@c -*-texinfo-*-
-@c ugh: because of @include, we need to fill in these nodes?
+@c TODO: LilyPond Lilypond lilypond
+
+
@node Tutorial
@chapter Tutorial
-
+
@menu
-* Introduction:: Introduction
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* Piano music:: Piano music
-* end of tutorial:: The end
+* Running LilyPond:: Getting started
+* First steps::
+* The first tune:: The first tune
+* Lyrics and chords:: Lyrics and chords
+* More movements ::
+* A piano excerpt:: Piano music
+* An orchestral score::
+* Other ways to run LilyPond::
+* Integrating text and music::
+* end of tutorial:: The end
@end menu
-@node Introduction
-@section Introduction
-
-LilyPond prints music from a specification that you, the user, supply.
-You have to give that specification using a @emph{language}. This
-document is a gentle introduction to that language, which is called
-Lilypond, an acronym of Music Definition Language.
+@node Running LilyPond
+@section Running LilyPond
+
+You make music notation with LilyPond as follows: first you edit a text
+file containing a description of the notes. Then you run LilyPond on the
+file. This leaves you with an output file, which you can view or print.
+
+In this section we explain how to run LilyPond, and view or print the
+output. If you want to test your setup of LilyPond, or try to run an
+example file yourself, then read this section. Otherwise, you can skip
+to the next section, which explains how to
+write LilyPond input.
+
+The instructions that follow are for Unix. Windows instructions are
+given at the end of this section. Start with opening a terminal window,
+and start up a text editor. For example, start an xterm and execute
+@code{joe}. Enter the following
+input, and save the file as @file{test.ly}.
+@example
+\score @{
+ \notes @{ c'4 e' g' @}
+@}
+@end example
+If this code looks intimidating you, then don't worry, we explain all
+about it in the next section.
+
+@cindex ly2dvi
+
+@c dit is dus raar, dat je ly2dvi draait om lelie te draaien
+@c (therefore name change proposal)
+
+Invoke the program @code{ly2dvi} to run lilypond on your source file:
+@example
+ly2dvi -P test
+@end example
+
+You will see the following on your screen:
+@example
+GNU LilyPond 1.4.0
+Now processing: `/home/fred/ly/test.ly'
+Parsing...
+Interpreting music...[1]
+ @emph{ ... more interesting stuff ... }
+PS output to `test.ps'...
+DVI output to `test.dvi'...
+@end example
+
+@cindex DVI file
+@cindex Viewing music
+@cindex xdvi
+
+The results of the ly2dvi run are two files, @file{test.dvi} and
+@file{test.ps}. The PS file (@file{test.ps}) is the one you can
+print. You can view the PS file using the program ghostview. If a
+version of ghostview is installed on your system, one of these commands
+will produce a window with some music notation on your screen.
+@example
+kghostview test.ps
+ggv test.ps
+ghostview test.ps
+gv test.ps
+@end example
+When you're satisfied with the result, you can print the PS file by
+clicking File/Print inside ghostview.
+
+The DVI file (@file{test.dvi}) contains the same sheet music in a
+different format. DVI files are more easily processed by the computer,
+so viewing them usually is quicker. Execute @code{xdvi test}
+to view the DVI file.
+
+If your DVI viewer does not have a "Print" button, you can print the
+file by executing @code{lpr test.ps}.
+
+@c volgende alinea schrappen?
+
+If you can't get the examples to print, then you should look into
+installing and configuring ghostscript. Refer to GhostScript's website
+at @uref{http://www.ghostscript.com}.
+
+@cindex GhostScript
+@cindex @code{lpr}
+@cindex Printing output
+@cindex PostScript
+
+
+Windows users start the terminal by clicking on the lilypond icon.
+Notepad is sufficient for editing the lilypond file. Viewing the PS file
+can be done with @code{gsview32 test.ps}. Viewing DVI files can be done
+with @code{yap test}. The "print" button in Yap will print files. You
+can also print from the command line by executing @code{gsview32 /s
+test.ps}
+
+
+@c titel?
+
+@node First steps
+@section First steps
+
+The basics of any piece of music are notes. Notes are entered
+with letters @code{a} to @code{g}, followed by a
+number that represents the duration: a @code{2} is a half note, a
+@code{4} is a quarter note. A period adds a dot to the note, so
+entering @code{2.} gives a dotted half note.
+@example
+ c2 e4 g2.
+@end example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+\clef bass c2 e4 g2.
+@end lilypond
+If you don't specify a duration, then the duration last entered is used:
+@c
+@example
+ f4 e d c2.
+@end example
+@lilypond[fragment]
+\property Score.timing = ##f
+\property Staff.TimeSignature = \turnOff
+\property Staff.Clef = \turnOff
+\clef bass f4 e d c2.
+@end lilypond
+The time signature can be set with a command of the form @code{\time},
+and the clef with @code{\clef} as follows:
+@example
+ \time 3/4
+ \clef bass
+@end example
+@lilypond[fragment]
+ \time 3/4
+ \clef bass
+ s2_" "
+@end lilypond
+
+The commands together with the notes are combined to form a snippet of
+music. They are combined by enclosing them with @code{\notes @{ @}}.
+@example
+ \notes @{
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ @}
+@end example
+
+This snippet 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 \paper block is
+necessary to customize all kinds of printing specifics. The music and
+paper block are combined by enclosing them in @code{\score}.
+
+@lilypond[verbatim]
+\score {
+ \notes {
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ \paper { }
+}
+@end lilypond
+
+@ignore
+The @code{\paper} block looks empty, which means that we get default. That is because we did not contains page layout settings, such as the linewidth and
+the staff size. For now, we'll use standard settings, hence the paper
+block is empty (its braces enclose a blank space).
+@end ignore
+
+Rests are entered just like notes with the name @code{r}
+@lilypond[fragment,verbatim]
+r4 r8 r16
+@end lilypond
+
+Octaves are entered by adding apostrophes or commas to note names. For
+example, the central C is entered as @code{c'}.
+
+Pitches can be octaviated by adding apostrophes or commas. The central C is
+@code{c'}. Going up octave by octave we get @code{c''},
+@code{c'''}. Going down from central C, we get @code{c} @code{c,}
+@code{c,,} etc.
+
+@lilypond[verbatim,fragment]
+c'4 c'' c''' c c,
+@end lilypond
+
+LilyPond uses Dutch note names: you can make a note sharp by appending
+@code{is} to the name, and flat by appending @code{es} to the name.
+@lilypond[verbatim,fragment]
+fis'4 bes'4 aeses'4
+@end lilypond
+
+Ties are created by entering a tilde (@code{~}) between the notes to be
+tied:
+@lilypond[fragment,verbatim]
+ g'4 ~ g' a'2 ~ a'4
+@end lilypond
+Ties look almost the same as slurs, but they are different. Ties can
+only indicate the extension of a note. Ties connect two note heads with
+the same pitch. Slurs on the other hand, can be drawn across many
+notes, and indicate bound articulation.
+
+The key signature is set with the command @code{\key}:
+@lilypond[fragment,verbatim]
+ \key d \major
+ g'1
+ \key c \minor
+ g'
+@end lilypond
+
+The next example shows octave marks, ties, and rests in action.
+@lilypond[verbatim]
+\score {
+ \notes {
+ \time 4/4
+ \clef treble
+ \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'' ~
+ cis''2 r2
+ }
+ \paper { }
+}
+@end lilypond
+There is one interesting point to note in this example: accidentals
+don't have to be marked explicitly. You just enter the pitch, and
+LilyPond determines wether or not to print an accidental.
+
+If you look at the last piece, it is already apparent that entering
+octaves using quotes is not very convenient. A score written in high
+register will be encoded using lots quotes. This makes the input file
+unreadable, and it also is a source of many errors.
+
+This problem is solved by relative octave mode. In this mode, the quotes
+are used to mark large jumps in the melody. Without any quotes or
+commas, the interval between a note and its predecessor is assumed to be
+a fourth or less. Quotes and commas add octaves in up and down
+direction.
+@lilypond[fragment,verbatim]
+\relative c'' { c4 d4 b4 e4 a,4 f'4 g,4 a'4 }
+@end lilypond
+You can enter a piece in relative mode, by putting @code{\relative} in
+front. You also have to enter a starting pitch, in this case @code{c''}.
+
+
+Slurs (not to be confused with ties) are entered with parentheses. You
+mark the starting note and ending note with a @code{(} and a
+@code{)} respectively.
+
+@lilypond[fragment,relative 1, verbatim]
+c8( cis d ) e
+@end lilypond
+
+If you need two slurs at the same time (one for articulation, one for
+phrasing), you can also make a phrasing slur with @code{\(} and
+@code{\)}.
+
+@c lousy example
+@lilypond[fragment,relative 1, verbatim]
+a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+@end lilypond
+
+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{]}:
+@lilypond[fragment,relative 1, verbatim]
+[a8 ais] [d es r d]
+@end lilypond
+
+You can make more than one staff, by specifying @code{\context Staff} before
+snippets of music, and combining those snippets in @code{<} and
+@code{>}, as is demonstrated here:
+
+@lilypond[fragment,verbatim]
+< \context Staff = staffA { \clef treble c'' }
+ \context Staff = staffB { \clef bass c }
+>
+@end lilypond
+Here, @code{staffA} and @code{staffB} are names that you give them to
+the staff. For now, it doesn't matter what names you give them, as long
+as they are different.
+
+We can typeset a melody with two staffs now:
+
+@lilypond[verbatim]
+\score {
+ \notes
+ < \context Staff = staffA {
+ \time 3/4
+ \clef treble
+ \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ }
+ \context Staff = staffB {
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
+ }
+ >
+ \paper {}
+}
+@end lilypond
+
+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 staffs.
+
+Dynamic signs are made by adding the markings after the note
+@lilypond[verbatim,relative 1]
+c-\ff c-\mf
+@end lilypond
+
+Crescendi are started with the commands @code{\<} and @code{\>}. The
+command @code{\!} finishes a crescendo on the following.
+@lilypond[verbatim,relative 1]
+c2 \< \! c2-\ff \> c2 \! c2
+@end lilypond
+
+Chords can be made by surrounding notes with @code{<} and @code{>}:
+@lilypond[relative 0, fragment,verbatim]
+ r4 <c e g> <c f a>
+@end lilypond
+
+@c te diepzinnig?
+
+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 staffs.
+
+Of course, you can combine beams and ties with chords:
+@lilypond[relative 0, fragment,verbatim]
+ r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+@end lilypond
+
+When you want to combine chords with slurs and dynamics, an annoying
+technical detail crops up: you have type these commands next to the
+notes, which means that they have to be inside the @code{< >}:
+
+@lilypond[relative 0, fragment,verbatim]
+ r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+@end lilypond
+
+A nasty technical detail also crops up when you start a score with a
+chord:
+@lilypond[verbatim,singleline]
+\score { \notes <c'1 e'1> }
+@end lilypond
+The program can not guess that you want the notes on only one staff. To
+force the chord on a staff, add @code{\context Staff} like this:
+@lilypond[verbatim,singleline]
+\score { \notes \context Staff <c'1 e'1> }
+@end lilypond
+
+
+
+
+@ignore
+[TODO add some more here
+
+* lyrics, chords (?)
+
+* \header
+
+* identifiers?
+
+]
+@end ignore
+
+This is the end of the simple tutorial. You know the basic ingredients
+of a music file, so this is the right moment to try your at hand at
+doing it yourself: try to type some simple examples, and experiment a
+little.
+
+When you're comfortable with the basics, then you might want to read the
+rest of this chapter. It also a manual in tutorial-style, but it is much
+more in-depth. It will also be very intimidating if you're not familiar
+with the basics. It deals with some of the more advanced features of
+lilypond. Topics include lyrics, chords, orchestral scores and parts,
+fine tuning output, polyphonic music, and integrating text and music.
+
+
+
+@node The first tune
+@section The first tune
+
This tutorial will demonstrate how to use Lilypond by presenting
examples of input along with resulting output. We will use English
consult the glossary that is distributed with LilyPond.
The examples discussed are included in the distribution, in the
-subdirectory @file{input/tutorial/}. It is recommended that you
-experiment with writing Lilypond input yourself, to get a feel for
-how LilyPond behaves.
-
-@node The first tune
-@section The first tune
-
+subdirectory @file{input/tutorial/}@footnote{When we refer to filenames,
+they are relative to the top directory of the source package. }
To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple example. It is a convoluted version
-of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
+full-fledged, yet simple example. It is a convoluted version
+of the famous minuet in J. S. Bach's @emph{Klavierb@"uchlein}. The file
+is included in the distribution as @file{minuet.ly}.
+@cindex Bach, Johann Sebastian
@lilypond[verbatim]
-% lines preceded by a percent are comments which
-% are ignored by Lilypond.
+% all text after a percent sign is a comment
+% and is ignored by Lilypond
\include "paper16.ly"
\score {
\notes
- \relative c'' \sequential{
- \time 3/4;
- \key g \major;
+ \relative c'' \sequential {
+ \time 3/4
+ \key g \major
\repeat "volta" 2 {
d4 g,8 a b c d4 g, g |
e'4 c8 d e fis g4 g, g |
- c4 d8()c b a( )b4 c8 b a g |
+ c4 d8( )c b a( )b4 c8 b a g |
a4 [b8 a] [g fis] g2. |
}
g4 fis e |
fis a, r8 cis8
d2.-\fermata
- \bar "|.";
+ \bar "|."
}
\paper {
% standard settings are too wide for a book
- linewidth = 14.0 \cm;
+ linewidth = 14.0 \cm
}
}
@end lilypond
-Enter it (or copy it, the filename is @file{menuet.ly}), compile it
-with LilyPond and view the output. Details of this procedure may vary
-from system to system. To create the output, one would issue the
-command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
-the job of running LilyPond and @TeX{}, handling of titles and
-adjusting of page margins.
-
-If all goes well, the file @file{menuet.dvi} will be created.
-To view this output, issue the command `@code{xdvi menuet}'.
-
-Now that we are familiar with the procedure of producing output, we
-will analyse the input, line by line.
+We will analyse the input, line by line.
+@separate
@example
- % lines preceded by a percent are comments which
- % are ignored by Lilypond.
+ % all text after a percent sign is a comment
+ % and is ignored by Lilypond
@end example
-The percent sign, `@code{%}', introduces a line comment. If you want to
-make larger comments, you can use block comments. These are delimited
-by `@code{%@{}' and `@code{%@}}'
+Percent signs introduce comments: everything after a percent sign is
+ignored. You can use this to write down mental notes to yourself. You
+can also make longer comments by enclosing text in @code{%@{} and
+@code{%@}}.
+@cindex comment
+@cindex block comment
+@cindex line comment
+@separate
@example
- \input "paper16.ly"
+ \include "paper16.ly"
-@end example
-By default, LilyPond will use definitions for a 20
-point@footnote{A point is the standard measure of length for
-printing. One point is 1/72.27 inch.} high staff. We want smaller
-output (16 point staff height), so we must import the settings for
-that size, which is done.
+@end example
+@cindex @code{\include}
+@cindex point, printer's
+@cindex staff size setting
+By default, LilyPond will typeset the music in a size such that each
+staff is 20 point (0.7 cm, or 0.27 inch) high. We want smaller output
+(16 point staff height), so we must import the settings for that size,
+which is done here.
+@separate
@example
\score @{
@end example
- A lilypond file combines music with directions for outputting that
-music. The music is combined with the output directions by putting
-them into a @code{\score} block.
+Music is printed by combining a piece of music with directions for
+outputting it. This combination is formed in the @code{\score} block.
+@separate
@example
\notes
@end example
- This makes LilyPond ready for accepting notes.
+Prepare LilyPond for accepting notes.
+@cindex octaves, choosing
+@cindex pitch
+@separate
@example
\relative c''
-@end example
- As we will see, pitches are combinations of octave, note name and
-chromatic alteration. In this scheme, the octave is indicated by
-using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
-`@code{,}'). The central C is denoted by @code{c'}. The C one octave
-higher is @code{c''}. One and two octaves below the central C is
+@end example
+@cindex relative
+As we will see, each note is described by its note name, duration,
+octave and possibly a chromatic alteration. In this setup, the octave
+is indicated by using high quotes (@code{'}) and ``lowered quotes''
+(commas: @code{,}). The central C is denoted by @code{c'}. The C one
+octave higher is @code{c''}. One and two octaves below the central C is
denoted by @code{c} and @code{c,} respectively.
-For pitches in a long piece you might have to type many quotes. To
-remedy this, LilyPond has a ``relative'' octave entry mode. In this
-mode, octaves of notes without quotes are chosen such that a note is
-as close as possible (graphically, on the staff) to the the preceding
-note. If you add a high-quote an extra octave is added. The lowered
-quote (a comma) will subtract an extra octave. Because the first note
-has no predecessor, you have to give the (absolute) pitch of the note
-to start with.
+Even though a piece of music often spans a range of several octaves, it
+mostly moves in small intervals. LilyPond has a special entry mode to
+save typing in this situation. In this ``relative'' octave mode,
+octaves of notes without quotes are chosen such that a note is as close
+as possible (graphically, on the staff) to the preceding note. If you
+add a high-quote an extra octave is added. A lowered quote (a comma)
+will subtract an extra octave.
+
+Because the first note has no predecessor,
+you have to give the (absolute) pitch of the note to start with.
+@separate
@example
\sequential @{
@end example
- What follows is sequential music, i.e.,
+What follows is sequential music, i.e.,
+@cindex sequential music
notes that are to be played and printed after each other.
+@separate
@example
- \time 3/4;
+ \time 3/4
-@end example
- This command changes the time signature of the current piece: a 3/4
-sign is printed. This command is also used to generate bar lines in
-the right spots.
+@end example
+@cindex time signature, setting
+@cindex @code{\time}
+Set (or change) the time signature of the current piece: a 3/4 sign is
+printed. The time signature setting is also used to generate bar lines
+at the right spots.
+@separate
@example
- \key g \major;
+ \key g \major
-@end example
- This command changes the current key to G-major. Although this
-command comes after the @code{\time} command, in the output, the key
-signature comes before the time signature: LilyPond knows about music
-typesetting conventions.
+@end example
+@cindex key signature, setting
+@cindex @code{\key}
+Set (or change) the current key signature to G-major. Although in this
+example, the @code{\key} command happened to be entered after the
+@code{\time} command, in the output the time signature will be printed
+after the key signature; LilyPond knows about music typesetting
+conventions.
+@separate
@example
\repeat "volta" 2
@end example
- This command tells LilyPond that the following piece of music must
-be played twice; @code{"volta"} means that volta brackets should be used
-for alternatives---if there were any.
+The following piece of music is played twice. The first argument
+indicates the type of repeat. In this case, @code{"volta"} means that
+prima volta/secunda volta brackets are used for the alternative
+endings---if there were any.
+@separate
@example
@{
The subject of the repeat is again sequential music. Since
@code{\sequential} is such a common construct, a shorthand is provided:
just leave off @code{\sequential}, and the result is the same.
+@separate
@example
- d4
+ d4 g,8
@end example
- This is a note with pitch @code{d} (determined up to octaves). The
-relative music was started with a @code{c''}, so the real pitch of this
-note is @code{d''}. The @code{4} designates the duration of the note
-(it is a quarter note).
+Two notes. The first note is a quarter note with relative pitch
+@code{d}. The relative music was started with a @code{c''}, so the real
+pitch of this note is @code{d''}. The duration of a note is designated
+by a number; the @code{4} here represents a quarter note.
+
+The second note is an eight note with relative pitch @code{g,}. The
+pitch is taken relative to the previous @code{d''}, making this
+note have real pitch @code{g'}. The @code{8} represents an eight note.
+@separate
@example
a b
@end example
-These are notes with pitch @code{a} and @code{b}. Because their
-duration is the same as the @code{g}, there is no need to enter the
-duration (You may enter it anyway, e.g. @code{a4 b4})
+Two more notes, with pitch @code{a} and @code{b}. Because their
+duration is the same as the @code{g,8}, there is no need to enter the
+duration, but you may enter it anyway, i.e., @code{a4 b4}
+@separate
@example
d4 g, g |
-@end example
- Three more notes. The `@code{|}' character is a `bar check'. When
-processing the music, LilyPond will verify that bar checks are found at
-the start of a measure. This can help you track down errors.
+@end example
+@cindex bar check
+@cindex @code{|}
+@cindex errors, finding
+Three more notes. The @code{|} character is a ``bar check''. LilyPond
+will verify that bar checks are found at the start of a measure. This can
+help you track down typing errors.
- So far, no notes were chromatically altered. Here is the first one
-that is: @code{fis}. Lilypond by default uses Dutch note names, and
-``Fis'' is the Dutch note name for ``F sharp''. However, there is no
-sharp sign in the output. The program keeps track of key signatures,
-and will only print accidentals if they are needed.
+@cindex alteration, chromatic
+@cindex chromatic alteration
+@separate
@example
c8 d e fis
-
+
@end example
-LilyPond guesses were beams can be added to eighth and shorter notes.
-In this case, a beam over 4 eighths is added.
+So far, no notes were chromatically altered. Here is the first one that
+is: @code{fis}. Lilypond by default uses Dutch@footnote{Note names are
+available in several languages, but we find the Dutch names quite
+convenient.} note names, and ``Fis'' is the Dutch note name for ``F
+sharp''. However, there is no sharp sign in the output. The program
+keeps track of key signatures, and will only print accidentals if they
+are needed.
+
+For groups of eighth notes and shorter, LilyPond can determine how the
+notes should form a beam. In this case, the 4 eights are automatically
+printed as a beam.
+@separate
@example
c4 d8( )c b a( )b4 c8 b a g |
@end example
- The next line shows how to make a slur:
-the beginning and ending note of the slur is marked with an opening and
-closing parenthesis respectively. In the line shown above, this is
-done for two slurs. Slur markers (parentheses) are put between
-the notes.
+The beginning and ending notes of a slur are marked with parentheses,
+@code{(} and @code{)} for start and end respectively. The line above
+indicates two slurs. These slur markers (parentheses) are entered
+between the slurred notes.
+@separate
@example
a4 [b8 a] [g fis]
@end example
-Automatic beaming can be overridden by inserting beam marks
-(brackets). Brackets are put around the notes you want beamed.
+Automatic beaming can be overridden by inserting beam marks, @code{[}
+and @code{]}. These beam markers (brackets) are put around the notes
+you want beamed.
+@separate
@example
g2. |
-@end example
-A duration with augmentation dot is notated
-with the duration number followed by a period.
+@end example
+@cindex augmentation dot
+@cindex dotted note
+A period adds a dot to the note.
+@separate
@example
@}
@end example
- This ends the sequential music to be repeated. LilyPond will typeset
-a repeat bar.
+The end of the sequential music to be repeated. LilyPond will typeset a
+repeat bar.
+@separate
@example
cis'4 b8 cis a4 |
@end example
- This line shows that Lily will print an accidental if that is
-needed: the first C sharp of the bar will be printed with an accidental,
-the second one without.
+Accidentals are printed whenever necessary: the first C sharp of the bar
+will be printed with an accidental, the second one without.
+@separate
@example
a8-. b-. cis-. d-. e-. fis-.
-@end example
-You can enter articulation signs either in a verbose form using a
+@end example
+@cindex articulation
+You can enter articulation signs either in a verbose form or using a
shorthand. Here we demonstrate the shorthand: it is formed by a dash
-and the character for the articulation to use, e.g. `@code{-.}' for
+and the character for the articulation to use, e.g. @code{-.} for
staccato as shown above.
+@separate
@example
fis a, r8 cis8
@end example
-Rests are denoted by the special notename `@code{r}'. You can also enter
-an invisible rest by using the special notename `@code{s}'.
+Rests are denoted by the special notename @code{r}.
+@separate
@example
d2.-\fermata
@end example
- All articulations have a verbose form, like @code{\fermata}. The
-command `@code{\fermata}' is not part of the core of the language (most
-of the other discussed elements are), but it is a shorthand for a more
-complicated description of a fermata. @code{\fermata} names that
-description and is therefore called an @emph{identifier}.
-@example
-
+All articulations have a verbose form, like @code{\fermata}. The
+command @code{\fermata} is not part of the core of the language, but it
+is a shorthand for a more complicated description of a fermata symbol.
+@code{\fermata} names that description and is therefore called an
+identifier.
+@cindex identifier
+@cindex @code{\fermata}
+@separate
+@example
+ \bar "|."
@}
-
@end example
-
-Here the music ends.
+Here the music ends. LilyPond does not automatically typeset and end
+bar, we must explicitely request one, using @code{"|."}.
+
+@separate
@example
\paper @{
- linewidth = 14.0\cm;
+ linewidth = 14.0\cm
@}
@end example
-This specifies a conversion from music to notation output. Most of
-the details of this conversions (font sizes, dimensions, etc.) have
-been taken care of, but to fit the output in this document, it has
-to be smaller. We do this by setting the line width to 14 centimeters
-(approximately 6 inches).
+The @code{\paper} block specifies how entered music should be converted
+to notation output. Most of the details of the conversion (font sizes,
+dimensions, etc.) have been taken care of, but to fit the output in this
+document, it has to be narrower. We do this by setting the line width
+to 14 centimeters (approximately 5.5 inches).
+@separate
@example
@}
@end example
The last brace ends the @code{\score} block.
-There are two things to note here. The format contains musical
-concepts like pitches and durations, instead of symbols and positions:
-the input format tries to capture the meaning of @emph{music}, and not
-notation. Therefore Second, the format tries to be @emph{context-free}:
-a note will sound the same regardless of the current time signature,
-the key, etc.
-The purpose of LilyPond is explained informally by the term `music
-typesetter'. This is not a fully correct name: not only does the
-program print musical symbols, it also makes esthetic decisions. All
-symbols and their placement is @emph{generated} from a high-level musical
-description. In other words, LilyPond would be best
-described by `music compiler' or `music to notation compiler'.
+
@node Lyrics and chords
@section Lyrics and chords
-In this section we show how to typeset a song of unknown
-origin.@footnote{The author would welcome information about the origin
-of this song.}.
+In this section we show how to typeset a song. This file is
+included as @file{flowing.ly}.
@example
\header @{
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
@}
\include "paper16.ly"
melody = \notes \relative c' @{
- \partial 8;
- \key c \minor;
+ \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 "|.";
+ \bar "|."
@}
text = \lyrics @{
\score @{
\simultaneous @{
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
@}
\context Lyrics \text
@}
- \midi @{ \tempo 4=72;@}
- \paper @{ linewidth = 10.0\cm; @}
+ \midi @{ \tempo 4=72 @}
+ \paper @{ linewidth = 10.0\cm @}
@}
@end example
-The result would look this@footnote{The titling and font size shown
+The result would look this.@footnote{The titling and font size shown
may differ, since the titling in this document is not generated by
-@file{ly2dvi}.}.
+@code{ly2dvi}.}
@center @strong{The river is flowing}
@center Traditional
@lilypond[center]
\header {
- title = "The river is flowing";
- composer = "Traditional (?)";
+ title = "The river is flowing"
+ composer = "Traditional"
}
\include "paper16.ly"
melody = \notes \relative c' {
- \partial 8;
- \key c \minor;
+ \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 "|.";
+ \bar "|."
}
text = \lyrics {
\score {
\simultaneous {
-% \accompaniment
+ %\accompaniment
\context ChordNames \accompaniment
\addlyrics
}
\context Lyrics \text
}
- \midi { \tempo 4=72;}
- \paper { linewidth = 10.0\cm; }
+ \midi { \tempo 4=72 }
+ \paper { linewidth = 10.0\cm }
}
@end lilypond
Again, we will dissect the file line by line.
+@separate
@example
\header @{
-@end example
+@end example
+@cindex @code{\header}
Information about the music you are about to typeset goes into a
@code{\header} block. The information in this block is not used by
-LilyPond, but it is included in the output. @file{ly2dvi} uses this
+LilyPond, but it is passed into the output. @file{ly2dvi} uses this
information to print titles above the music.
+@separate
@example
- title = "The river is flowing";
- composer = "Traditional (?)";
-@end example
-the @code{\header} block contains assignments. An assignment starts
-with a string. (which is unquoted, in this case). Then comes the
-equal sign `@code{=}'. After the equal sign comes the expression you
-want to store. In this case, you want to put in strings. The
-information has to be quoted here, because it contains spaces. Each
-assignment is finished with a semicolon.
+ title = "The river is flowing"
+ composer = "Traditional (?)"
+@end example
+@cindex assignments
+@cindex identifier assignment
+the @code{\header} block contains assignments. In each assignment, a
+variable is set to a value. Lexically, both the variable name and the
+assigned value are strings. The values have to be quoted here, because
+they contain spaces, the variable names could also be put within quotes
+but it is not necessary.
+@separate
@example
\include "paper16.ly"
-@end example
+@end example
Smaller size for inclusion in a book.
+@separate
@example
melody = \notes \relative c' @{
give names to the different parts of music, and use the names to
construct the music within the score block.
+@separate
@example
- \partial 8;
+ \partial 8
@end example
+@cindex @code{\partial}
+@cindex anacrusis
The piece starts with an anacrusis of one eighth.
+@separate
@example
- \key c \minor;
+ \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 "|.";
+ \bar "|."
@end example
-We use explicit beaming. Since this is a song, we will turn automatic
+@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}. Note that there are no
-semicolons after assignments at top level.
+This ends the definition of @code{melody}.
+
+@separate
@example
text = \lyrics @{
-@end example
+@end example
+@cindex lyrics
+@cindex identifier assignment
+@cindex syllables, entering
Another identifier assignment. This one is for the lyrics.
Lyrics are formed by syllables that have duration, and not by
notes. To make LilyPond parse words as syllables, switch it into
lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
is a shorthand for @code{\sequential @{}.
+@separate
@example
The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
ri- ver is flo- __ wing down to the sea.
@}
-@end example
+@end example
+@cindex extenders, lyric
+@cindex hyphens, lyric
The syllables themselves are separated by spaces. You can get syllable
-extenders by entering `@code{__}', and centered hyphens with
-`@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
+extenders by entering @code{__}, and centered hyphens with
+@code{-}@code{-}. We enter the syllables as if they are all quarter notes
in length (hence the @code{4}), and use a feature to align the
-syllables to the music (which obviously isn't all quarter notes.)
+syllables to the music, which obviously isn't all quarter notes.
+@separate
@example
accompaniment =\chords @{
-@end example
-We'll put chords over the music. 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 the notes comprising the chord.
+@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- f:3-.7
-@end example
+@end example
+
+@cindex tonic
+@cindex chord modifier
+@cindex modifier, chord
A chord is started by the tonic of the chord. The
first one lasts a half note. An unadorned note creates a major
-triad, while a minor triad is wanted. @code{3-} modifies the third to
-be small. @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 a dot.
+triad. Since a minor triad is wanted, @code{3-} is added to modify the
+third to be small. @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
+@end example
+
Some modifiers have predefined names, eg. @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
+@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 @{
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
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.
+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
+@end example
+@cindex context
+@cindex interpretation context
+@cindex notation context
+
+
Normally, the notes that you enter are transformed into note heads.
-The note heads alone make no sense, they need surrounding information:
-a key signature, a clef, staff lines, etc. They need @emph{context}. In
+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 only exist during a run of
-LilyPond. Interpretation contexts that are for printing music (as
-opposed to playing music) are called `notation contexts'.
+contexts'. Interpretation contexts exist for generating notation
+(`notation context') and for generating sound (`performance
+context'). These objects only exist during a run of LilyPond.
-By default, LilyPond will create a Staff context for you. If you
-removed the @code{%} sign in the previous line, you would see that
+By default, LilyPond will create a Staff context for you. If you would
+remove the @code{%} sign in the previous line, you would see that
mechanism in action.
-We don't want default contexts here, because we want chord names, not
-note heads. An interpretation context can also created upon explicit
-request. The keyword for such a request is @code{\context}. It takes
-two arguments. The first is the name of an interpretation context.
-The name is a string, it can be quoted with double quotes). The
-second argument is the music that should be interpreted in this
-context. For the previous line, we could have written @code{\context
-Staff \accompaniment}, and get the same effect.
+We don't want that default here, because we want chord names. The
+command above explicitly creates an interpretation context of
+@code{ChordNames} type to interpret the music @code{\accompaniment}.
+@separate
@example
\addlyrics
-@end example
-The lyrics need to be aligned with the melody. This is done by
+@end example
+@cindex @code{\addlyrics}
+@cindex lyrics and melody, combining
+@cindex combining lyrics and melody
+
+The lyrics should be aligned with the melody. This is done by
combining both with @code{\addlyrics}. @code{\addlyrics} takes two
pieces of music (usually a melody and lyrics, in that order) and
aligns the syllables of the second piece under the notes of the
first piece. If you would reverse the order, the notes would be
-aligned on the lyrics, which is not very useful. (Besides, it looks
-silly.)
+aligned on the lyrics, which is not very useful, and looks
+silly.
+@separate
@example
\context Staff = mel @{
-@end example
-This is the argument of @code{\addlyrics}. We instantiate a
-@code{Staff} context explicitly: should you chose to remove the comment
-before the ``note heads'' version of the accompaniment, the
-accompaniment will be on a nameless staff. The melody has to be on a
-different staff as the accompaniment. This is accomplished by giving
-the melody staff a different name.
+@end example
+
+The second argument of @code{\addlyrics} is the melody. We instantiate
+a @code{Staff} context explicitly: should you choose to remove the
+comment before the ``note heads'' version of the accompaniment, the
+accompaniment will be on a nameless staff. The melody has to be on
+staff different from the accompaniment. This is accomplished by giving
+the melody and accompaniment staffs different names.
+@separate
@example
\property Staff.noAutoBeaming = ##t
-@end example
-An interpretation context has variables that tune its behaviour. One
-of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
-true) LilyPond will not try to put automatic beaming on the current
-staff.
+@end example
+@cindex \property
+@cindex context variables
+@cindex setting context variables
+An interpretation context has variables, called properties, that tune
+its behaviour. One of the variables is @code{noAutoBeaming}. Setting
+this Staff's property to @code{##t}, which is the boolean value @var{true},
+turns the automatic beaming mechanism off for the current staff.
+@cindex GUILE
+@cindex Scheme
+@cindex accessing Scheme
+@cindex evaluating Scheme
+@cindex LISP
+
+LilyPond internally uses GUILE, a Scheme-interpreter. Scheme is a
+language from the LISP family. You can learn more about Scheme at
+@uref{http://www.scheme.org}. It is used to represent data throughout
+the whole program. The hash-sign (@code{#}) accesses GUILE directly: the
+code following the hash-sign is evaluated as Scheme. The boolean value
+@var{true} is @code{#t} in Scheme, so for LilyPond @var{true} looks like
+@code{##t}.
+
+If Scheme scares you, don't worry. You don't need to know Scheme to
+create beautiful sheet music.
+
+
+
+@separate
@example
\property Staff.automaticMelismata = ##t
-@end example
+@end example
+@cindex automaticMelismata
+@cindex melismata
+@cindex @code{\addlyrics} and slurs
Similarly, we don't want to print a syllable when there is
-a slur. This sets up the Staff context to signal slurs while
-@code{\addlyrics} is processed.
+a slur. This sets up @code{\addlyrics} to not put lyrics under each
+separate note while there is a slur.
+@separate
@example
\melody
@code{\property} directives and @code{\melody} are grouped in sequential
music, so the property settings are done before the melody is
processed.
+@separate
@example
\context Lyrics \text
should not land on a Staff, but on a interpretation context for
syllables, extenders, hyphens etc. This context is called
Lyrics.
+@separate
@example
- @}
+ \midi @{ \tempo 4=72@}
@end example
-This ends @code{\simultaneous}.
-@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 causes 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.
- \midi @{ \tempo 4=72;@}
-
-@end example
-This makes the music go to a MIDI file. MIDI is great for
-checking music you enter. You listen to the MIDI file: if you hear
-something unexpected, it's probably a typing error. @code{\midi} is an
-`output definition', a declaration that specifies how to output music
-analogous to @code{\paper @{ @}}. 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.
+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; @}
+ \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.
-@example
- @}
-
+@node More movements
+@section More movements
+
+[FIXME: merge here with, or move this to: Other ways to run LilyPond]
+
+You probably ran @file{ly2dvi} on the last example, and ended up with a
+viewable @file{.dvi} file. However, between there are a few steps of
+which LilyPond is only one. To enhance your understanding of what's
+happening under the hood when you run @code{ly2dvi}, we explain what
+programs are run.
+
+@code{ly2dvi} is a program that calls a number of programs in sequence.
+The first thing it does, is running LilyPond on the input file. After
+some calculations, a @file{.tex} is produced. The contents
+of this file are very low-level instructions.
+
+For example, the following file (@file{miniatures.ly})
+
+@example
+\version "1.3.124"
+\header @{
+ title = "Two miniatures"
+ tagline = "small is beautiful"
+@}
+
+#(set! point-and-click line-column-location)
+
+\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
+
+The titling in this manual was not generated by ly2dvi, so we can't
+exactly show it would look, but the result should resemble 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
+
+This file is produced by ly2dvi in a few stages, with the help of text
+formatting tools. LilyPond produces two output files,
+@file{miniatures.tex} and @file{miniatures-1.tex}. Both files contain
+only graphical music notation. @file{ly2dvi} looks at what output
+LilyPond produces, and adds page layout and titling to those files. The
+result is a DVI file called @file{miniatures.dvi}.
+
+Next, now we'll look at the example line by line to explain new things.
+
+@separate
+@example
+\version "1.3.124"
@end example
-End the score block.
+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{convert-ly}), which uses it to update the file to the latest lily
+version.
+
+@separate
+@example
+ \header @{
+ title = "Two miniatures" @}
+@end example
+This sets the titling information for the entire file.
+@separate
+@example
+ tagline = "small is beautiful"
+@end example
+A signature line is printed at the bottom of the last page.
+ This signature is produced from the @code{tagline} field of
+@code{\header}. Many people find the default "Lily was here,
+@var{version number}" too droll. If that is the case, assign
+something else to @code{tagline}, as shown above.
+@separate
+@example
+ #(set! point-and-click line-column-location)
+@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 quite complicated if you're working with
+large files: if you're digitizing existing music, you have to
+synchronize the .ly file, the sheet music on your lap and the sheet
+music on the screen. The point-and-click mechanism makes it easy to
+find the origin of an error in the LY file: when you view the file with
+Xdvi and click on a note, your editor will jump to the spot where that
+note was entered. For more information, see @ref{Point and click}.
+
+@separate
+@example
+ \paper @{
+@end example
+
+The @code{\score} blocks that follow in the file don't have
+@code{\paper} sections, so the settings of this block are substituted: A
+paper block, at top-level, i.e. not in a @code{\score} block sets the
+default page layout.
+
+@separate
+@example
+ linewidth = -1.0 @}
+@end example
+
+
+
+The variable @code{linewidth} normally sets the length of the systems on
+the page. However, a negative value has a special meaning. If
+@code{linewidth} is less than 0, no line breaks are inserted into the
+score, and the spacing is set to natural length: a short phrase takes up
+little space, a longer phrase more space.
+
+@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 would put it 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 are easier to use.
-@node Piano music
-@section Piano music
-Our third subject is a piece of piano music. The fragment in the input
+@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.
+
+
+
+@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.
+Sammartini. It was composed around 1740. It's in the source package
+under the name @file{sammartini.ly}.
@lilypond[verbatim]
+\include "paper16.ly"
-\version "1.3.60";
-\include "paper16.ly";
+stemDown = \property Voice.Stem \override #'direction = #-1
+stemUp = \property Voice.Stem \override #'direction = #1
+stemBoth = \property Voice.Stem \revert #'direction
viola = \notes \relative c' \context Voice = viola {
- <c4-\f g' c>
- \stemDown g'8. b,16
- s1 s2. r4
- g
+ <c4-\f-\arpeggio g' c>
+ \stemDown g'8. b,16
+ s1 s2. r4
+ g
}
oboes = \notes \relative c'' \context Voice = oboe {
- \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
- \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
- <
- { \times 2/3 { a8 g c } \! c2 }
- \context Voice = oboeTwo {
- \stemDown
- \grace {
- \property Grace.Stem \override #'direction = #-1
- [f,16 g] }
- f8 e e2
- } >
- \stemBoth
- \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
- [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
- [<c16( e> < )e8. g>] <c8 e,>
+ \stemUp s4 g8. b,16 c8 r <e'8.^\p g> <f16 a>
+ \grace <e8( g> <d4 )f> <c2 e>
+ \times 2/3 { <d8 \< f> <e g> <f a> }
+ <
+ { \times 2/3 { a8 g c } \! c2 }
+ \context Voice = oboeTwo {
+ \stemDown
+ \grace {
+ \property Grace.Stem \override #'direction = #-1
+ [f,16 g] }
+ f8 e e2
+ }
+ >
+ \stemBoth
+ \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+ [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
+ [<c16( e> < )e8. g>] <c8 e,>
}
-hoomPah = \notes \transpose c' {
- c8 \translator Staff = top \stemDown
- c'8 \translator Staff = bottom \stemUp }
-
-hoomPahHoomPah = { [\hoomPah \hoomPah] }
+hoomPah = \repeat unfold 8 \notes
+ \transpose c' { \stemUp c8 \stemBoth \stemDown c'8 \stemBoth }
bassvoices = \notes \relative c' {
- c4 g8. b,16
- \repeat unfold 4 {\hoomPahHoomPah}
- \stemDown [c8 c'8] r4
- <g d'> r4
- < {\stemUp r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
+ c4 g8. b,16
+ \autochange Staff \hoomPah
+ \translator Staff = down
+ \stemDown [c8 c'8] r4
+ <g d'> r4
+ < {\stemUp r2 <e4 c'> <c8 g'> }
+ \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
}
\score {
- \context PianoStaff \notes <
- \context Staff = top < \time 2/2;
- \viola
- \oboes
- >
- \context Staff = bottom < \time 2/2; \clef bass;
- \bassvoices
- >
+ \context PianoStaff \notes <
+ \context Staff = up < \time 2/2
+ \viola
+ \oboes
>
- \midi { }
- \paper {
- indent = 0.0;
- linewidth = 15.0 \cm; }
+ \context Staff = down < \time 2/2 \clef bass
+ \bassvoices
+ >
+ >
+ \midi { }
+ \paper {
+ indent = 0.0
+ linewidth = 15.0 \cm }
}
@end lilypond
-If it looks like incomprehensible gibberish to you@dots{} Then you are
-right. The author has doctored this example to have as many quirks in
-one system as possible.
-@example
-\version "1.3.61";
-@end example
-Lilypond and the Lilypond language is still under development, therefore
-it is useful to indicate the Lilypond version of the file. Lilypond
-will check the version number and warn you when the syntax has
-changed. Also, the @code{convert-ly} program will be able to
-update most of the syntax changes automatically.
+If this looks like incomprehensible gibberish to you, you are right.
+This example has been doctored to have as many quirks as possible.
+
+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.
+
+Printed symbols are internally represented by so-called Graphical
+Objects (more colloquially: Grobs). These statements concern the
+grob called `Stem'. Each grob is described by a bunch of settings. These
+setting determine the fonts, offsets, sub-routines to be called on the
+grob, etc. The initial values of these settings are set in the Scheme
+file @file{scm/grob-description.scm}.
+
+@separate
+@example
+ stemDown = \property Voice.Stem \override #'direction = #-1
+@end example
+
+Set a proprerty for all Stem grobs in the current Voice:
+@code{direction} is set to @code{-1}, which encodes down. The setting
+remains in effect until it is reverted.
+
+@separate
+@example
+ \property Voice.Stem \revert #'direction
+@end example
+
+Revert the to the previous setting. The effect of precisely one
+@code{\stemDown} or @code{\stemUp} is neutralised.
+
+
+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
associated with one notation context. This notation context handles
stems and dynamics (among others). The name of this context is
@code{Voice}. For each part we have to make sure that there is
-precisely one Voice context.
+precisely one @code{Voice} context, so we give it an unique name
+(`@code{viola}').
+
+@separate
@example
-<c4-\f g' c>
+<c4-\f-\arpeggio g' c>
@end example
-@code{<} and @code{>} are short hands for @code{\simultaneous @{} and
-@code{@}}. So the expression enclosed in @code{<} and @code{>} is a
-chord. @code{\f} places a forte symbol under the chord.
-[FIXME]
+The delimiters @code{<} and @code{>} are shorthands for
+@code{\simultaneous @{} and @code{@}}. The expression enclosed in
+@code{<} and @code{>} is a chord.
+
+@cindex dynamics
+@cindex loudness
+@cindex forte
+@cindex arpeggio
+
+@code{\f} places a forte symbol under the chord. The forte applies to
+the whole chord, but the syntax requires that commands like forte and
+arpeggio are attached to a note, so here we attach them to the first
+note.
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
+the chord.
+
+@separate
@example
- \property Voice.verticalDirection = \down
+ \stemDown
@end example
-@code{verticalDirection} is a property of the voice context. It
-controls the directions of stems, articulations marks and other
-symbols.
-If @code{verticalDirection} is set to @code{\down}
-(identifier for the integer -1) the stems go down,
-@code{\up} (identifier for the integer 1) makes the stems go up.
+
+@separate
@example
g'8. b,16
@end example
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.
+@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
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
\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
@end example
-@code{\stemUp} is an identifier reference. It is shorthand for
-@code{\property Voice.verticalDirection = \up}. If possible, you
-should use predefined identifiers like these for setting properties.
-Your input will be less dependent upon the implementation of LilyPond.
+@code{\stemUp} is a reference to the @code{\property \override} command
+defined above.
+@separate
@example
-\grace <e8( g> < )d4 f> <c2 e>
-@end 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. The slur started on the @code{e} of the chord
+case a chord.
+
+@ignore
+The slur started on the @code{e} of the chord
will be attached to the next note.@footnote{LilyPond will squirm
about unended Slurs. In this case, you can ignore the warning}.
+@end ignore
+@separate
@example
\times 2/3
-@end example
+@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
-second argument is multiplied by the first argument. Triplets make
-notes occupy 2/3 of their notated duration, so in this case the
-fraction is 2/3.
+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 notes. On the first chord (the @code{d}), a crescendo is started
-with @code{\<}.
+three notes. On the first chord, a crescendo is started with
+@code{\<}. To be precise, the crescendo start is syntactically attached
+to the preceding note, the @code{d}.
+
+@cindex dynamics
+@cindex crescendo
+@cindex @code{\<}
+
+@separate
@example
<
@end example
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
+@end example
+
+@cindex @code{\!}
+
The crescendo is ended at the half note by the escaped exclamation
-mark `@code{\!}'.
+mark @code{\!}.
+@separate
@example
\context Voice = oboeTwo @{
\stemDown
We can't share stems with the other voice, so we have to create a new
@code{Voice} context. We give it the name @code{oboeTwo} to distinguish
it from the other context. Stems go down in this voice.
+@separate
@example
\grace @{
-@end example
+@end example
+@cindex Grace context
When a grace section is processed, a @code{Grace} context is
created. This context acts like a miniature score of its own. It has
its own time bookkeeping, and you can make notes, beams, slurs
etc. Here we fiddle with a property and make a beam. The argument of
@code{\grace} is sequential music.
+@separate
@example
-\property Grace.verticalDirection = \down
+\property Grace.Stem \override #'direction = #-1
[f,16 g] @}
- [FIXME]
@end example
+
Normally, grace notes are always stem up, but in this case, the upper
voice interferes. We set the stems down here.
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
f8 e e2
@} >
@end example
This ends the two-part section.
+@separate
@example
\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
-@end example
+@end example
+@cindex trill
+@cindex stemBoth
+
@code{\stemBoth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.
The bass has a little hoom-pah melody to demonstrate parts switching
-between staffs. Since it is repetitive, we use identifiers:
+between staffs. Since it is repetitive, we use repeats:
+@separate
@example
-hoomPah = \notes \transpose c' @{
-@end example
-Transposing can be done with @code{\transpose}. It 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 is a no-op. Central C is transposed to
-central C.
+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' @{
+@end example
+@cindex transposing
+@cindex relative mode and transposing
-The purpose of this no-op is circumventing relative mode. Relative
-mode can not be used in conjunction with transposition, so relative
-mode will leave the contents of @code{\hoomPah} alone. We can use it
-without having to worry about getting the motive in a wrong
-octave@footnote{@code{hoomPah = \relative @dots{}} would be more
-intuitive to use, but that would not let me plug @code{\transpose}
-:-).}.
-@example
-c8 \translator Staff = top \stemDown
-@end example
-We assume that the first note will be put in the lower staff. After
-that note we switch to the upper staff with @code{\translator}. To be
-precise, this @code{\translator} entry switches the current voice to a
-@code{Staff} named @code{top}. So we have to name the upper staff
-`@code{top}'. Stem directions are set to avoid interfering with the
-oboe voices.
-@example
-c'8 \translator Staff = bottom \stemUp @}
-@end example
-Then a note is put on the upper staff, and we switch again. We have
-to name the lower staff `@code{bottom}'.
+Transposing can be done with @code{\transpose}. It 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 circumventing relative mode. 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
@example
-hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
-@end example
-Put two of these fragments in sequence, and beam them.@example
bassvoices = \notes \relative c' @{
c4 g8. b,16
-\repeat unfold 4 @{\hoomPahHoomPah @}
-@end example
-Entering the bass part is easy: the hoomPahHoomPah variable is
-repeated four times; @code{unfold} means that all four repetitions
-should be written out.
+\autochange Staff \hoomPah
+@end example
+@cindex staff switch, automatic
+@cindex cross staff voice, automatic
+@cindex @code{\autochange}
+
+Voices can switch between staffs. The easiest way to get this, is to use
+@code{\autochange}. This command looks at the pitch of each note, and if
+necessary, will cross to the other staff. For this to work, the two
+staffs must be called @code{"up"} and @code{"down"}.
+@separate
+@example
+ \translator Staff = down
+@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.
+
+
+@separate
@example
\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
-@end example
-After skipping some lines, we see @code{~}. This mark makes ties.
+@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
-For piano music, a special context is needed to get cross staff
-beaming right. It is called @code{PianoStaff}.
+ 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;
+\context Staff = bottom < \time 2/2 \clef bass
@end example
The bottom staff must have a different clef.
+@separate
@example
-indent = 0.0;
+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 format of this tutorial.
+to the page layout of this document.
+
+
+@ignore
+[TODO:
+
+* font-size, multi-stanza.
+
+* Simple part combining in a Hymn
+@end ignore
+
+
+@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 example shows a lot of features, but the organisation isn't
-perfect. For example, it would be less confusing to use a chord
-containing sequential music than a sequence of chords for the oboe
+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.
-[TODO: demonstrate Hara-Kiri with scores and part extraction.]
+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}. Lateron, we'll use @code{\Key} for all staffs except those
+for transposing instruments.
+
+@node The full score
+@subsection The full score
+
+
+The second file, @file{os-score.ly} reads the definitions of the first
+(@file{os-music.ly}), and defines the @code{\score} block for the full
+conductor's score.
+
+
+@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@{
+ \VoiceContext
+ \consists "Multi_measure_rest_engraver"
+ @}
+ \translator@{
+ \HaraKiriStaffContext
+ \remove "Multi_measure_rest_engraver"
+ @}
+ @}
+ \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
+In a large orchestral score like this you're bound to make some small
+mistakes, so we enable point and click (See @ref{Point and click})
+editing.
+
+@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 sharp sign is called @code{accidentals-+1}). 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 staffs 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 all this kind of information 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 StaffGroup. StaffGroup can hold one or more
+Staffs, 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
+ >
+ >
+@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 two elements (columns), the @code{E}
+and the flat sign @code{text-flat} that we defined before.
+
+@separate
+@example
+ \property Staff.transposing = #3
+@end example
+The french horn is to be tuned in E-flat, so we tell the MIDI backend to
+transpose this staff by three steps.
+
+Note how we can choose different tuning for entering, printing and
+playing, using @code{\transpose} and the MIDI Staff proprerty
+@var{transposing}.
+
+@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.
+
+@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.
+
+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 staffs.
+
+@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
+
+@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}
+
+
+Because we separated the music definitions from the @code{\score}
+instantiations, we can easily define a second score from 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.
+
+@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.
+
+@separate
+@example
+ \property Score.skipBars = ##t
+@end example
+In the conductor's full score, all bars with rests are printed, but for
+the individual parts, we want to contract pieces of consecutive empty
+bars. LilyPond will do this if Score's @var{skipBars} property to
+true.
+
+
+@node Other ways to run LilyPond
+@section Other ways to run LilyPond
+
+Until now, you have been using @file{ly2dvi} to invoke LilyPond.
+There are three other routes. Firstly, there is a script called
+@code{lilypond-book}, that allows you to freely mix LilyPond input with
+Texinfo or LaTeX input. For example, this manual was written using
+@code{lilypond-book}. It is discussed in @ref{lilypond-book}.
+
+
+Secondly, you can generate PostScript directly. This is useful if you
+can not or do not want to run @TeX{} on your system. To obtain direct
+PostScript output, invoke LilyPond as follows:
+@cindex PostScript output
+@example
+lilypond -f ps test.ly
+@end example
+You have to set some environment variables to view or print this
+output. More information can be found in @ref{Invoking
+LilyPond}.
+
+
+Thirdly, if you want to do special things with your output, you can run
+invoke lilypond directly:
+@example
+lilypond test.ly
+@end example
+to produce plain @TeX{} output. Note that La@TeX{} will not work on the
+resulting @file{test.tex}. You must run plain @TeX{} on it.
+
+@cindex @TeX{}
+
+
+
+
+
+@node Integrating text and music
+@section Integrating text and music
+
+Sometimes, you might want to use music examples in a text that you are
+writing. For example, if you are writing a musicological treatise, a
+songbook, or (like us) the LilyPond manual. You can make such texts by
+hand, simply by importing a PostScript figure into your wordprocessor.
+However, there is a also an automated procedure:
+
+If you use La@TeX{} or texinfo, you can mix text and lilypond code. A
+script called @code{lilypond-book} will extract the music fragments, run
+lilypond on them, and put back the resulting notation. lilypond-book is
+described fully in @ref{lilypond-book}, but here we show a small
+example. Since the example also contains explanatory text, we won't
+comment on the contents.
+
+@example
+\documentclass[a4paper]@{article@}
+\begin@{document@}
+
+In a lilypond-book document, you can freely mix music and text. For
+example:
+\begin@{lilypond@}
+ \score @{ \notes \relative c' @{
+ 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.
+
+If you have no \verb+\score+ block in the fragment,
+\texttt@{lilypond-book@} will supply one:
+
+\begin@{lilypond@}
+ c'4
+\end@{lilypond@}
+
+In the example you see here, a number of 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:
+
+\begin[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]@{lilypond@}
+ 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.
+
+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@}
+
+The \texttt@{printfilename@} option adds the file name to the output.
+
+\end@{document@}
+@end example
+
+Under Unix, you can view the results as follows.
+@example
+$ cd input/tutorial
+$ lilypond-book --outdir=out/ lilbook.tex
+lilypond-book (GNU LilyPond) 1.3.146
+Reading `/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/lilbook.tex'
+Reading
+`/home/hanwen/usr/src/lilypond-1.3.146/input/tutorial/sammartini.ly'
+@var{lots of stuff deleted}
+Writing `out/lilbook.latex'
+$ cd out
+$ latex lilbook.latex
+@var{lots of stuff deleted}
+$ xdvi lilbook
+@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
+those to clutter up your working directory. Hence, we have them created
+in a separate subdirectory.
+
+The result more or less looks 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
+ } }
+@end lilypond
+Notice that the music line length matches the margin settings of the
+document.
+
+If you have no @code{\score} block in the fragment,
+@code{lilypond-book} will supply one:
+
+@lilypond
+ c'4
+@end lilypond
+
+In the example you see here, a number of things happened: a
+@code{\score} block was added, and the line width was set to natural
+length. You can specify many more options using La@TeX{} style options
+in brackets:
+
+@lilypond[verbatim,11pt,singleline,
+ fragment,relative,intertext="hi there!"]
+ c'4 f bes es
+@end lilypond
+
+@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
+@code{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:
+
+@lilypondfile[printfilename]{sammartini.ly}
+
+The @code{printfilename} option adds the file name to the output.
@node end of tutorial
@section The end
That's all folks. From here, you can either try fiddling with input
-files, or you can read the reference manual.
+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