@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
* Running LilyPond:: Printing music
* More basics::
* Printing lyrics::
-* A melody with chords ::
-* More stanzas::
-* More movements :: Joining separate pieces of music
-* A piano excerpt:: Piano music
+* A lead sheet::
+* Listening to output::
+* Titling ::
+* Single staff polyphony ::
+* Piano staffs::
+* Organising larger pieces::
* Fine tuning a piece::
-* An orchestral score:: Conductor's score and individual parts
+* An orchestral part::
* 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 is done through text files: To print a piece of music, you
+enter the music in a file. When LilyPond is run (normally using the
+program @code{ly2dvi}) on that file, another file containing formatted
+sheet music, is produced. That file may be printed or viewed.
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
-complex examples.
+language. After this first contact, we will show which commands to
+run to produce printed output, so you should then be able to create
+your first sheets of music. When starting out, it will be convenient
+to print out
+@ifhtml
+the
+@end ifhtml
+@ref{Cheat sheet}, which is a table listing all commands for
+convenient reference.
+
+
@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 might expect,
+a @rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}:@footnote{This syntax derived from note
+naming conventions in Nordic and Germanic languages, like German and
+Dutch}
-@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:
+Entering pitches and durations is fully explained in @ref{Pitches} and
+@ref{Durations}.
+
+
+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:
+Time signatures and other timing commands are described in @ref{Time
+signature}.
+
+
+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):
+Clefs are fully explained in @ref{Clef}.
+
+
+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
-LilyPond source file looks like:
+enclosing them in @code{\score @{ ... @}}. This is what a full 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
-are for running LilyPond on Unix-like systems. Some additional
-instructions for running LilyPond on Windows are given at the end of
-this section.
+In the last section we explained what kind of things you could enter
+in a LilyPond file. In this section we explain what commands to run
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup, or want to run an example file
+yourself, read this section. The instructions that follow are for
+Unix-like systems. Some additional instructions for Microsoft 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
LilyPond is the program that computes the sheet music. All other
things, such as adding titles, page breaking and other page layout,
are done by a small wrapper program called
-@code{ly2dvi}. @code{ly2dvi} calls lilypond to render the music, and
+@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
+ xpdf test.pdf
+ gpdf 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}
-to view the DVI file.
-
-If your DVI viewer does not have a "Print" button, you can print the
-file by executing @code{lpr test.ps}.
-
-@c volgende alinea schrappen?
+so viewing them usually is quicker. You can run @code{xdvi test.dvi}
+@c KDVI doesn't grok the PS specials.
+@c or
+@c @code{kdvi test.dvi}
+@c
+to view the DVI file. In Xdvi, the mouse buttons
+activate magnifying glasses. Unfortunately, variable symbols (such as
+beams and slurs) are not displayed in the magnifying glasses.
-If you can't get the examples to print, then you should look into
-installing and configuring ghostscript. Refer to GhostScript's website
-at @uref{http://www.ghostscript.com}.
-@cindex GhostScript
+@cindex Ghostscript
@cindex @code{lpr}
@cindex Printing output
@cindex PostScript
+@cindex PDF
+
+If you are familiar with @TeX{}, be warned: do not use other DVI
+drivers like @code{dvilj}. LilyPond DVI use embedded PostScript code
+and will not render correctly with other DVI drivers besides
+@code{dvips}.
+
+@cindex dvips
+@cindex dvilj
+@cindex DVI driver
+
+
+Various commands for formatting and printing music are detailed in
+@ref{Invoking LilyPond}.
+
@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:
+
+On Windows, the terminal is started by clicking on the LilyPond or
+Cygwin icon. Any text editor (such as NotePad, Emacs or Vim) may be
+used to edit the LilyPond file. When Cygwin's @code{XFree86} X11
+window system is installed along with @code{tetex-x11} and
+@code{ghostscript-x11} packages, then the @code{dvi} output may be
+viewed with @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:
+Printing may be done 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
-discussed in the previous two sections.
-
-@multitable @columnfractions .3 .3 .4
-
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-
-@item @code{1 2 8 16}
-@tab durations
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c1 c2 c8 c16
-@end lilypond
-
-@item @code{. ..}
-@tab augmentation dots
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\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
-\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
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-@end lilypond
-
-@item @code{\time 3/4 \time 4/4 }
-@tab time signature
-@tab
-@lilypond[fragment]
-\property Staff.Clef \set #'transparent = ##t
-\time 3/4
-s4_" "
-\time 4/4
-s16_" "
-@end lilypond
-
-@end multitable
-
-
@node More basics
@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}'':
+We continue with the introduction of more musical constructs. 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
+Rests are described in full detail in @ref{Rests}.
+
+
+@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 notation manual discusses ties in @ref{Ties}.
-The key signature is set with the command ``@code{\key}'':
+The key signature is set with the command ``@code{\key}'', followed by
+a pitch and @code{\major} or @code{\minor}:
@quotation
@example
\key d \major
@end quotation
+
@c bit on the long/complex/scary taste
@c cheating a bit: two lines makes for a friendlier look
This example shows notes, ties, octave marks, and rests in action.
\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
-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
-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.
+Accidentals (sharps and flats) do not have to be marked explicitly:
+you just enter the note name, and an accidental is printed
+automatically, only when necessary. Bar lines and beams are drawn
+automatically. Line breaks are calculated automatically; it does not
+matter where the lines breaks are in the source file. Finally, the
+order of time, key and clef changes is not relevant: in the printout,
+these are ordered using standard notation conventions.
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 (i.e. do not add ' or , after a note),
+relative mode chooses the note that is closest to the previous one.
+@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
+
+Since most music has small intervals, in relative mode pieces can be
+written almost without using octavation quotes.
+
@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
-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
+Larger intervals are made by adding octavation quotes. Quotes or
+commas do not determine the absolute height of a note; the height of a
+note is relative to the previous one.
+@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
-@strong{SUMMARY}
-
-The following table summarizes the syntax learned in this section.
-
-@multitable @columnfractions .3 .3 .4
-
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
-
-@item @code{r4 r8}
-@tab rest
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-r4 r8
-@end lilypond
+Here is 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
-@item @code{~}
-@tab tie
-@tab
-@lilypond[fragment, relative 1]
+@lilypond[fragment]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-d ~ d
+\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
-@item @code{\key es \major }
-@tab key signature
-@tab
@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
-\clef treble
-\key es \major
-s4
-@end lilypond
-
-@item @code{'}
-@tab raise octave
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a a'
-@end lilypond
-
-@item @code{,}
-@tab lower octave
-@tab
-@lilypond[fragment, relative 1]
\property Score.timing = ##f
\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c c,
+\clef bass
+ a d a e d c' d'
@end lilypond
-
-@end multitable
+@end quotation
+@separate
A slur is drawn across many notes, and indicates bound articulation
(legato). The starting note and ending note are marked with a
@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 where they are
+put, they can be entered 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{\simultaneous @{} and @code{@}}, as is
demonstrated here:
@quotation
@lilypond[fragment,verbatim]
-<
+\simultaneous {
\context Staff = staffA { \clef violin c'' }
\context Staff = staffB { \clef bass c }
->
+}
@end lilypond
@end quotation
In this example, @code{staffA} and @code{staffB} are names that are
-given to the staves. It 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,
+they are assumed to belong on the same staff, and will be printed like
+that. @code{\simultaneous } indicates that both fragments happen at
+the same time, and must be printed stacked vertically.
@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 lilypond
@end quotation
-Notice that the time signature is specified in one melody staff only
-(the top staff), but is printed on both. LilyPond knows that the time
-signature should be the same for all staves.
+The time signature is specified in one melody staff only
+(the top staff), but is printed on both, since common practice
+dictates that all staves have the same time signature.
@separate
@end quotation
@separate
+Similarly, fingering indications can be added to a note using @code{-}
+and the digit to be printed.
+@lilypond[verbatim,relative 1]
+ c-3 e-5 b-2 a-1
+@end lilypond
+
+
+
+
+
Dynamic signs are made by adding the markings to the note:
@quotation
@lilypond[verbatim,relative 1]
@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 pitches 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
-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{< >}:
-
-
@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>
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-)
@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:
+A pickup (or upstep) is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep
+and @code{\partial 8} an eighth note.
+@lilypond[relative 1,verbatim,fragment]
+ \partial 8
+ f8 c2 d e
+@end lilypond
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so a triplet has 2/3 as its fraction.
+@c
+@lilypond[relative 0,verbatim,fragment]
+ \times 2/3 { f8 g a }
+ \times 2/3 { c r c }
+@end lilypond
+
+Grace notes are also made by prefixing a note, or a set of notes with
+a keyword. In this case, the keyword is @code{\grace}.
+@lilypond[relative 1, verbatim,fragment]
+ \grace b16-( c4-)
+ \grace { d16-( e } d4-)
@end lilypond
-@end quotation
-@separate
+@noindent
+More information on the use of grace notes is in @ref{Grace notes}.
-@strong{SUMMARY}
+Comments are pieces of the input that are ignored. There are two
+types of comments. A line comments are introduced by @code{%}: after
+that, the rest of that line is ignored. Block comments span larger
+sections of input. Anything that is enclosed in @code{%@{} and
+@code{%@}} is ignored too. The following fragment shows possible uses
+for comments.
-@multitable @columnfractions .3 .3 .4
+@example
+ % notes for twinkle twinkle follow:
+ c4 c g' g a a
+
+ %@{
+
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
-@item @b{Syntax}
-@tab @b{Description}
-@tab @b{Example}
+ g g f f e e d d c2
+ %@}
+@end example
-@item @code{( )}
-@tab slur
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c( d )e
-@end lilypond
-@item @code{\( \)}
-@tab phrasing slur
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-c\( c() d \)e
-@end lilypond
+@node Printing lyrics
+@section Printing lyrics
+@cindex lyrics
+Lyrics are entered by separating each syllable with a space, and
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+@example
+ \lyrics @{ I want to break free @}
+@end example
-@item @code{[ ]}
-@tab beam
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-[a8 b]
+Like notes, lyrics are also a form of music, but they must not be
+printed on a staff, which is the default way to print music. To print
+them as lyrics, they must be marked with @code{ \context Lyrics}:
+@example
+ \context Lyrics \lyrics @{ I want to break free @}
+@end example
+The melody for this song is as follows
+
+@lilypond[fragment,relative=1]
+ \partial 8
+ c8
+ \times 2/3 { f4 g g } \times 2/3 { g4-( a2-) }
@end lilypond
+The lyrics can be set to these notes, combining both with the
+@code{\addlyrics} keyword:
+@example
+ \addlyrics
+ \notes @{ @dots{} @}
+ \context Lyrics @dots{}
+@end example
-@item @code{< \context Staff ... >}
-@tab more staffs
-@tab
-@lilypond[fragment]
-< \context Staff = SA { c'1 }
- \context Staff = SB { c'1 } >
+The final result is
+@lilypond[singleline,verbatim]
+\score {
+ \notes {
+ \addlyrics
+ \relative c' {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+ }
+ \context Lyrics \lyrics { I want to break free }
+ }
+ \paper{ }
+}
@end lilypond
-
-@item @code{-> -.}
-@tab articulations
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-> c-.
+This melody ends on a @rglos{melisma}, a single syllable (``free'')
+sung to more than one note. This is indicated with a @emph{extender
+line}. It is entered as two underscores, i.e.,
+@example
+ \lyrics @{ I want to break free __ @}
+@end example
+@lilypond[]
+\score {
+ \notes {
+ \addlyrics
+ \relative c' {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4-( a2-) }
+
+ %% ugh, this is to deal with bugs in the extender implementation
+ \blankNotes
+ c8
+ }
+ \context Lyrics \lyrics { I want to break free __ }
+ }
+ \paper{ linewidth = 9.0 \cm }
+}
+@end lilypond
+
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables.
+@example
+ Twin -- kle twin -- kle
+@end example
+@lilypond[singleline]
+\score {
+ \addlyrics \notes \relative f' { \time 2/4
+ f4 f c' c' }
+ \context Lyrics \lyrics { Twin -- kle twin -- kle
+ }
+\paper { linewidth = 6.0 \cm }
+ }
+
@end lilypond
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
-@item @code{-\mf -\sfz}
-@tab dynamics
-@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
-\property Staff.Clef = \turnOff
-c-\mf c-\sfz
+
+@node A lead sheet
+@section A lead sheet
+
+In popular music, it is common to denote accompaniment as chord-names.
+Using them in LilyPond has two parts, just like lyrics: entering the
+chords (with @code{\chords}), and printing them (with @code{\context
+ChordNames}).
+
+Chord names are entered by starting chords mode (with @code{\chords}).
+In chords mode, you can enter chords with a letter (indicating the
+root of the chord), and a durations following that.
+@c
+@lilypond[verbatim]
+ \chords { c2 f4. g8 }
@end lilypond
+@noindent
+The result of @code{\chords} is a list of chords, and is equivalent
+to entering chords with @code{<<@dots{}>>}.
-@item @code{\< \!}
-@tab crescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a\< a \!a
+Other chords can be created by adding modifiers, after a colon. The
+following example shows a few common modifiers
+@c
+@lilypond[verbatim]
+ \chords { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
-@item @code{\> \!}
-@tab decrescendo
-@tab
-@lilypond[fragment, relative 1]
-\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\property Staff.autoBeaming = ##f
-\property Staff.Clef = \turnOff
-a\> a \!a
+Printing chords is done by adding @code{\context ChordNames}
+before the chords thus entered:
+@c
+@lilypond[verbatim]
+ \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
+A complete list of modifiers, and other options for layout are in the
+reference manual section @ref{Chords}.
-@item @code{< >}
-@tab chord
-@tab
-@lilypond[fragment, relative 1]
-\context Voice <c e>
-@end lilypond
+@cindex lead sheet
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
-@end multitable
+@example
+\score @{
+ <
+ \context ChordNames \chords @{ @emph{chords} @}
+ \addlyrics
+ \notes @emph{the melody}
+ \context Lyrics \lyrics @{ @emph{the text} @}
+ >
+ \paper @{ @}
+@}
+@end example
+@lilypond[]
+\score {
+ <
+ \context ChordNames \chords { r8 c2:sus4 f }
+ \addlyrics
+ \notes \relative c' {
+ \partial 8
+ c8
+ \times 2/3 { f g g } \times 2/3 { g4-( a2-) } }
+ \context Lyrics \lyrics { I want to break free __ }
+ >
+ \paper{ raggedright = ##t }
+}
+@end lilypond
-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.
+@node Listening to output
+@section Listening to output
+MIDI (Musical Instrument Digital Interface) is a standard for
+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: octaves that are off, or
+accidentals that were mistyped, stand out very much when listening to
+the musical transcription.
+
+@code{\midi} can be used in similarly to @code{\paper @{ @}}, for
+example
+@example
+\score @{
+ @var{..music..}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ @}
+@}
+@end example
+Here, the tempo is specified using the @code{\tempo} command. In this
+case the tempo of quarter notes is set to 72 beats per minute. More
+information on auditory output is in the @ref{Sound} section in the
+notation manual.
+@node Titling
+@section Titling
-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-In this section we shall explain how to typeset the following
-fragment of The Free Software Song:
-
-@lilypond[singleline]
-\score { \notes { \addlyrics
- \notes \relative c' {
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
- \context Lyrics \lyrics {
- Join us now __ and
- share the soft -- ware; }
-}
-\paper { linewidth = -1. }
-}
-@end lilypond
-
-
-@cindex lyric mode
-@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.
-
-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.
-
-These are the lyrics for the free software song:
-
-@example
- \lyrics @{
- Join us now __ and
- 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{_}).
-
-
-If you can use have 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.
-
-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.
-
-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
-@example
- \context Lyrics
-@end example
-explicitly creates an interpretation context of
-@code{Lyrics} type to interpret the song text that we entered.
-
-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}:
-@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:
-
-@example
-\score @{ \notes @{ \addlyrics
- \notes \relative c' @{
- \time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
- \context Lyrics \lyrics @{
- Join us now __ and
- share the soft -- ware; @}
-@}
-\paper @{ linewidth = -1. @}
-@}
-@end example
-
-
-
-@node A melody with chords
-@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
-
-
-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.
-@separate
-@example
-
- melody = \notes \relative c' @{
-
-@end example
-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.
-
-@separate
-@example
- \partial 8
-@end example
-
-@cindex @code{\partial}
-@cindex anacrusis
-The piece starts with an anacrusis of one eighth.
-@separate
-@example
- \key c \minor
-@end example
-The key is C minor: we have three flats.
-
-@separate
-@example
-
- c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
- c4 c8 d [es () d] c4 | d4 es8 d c4.
- \bar "|."
-
-@end 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.
-@separate
-@example
-
- @}
-
-@end example
-This ends the definition of @code{melody}.
-
-@separate
-@example
-
- text = \lyrics @{
-
-@end example
-@cindex lyrics
-@cindex identifier assignment
-@cindex syllables, entering
-
-@separate
-@example
-
- accompaniment =\chords @{
-
-@end example
-@cindex chords
-@cindex mode, chords
-We'll put chords over the music. To enter them, there is 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
-comprising the chord.
-@separate
-@example
-
- r8
-
-@end example
-There is no accompaniment during the anacrusis.
-@separate
-@example
-
- c2:3-
-
-@end 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-}.
-
-@separate
-@example
-f:3-.7
-@end example
-Similarly, @code{7} modifies (adds) a seventh, which is small by
-default to create the @code{f a c es} chord. Multiple modifiers must be
-separated by dots.
-@separate
-@example
-
- d:min es4 c8:min r8
-
-@end example
-Some modifiers have predefined names, e.g. @code{min} is the same as
-@code{3-}, so @code{d-min} is a minor @code{d} chord.
-@separate
-@example
-
- c2:min f:min7 g:7^3.5 c:min @}
-
-@end example
-@cindex named modifier
-
-A named modifier @code{min} and a normal modifier @code{7} do not have
-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.
-@separate
-@example
-
- \score @{
- \simultaneous @{
-
-@end example
-We assemble the music in the @code{\score} block. Melody, lyrics and
-accompaniment have to sound at the same time, so they should be
-@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
-@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 @{
-
-@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.
-@separate
-@example
-
- \property Staff.autoBeaming = ##f
-
-@end 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.
-
-
-@separate
-@example
-
- \melody
- @}
-
-@end example
-Finally, we put the melody on the current staff. Note that the
-@code{\property} directives and @code{\melody} are grouped in sequential
-music, so the property settings are done before the melody is
-processed.
-
-@separate
-@example
-
- \midi @{ \tempo 4=72@}
-
-@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.
-
-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.
-@separate
-@example
-
- \paper @{ linewidth = 10.0\cm @}
-
-@end example
-We also want notation output. The linewidth is short so the piece
-will be set in two lines.
-
-@node More stanzas
-@section 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
-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.
-
-@lilypond[singleline,verbatim]
-\score {
-\addlyrics
- \notes \relative c'' \context Voice = duet { \time 3/4
- g2 e4 a2 f4 g2. }
- \lyrics \context Lyrics <
- \context LyricsVoice = "duet-1" {
- \property LyricsVoice . stanza = "Bert"
- Hi, my name is bert. }
- \context LyricsVoice = "duet-2" {
- \property LyricsVoice . stanza = "Ernie"
- Ooooo, ch\'e -- ri, je t'aime. }
- >
-}
-@end lilypond
-
-To this end, give the Voice context an identity, and set the
-LyricsVoice to a name starting with that identity followed by a dash.
-In the following example, the Voice identity is @code{duet},
-@example
-\context Voice = duet @{
- \time 3/4
- g2 e4 a2 f4 g2. @}
-@end example
-and the
-identities of the LyricsVoices are @code{duet-1} and @code{duet-2}.
-@example
- \context LyricsVoice = "duet-1" @{
- Hi, my name is bert. @}
- \context LyricsVoice = "duet-2" @{
- Ooooo, ch\'e -- ri, je t'aime. @}
-@end example
-
-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
-surround dots with spaces in @code{\lyrics} mode.
-
-@example
- \property LyricsVoice . stanza = "Bert"
- @dots{}
- \property LyricsVoice . stanza = "Ernie"
-@end 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:
-
-@center @strong{Two miniatures}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@var{Up}
-@end flushleft
-@lilypond
- \score {
- \notes { c'4 d'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
-@flushright
-Opus 2.
-@end flushright
-@flushleft
-@var{Down}
-@end flushleft
-@lilypond
- \score {
- \notes { d'4 c'4 }
- \paper { linewidth = -1.0 }
- }
-@end lilypond
-
-For example, consider the following file (@file{miniatures.ly})
-
-@example
-\version "1.5.60"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
-
-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.
-@cindex assignments
-@cindex identifier assignment
-the @code{\header} block contains assignments. In each assignment, a
-variable is set to a value. The header block for this file looks like
-this
-@cindex @code{\header}
+Bibliographic information is entered in a separate block, the
+@code{\header} block. The name of the piece, its composer, etc. are
+entered as assignment within @code{\header @{ @dots{} @}}. For
+example,
@example
\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
tagline = "small is beautiful"
@}
+
+ \score @{ @dots{} @}
@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).
-
-Many people find the default tagline too droll. If that is the case,
-assign something else to @code{tagline}, as shown above.
-
-@separate
-@example
- \paper @{
- linewidth = -1.0 @}
-@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:
-
-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.
-
-@example
-%@{
-
-Mental note: discuss Schenkerian analysis of these key pieces.
-
-%@}
-@end example
-
-Mental notes to yourself can be put into comments. There are two types
-of comments. Line comments are introduced by @code{%}, and block
-comments are delimited by @code{%@{} and @code{%@}}.
-
-@separate
-@example
- \score @{
- \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.
-
-
-@separate
-@example
- \header @{
-@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.
-@separate
-@example
- opus = "Opus 1."
- piece = "Up" @}
-@end example
-For example, the Opus number is put at the right, and the piece string
-will be at the left.
-
-
-
-@example
-\version "1.5.60"
-\header @{
- title = "Two miniatures"
- composer = "F. Bar Baz"
- tagline = "small is beautiful" @}
-
-\paper @{ linewidth = -1.0 @}
-
-\score @{
- \notes @{ c'4 d'4 @}
- \header @{
- opus = "Opus 1."
- piece = "Up" @}
-@}
-\score @{
- \notes @{ d'4 c'4 @}
- \header @{
- opus = "Opus 2."
- piece = "Down" @}
-@}
-@end example
-
-
-@separate
-@example
-\version "1.6.0"
-@end example
-Lilypond and its language are still under development, and
-occasionally, details of the syntax are changed. This fragment
-indicates for which version the input file was written. When you
-compile this file, the version number will be checked, and you will
-get a warning when the file is too old. 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.
-
-
-@node A piano excerpt
-@section A piano excerpt
-
-Our fourth 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}.
-
-@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
-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
-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}').
-
-@separate
-@example
-<c4-\arpeggio g' c>
-@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a 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.
-
-
-
-@separate
-@example
- g'8. b,16
-@end example
-Relative octaves work a little differently with chords. The starting
-point for the note following a chord is the first note of the chord. So
-the @code{g} gets an octave up quote: it is a fifth above the starting
-note of the previous chord (the central C).
-
-@separate
-@example
-s1 s2. r4
-@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
-and a half measure later.
-
-@separate
-@example
-oboes = \notes \relative c'' \context Voice = oboe @{
-@end example
-Now comes a part for two oboes. They play homophonically, so we
-print the notes as one voice that makes chords. Again, we insure that
-these notes are indeed processed by precisely one context with
-@code{\context}.
-@separate
-@example
-\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
-@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.
-
-@separate
-@example
-\grace <e8( g> < d4 )f> <c2 e>
-@end example
-@cindex @code{\grace}
-@cindex ornaments
-@cindex grace notes
-@code{\grace} introduces grace notes. It takes one argument, in this
-case a chord. A slur is introduced starting from the @code{\grace}
-ending on the following chord.
-
-@separate
-@example
-\times 2/3
-@end example
-@cindex tuplet
-@cindex triplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the piece
-of music is multiplied by the fraction. Triplets make notes occupy 2/3
-of their notated duration, so in this case the fraction is 2/3.
-@separate
-@example
-@{ <d8 f> <e g> <f a> @}
-@end example
-The piece of music to be `tripletted' is sequential music containing
-three chords.
+@cindex bibliographic information
+@cindex titles
+@cindex composer
+@cindex ly2dvi
-@separate
-@example
-<
-@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
-voice, which continues with upward stems:
-@separate
-@example
- @{ \times 2/3 @{ a8 g c @} c2 @}
-@end example
-@separate
-@example
-\\
-@end example
-The easiest way to enter multiple voices is demonstrated
-here. Separate the components of the voice (single notes or entire
-sequences) with @code{\\} in a simultaneous music expression. The
-@code{\\} separators split first voice, second voice, third voice, and
-so on.
-
-As far as relative mode is concerned, the previous note is the
-@code{c'''2} of the upper voice, so we have to go an octave down for
-the @code{f}.
-@separate
-@example
+When the file is processed by @code{ly2dvi}, the title and composer
+specified are printed above the music. The `tagline' is a short line
+printed at bottom of the last page, which normally says ``Lily was
+here, version @dots{}''. In the example above, it is replaced by the
+line ``small is beautiful.''
- f,8 e e2
-@} >
-@end example
-This ends the two-part section.
-@separate
-@example
-\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
-@cindex trill
-@cindex stemBoth
+Normally, the @code{\header} is put at the top of the file. However,
+for a document that contains multiple pieces (e.g. a etude book, or
+part with multiple movements), then the header can be put into the
+@code{\score} block as follows In this case, the name of each piece
+will be printed before each movement.
-@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
+@cindex Lily was here
+@cindex signature line
+@cindex tag line
+
@example
-hoomPah = \repeat unfold 8
-@end example
-@cindex unfolded @code{\repeat}
-The unfolded repeat prints the notes in its argument as if they were
-written out in full eight times.
-@separate
-@example
-\notes \transpose c' @{
+ \header @{
+ title = "Eight miniatures"
+ composer = "Igor Stravinsky"
+ tagline = "small is beautiful"
+ @}
+
+ \score @{ @dots{}
+ \header @{ piece = "Adagio" @}
+ @}
+ \score @{ @dots{}
+ \header @{ piece = "Menuetto" @}
+ @}
@end example
-@cindex transposing
-@cindex relative mode and transposing
-
-Transposing can be done with @code{\transpose}, which takes two arguments.
-The first specifies what central C should be transposed to. The second
-is the to-be-transposed music. As you can see, in this case, the
-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
-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.
-@separate
+
+More information on titling can be found in @ref{Invoking ly2dvi}.
+
+
+@node Single staff polyphony
+@section Single staff polyphony
+
+When different melodic lines are combined on a single staff, these are
+printed as polyphonic voices: each voice has its own stems, slurs
+and beams, and the top voice has the stems up, while the bottom voice
+has stems down.
+
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{ .. @}}), and combing those simultaneously, separating the
+voices with @code{\\}:
+
+@lilypond[verbatim,relative]
+ < { a4 g2 f4-~ f4 } \\
+ { r4 g4 f2 f4 } >
+@end lilypond
+The notation @code{< .. >} is a shorthand for @code{\simultaneous @{
+.. @}}.
+
+For polyphonic typesetting spacer rests can also be convenient: these
+are rests that do not print. It is useful for filling up voices that
+temporarily do not play:
+@lilypond[verbatim,relative]
+ < { a4 g2 f4-~ f4 } \\
+ { s4 g4 f2 f4 } >
+@end lilypond
+
+More features of polyphonic typesetting are in the notation manual
+in @ref{Polyphony}.
+
+@node Piano staffs
+@section Piano staffs
+
@cindex staff switch, manual
@cindex cross staff voice, manual
@cindex @code{\translator}
+Piano music is always typeset in two staffs connected by a brace.
+Printing such a staff is done similar to the polyphonic example in
+@ref{More basics}:
@example
- \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}.
-
-@separate
-@example
-bassvoices = \notes \relative c' @{
-c4 g8. b,16
-\autochange Staff \hoomPah \context Voice
+ < \context Staff = up @{ @dots{} @}
+ \context Staff = down @{ @dots{} @}
+ >
@end example
-
-@separate
+but now this entire expression must be interpreted as a
+@code{PianoStaff}:
@example
- \translator Staff = down
+ \context PianoStaff < \context Staff @dots{} >
@end example
-@cindex staff switch
-@cindex cross staff voice
-We want the remaining part of this melody on the lower staff, so we do a
-manual staff switch here.
+Here is a complete-fledged example:
+@lilypond[relative 0,fragment]
+\context PianoStaff
+ < \context Staff = up {
+ c4 c g g }
+ \context Staff = down {
+ \clef bass c, c' e c }
+ >
+@end lilypond
+
+More information on formatting piano music is in @ref{Piano music}.
+
+@node Setting variables
+@section Setting variables
-@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
-\context PianoStaff
-@end example
- A special context is needed to get cross staff beaming right. This
-context is called @code{PianoStaff}.
-@separate
-@example
-\context Staff = bottom < \time 2/2 \clef bass
-@end example
-The bottom staff must have a different clef.
-@separate
-@example
-indent = 0.0
-@end example
-To make some more room on the line, the first (in this case the only)
-line is not indented. The line still looks very cramped, but that is due
-to the page layout of this document.
+@node Organising larger pieces
+@section Organising larger pieces
-@ignore
-[TODO:
+TODO: discuss identifiers, p&c, .
-* font-size, multi-stanza.
+@separate
+@example
+\version "1.5.72"
+@end example
+Lilypond and its language are still under development, and
+occasionally details of the syntax are changed. The @code{version}
+fragment indicates which LilyPond version the input file was written
+for. When you compile this file, the version number will be
+checked. When the file is too old, a warning is issued. The version
+number is also used by the @code{convert-ly} program (See
+@ref{Invoking convert-ly}), which updates the file to the latest
+version automatically.
-* Simple part combining in a Hymn
-@end ignore
@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
-
-Fingering indications are entered simply using @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")}.
-
-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
+A fingering instruction, which would be entered as @code{^5}, is put
+as close to the notes as possible, closer than the space entered to
+push away the 5. Hence, the 5 is entered as a normal text, with the
+formatting of fingering instructions.
+
+@separate
+
+Normally one would specify all dynamics in the same voice, so that
+dynamics (such as @b{f} and @b{p}) will be aligned with hairpins. But
+in this case, we do not want the decrescendo to be aligned with the
+piano sign. We achieve this by putting the dynamic markings in different
+voices. The crescendo should be above the upper staff. This can be
+forced by using the precooked command
@example
\dynamicsUp
@end example
-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
-@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}.
-
-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
-these ties: whenever we need such a tie, we insert a notehead in a
-different voice, and blank the stem. This is done in the following
-snippet of code.
-
-@example
- \property Voice.Stem \set #'transparent = ##t
- d'
- \property Voice.Stem \revert #'transparent
-@end example
-
-Finally, the last tie is forced up using @code{\tieUp}.
-
-
-@node An orchestral score
-@section An orchestral score
-
-@menu
-* The full score::
-* Extracting an individual part::
-@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.
-
-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.
-
-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.
-
-@example
-% os-music.ly
-\header @{
- title = "Zo, goed lieverd?"
- subtitle = "How's, this babe?"
- composer = "JCN"
- opus = "1"
- piece = "Laid back"
-@}
-global = @{
- \time 2/4
- \skip 2*4 \bar "|."
-@}
-Key = \notes \key as \major
-flautoI = \notes\relative c'' @{
- f8 g f g f g f g
- bes as bes as bes as bes as
-@}
-flautoII = \notes\relative c'' @{
- as8 bes as bes R1 d4 ~ d
-@}
-tromboI = \notes\relative c'' @{
- c4. c8 c8 c4. es4 r as, r
-@}
-tromboII = \notes\relative c'' @{
- as4. as8 as8 as4. R1*1/2 as4 es'
-@}
-timpani = \notes\relative c, @{
- \times 2/3 @{ f4 f f @}
- \times 4/5 @{ as8 as as as as @}
- R1
-@}
-corno = \notes\relative c' @{
- bes4 d f, bes d f, bes d
-@}
-@end example
-
-We will not go through the input line by line, but only indicate and
-explain the new elements.
-
-
-@separate
-@example
-global = @{
- \time 2/4
- \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.
-
-@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.
-
-@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.
-
-
-@example
-% os-score.ly
-\include "os-music.ly"
-\include "paper13.ly"
-
-#(set! point-and-click line-column-location)
-#(define text-flat '((font-relative-size . -2)
- (music "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."
- \Key
- \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
- \Key
- \timpani
- >
- >
- \context StaffGroup = brass <
- \context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
- \property Staff.instrument = #`(lines "2 Trombe" "(C)")
- \property Staff.instr = #`(lines "Tbe." "(C)")
- \Key
- \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
- >
- >
- >
- \paper @{
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
- textheight = 90 * \staffspace
- \translator@{
- \HaraKiriStaffContext
- @}
- @}
- \midi @{
- \tempo 4 = 75
- @}
-@}
-@end example
-
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-
-@lilypondfile{os-score.ly}
-
-@separate
-@example
-\include "os-music.ly"
-@end example
-First, we need to include the music definitions we made in
-@file{os-music.ly}.
-
-@separate
-@example
-#(set! point-and-click line-column-location)
-@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}.
-
-
-@separate
-@example
-#(define text-flat '((font-relative-size . -2)
- (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
-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
-too big for text, so we select a relative size of @code{-2}.
-
-@separate
-@example
- <
- \global
-@end example
-Of course, all staves are simultaneous and use the same global settings.
-
-@separate
-@example
- \property Score.BarNumber \override #'padding = #3
-@end example
-LilyPond prints bar numbers at the start of each line, but
-unfortunately, they end up a bit too close to the staff in this
-example. A bar number internally is a Grob called @var{BarNumber}.
-BarNumber Grobs can be manipulated through their
-@var{side-position-interface}. One of the properties of a
-@var{side-position-interface} that can be tweaked is the
-@var{padding}: the amount of extra space that is put between this Grob
-and other Grobs. We set the padding to three staff spaces.
-
-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}.
-@end ifnottex
-@iftex
-the online documentation.
-@end iftex
-
-@separate
-@example
- \context StaffGroup = woodwind <
- \context Staff = flauti <
-@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.
-
-@separate
-@example
- \property Staff.midiInstrument = #"flute"
-@end example
-Specify the instrument for MIDI output (see @ref{MIDI instrument
-names}).
-
-@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.
-
-@separate
-@example
- \Key
-@end example
-The flutes play in the default key.
-
-@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
-simultaneous mode. We name both voices differently, so that LilyPond
-will actually 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.
-
-@separate
-@example
- >
- >
+ \property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example
-Close the flutes staff and woodwind staff group.
-@separate
-@example
- \property Staff.instrument = #'(lines "Timpani" "(C-G)")
-@end example
-The timpani staff only shows a new piece of scheme markup, it sets two
-lines of text.
@separate
-@example
- \context Voice=one \partcombine Voice
- \context Thread=one \tromboI
- \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
-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.
-@separate
-@example
- \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{,}.
+Brahms uses music notation is a slightly unorthodox way. Ties
+usually happen only within one voice. In this piece, the composer
+gladly produces ties that jump voices. We deal with this by faking
+these ties: whenever we need such a tie, we insert a notehead in a
+different voice, and blank the stem. This is done in the following
+snippet of code.
-@separate
+@cindex transparent objects
+@cindex removing objects
+@cindex invisible objects
@example
- \property Staff.transposing = #3
+\property Voice.Stem \set #'transparent = ##t
+d'
@end example
-The french horn is to be tuned in E-flat, so we tell the MIDI backend to
-transpose this staff by three steps.
+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.
-Note how we can choose different tuning for entering, printing and
-playing, using @code{\transpose} and the MIDI Staff property
-@var{transposing}.
+The @code{\once} keyword is added to @code{\property}.
-@separate
-@example
- \notes \key bes \major
-@end example
-Therefore, it has a different key.
-@separate
-@example
- indent = 15 * \staffspace
- linewidth = 60 * \staffspace
-@end example
-We specify a big indent for the first line and a small linewidth for this
-tutorial.
+Finally, the last tie is forced up using @code{\tieUp}.
@separate
-Usually, LilyPond's predefined 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
- \translator@{
- \HaraKiriStaffContext
- @}
-@end example
-
-In orchestral scores, it often happens that one instrument has only
-rests during one line of the score. The @code{HaraKiriStaffContext} can
-be used as a regular @code{StaffContext} drop-in and will take care of
-the automatic removing of empty staves.
-
-@node Extracting an individual part
-@subsection Extracting an individual part
-
-The third file, @file{os-flute-2.ly} also reads the definitions of the
-first (@file{os-music.ly}), and defines the @code{\score} block for the
-second flute part.
-
-@example
-\include "os-music.ly"
-\include "paper16.ly"
-
-\score @{
- \context Staff <
- \property Score.skipBars = ##t
- \property Staff.midiInstrument = #"flute"
- \global
- \Key
- \flautoII
- >
- \header @{
- instrument = "Flauto II"
- @}
- \paper @{
- linewidth = 80 * \staffspace
- textheight = 200 * \staffspace
- @}
- \midi @{
- \tempo 4 = 75
- @}
-@}
-@end example
+Here is the complete ``fine tuned'' version, which includes all the
+modifications we discussed in this section:
-@center @strong{Zo, goed lieverd?}
-@sp 1
-@center How's, this babe?
-@center @emph{Flauto II}
-@flushright
-Opus 1.
-@end flushright
-@flushleft
-@sc{Laid back}
-@end flushleft
-@lilypondfile{os-flute-2.ly}
+@lilypondfile[verbatim]{brahms-tweaked.ly}
-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.
+@node An orchestral part
+@section An orchestral part
-@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.
-@separate
-@example
- \header @{
- instrument = "Flauto II"
- @}
-@end example
-The @code{\header} definitions were also read from @file{os-music.ly},
-but we need to set the instrument for this particular score.
+TODO:
-@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.
+\markup, mmrest, transposing, cue notes, identifiers?.
@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{Merging text
-and music with 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@}
+\lilypondfile[printfilename]@{screech-boink.ly@}
The \texttt@{printfilename@} option adds the file name to the output.
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'
+Reading `input/screech-boink6.ly'
@var{lots of stuff deleted}
Writing `out/lilbook.latex'
$ cd out
@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
If you include large examples into the text, it may be more convenient
to put the example in a separate file:
-@lilypondfile[printfilename]{sammartini.ly}
+@lilypondfile[printfilename]{screech-boink.ly}
The @code{printfilename} option adds the file name to the output.
-@node End of tutorial
-@section End of tutorial
-
-That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual. You can find more example
-files in @file{input} and @file{input/test}. You can also look at some
-real music. The website @uref{http://www.mutopiaproject.org} has many
-examples of real music typeset by LilyPond.
-
-
-
-@ignore
-
-[TODO
-
-this should be on mutopia website.
-
-]
-
-
-@c waar deze info? is uiteindelijk wel handig, schat ik.
-[TODO: cut blabla]
-
-If you have a big music project, or just a lot of LilyPond input files,
-all generated output from LilyPond, @TeX{} and metafont will clutter
-your working directory. LilyPond comes with a one-size-fits-all
-pre-cooked makefile that helps you manage producing output. It will
-produce all output in the directory @file{out} , generate and track
-dependencies. Also, it helps in preparing your submission to @ref{Mutopia
-project}.
-
-@file{make/ly.make}
-@example
-mkdir my-project
-cd my-project
-cp /usr/share/lilypond/make/ly.make GNUmakefile
-cp /usr/share/doc/lilypond/examples/input/tutorial/minuet.ly .
-make minuet
-[..]
-Generated out/minuet.ps for target minuet.
-@end example
-
-Type @samp{make help} to see possible targets.
-
-[TODO]
-@file{/usr/share/lilypond/doc/lilypond/examples/input/mutopia-header.ly}
-
-
-
-
-
-[TODO: rewrite completely.]
-
-@menu
-* Songs with additional verses::
-@end menu
-
-@end ignore
projects / lilypond.git / blobdiff