- @c -*-texinfo-*-
+@c -*-texinfo-*-
@c TODO:
@c * LilyPond Lilypond lilypond (sometimes: the program)
@noindent
then the result looks like this:
-@lilypond[notime]
-\property Score.timing = ##f
-\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
We will continue with this format: First we show a snippet of input,
@lilypond[notime]
\property Score.timing = ##f
\property Staff.autoBeaming = ##f
-\transpose c'' { a1 a2 a4 a16 a32 s16_" " }
+\transpose c c' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
If you don't specify a @rglos{duration}, the previous one is used:
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { a a a2 a s16_" " }
+\transpose c c' { a a a2 a s16_" " }
@end lilypond
A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { cis1 ees fisis aeses s16_" " }
+\transpose c c' { cis1 ees fisis aeses s16_" " }
@end lilypond
Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
@lilypond[notime]
\property Score.timing = ##f
-\transpose c'' { a2. a4 a8. a16 s16_" " }
+\transpose c c' { a2. a4 a8. a16 s16_" " }
@end lilypond
The @rglos{meter} (or @rglos{time signature}) can be set with the
The DVI file (@file{test.dvi}) contains the same sheet music in a
different format. DVI files are more easily processed by the computer,
so viewing them usually is quicker. You can run @code{xdvi test.dvi} or
-@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse buttons
+@code{kdvi test.dvi} to view the DVI file. In Xdvi, the mouse burtons
activate magnifying glasses. Unfortunately, variable symbols (such as
beams and slurs) are not displayed in the magnifying glasses.
To run LilyPond, input a text file, then run the command @code{ly2dvi} on
that file. The resulting files are either DVI or PostScript, and can
-be viewed with @code{xdvi} (unix) and ghostview (unix and windows)
+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.
@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; it just makes the first note sound longer:
-
+A tie is created by adding a tilde ``@code{~}'' to the first note
+being tied.
@quotation
@lilypond[fragment,verbatim]
-g'4 ~ g' a'2 ~ a'4
+g'4-~ g' a'2-~ a'4
@end lilypond
@end quotation
@separate
+A tie is different from a slur. A tie simply makes the first note
+sound longer, and can only be used on pairs of notes with the same
+pitch. Slurs indicate the articulations of notes, and can be used on
+larger groups of notes. Slurs and ties are also nested in practice:
+@lilypond[fragment, relative=1]
+c2-~-( c8 fis fis4 ~ fis2 g2-)
+@end lilypond
-The key signature is set with the command ``@code{\key}''. One caution:
-you need to specify whether the key is @code{\major} or @code{\minor}.
+
+The key signature is set with the command ``@code{\key}''. One
+caution word of caution: you need to specify whether the key is
+@code{\major} or @code{\minor}.
@quotation
@example
\key d \major
\key d \minor
\clef violin
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
@}
\paper @{ @}
\clef violin
\key d \minor
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
}
\paper { linewidth = 50*\staffspace }
@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
@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{]}:
+can enter beams by hand. Mark the first note to be beamed with
+@code{[} and the last one with @code{]}:
@quotation
@lilypond[fragment,relative 1, verbatim]
-[a8 ais] [d es r d]
+a8-[ ais-] d-[ es r d-]
@end lilypond
@end quotation
@separate
< \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
@separate
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the following
-note.
+@code{\>}. The command @code{\!} finishes a crescendo on the note it
+is attached to.
@quotation
@lilypond[verbatim,relative 1]
-c2\< \!c2-\ff \>c2 \!c2
+c2-\< c2-\!-\ff c2-\> c2-\!
@end lilypond
@end quotation
@separate
-Chords can be made by surrounding notes with @code{<} and @code{>}:
+Chords can be made by surrounding notes with @code{<<} and @code{>>}:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 <c e g> <c f a>
+r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate
-@ignore
-@c te diepzinnig?
-@c hmm, te losjes, iig
-In general, @code{ < @var{stuff} > } is used when @var{stuff} all
-happens at the same time, like in chords, or (like in the two-staff
-example above) in a bunch of stacked staves.
-@end ignore
You can combine beams and ties with chords. Beam and tie markings
must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
@end lilypond
@end quotation
+@ignore
When you want to combine chords with slurs and dynamics, technical
detail crops up: you have type these commands next to the notes, which
means that they have to be inside the @code{< >}. Don't get confused
by the chord @code{< >} and the dynamic @code{\< \>}!
-
+@end ignore
@quotation
@example
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end example
@lilypond[relative 0, fragment]
\slurUp
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
-@end lilypond
-@end quotation
-@separate
-
-@c this example is a bit too strongly worded -- there's nothing wrong
-@c with starting a piece with a chord; you just have to be careful when
-@c you do so. I've rephrased this example below.
-@c There is one golden rule that you should keep in mind when writing
-@c LilyPond input:
-@c @quotation
-@c @strong{DO NOT START A PIECE WITH A CHORD}
-@c @end quotation
-@c Of course, it is a allowed, but the result might not be what you expect:
-
-@c rephrased "don't start with a chord"
-There is one caution when using chords: if you use a chord at the very
-beginning of the piece, LilyPond might not understand what you want:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
-@end lilypond
-@end quotation
-@separate
-
-If you have a piece that begins with a chord, 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} or
-@code{\context Voice} for the notes:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end lilypond
@end quotation
@separate
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c( d )e
+c-( d e-)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-c\( c() d \)e
+c-\( c-( d-) e-\)
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-[a8 b]
+a8-[ b-]
@end lilypond
\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
-a\> a \!a
+a-\> a a-\!
@end lilypond
-@item @code{< >}
+@item @code{<< >>}
@tab chord
@tab
@lilypond[fragment, relative 1]
-\context Voice <c e>
+<<c e>>
@end lilypond
@end multitable
\score { \notes { \addlyrics
\notes \relative c' {
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 }
\context Lyrics \lyrics {
Join us now __ and
share the soft -- ware; }
@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 @}
+ 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}:
\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.
+ c4 c8 d es-[ -( d-]-) c4 | f4 f8 g es-[-( d-)-] c g |
+ c4 c8 d es-[ -( d-]-) c4 | d4 es8 d c4.
\bar "|."
@}
\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.
+ 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
+TODO:
+@example
+
+scoreA = \score @{ \deelA @}
+scoreB = \score @{ \deelA @}
+
+% \score @{ \scoreA @}
+\score @{ \scoreB @}
+
+@end example
@separate
@example
@separate
@example
-<c4-\arpeggio g' c>
+<<c g' c>>4-\arpeggio
@end example
-The delimiters @code{<} and @code{>} are shorthands for
-@code{\simultaneous @{} and @code{@}}. The expression enclosed in
-@code{<} and @code{>} is a chord.
+The delimiters @code{<<} and @code{>>} enclose the pitches of a chord.
+@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line)
+before the chord.
@cindex arpeggio
-@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before
-the chord.
@separate
@example
@code{\context}.
@separate
@example
-\voiceOne s4 g8. b,16 c8 r <e'8. g> <f16 a>
+\voiceOne s4 g8. b,16 c8 r <<e' g>>8. <<f a>>16
@end example
The oboes should have stems up to keep them from interfering with
@separate
@example
-\grace <e8( g> < d4 )f> <c2 e>
+\grace <<e g>>-( <<d f>>4-) <<c e>>2
@end example
@cindex @code{\grace}
@cindex ornaments
of their notated duration, so in this case the fraction is 2/3.
@separate
@example
-@{ <d8 f> <e g> <f a> @}
+@{ <<d f>>8 <<e g>> <<f a>> @}
@end example
The piece of music to be `tripletted' is sequential music containing
three chords.
@separate
@example
\stemBoth
-\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
+\grace <<c, e>>8-( <<b d>>8.-\trill <<c e>>16 |
@end example
@cindex trill
@cindex stemBoth
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.
+getting the motive in a wrong octave. Conversely, if you want to
+transpose a fragment of music entered with @code{\relative}, then you
+should make sure that @code{\transpose} comes before @code{\relative}.
+
@separate
@cindex staff switch, manual
@cindex cross staff voice, manual
@separate
@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+\context Voice = reallyLow @{\stemDown g2-~ | g4 c8 @} >
@end example
@cindex tie
@cindex @code{~}
\include "os-music.ly"
\include "paper13.ly"
-#(set-point-and-click! 'line-column)
+#(ly:set-point-and-click 'line-column)
#(define text-flat '((font-relative-size . -2)
(music "accidentals--1")))
@separate
@example
-#(set-point-and-click! 'line-column)
+#(ly:set-point-and-click 'line-column)
@end example
This piece of Scheme code executes the function
-@code{set-point-and-click!} with the argument
+@code{ly:set-point-and-click} with the argument
@code{line-column}. 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