@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
* Fine tuning a piece::
* An orchestral score:: Conductor's score and individual parts
* 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.
+
@node First steps
@section First steps
-We tsart off with showing how very simple music is entered in
-LilyPond: you get a simple note by typing its note name, from
-@code{a} through @code{g}. So if you enter
-@quotation
+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
+
@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 will continue with this format: first we show a snippet of input,
+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
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
+Now the piece of music is almost ready to be printed. The final step is to
+combine the music with a printing command.
-At this point, the piece of music is ready to be printed. This is done
-by combining the music with a printing command.
-
-The printing command is the so-called ``@code{\paper}'' block. You
-will see later that the @code{\paper} block is necessary to customize
+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
+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
-@end quotation
-@separate
@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
+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.
-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}:
+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
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:
+@file{test.ly} with @code{ly2dvi}, proceed as follows:
@quotation
@example
-ly2dvi -P test.ly
+ly2dvi -p test.ly
@end example
@end quotation
@quotation
@example
-GNU LilyPond 1.4.0
+GNU LilyPond 1.7.16
Now processing: `/home/fred/ly/test.ly'
Parsing...
Interpreting music...[1]
@emph{ ... more interesting stuff ... }
-PS output to `test.ps'...
+PDF output to `test.pdf'...
DVI output to `test.dvi'...
@end example
@end quotation
@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:
+@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.ps
- ghostview test.ps
- ggv test.ps
- kghostview test.ps
+ gv test.pdf
+ ghostview test.pdf
+ ggv test.pdf
+ kghostview test.pdf
@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.
+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. Execute @code{xdvi test.dvi} or
-@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse buttons
-activate magnifying glasses. Unfortunately, variable symbols, such as
-beams and slurs won't show up in these.
-
-If your DVI viewer does not have a "Print" button, you can print the
-file by executing @code{lpr test.ps}.
+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.
-@c volgende alinea schrappen?
-If your system does not support printing PostScript files, then you
-can install GhostScript, a PostScript emulator. Refer to
-GhostScript's website at @uref{http://www.ghostscript.com}.
-
-@cindex GhostScript
+@cindex Ghostscript
@cindex @code{lpr}
@cindex Printing output
@cindex PostScript
@cindex PDF
-A final option, is to use the popular PDF format. You can get a PDF
-file by running @code{ly2dvi --pdf test.ly}. With the @code{--pdf},
-you will get a DVI, PS and PDF file. The viewers for the PS files also
-accept PDF files, but there are also many other applications for
-viewing PDF files.
-
-If you are familiar with @TeX{}, then one warning is in place: 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 different than @code{dvips}.
+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 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:
+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.ps}
+@code{gsview32 test.pdf}
@end example
@end quotation
You can also print from the command line by executing:
@quotation
@example
-@code{gsview32 /s test.ps}
+@code{gsview32 /s test.pdf}
@end example
@end quotation
@strong{SUMMARY}
-To run LilyPond, enter a file, and 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
+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 @code{1 2 8 16}
@tab durations
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, notime]
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c1 c2 c8 c16
@item @code{. ..}
@tab augmentation dots
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@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[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@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[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[notime]
\clef treble
s4_" "
\clef bass
@item @code{\time 3/4 \time 4/4 }
@tab time signature
@tab
-@lilypond[fragment]
+@lilypond
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
@section More basics
We continue with the introduction of the remaining musical constructs.
-Normal rests are entered just like notes, but use the name
-``@code{r}'':
+Normal rests are entered just like notes with the name ``@code{r}'':
@quotation
@example
@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
\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 }
@c accidentals...
There are some interesting points to note in this example.
-Accidentals (sharps and flats) don't have to be marked explicitly: you
+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. Bar lines and beams are drawn automatically.
-LilyPond calculates line breaks for you; it doesn't matter where you
+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 less readable,
-and is therefore also a potential source of errors.
+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 type
-no octavation 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
+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 octavation 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
@separate
+Here's an example of the difference between relative mode and
+``normal'' (non-relative) mode:
+
+@quotation
+@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
+
+@quotation
+@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
+
@strong{SUMMARY}
-The following table summarizes the syntax learned in this section.
+The following table summarizes the syntax in this section.
+
+@c Is it possible to avoid page breaks directly after the
+@c table head? /Mats
@multitable @columnfractions .3 .3 .4
@item @code{r4 r8}
@tab rest
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, notime]
\property Staff.Clef = \turnOff
r4 r8
@end lilypond
-
@item @code{~}
@tab tie
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
d ~ d
@end lilypond
-
@item @code{\key es \major }
@tab key signature
@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[notime]
\clef treble
\key es \major
s4
@end lilypond
-@item @code{'}
+@item @var{note}@code{'}
@tab raise octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a a'
@end lilypond
-@item @code{,}
+@item @var{note}@code{,}
@tab lower octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c c,
@quotation
@lilypond[fragment,relative 1, verbatim]
-d4( )c16( cis d e c cis d )e( )d4
+d4-( c16-)-( cis d e c cis d e-)-( d4-)
@end lilypond
@end quotation
@separate
@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 doesn't
-@c have a phrasing slur. The problem is that we don't want the slur
-@c and the Phrasing slur to collide. We're trying to make a good
+@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[fragment,relative 1, verbatim]
-a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
@end lilypond
@end quotation
@separate
-Beams are drawn automatically, but if you don't like the choices, you
-can enter beams by hand. Surround the notes to be grouped with @code{[}
-and @code{]}:
+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[fragment,relative 1, verbatim]
-[a8 ais] [d es r d]
+a8-[ ais-] d-[ es r 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
+@code{Staff}'s are then grouped inside @code{<} and @code{>}, as is
demonstrated here:
@quotation
@end quotation
In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. It doesn't matter what names you give, as long
-as each staff has a unique name.
+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
-We can typeset a melody with two staves now:
+We can now typeset a melody with two staves:
@quotation
@lilypond[verbatim,singleline]
< \context Staff = staffA {
\time 3/4
\clef violin
- \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ \relative c'' {
+ e2-( d4 c2 b4 a8-[ a-]
+ b-[ b-] g-[ g-] a2.-) }
}
\context Staff = staffB {
\clef bass
@end quotation
@separate
-Crescendi are started with the commands @code{\<} and @code{\>}. The
-command @code{\!} finishes a crescendo on the following note.
+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,relative 1]
-c2\< \!c2-\ff \>c2 \!c2
+c2-\< c2-\!-\ff c2-\> c2-\!
@end lilypond
@end quotation
@separate
-Chords can be made by surrounding notes with @code{<} and @code{>}:
+Chords can be made by surrounding notes with @code{<<} and @code{>>}:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 <c e g> <c f a>
+r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate
-@ignore
-@c te diepzinnig?
-@c hmm, te losjes, iig
-In general, @code{ < @var{stuff} > } is used when @var{stuff} all
-happens at the same time, like in chords, or (like in the two-staff
-example above) in a bunch of stacked staves.
-@end ignore
-Of course, you can combine beams and ties with chords. Notice that
-beam and tie markings must be placed outside the chord markers:
+You can combine beams and ties with chords. Beam and tie markings
+must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
@end lilypond
@end quotation
+@ignore
When you want to combine chords with slurs and dynamics, technical
detail crops up: you have type these commands next to the notes, which
-means that they have to be inside the @code{< >}:
-
+means that they have to be inside the @code{< >}. Do Not get confused
+by the chord @code{< >} and the dynamic @code{\< \>}!
+@end ignore
@quotation
@example
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end example
@lilypond[relative 0, fragment]
\slurUp
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
-@end lilypond
-@end quotation
-@separate
-
-There is one golden rule that you should keep in mind when writing
-LilyPond input:
-@quotation
-@strong{DO NOT START A PIECE WITH A CHORD}
-@end quotation
-Of course, it is a allowed, but the result might not be what you expect:
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
-@end lilypond
-@end quotation
-@separate
-
-If you have a piece that starts with a chord, then you must explicitly
-state that the notes of the chord are to be put on the same staff, in
-the same voice. This is done by specifying @code{\context Staff} for
-the notes:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end lilypond
@end quotation
@separate
-
@strong{SUMMARY}
@multitable @columnfractions .3 .3 .4
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c( d )e
+c-( d e-)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c\( c() d \)e
+c-\( c-( d-) e-\)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-[a8 b]
+a8-[ b-]
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-a\> a \!a
+a-\> a a-\!
@end lilypond
-@item @code{< >}
+@item @code{<< >>}
@tab chord
@tab
@lilypond[fragment, relative 1]
-\context Voice <c e>
+<<c e>>
@end lilypond
@end multitable
-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, dealing with more advanced topics such as
-lyrics, chords, orchestral scores and parts, fine tuning output,
-polyphonic music, and integrating text and music.
-
+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.
+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.
\score { \notes { \addlyrics
\notes \relative c' {
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 }
\context Lyrics \lyrics {
Join us now __ and
share the soft -- ware; }
}
-\paper { linewidth = -1. }
+\paper { raggedright = ##t }
}
@end lilypond
@cindex @code{\lyrics}
-To print lyrics, you must enter them, and then instruct lilypond to
-handle the lyrics by printing them.
-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}.
-The purpose of this mode is that you can enter lyrics as plain text,
-punctuation and accents without any hassle.
-
-Syllables are entered like notes, with pitches replaced by text. For
-example, @code{Twin- kle twin- kle} enters four syllables. Note that
-the hyphen has no special meaning for lyrics, and does not introduce
-special symbols.
+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}.
-Spaces can be introduced into a lyric either by using quotes:
-@code{"He could"4 not4} or by using an underscore without quotes:
-@code{He_could4 not4}. All unquoted underscores are converted to
-spaces.
+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}.
These are the lyrics for the free software song:
share the soft -- ware; @}
@end example
-As you can see, extender lines are entered as @code{__}. This will
-create an extender, 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{_}).
+ 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{_}).
-If you can use have hyphens at the end of a syllable, i.e.
+You can use ordinary hyphens at the end of a syllable, i.e.
@example
soft- ware
@end example
-but then the hyphen will be attached to the to the end of the first
-syllable.
+but then the hyphen will be attached to the end of the first syllable.
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
-syllables. It will be centered between the syllables.
+the syllables and it will be centered between the syllables.
-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.
-We don't want that default here, because we want lyric. The
-command
+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
\context Lyrics
@end example
-explicitly creates an interpretation context of
-@code{Lyrics} type to interpret the song text that we entered.
+must be used to interpret a set of syllables as lyrics.
-The melody of the song doesn't offer anything new:
-@example
- \notes \relative c' @{
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
-@end example
-Both can be combined with the @code{\addlyrics}:
+@cindex context
+@cindex interpretation context
+@cindex notation context
+
+
+
+The melody and the lyrics can be combined with the @code{\addlyrics}:
@example
\addlyrics
\notes \relative c' @dots{}
\context Lyrics \lyrics @dots{}
@end example
-The lyrics are also music expressions, similar to notes. What happens
-here, is that each syllable of the lyrics is put under the a note of
-the melody.
-The complete file is listed here:
+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
\score @{ \notes @{ \addlyrics
Join us now __ and
share the soft -- ware; @}
@}
-\paper @{ linewidth = -1. @}
+\paper @{ raggedright = ##t @}
@}
@end example
@section A melody with chords
In this section we show how to typeset a melody with chord
-accompaniment. This file is included as @file{input/tutorial/flowing.ly}.
-
-@example
-\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 "|."
-@}
-
-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
- \context Staff = mel @{
- \melody
- @}
-
- @}
- \midi @{ \tempo 4=72 @}
- \paper @{ linewidth = 10.0\cm @}
-@}
-@end example
+accompaniment. This file is included in
+@inputfileref{input/tutorial,flowing.ly}.
+@lilypondfile[verbatim,intertext="the result looks like"]{flowing.ly}
-The result would look this.
-
-@lilypond[center]
-\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 "|."
-}
-
-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
-
- \context Staff = mel {
- \property Staff.autoBeaming = ##f
- \melody
- }
- }
- \midi { \tempo 4=72 }
- \paper { linewidth = 10.0\cm }
-}
-@end lilypond
-
-Again, we will dissect the file line by line.
@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
+This defines the lyrics, similar to what we have seen before.
@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
- \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.
+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
@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 stanzas
@cindex phrasing
If you have multiple stanzas printed underneath each other, the vertical
-groups of syllables should be aligned around punctuation. LilyPond can
+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.
\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.
+
-We add the names of the singers. This can be done by setting
+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. Notice how you must
+@code{LyricsVoice.stz} for the following systems. Note that you must
surround dots with spaces in @code{\lyrics} mode.
@example
@node More movements
@section More movements
-LilyPond only handles formatting sheet music. It doesn't concern
-itself with producing titles. This is the jobs of a simple wrapper
-program called ly2dvi. @code{ly2dvi} calls LilyPond to do the
-sheet music formatting. Then it produces titles, and ties together all
-inputs into a single @file{dvi} file. In this section, we show some of
-the options for titling. We will show how you can produce a file
-that looks like this:
+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
For example, consider the following file (@file{miniatures.ly})
@example
-\version "1.5.60"
+\version "1.5.72"
\header @{
title = "Two miniatures"
composer = "F. Bar Baz"
tagline = "small is beautiful" @}
-\paper @{ linewidth = -1.0 @}
+\paper @{ raggedright = ##t @}
%@{
%@}
-
\score @{
\notes @{ c'4 d'4 @}
\header @{
@}
@end example
+
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 the output. @file{ly2dvi} uses this
-information to print titles above the music.
+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
@end example
When you process a file with ly2dvi, a signature line is printed at
-the bottom of the last page. This signature is produced from the
-@code{tagline} field of @code{\header}. The default "Lily was here,
-@var{version number}" is convenient for us programmers. Archived
-the layout of different versions can be compared using archived
-print-outs (that include a version number).
+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.
-Many people find the default tagline too droll. If that is the case,
-assign something else to @code{tagline}, as shown above.
+@cindex Lily was here
+@cindex signature line
+@cindex tag line
@separate
@example
\paper @{
- linewidth = -1.0 @}
+ raggedright = ##t @}
@end example
-A paper block at top level, i.e. not in a @code{\score} block sets the
-default page layout. The following @code{\score} blocks 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. The following @code{\score} blocks do not
+have @code{\paper} sections so the settings of this block are used.
-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.
+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.
@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 "1.5.60"
+\version "1.5.72"
\header @{
title = "Two miniatures"
composer = "F. Bar Baz"
tagline = "small is beautiful" @}
-\paper @{ linewidth = -1.0 @}
+\paper @{ raggedright = ##t @}
\score @{
\notes @{ c'4 d'4 @}
@}
@end example
+TODO:
+@example
+
+scoreA = \score @{ \deelA @}
+scoreB = \score @{ \deelA @}
+
+% \score @{ \scoreA @}
+\score @{ \scoreB @}
+
+@end example
@separate
@example
-\version "1.6.0"
+\version "1.5.72"
@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. This version number is also
-used by the @code{convert-ly} program (See @ref{Older
-LilyPond versions}), which is used to update the file to the latest
-lily version.
+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{input/tutorial/sammartini.ly}.
+Battista Sammartini, composed around 1740. It's in the source
+package under the name @inputfileref{input/tutorial,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). Both fragments (the
-tuned and the untuned are in the @file{input/tutorial/}).
+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.
@cindex loudness
@cindex forte
@cindex crescendo
-@cindex @code{\<}
-@cindex @code{\!}
-
-The crescendo is ended at the half note by the escaped exclamation
-mark @code{\!}.
-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. All these commands apply to
-the complete chord where they are entered, but for syntactical
-reasons, they must be attached to one of the notes of the chord.
@cindex fingering instructions
+[TODO: moveme]
-Fingering indications are entered simply using @code{-@var{N}}, where
+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 we get something that resembles the original printed
+tune it so that we get something that resembles the original printed
edition by Schott/Universal Edition:
@lilypondfile{brahms-tweaked.ly}
-@cindex tuning grob behavior
+@cindex tuning graphical objects
-The basic process that we follow is that we override defaults in the
-printing system. We do this by setting variables in so-called grobs.
-Printed symbols are internally represented by Graphical Objects
-(Grobs). Each grob is described by a bunch of settings. Every
-setting is a variable: it has a name, and you can assign a value to
-the variable. 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}.
+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: the slur in the upper part, running from the F
-sharp to the A, runs from stem to stem in the printed edition, while
-ours starts from the note head at the left. The following property
-setting forces all slurs to run from stem to stem (and not from or to
-note head)
+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 extends the definition of the @code{Slur}
+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)}.
-Although this is useful information, it is not very helpful: the
-lilypond backend supports approximately 240 variables like
-@code{attachment}, each with their own meaning and own type
-(eg. number, symbol, list, etc). Besides slur, LilyPond has 80
-different types of Grobs, that may be created in 14 different context
-types besides Voice.
-
@cindex internal documentation
-@cindex finding grobs
-@cindex grob descriptiosn
-
-The interesting information is how you can 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 run a binary distribution@footnote{You can also
-compile them by executing @code{make -C Documentation/user/
-out/lilypond-internals.html} in the source package.}. This document is
-also available on the web: go to the lilypond website, click
-``Documentation: other'' on the side bar, click
-``lilypond-internals'', under information for users.
-
-You might want to bookmark either the HTML files on disk, or the one
-on the web. One word of caution is in place here: the internals
-documentation is generated from the definitions that lily uses. For
-that reason, it is strongly tied to the version of LilyPond that you
-use. Before you proceed, please make sure that you are using the
-documentation that corresponds to the LilyPond version that you use.
-
-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
+@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 grob 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
-must look it up the internal documentation: click ``grob overview'' ,
-and select ``slur'' (the list is alphabetical.)
+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.
+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
-If you ran the previous example, you have unknowingly already used
-this kind of command. The @file{ly/property-init.ly} contains the
-definition of @code{\stemUp}
-@example
- stemUp = \property Voice.Stem \set #'direction = #1
-@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
-We also want to move around the fingering `3'. In the printed edition
-it is not above the stem, but a little lower, slightly left of the
-stem. From the user manual, we find that the associated grob 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
+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} grob. Such a module is called
-an @emph{engraver}. The documentation of the @code{Fingering_engraver}
-says,
+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
Since the @code{TabVoice} is only used for tab notation, we see that
the first guess @code{Voice} was indeed correct.
-@cindex setting grob properties
+@cindex setting object properties
@cindex @code{extra-offset}
-For shifting the fingering, we use the grob 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.
+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
- \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
-@end 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.
-
-@cindex reverting grob properties
-@cindex undoing grob properties
-
-We only want to offset a single grob, so after the F-sharp, we must
-undo the setting. The technical term is to revert the grob property.
-@example
- \property Voice.Fingering \revert #'extra-offset
-@end example
+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 is three different types of variables in LilyPond, something
-which is confusing at first (and for some, it stays like that).
-Variables such as @code{extra-offset} and @code{attachment} are called
-grob properties. They are something different from the translator
-properties, like @code{autoBeaming}. Finally, music expressions are
-internally also stored using properties, so-called music
-properties. You will encounter the latter type if you run Scheme
+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
+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
+works. We insert an empty text between the 5 and the note. The empty
text pushes the fingering instruction away:
@example
- a^" "^#'(finger "5")
+ a-)^" "^\markup @{ \finger "5" @}
@end example
-Lilypond tries to put fingering instructions closer to the notes as
-text instructions. To insert an empty text (@code{^" "}) between the
-finger and the note, we have disguised the fingering instruction as a
-text: @code{(finger "5")}.
+A fingering instruction, which would be entered as @code{^5}, is put
+as close to the notes as possible, closer than the space entered to
+push away the 5. Hence, the 5 is entered as a normal text, with the
+formatting of fingering instructions.
+
+@separate
-Normally, one would specify dynamics in a single voice, and start and
-end dynamics (such as @b{f} and @b{p}) will be aligned with
-hairpins. In this case, we want the decrescendo to be in a different
-place from 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 the precooked command
+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
-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 the
-@code{DynamicLineSpanner} supports several so-called
-`interfaces'. This grob not only puts dynamic 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 a grob: it has the
-@code{grob-interface}, with all the variables that come with it.
-
-For the moment, we are interested in the side positioning:
+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.
+
+For the moment we are interested in side positioning:
@quotation
side-position-interface
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 grob and its support (in this case: the notes in the voice
-going down), there should be more space. This space is controlled by
+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
+ \property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example
-This command is almost like the command for setting slur attachments,
-but subtly different in its details. Grob properties can be
-manipulated with two commands: @code{\override} extends the grob
-variables with a setting, and @code{\revert} releases this
-setting. This has a certain theoretical appeal: the operations are
-simple and symmetric. For practical use, it can be cumbersome. Both
-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}.
+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
-Finally, 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
+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
+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'
- \property Voice.Stem \revert #'transparent
+\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}.
+@separate
+
+Here's the complete ``fine tuned'' version, which includes all the
+modifications we discussed in this section:
+
+@lilypondfile[verbatim]{brahms-tweaked.ly}
+
@node An orchestral score
@section 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. Other files reference this file by doing
-@code{\include "os-music.ly"}.
-
-If you were to run LilyPond on this file, no printable output would be
-produced.
+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{input/tutorial/os-score.ly} reads the definitions of the first
-(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full
-conductor's score.
-
+The second file, @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
-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).
-
-Editing input files can be 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}.
+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
(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
+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 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.
+@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.
+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 HTML, La@TeX{} or texinfo, you can mix text and LilyPond
-code. A script called @code{lilypond-book} will extract the music
+@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 utility program is described fully in the chapter @ref{Insert
-music snippets into your texts using lilypond-book}. Here we show a
-small example. Since the example also contains explanatory text, we
-won't comment on the contents.
+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
-
-This is the end of the tutorial. If you came up till here, and
-have understood everything, then you're now an accomplished lilypond
-hacker. From here, you can try fiddling with input
-files, coming back to the reference manual for information.
-Also don't forget to check out the
-@ifhtml
-@uref{../../templates/out-www/templates.html,templates},
-@uref{../../test/out-www/test.html,example} and
-@uref{../../regression/out-www/regression.html,feature test}
-snippets.
-@end ifhtml
-@ifnothtml
-templates, example and feature test snippets.
-@end ifnothtml
-If you want to see real action lilypond, then head over to
-@uref{http://www.mutopiaproject.org}, which has many examples of
-classical music typeset by LilyPond.
-
+[TODO: include excercises? ]
projects / lilypond.git / blobdiff