You can specify the tempo using the
-@code{\tempo} command, in this case the tempo of quarter notes is set to
-72 beats per minute.
+@code{\midi} is similar to @code{\paper @{ @}}, since it also
+specifies an output method. You can specify the tempo using the
+@code{\tempo} command, in this case the tempo of quarter notes is set
+to 72 beats per minute.
@separate
@example
\paper @{ linewidth = 10.0\cm @}
@end example
-We also want notation output. The linewidth is short so the piece
+We also want notation output. The linewidth is short so that the piece
will be set in two lines.
-@node More movements
-@section More movements
+@node More stanzas
+@section More stanzas
-[FIXME: merge here with, or move this to: Other ways to run LilyPond]
-You probably ran @file{ly2dvi} on the last example, and ended up with a
-viewable @file{.dvi} file. However, between there are a few steps of
-which LilyPond is only one. To enhance your understanding of what's
-happening under the hood when you run @code{ly2dvi}, we explain what
-programs are run.
+@cindex phrasing
-@code{ly2dvi} is a program that calls a number of programs in sequence.
-The first thing it does, is running LilyPond on the input file. After
-some calculations, a @file{.tex} is produced. The contents
-of this file are very low-level instructions.
+If you have multiple stanzas printed underneath each other, the vertical
+groups of syllables should be aligned around punctuation. LilyPond can
+do this if you tell it which lyric lines belong to which melody.
+We show how you can do this by showing how you could print a frivolous
+fragment of a fictional Sesame Street duet.
-For example, consider the following file (@file{miniatures.ly})
+@lilypond[singleline,verbatim]
+\score {
+\addlyrics
+ \notes \relative c'' \context Voice = duet { \time 3/4
+ g2 e4 a2 f4 g2. }
+ \lyrics \context Lyrics <
+ \context LyricsVoice = "duet-1" {
+ \property LyricsVoice . stanza = "Bert"
+ Hi, my name is bert. }
+ \context LyricsVoice = "duet-2" {
+ \property LyricsVoice . stanza = "Ernie"
+ Ooooo, ch\'e -- ri, je t'aime. }
+ >
+}
+@end lilypond
+To this end, give the Voice context an identity, and set the
+LyricsVoice to a name starting with that identity followed by a dash.
+In the following example, the Voice identity is @code{duet},
@example
-\version "1.5.60"
-\header @{
- title = "Two miniatures"
- tagline = "small is beautiful"
-@}
+\context Voice = duet @{
+ \time 3/4
+ g2 e4 a2 f4 g2. @}
+@end example
+and the
+identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
+@example
+ \context LyricsVoice = "duet-1" @{
+ Hi, my name is bert. @}
+ \context LyricsVoice = "duet-2" @{
+ Ooooo, ch\'e -- ri, je t'aime. @}
+@end example
+The convention for naming @code{LyricsVoice} and @code{Voice} must
+also be used to get melismata on rests correct.
-#(set! point-and-click line-column-location)
-\paper @{ linewidth = -1.0 @}
+We add the names of the singers. This can be done by setting
+@code{LyricsVoice.Stanza} (for the first system) and
+@code{LyricsVoice.stz} for the following systems. Note that you must
+surround dots with spaces in @code{\lyrics} mode.
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
+@example
+ \property LyricsVoice . stanza = "Bert"
+ @dots{}
+ \property LyricsVoice . stanza = "Ernie"
@end example
-The titling in this manual was not generated by ly2dvi, so we can't
-exactly show what it would look like, but the result should resemble this:
+
+@node More movements
+@section More movements
+
+The program @code{lilypond} only produces sheet music. Titles,
+subtitles, and the composer's name are created by a separate program,
+called use @code{ly2dvi}. @code{ly2dvi} creates the titles, then
+calls @code{lilypond} to format the sheet music. In this section, we
+show you how to create titles like this:
@center @strong{Two miniatures}
@flushright
@lilypond
\score {
\notes { c'4 d'4 }
- \paper { linewidth = -1.0 }
+ \paper { raggedright = ##t }
}
@end lilypond
@flushright
}
@end lilypond
-This file is produced by ly2dvi in a few stages, with the help of text
-formatting tools. LilyPond produces two output files,
-@file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
-only graphical music notation. @file{ly2dvi} looks at what output
-LilyPond produces, and adds page layout and titling to those files. The
-result is a DVI file called @file{miniatures.dvi}.
+For example, consider the following file (@file{miniatures.ly})
-Next, now we'll look at the example line by line to explain new things.
+@example
+\version "1.5.72"
+\header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful" @}
-@separate
-@example
-\version "1.4.0"
-@end example
-Lilypond and its language are still under development, and occasionally,
-details of the syntax are changed. This fragment indicates for which
-version the input file was written. When you compile this file, the
-version number will be checked, and you will get a warning when the file
-is too old.
+\paper @{ raggedright = ##t @}
-This version number is also used by the @code{convert-ly} program (See
-@ref{convert-ly}), which is used to update the file to the latest lily
-version.
+%@{
-@separate
-@example
- \header @{
- title = "Two miniatures" @}
-@end example
-This sets the titling information for the entire file.
-@separate
-@example
- tagline = "small is beautiful"
+Mental note: discuss Schenkerian analysis of these key pieces.
+
+%@}
+
+\score @{
+ \notes @{ c'4 d'4 @}
+ \header @{
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
+ \header @{
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
@end example
-A signature line is printed at the bottom of the last page.
- This signature is produced from the @code{tagline} field of
-@code{\header}. Many people find the default "Lily was here,
-@var{version number}" too droll. If that is the case, assign
-something else to @code{tagline}, as shown above.
-@separate
-@example
- #(set! point-and-click line-column-location)
+
+
+The information for the global titling is in a so-called header block.
+The information in this block is not used by LilyPond, but it is
+passed into @code{ly2dvi}, which uses this information to print titles
+above the music.
+@cindex assignments
+@cindex identifier assignment
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. The header block for this file looks like
+this
+@cindex @code{\header}
+@example
+ \header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful"
+ @}
@end example
-This piece of Scheme code sets the Scheme variable
-@code{point-and-click} to the value @var{line-column-location} (which
-itself is a Scheme procedure).
+When you process a file with ly2dvi, a signature line is printed at
+the bottom of the last page. Many people find the default (``Lily was
+here'' with a version number) too droll. If that is the case, you can
+change @code{tagline} in the @code{\header}, as shown above.
-Editing input files can be quite complicated if you're working with
-large files: if you're digitizing existing music, you have to
-synchronize the .ly file, the sheet music on your lap and the sheet
-music on the screen. The point-and-click mechanism makes it easy to
-find the origin of an error in the LY file: when you view the file with
-Xdvi and click on a note, your editor will jump to the spot where that
-note was entered. For more information, see @ref{Point and click}.
+@cindex Lily was here
+@cindex signature line
+@cindex tag line
@separate
@example
\paper @{
+ raggedright = ##t @}
@end example
-The @code{\score} blocks that follow in the file don't have
-@code{\paper} sections, so the settings of this block are substituted: A
-paper block at top level, i.e. not in a @code{\score} block sets the
-default page layout.
+A paper block at top level (i.e. not in a @code{\score} block) sets
+the default page layout. The following @code{\score} blocks do not
+have @code{\paper} sections so the settings of this block are used.
+
+When @code{raggedright} is set, the spacing is set to natural length:
+a short phrase takes up little space, a longer phrase takes more
+space, all on the same line.
-@separate
@example
- linewidth = -1.0 @}
-@end example
+%@{
+Mental note: discuss Schenkerian analysis of these key pieces.
+%@}
+@end example
-The variable @code{linewidth} normally sets the length of the systems on
-the page. However, a negative value has a special meaning. If
-@code{linewidth} is less than 0, no line breaks are inserted into the
-score, and the spacing is set to natural length: a short phrase takes up
-little space, a longer phrase more space.
+Mental notes to yourself can be put into comments. There are two types
+of comments. Line comments are introduced by @code{%}, and block
+comments are delimited by @code{%@{} and @code{%@}}.
@separate
@example
\notes @{ c'4 d'4 @}
@end example
-In previous examples, notes were specified in relative octaves,
-i.e. each note was put in the octave that is closest to its
-predecessor. Besides relative, there is also absolute octave
-specification, which you get when you don't specify @code{\relative}. In
-this input mode, the central C is denoted by @code{c'}. Going down, you
-get @code{c} @code{c,} @code{c,,} etc. Going up, you get @code{c''}
-@code{c'''} etc.
-
-When you're copying music from existing sheet music, relative octaves
-are probably the easiest to use: it's less typing work and errors are
-easily spotted. However, if you write LilyPond input directly, either by
-hand (i.e. composing) or by computer, absolute octaves may be easier to use.
+In previous examples, most notes were specified in relative octaves
+(i.e. each note was put in the octave that is closest to its preceding
+note). This is convenient when copying existing music: you have to do
+less typing, and errors are easily spotted.
+There is also absolute octave specification, which you get when you do
+not include @code{\relative} in your input file. In this input mode,
+the middle C is denoted by @code{c'}. Going down, you get @code{c}
+@code{c,} @code{c,,} etc. Going up, you get @code{c''} @code{c'''}
+etc. Absolute octaves are convenient when you write LilyPond input
+directly, either by hand (i.e. composing) or by computer.
@separate
@example
@end example
The @code{\header} is normally at the top of the file, where it sets
-values for the rest of the file. If you want to typeset different pieces
-from one file (for example, if there are multiple movements, or if
-you're making an exercise book), you can put different @code{\score}
-blocks into the input file. ly2dvi will assemble all LilyPond output
-files into a big document. The contents of \header blocks specified
-within each score, are used for the titling of each movement.
+values for the rest of the file. If you want to typeset different
+pieces from one file (for example, if there are multiple movements, or
+if you are making an exercise book), you can put different
+@code{\score} blocks into the input file. @code{ly2dvi} will assemble
+all LilyPond output files into a one document. The contents of
+@code{\header} blocks specified within each score is used for the
+title of that movement.
@separate
@example
opus = "Opus 1."
piece = "Up" @}
@end example
-For example, the Opus number is put at the right, and the piece string
+For example, the Opus number is put at the right, and the "piece" string
will be at the left.
+@example
+\version "1.5.72"
+\header @{
+ title = "Two miniatures"
+ composer = "F. Bar Baz"
+ tagline = "small is beautiful" @}
+
+\paper @{ raggedright = ##t @}
+
+\score @{
+ \notes @{ c'4 d'4 @}
+ \header @{
+ opus = "Opus 1."
+ piece = "Up" @}
+@}
+\score @{
+ \notes @{ d'4 c'4 @}
+ \header @{
+ opus = "Opus 2."
+ piece = "Down" @}
+@}
+@end example
+
+TODO:
+@example
+
+scoreA = \score @{ \deelA @}
+scoreB = \score @{ \deelA @}
+
+% \score @{ \scoreA @}
+\score @{ \scoreB @}
+
+@end example
+
+@separate
+@example
+\version "1.5.72"
+@end example
+Lilypond and its language are still under development, and
+occasionally details of the syntax are changed. The @code{version}
+fragment indicates which version of lilypond the input file was written
+for. When you compile this file, the version number will be checked
+and you will get a warning when the file is too old. This version
+number is also used by the @code{convert-ly} program (See
+@ref{Invoking convert-ly}), which can used to update the file to the
+latest lily version.
+
+
@node A piano excerpt
@section A piano excerpt
-Our fourth subject is a piece of piano music. The fragment in the
+Our eighth subject is a piece of piano music. The fragment in the
input file is a piano reduction of the G major Sinfonia by Giovanni
-Battista Sammartini. It was composed around 1740. It's in the source
-package under the name @file{sammartini.ly}.
+Battista Sammartini, composed around 1740. It's in the source
+package under the name @inputfileref{input/tutorial,sammartini.ly}.
-@lilypondfile[verbatim]{sammartini.ly}
+@lilypondfile[smallverbatim]{sammartini.ly}
As you can see, this example features multiple voices on one staff. To
-make room for those voices, their notes have to be stemmed in opposite
+make room for those voices, their notes should be stemmed in opposite
directions.
-LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along
-with some other commonly used formatting instructions, but to explain how
-it works, we wrote our own here. Of course, you should use predefined
-identifiers like these if possible: then you will be affected less by
-the implementation changes we occasionally make.
+
@separate
@example
viola = \notes \relative c' \context Voice = viola @{
@end example
-In this example, you can see multiple parts on a staff. Each part is
+In this example you see multiple parts on a staff. Each part is
associated with one notation context. This notation context handles
-stems and dynamics (among others). The type name of this context is
-@code{Voice}. For each part we have to make sure that there is
-precisely one @code{Voice} context, so we give it a unique name
-(`@code{viola}').
+stems and dynamics (among other things). The type name of this
+context is @code{Voice}. For each part we have to make sure that
+there is precisely one @code{Voice} context, so we give it a unique
+name (`@code{viola}').
@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
- \voiceTwo
-@end example
-We want the viola to have stems down, and have all the other
-characteristics of a second voice. This is enforced using the
-@code{\voiceTwo} command: it inserts instructions that makes stem,
-ties, slurs, etc. go down.
@end example
@code{s} is a spacer rest. It does not print anything, but it does have
the duration of a rest. It is useful for filling up voices that
-temporarily don't play. In this case, the viola doesn't come until one
+temporarily do not play. In this case, the viola does not come until one
and a half measure later.
@separate
@code{\context}.
@separate
@example
-\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
+ s4 g8. b,16 c8 r <<e' g>>8. <<f a>>16
@end example
-The oboes should have stems up, so they should have stems up, to keep
-them from interfering with the staff-jumping bass figure.
+The oboes should have stems up to keep them from interfering with
+the staff-jumping bass figure. To do that, we use @code{\voiceOne}.
@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.
<
@end example
At this point, the homophonic music splits into two rhythmically
-different parts. We can't use a sequence of chords to enter this, so
-we make a `chord' of sequences to do it. We start with the upper
+different parts. We cannot use a sequence of chords to enter this, so
+we make a "chord of sequences" to do it. We start with the upper
voice, which continues with upward stems:
@separate
@example
This ends the two-part section.
@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
-@code{\stemBoth} ends the forced stem directions. From here, stems are
-positioned as if it were single part music.
-
The bass has a little hoom-pah melody to demonstrate parts switching
between staves. Since it is repetitive, we use repeats:
@separate
written out in full eight times.
@separate
@example
-\notes \transpose c' @{
+\notes \transpose c c' @{
@end example
@cindex transposing
@cindex relative mode and transposing
transposition has no effect, as central C stays at central C.
The purpose of this no-op is to protect it from being interpreted as
-relative notes. Relative mode can not be used together with
+relative notes. Relative mode cannot be used together with
transposition, so @code{\relative} will leave the contents of
@code{\hoomPah} alone. We can use it without having to worry about
-getting the motive in a wrong octave.
+getting the motive in a wrong octave. Conversely, if you want to
+transpose a fragment of music entered with @code{\relative}, then you
+should make sure that @code{\transpose} comes before @code{\relative}.
+
@separate
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
@example
- \translator Staff = down
- \stemUp
- c8
- \translator Staff = up
- \stemDown
- c'8 }
+\translator Staff = down
+\stemUp
+c8
+\translator Staff = up
+\stemDown
+c'8 @}
@end example
-Voices can switch between staves. Here you see two staff switching
-commands. The first one moves to the lower staff, the second one to
-the lower one. If you set stem directions explicitly (using the
-identifiers @code{\stemUp} and @code{\stemDown}.
+Voices can switch between staves. Here you see two staff switching
+commands. The first one moves to the lower staff, the second one to
+the lower one. If you set the stem directions explicitly
+(using the identifiers @code{\stemUp} and @code{\stemDown}, the notes
+can be beamed together (despite jumping between staffs).
@separate
@example
manual staff switch here.
-@separate
-@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
-@end example
-@cindex tie
-@cindex @code{~}
-After skipping some lines, we see @code{~}. This mark makes ties. Note
-that ties and slurs are different things. A tie can only connect two
-note heads of the same pitch, whereas a slur can connect many chords
-with one curve.
+
@separate
@example
@node Fine tuning a piece
@section Fine tuning a piece
-In this section, we show some ways to fine tune the final output of a
-piece. We do so using a single measure of a moderately complex piano
-piece: a Brahms intermezzo (opus 119, no. 1).
+In this section we show some ways to fine tune the final output of a
+piece. We do so using a single measure of a moderately complex piano
+piece: a Brahms intermezzo (opus 119, no. 1). Both fragments (the
+tuned and the untuned versions) are in @file{input/tutorial/}.
The code for the untuned example shows us some new things.
@lilypondfile[verbatim]{brahms-original.ly}
-Hairpin dynamics can be indicated using @code{\>} to start a
-decrescendo, and @code{\!} to end one. The crescendo is started using
-@code{\<} and also ended using @code{\!}. Absolute dynamics can be
-entered using @code{\p}, @code{\mf}, etc.
-Fingering indications are entered quite simply using @code{-@var{N}},
-where @var{N} is a digit.
+@cindex dynamics
+@cindex loudness
+@cindex forte
+@cindex crescendo
+
+
+@cindex fingering instructions
+[TODO: moveme]
+
+Fingering indications are entered with @code{-@var{N}}, where
+@var{N} is a digit.
+
+Now that we have the basic piece of music entered, we want to fine
+tune it so that we get something that resembles the original printed
+edition by Schott/Universal Edition:
@lilypondfile{brahms-tweaked.ly}
-Printed symbols are internally represented by so-called Graphical
-Objects (more colloquially: Grobs). These statements concern the
-grob called `Stem'. Each grob is described by a bunch of settings. These
-setting determine the fonts, offsets, sub-routines to be called on the
-grob, etc. The initial values of these settings are set in the Scheme
-file @file{scm/grob-description.scm}.
+@cindex tuning graphical objects
+
+Fine tuning involves overriding the defaults of the printing system.
+We do this by setting variables which control how Lilypond prints
+symbols. Printed symbols are called graphical objects (often
+abbreviated to @emph{grob}). Each object is described by a bunch of
+settings. Every setting is a variable: it has a name and a value
+which you can change. These values determine the fonts, offsets,
+sub-routines to be called on the object, etc. The initial values of
+these settings are set in the Scheme file
+@file{scm/grob-description.scm}.
+
+@cindex slur attachments
+
+We start with the slur in the upper part, running from F sharp to A. In
+the printed edition, this slur runs from stem to stem; in our version,
+the slur begins at the note head of the F sharp. The following property
+setting forces all slurs to run from stem to stem (not from or to note
+heads!).
+
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+
+More precisely, this command modifies the definition of the @code{Slur}
+object in the current @code{Voice}. The variable @code{attachment} is
+set to the pair of symbols @code{'(stem . stem)}.
+
+@cindex internal documentation
+@cindex finding graphical objects
+@cindex graphical object descriptions
+
+This command fixes one particular problem with a slur. The rest of
+this section explains how to figure out which properties to tune for
+your own scores. To discover this, you must have a copy of the
+internals document. This is a set of HTML pages which should be
+included if you installed a binary distribution. [TODO: revise for
+new site.] These HTML pages are also available on the web: go to the
+lilypond website, click ``Documentation: Index'' on the side bar, look
+in the ``Information for uses'' section, and click on ``Documentation
+of internals''.
+
+You might want to bookmark either the HTML files on your disk, or the
+one on the web (the HTML on your hard drive will load much faster than
+the ones on the web!). One word of caution: the internals
+documentation is generated from the definitions that the program uses.
+Hence, the internals documentation is strongly tied to the version you
+use. Before you proceed, make sure that the program and documentation
+have matching version numbers.
+
+@c TODO: the quote is incorrect, although that shouldn't be a big
+@c problem for the reader.
+Suppose that you wanted to tune the behavior of the slur. The first
+step is to get some general information on slurs in lilypond. Turn to
+the index, and look up ``slur''. The section on slurs says
+@quotation
+The grob for this object is @internalsref{Slur}, generally in
+@internalsref{Voice} context.
+@end quotation
+
+So the graphical object for this object is called @code{Slur}, and
+slurs are created in the @code{Voice} context. If you are reading
+this tutorial in the HTML version, then you can simply click Slur,
+otherwise, you should look it up the internal documentation: click
+``grob overview'' and select ``slur'' (the list is alphabetical).
+Now you get a list of all the properties that the slur object
+supports, along with their default values. Among the properties we
+find the @code{attachment} property with its default setting.
+The property documentation explains that the following setting will
+produce the desired effect:
+@example
+ \property Voice.Slur \set #'attachment = #'(stem . stem)
+@end example
+@c this is a long section, and adding an extra space here helps to
+@c break it into smaller subsections and thus is easier to understand.
@separate
+
+Next we want to move the fingering `3'. In the printed edition it is
+not above the stem, but a little lower and slightly left of the stem.
+From the user manual we find that the associated graphical object is
+called @code{Fingering}, but how do we know if we should use
+@code{Voice} or @code{Staff}? In many cases, @code{Voice} is a safe
+bet, but you can also deduce this information from the internals
+documentation: if you visit the documentation of @code{Fingering}, you
+will notice
+@example
+Fingering grobs are created by: Fingering_engraver
+@end example
+
+Clicking @code{Fingering_engraver} will show you the documentation of
+the module responsible for interpreting the fingering instructions and
+translating them to a @code{Fingering} object. Such a module is called
+an @emph{engraver}. The documentation of the @code{Fingering_engraver}
+says
+@example
+Fingering_engraver is part of contexts: Voice and TabVoice
+@end example
+so tuning the settings for Fingering should be done using either
+@example
+ \property Voice.Fingering \set @dots{}
+@end example
+or
@example
- stemDown = \property Voice.Stem \override #'direction = #-1
+ \property TabVoice.Fingering \set @dots{}
@end example
-Set a property for all Stem grobs in the current Voice:
-@code{direction} is set to @code{-1}, which encodes down. The setting
-remains in effect until it is reverted.
+Since the @code{TabVoice} is only used for tab notation, we see that
+the first guess @code{Voice} was indeed correct.
+@cindex setting object properties
+@cindex @code{extra-offset}
+
+For shifting the fingering, we use the property @code{extra-offset}.
+The following command manually adds an offset to the object. We move
+it a little to the left, and 1.8 staff space downwards.
+@example
+ \once \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
+@end example
+The @code{extra-offset} is a low-level feature: it moves around
+objects in the printout; the formatting engine is completely oblivious
+to these offsets. The unit of these offsets are staff-spaces. The
+first number controls left-right movement; a positive number will move
+the object to the right. The second number controls up-down movement;
+a positive number will move it higher.
+We only want to offset a single object, so this statement is adorned
+with @code{\once}.
+
+@cindex property types
+@cindex translator properties
+@cindex grob properties
+@cindex music properties
@separate
+
+There are three different types of variables in LilyPond, something
+which can be confusing at first (and for some people it stays
+confusing). Variables such as @code{extra-offset} and
+@code{attachment} are called grob properties. They are not the same
+as translator properties, like @code{autoBeaming}. Finally, music
+expressions are internally stored using properties (so-called music
+properties). You will encounter music properties if you run Scheme
+functions on music using @code{\apply}.
+
+The second fingering instruction should be moved up a little to avoid
+a collision with the slur. This could be achieved with
+@code{extra-offset}, but in this case, a simpler mechanism also
+works. We insert an empty text between the 5 and the note. The empty
+text pushes the fingering instruction away:
@example
- \property Voice.Stem \revert #'direction
+ a-)^" "^\markup @{ \finger "5" @}
@end example
-Revert the to the previous setting. The effect of precisely one
-@code{\stemDown} or @code{\stemUp} is neutralized.
+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, with the
+formatting of fingering instructions.
+
+@separate
+Normally one would specify all dynamics in the same voice, so that
+dynamics (such as @b{f} and @b{p}) will be aligned with hairpins. But
+in this case, we do not want the decrescendo to be aligned with the
+piano sign. We achieve this by putting the dynamic markings in different
+voices. The crescendo should be above the upper staff. This can be
+forced by using the precooked command
+@example
+ \dynamicsUp
+@end example
-@cindex dynamics
-@cindex loudness
-@cindex forte
-@code{\f} places a forte symbol under the chord. The forte applies to
-the whole chord, but the syntax requires that commands like forte and
-arpeggio are attached to a note, so here we attach them to the first
-note.
+However, if you do that the decrescendo will be too close to the upper
+voice and collide with the stems. Looking at the manual for dynamics,
+we notice that ``Vertical positioning of these symbols is handled by
+the @internalsref{DynamicLineSpanner} grob.''. If we turn to the
+documentation of @code{DynamicLineSpanner}, we find that
+@code{DynamicLineSpanner} supports several so-called `interfaces'.
+This object not only puts objects next to the staff
+(@code{side-position-interface}), but it also groups dynamic objects
+(@code{axis-group-interface}), is considered a dynamic sign itself
+(@code{dynamic-interface}), and is an spanning object
+(@code{spanner-interface}). It also has the standard
+@code{grob-interface} with all the variables that come with it.
-On the first chord, a crescendo is started with
-@code{\<}. To be precise, the crescendo start is syntactically attached
-to the preceding note, the @code{d}.
+For the moment we are interested in side positioning:
+@quotation
+ side-position-interface
-@cindex dynamics
-@cindex crescendo
-@cindex @code{\<}
+ Position a victim object (this one) next to other objects (the
+ support). In this case, the direction signifies where to put the
+ victim object relative to the support (left or right, up or down?)
+@end quotation
+Between the object and its support (in this case, the descending
+notes), there should be more space. This space is controlled by
+@code{padding}, so we increase it.
+@example
+ \property Voice.DynamicLineSpanner \override #'padding = #5.0
+@end example
+
+This command resembles the one for setting slur attachments, but
+subtly differs in its details. Grob properties can be manipulated
+with two commands: @code{\override} extends the definition of a grob
+with one setting, and @code{\revert} releases this setting. This has
+a theoretical appeal: the operations are simple and symmetric. For
+practical use, it can be cumbersome. The commands act like
+parentheses: you should carefully balance the use of @code{\override}
+and @code{\revert}. The @code{\set} command is more friendly: it
+first does a @code{\revert} followed by @code{\override}.
+
+@separate
+
+Brahms uses music notation is a slightly unorthodox way. Ties
+usually happen only within one voice. In this piece, the composer
+gladly produces ties that jump voices. We deal with this by faking
+these ties: whenever we need such a tie, we insert a notehead in a
+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'
+@end example
+Blanking the stem should be done for only one object. One of the ways
+to achieve that, is by setting the property before a note. Reverting
+it afterwards is tedious, so for setting a property only once, we have
+the syntax @code{\once}: it reverts the property directly before
+proceeding to the next step in time.
+
+The @code{\once} keyword is added to @code{\property}.
+
+
+Finally, the last tie is forced up using @code{\tieUp}.
-@cindex @code{\!}
+@separate
+
+Here's the complete ``fine tuned'' version, which includes all the
+modifications we discussed in this section:
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
+@lilypondfile[verbatim]{brahms-tweaked.ly}
@node An orchestral score
@end menu
-Our last two examples show a way to setup the music for an orchestral
-score. When typesetting a piece for several instruments, you'll want to
-create a conductor's full score, alongside several individual parts.
+Our next two examples demonstrate one way to create an orchestral score
+in LilyPond. When typesetting a piece for several instruments, you'll
+want to create a full score (for the conductor) along with several
+individual parts (for the players).
-LilyPond is well suited for this task. We will declare the music for
-each instrument individually, giving the music of each instrument its
-own name. These pieces of music are then combined in different
-@code{\score} blocks to produce different combinations of the score.
+ We will declare the music for each instrument individually, giving
+the music of each instrument its own name. These pieces of music are
+then combined in different @code{\score} blocks to produce different
+combinations of instruments (for example, one @code{\score} block may
+only include the cello part; another @code{\score} block may be for
+all the strings, and yet another @code{\score} block may be for all
+parts together).
This orchestral score example consists of three input files. In the
-first file, @file{os-music.ly}, we define the music for all instruments.
-This file will be used both for producing the score and the separate
-parts.
-
-If you were to run LilyPond on this file, no printable output would be
-produced.
+first file, @file{os-music.ly}, we define the music for all
+instruments. This file will be used for producing the score and the
+separate parts, but the file does not produce any sheet music itself.
+Other files reference it by stating @code{\include "os-music.ly"}.
@example
% os-music.ly
@}
@end example
-We will not go through the input line by line, but only indicate and
-explain the new elements.
+We will not examine this example line by line, since you already know
+most of it. We'll examine a few lines which contain new elements.
@separate
@example
global = @{
\time 2/4
- \skip 2*4 \bar "|.";
+ \skip 2*4 \bar "|."
@}
@end example
-Declare setting to be used globally. The @code{\skip} command produces
-no output, but moves forward in time: in this case, the duration of a
-half note (@code{2}), and that four times (@code{*4}). This brings us
-to the end of the piece, and we can set the end bar.
+This declares settings to be used globally. The @code{\skip} command
+produces no output, but moves forward in time: in this case, the
+duration of a half note (@code{2}), and that four times (@code{*4}).
+This brings us to the end of the piece, and we can set the end bar.
+You can use @code{s} as a shortcut for @code{\skip} (the last line of
+this section would be @code{s2*4 \bar"|."}).
@separate
@example
Key = \notes \key as \major
@end example
-Declare the key signature of the piece and assign it to the identifier
-@var{Key}. Later on, we'll use @code{\Key} for all staves except those
-for transposing instruments.
+This declares the key signature of the piece and assign it to the
+identifier @var{Key}. Later on we will use @code{\Key} for all staves
+except those for transposing instruments.
@node The full score
@subsection The full score
-The second file, @file{os-score.ly} reads the definitions of the first
-(@file{os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
-
+The second file, @inputfileref{input/tutorial,os-score.ly}, reads the
+definitions of the first (@inputfileref{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"
-#(set! point-and-click line-column-location)
-#(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.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
>
>
>
indent = 15 * \staffspace
linewidth = 60 * \staffspace
textheight = 90 * \staffspace
+ \translator@{
+ \VoiceContext
+ \consists "Multi_measure_rest_engraver"
+ @}
\translator@{
\HaraKiriStaffContext
+ \remove "Multi_measure_rest_engraver"
@}
@}
\midi @{
@example
\include "os-music.ly"
@end example
-First, we need to include the music definitions we made in
+First we need to include the music definitions we made in
@file{os-music.ly}.
+@ignore
+
+[TODO: mention in a more relevant place]
+
@separate
@example
-#(set! point-and-click line-column-location)
+#(ly:set-point-and-click 'line-column)
@end example
-In a large orchestral score like this you're bound to make some small
-mistakes, so we enable point and click (See @ref{Point and click})
-editing.
+
+This piece of Scheme code executes the function
+@code{ly:set-point-and-click} with the argument
+@code{line-column}. Editing input files can be complicated if you are
+working with large files: if you are digitizing existing music, you have
+to synchronize the .ly file, the sheet music on your lap and the sheet
+music on the screen. The point-and-click mechanism makes it easy to
+find the origin of an error in the LY file: when you view the file with
+Xdvi and click on a note, your editor will jump to the spot where that
+note was entered. For more information, see @ref{Point and click}.
+@end ignore
+
@separate
@example
(music "accidentals--1")))
@end example
-When naming the tuning of the french horn, we'll need a piece of text
-with a flat sign. LilyPond has a mechanism for font selection and
+To name the transposition of the french horn, we will need a piece of
+text with a flat sign. LilyPond has a mechanism for font selection and
kerning called Scheme markup text (See @ref{Text markup}). The flat
sign is taken from the music font, and its name is @code{accidentals--1}
(The natural sign is called @code{accidentals-0}). The default font is
<
\global
@end example
-Of course, all staves are simultaneous and use the same global settings.
+All staves are simultaneous and use the same global settings.
@separate
@example
\property Score.BarNumber \override #'padding = #3
@end example
LilyPond prints bar numbers at the start of each line, but
-unfortunately, they end up a bit too close to the staff in this example.
-A bar number internally is a Grob called @var{BarNumber}. BarNumber
-Grobs can be manipulated through their @var{side-position-interface}. One
-of the properties of a @var{side-position-interface} that can be tweaked
-is the @var{padding}: the amount of extra space that is put between this
-Grob and other Grobs. We set the padding to three staff spaces.
+unfortunately they end up a bit too close to the staff in this
+example. In LilyPond, a bar number is called @var{BarNumber}.
+BarNumber objects can be manipulated through their
+@var{side-position-interface}. One of the properties of a
+@var{side-position-interface} that can be tweaked is @var{padding}:
+the amount of extra space that is put between this and other objects.
+We set the padding to three staff spaces.
You can find information on all these kind of properties in LilyPond's
automatically generated documentation in
@ifnottex
-@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}.
+@ref{ (lilypond-internals)lilypond-internals, LilyPond Internals}
+or in @ref{Fine tuning a piece}.
@end ifnottex
@iftex
-the online documentation.
+the online documentation or in the previous section of the tutorial.
@end iftex
+@c REFERENCE MAO
+
@separate
@example
\context StaffGroup = woodwind <
@end example
A new notation context: the @code{StaffGroup}. @code{StaffGroup} can
hold one or more @code{Staff}'s, and will print a big bracket at the
-left of the score. Start a new staff group for the woodwind section
-(just the flutes in this case). Immediately after that, we start the
-staff for the two flutes, that also play simultaneously.
+left of the score. This starts a new staff group for the woodwind
+section (just the flutes in this case). Immediately after that, we
+start the staff for the two flutes, who also play simultaneously.
@separate
@example
\property Staff.instrument = "2 Flauti"
\property Staff.instr = "Fl."
@end example
-And define the instrument names to be printed in the margin,
-@code{instrument} for the first line of the score, @code{instr} for the
-rest of the score.
+This defines the instrument names to be printed in the
+margin. @code{instrument} specifies the name for the first line
+of the score, @code{instr} is used for the rest of the score.
@separate
@example
\context Voice=one @{ \voiceOne \flautoI @}
\context Voice=two @{ \voiceTwo \flautoII @}
@end example
-Last come the actual flute parts. Remember that we're still in
+Last come the actual flute parts. Remember that we are still in
simultaneous mode. We name both voices differently, so that LilyPond
-will actually create two Voice contexts. The flute parts are simple, so
+will create two Voice contexts. The flute parts are simple, so
we specify manually which voice is which: @code{\voiceOne} forces the
direction of stems, beams, slurs and ties up, @code{\voiceTwo} sets
directions down.
@example
\property Staff.instrument = #'(lines "Timpani" "(C-G)")
@end example
-The timpani staff only shows a new piece of scheme markup, it sets two
+The timpani staff demonstrates a new piece of scheme markup, it sets two
lines of text.
@separate
\context Thread=two \tromboII
@end example
You have seen the notation contexts Staff and Voice, but here's a new
-one: Thread. One or more Threads can be part of a Voice. The Thread
-takes care of note heads and rests, the Voice combine note heads onto a
+one: Thread. One or more Threads can be part of a Voice. Thread
+takes care of note heads and rests; Voice combine note heads onto a
stem.
For the trumpets we use the automatic part combiner (see @ref{Automatic
part combining}) to combine the two simultaneous trumpet parts onto the
trumpet staff. Each trumpet gets its own Thread context, which must be
named @code{one} and @code{two}). The part combiner makes these two
-threads share a Voice when they're similar, and splits the threads up
-when they're different.
+threads share a Voice when they are similar, and splits the threads up
+when they are different.
@separate
@example
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
+\property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
@end example
-The french horn has the most complex scheme markup name, made up of two
-lines of text. The second line has three elements (columns), the @code{(E},
-the flat sign @code{text-flat} that we defined before and a final @code{")"}.
-Note that we use a backquote instead of an ordinary quote at the
-beginning of the Scheme expression to be able to access the
-@code{text-flat} identifier, `unquoting' it with a @code{,}.
+The french horn (``Corno'') has the most complex scheme markup name, made
+up of two lines of text. The second line has three elements (columns) --
+the @code{(E}, the flat sign @code{text-flat} that we defined previously,
+and a final @code{")"}. Note that we use a backquote instead of an
+ordinary quote at the beginning of the Scheme expression to be able to
+access the @code{text-flat} identifier, `unquoting' it with a ``@code{,}''.
@separate
@example
\property Staff.transposing = #3
@end example
-The french horn is to be tuned in E-flat, so we tell the MIDI backend to
+The french horn is to be tuned in E-flat, so we tell the MIDI back-end to
transpose this staff by three steps.
-Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff property
-@var{transposing}.
+Note how we can choose different tunings for the text input, sheet music
+output and, and MIDI output, using @code{\transpose} and the MIDI Staff
+property @var{transposing}.
@separate
@example
\notes \key bes \major
@end example
-Therefore, it has a different key.
+Since the horn is transposing, it is in a different key.
@separate
@example
indent = 15 * \staffspace
- linewidth = 60 * \staffspace
+ linewidth = 55 * \staffspace
@end example
We specify a big indent for the first line and a small linewidth for this
tutorial.
@separate
-Usually, LilyPond's predefined setup of notation contexts (Thread,
-Voice, Staff, Staffgroup, Score) is just fine. But in this case, we
+Usually LilyPond's default setup of notation contexts (Thread,
+Voice, Staff, Staffgroup, Score) is just fine. But in this case we
want a different type of Staff context.
@example
@}
@end example
-In orchestral scores, it often happens that one instrument has only
-rests during one line of the score. The @code{HaraKiriStaffContext} can
+In orchestral scores it often happens that one instrument only has
+rests during one line of the score. @code{HaraKiriStaffContext} can
be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staves.
+the automatic removing of empty staves -- so if the strings are the
+only instruments playing for a line, LilyPond will only print the string
+parts for that line of the score. This reduces the number of page turns
+(and the number of dead trees!) required in a score.
@node Extracting an individual part
@subsection Extracting an individual part
Because we separated the music definitions from the @code{\score}
instantiations, we can easily define a second score with the music of
-the second flute. This then is the part for the second flute player.
-Of course, we make separate parts for all individual instruments.
+the second flute. This is the part for the second flute player. Of
+course, we would make separate parts for all individual instruments if
+we were preparing the score for an orchestra.
@separate
@example
\flautoII
@end example
In this individual part the second flute has a whole staff for itself,
-so we don't want to force stem or tie directions.
+so we do not want to force stem or tie directions.
@separate
@example
\property Score.skipBars = ##t
@end example
In the conductor's full score, all bars with rests are printed, but for
-the individual parts, we want to contract pieces of consecutive empty
-bars. LilyPond will do this if Score's @var{skipBars} property to
-true.
-
-
-@node Other ways to run LilyPond
-@section Other ways to run LilyPond
-
-Until now, you have been using @file{ly2dvi} to invoke LilyPond.
-There are three other routes. Firstly, there is a script called
-@code{lilypond-book}, that allows you to freely mix LilyPond input with
-Texinfo or \LaTeX input. For example, this manual was written using
-@code{lilypond-book}. It is discussed below and in @ref{lilypond-book}.
-
-
-Secondly, you can generate PostScript directly. This is useful if you
-can not or do not want to run @TeX{} on your system. To obtain direct
-PostScript output, invoke LilyPond as follows:
-@cindex PostScript output
-@example
-lilypond -f ps test.ly
-@end example
-You have to set some environment variables to view or print this output.
-More information can be found in @ref{Invoking LilyPond}. Since the
-direct Postscript generation has some problems, it is recommended
-to use @file{ly2dvi}.
-
-
-Thirdly, if you want to do special things with your output, you can run
-invoke LilyPond directly:
-@example
-lilypond test.ly
-@end example
-to produce plain @TeX{} output. Note that La@TeX{} will not work on the
-resulting @file{test.tex}. You must run plain @TeX{} on it.
-
-@cindex @TeX{}
-
-
-
+the individual parts, we want to print one multimeasure rest instead of
+many consecutive empty bars. LilyPond will do this if
+@code{Score.skipBars} is set to true (@code{##t}).
@node Integrating text and music
@section Integrating text and music
-Sometimes, you might want to use music examples in a text that you are
-writing. For example, if you are writing a musicological treatise, a
-songbook, or (like us) the LilyPond manual. You can make such texts by
-hand, simply by importing a PostScript figure into your wordprocessor.
-However, there is a also an automated procedure:
-If you use La@TeX{} or texinfo, you can mix text and LilyPond code. A
-script called @code{lilypond-book} will extract the music fragments, run
-LilyPond on them, and put back the resulting notation. lilypond-book is
-described fully in @ref{lilypond-book}, but here we show a small
-example. Since the example also contains explanatory text, we won't
-comment on the contents.
+@cindex La@TeX{}, music in
+@cindex HTML, music in
+@cindex Texinfo, music in
+
+Sometimes you might want to use music examples in a text that you are
+writing (for example a musicological treatise, a songbook, or (like us)
+the LilyPond manual). You can make such texts by hand, simply by
+importing a PostScript figure into your word processor. However,
+there is an automated procedure to reduce the amount of work.
+
+If you use HTML, La@TeX{}, or Texinfo, you can mix text and LilyPond
+code. A script called @code{lilypond-book} will extract the music
+fragments, run LilyPond on them, and put back the resulting notation.
+This program is fully described in @ref{lilypond-book manual}. Here we show a small example. Since the example
+also contains explanatory text, we will not comment it further.
@example
\documentclass[a4paper]@{article@}
c2 g'2 \times 2/3 @{ f8 e d @} c'2 g4
@} @}
\end@{lilypond@}
+
Notice that the music line length matches the margin settings of the
document.
c'4
\end@{lilypond@}
-In the example you see here, a number of things happened: a
+In the example you see here, two things happened: a
\verb+\score+ block was added, and the line width was set to natural
length. You can specify many more options using \LaTeX style options
in brackets:
c'4 f bes es
\end@{lilypond@}
-\texttt@{verbatim@} also shows the LilyPond code, \texttt@{11pt@} selects
-the default music size, \texttt@{fragment@} adds a score block,
-\texttt@{relative@} uses relative mode for the fragment, and
-\texttt@{intertext@} specifies what to print between the
-\texttt@{verbatim@} code and the music.
+The option \texttt@{verbatim@} prints the LilyPond code in addition to
+the graphical score, \texttt@{11pt@} selects the default music size,
+\texttt@{fragment@} adds a score block, \texttt@{relative@} uses
+relative mode for the fragment, and \texttt@{intertext@} specifies
+what to print between the \texttt@{verbatim@} code and the music.
-If you include large examples into the text, it may be more convenient
-to put the example in a separate file:
+If you want to include large examples into the text, it may be more
+convenient to put the example in a separate file:
\lilypondfile[printfilename]@{sammartini.ly@}
Under Unix, you can view the results as follows.
@example
$ cd input/tutorial
+$ mkdir -p out/
$ lilypond-book --outdir=out/ lilbook.tex
-lilypond-book (GNU LilyPond) 1.3.146
+lilypond-book (GNU LilyPond) 1.7.16
Reading `input/tutorial/lilbook.tex'
Reading `input/tutorial/sammartini.ly'
@var{lots of stuff deleted}
@end example
Notice the @code{outdir} option to lilypond-book. Running lilypond-book
-and running latex creates a lot of temporary files, and you wouldn't want
+and running latex creates a lot of temporary files, and you would not want
those to clutter up your working directory. Hence, we have them created
in a separate subdirectory.
-The result more or less looks like this:
+The result looks more or less like this:
@separate
In a lilypond-book document, you can freely mix music and text. For
example:
@lilypond
- \score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
- } }
+\score {
+ \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ }
+ \paper {
+ raggedright = ##t
+ }
+}
@end lilypond
+
Notice that the music line length matches the margin settings of the
document.
c'4 f bes es
@end lilypond
-@code{verbatim} also shows the LilyPond code, @code{11pt} selects
+The option @code{verbatim} also shows the LilyPond code, @code{11pt} selects
the default music size, @code{fragment} adds a score block,
@code{relative} uses relative mode for the fragment, and
@code{intertext} specifies what to print between the
@lilypondfile[printfilename]{sammartini.ly}
The @code{printfilename} option adds the file name to the output.
-@node End of tutorial
-@section End of tutorial
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual. You can find more example
-files in @file{input} and @file{input/test}. You can also look at some
-real music. The website @uref{http://www.mutopiaproject.org} has many
-examples of real music typeset by LilyPond.
-
-
-
-@ignore
-
-[TODO
-
-this should be on mutopia website.
-
-]
-
-
-@c waar deze info? is uiteindelijk wel handig, schat ik.
-[TODO: cut blabla]
-
-If you have a big music project, or just a lot of LilyPond input files,
-all generated output from LilyPond, @TeX{} and metafont will clutter
-your working directory. LilyPond comes with a one-size-fits-all
-pre-cooked makefile that helps you manage producing output. It will
-produce all output in the directory @file{out} , generate and track
-dependencies. Also, it helps in preparing your submission to @ref{Mutopia
-project}.
-
-@file{make/ly.make}
-@example
-mkdir my-project
-cd my-project
-cp /usr/share/lilypond/make/ly.make GNUmakefile
-cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
-make minuet
-[..]
-Generated out/minuet.ps for target minuet.
-@end example
-
-Type @samp{make help} to see possible targets.
-
-[TODO]
-@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
-
-
-
-
-
-[TODO: rewrite completely.]
-
-@menu
-* Songs with additional verses::
-@end menu
-
-@end ignore
+[TODO: include excercises? ]
projects / lilypond.git / blobdiff