@chapter Tutorial
@menu
-* Introduction:: Introduction
-* Running LilyPond:: Getting started
-* The first tune:: The first tune
-* Lyrics and chords:: Lyrics and chords
-* More movements:: More than one movement in a file
-* A piano excerpt:: Piano music
-* end of tutorial:: The end
+* Introduction:: Introduction
+* Running LilyPond:: Getting started
+* The first tune:: The first tune
+* Lyrics and chords:: Lyrics and chords
+* More movements ::
+* A piano excerpt:: Piano music
+* An orchestral score::
+* Part extraction::
+* end of tutorial:: The end
@end menu
@node Introduction
ly2dvi test.ly
@end example
After some disk-activity, you should end up with a @file{.dvi} file.
-Ly2dvi is further described in the Chapter @ref{ly2dvi}.
+Ly2dvi is further described in the @ref{ly2dvi}.
Secondly, you can generate PostScript directly. This is useful if you
can not or do not want to run @TeX{} on your system.
@end example
You have to set some environment variables to view or print this
-output. More information can be found in the Section @ref{Invoking
+output. More information can be found in the @ref{Invoking
LilyPond}.
Finally, there is a script called lilypond-book, that allows you to
freely mix LilyPond input with Texinfo or LaTeX input. For example, this
-manual was written using lilypond-book.
+manual was written using lilypond-book. lilypond-book is discussed in
+@ref{lilypond-book}.
@unnumberedsubsec Windows
denoted by @code{c} and @code{c,} respectively.
@cindex relative
-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.
+For pitches in a long piece you might have to type many quotes. It is
+easy to make typing errors with this, so LilyPond has a special entry
+mode to remedy this. 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 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.
@example
\sequential @{
@node Lyrics and chords
@section Lyrics and chords
-In this section we show how to typeset a song.@footnote{The author would
-welcome information about the origin of this song.}. This file is
+In this section we show how to typeset a song. This file is
included as @file{flowing.ly}.
@example
@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}.}.
+@file{ly2dvi}.}
@center @strong{The river is flowing}
@center Traditional
@center @strong{Two miniatures}
@flushright
- Opus 1.
+Opus 1.
@end flushright
@flushleft
@var{Up}
}
@end lilypond
@flushright
- Opus 2.
+Opus 2.
@end flushright
@flushleft
@var{Down}
@lilypond[verbatim]
\include "paper16.ly";
-stemdown = \property Voice.Stem \override #'direction = #-1
-stemup = \property Voice.Stem \override #'direction = #1
-stemboth = \property Voice.Stem \revert #'direction
+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-\arpeggio g' c>
- \stemdown g'8. b,16
+ \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>
+ \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
+ \stemDown
\grace {
\property Grace.Stem \override #'direction = #-1
[f,16 g] }
f8 e e2
} >
- \stemboth
+ \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 = \repeat unfold 8
- \notes \transpose c' { c8 \stemdown c'8 \stemup }
+ \notes \transpose c' { c8 \stemDown c'8 \stemUp }
bassvoices = \notes \relative c' {
c4 g8. b,16
\autochange Staff \hoomPah
\translator Staff = down
- \stemdown [c8 c'8] r4
+ \stemDown [c8 c'8] r4
<g d'> r4
- < {\stemup r2 <e4 c'> <c8 g'> }
- \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
+ < {\stemUp r2 <e4 c'> <c8 g'> }
+ \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
}
\score {
This example has been doctored to have as many quirks as possible.
@example
- stemdown = \property Voice.Stem \override #'direction = #-1
+ stemDown = \property Voice.Stem \override #'direction = #-1
@end example
As you can see, this example features more voices on one staff. To make
@end example
This statement reverts the old setting. If you do this, the effect of a
-@code{\stemdown} or @code{\stemup} is neutralised.
+@code{\stemDown} or @code{\stemUp} is neutralised.
@code{\override} and @code{\revert} function like a stack: you can push
values onto the grob-setting-stack with @code{\override} and you pop
signifying an arpeggio.
@example
- \stemdown
+ \stemDown
@end example
these notes are indeed processed by precisely one context with
@code{\context}.
@example
-\stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
+\stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
@end example
-@code{\stemup} is a reference to the @code{\property \override} command
+@code{\stemUp} is a reference to the @code{\property \override} command
defined above. .
@example
\grace <e8 g> < d4 f> <c2 e>
@end example
This ends the two-part section.
@example
-\stemboth
+\stemBoth
\grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
@end example
@cindex trill
-@cindex stemboth
+@cindex stemBoth
@code{\stemBoth} ends the forced stem directions. From here, stems are
positioned as if it were single part music.
* font-size, cadenza. rhythmic staff, multi-stanza.
+* Simple part combining in a Hymn
-* Orchestral: demonstrate Hara-Kiri, part combining, part extraction,
-scores, transposition, instrument names,
-]
+@node An orchestral score
+@section An orchestral score
+
+If you've come this far, you should have seen enough LilyPond source to
+feel comfortable with an orchestral score. We will not go through the
+input line by line, but only indicate and explain the new elements.
+
+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 is to be used by the other two files, as you will see below.
+If you run lilypond on this file, no output will 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 R1*1/2 es4
+@}
+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 @}
+@}
+corno = \notes\relative c' @{
+ bes4 d f, bes d f, bes d
+@}
+@end example
+
+Things to note here are the definition of @code{\global} where we define
+meter, and set the end bar. And the separate definition of @code{\Key}
+that we will use all staffs except staffs for transposing instruments.
+
+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 #t)
+#(define text-flat '((font-relative-size . -2)
+ (music "accidentals--1")))
+
+\score @{
+ <
+ \global
+ \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"
+ (rows "(E" ,text-flat ")"))
+ \property Staff.instr = #`(lines "Cor."
+ (rows "(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@{
+ \ThreadContext
+ \consists "Rest_engraver";
+ @}
+ \translator@{
+ \VoiceContext
+ \remove "Rest_engraver";
+ @}
+ \translator@{
+ \HaraKiriStaffContext
+ @}
+ \translator @{
+ \OrchestralScoreContext
+ BarNumber \override #'padding = #3
+ @}
+ @}
+ \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}
+
+First, we need to include the music definitions we made in
+@file{os-music.ly}.
+@example
+\include "os-music.ly";
+@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.
+@example
+#(set! point-and-click #t)
+@end example
+
+We need a flat sign in text to name the tuning of the french horn, so we
+predefine it with bit of scheme markup text (See @ref{Text markup}).
+@example
+#(define text-flat '((font-relative-size . -2)
+ (music "accidentals--1")))
+@end example
+
+Of course, all staffs are simultaneous and use the same global settings.
+@example
+ <
+ \global
+@end example
+
+Then, we 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.
+@example
+ \context StaffGroup = woodwind <
+ \context Staff = flauti <
+@end example
+
+We specify the intrument for MIDI output (see @ref{MIDI instrument
+names}).
+@example
+ \property Staff.midiInstrument = #"flute"
+@end example
+
+And define the intrument names to be printed in the margin,
+@code{instrument} for the first line of the score, @code{instr} for the
+rest of the score.
+@example
+ \property Staff.instrument = "2 Flauti"
+ \property Staff.instr = "Fl."
+@end example
+
+The flutes play in the default key.
+@example
+ \Key
+@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.
+@example
+ \context Voice=one @{ \voiceOne \flautoI @}
+ \context Voice=two @{ \voiceTwo \flautoII @}
+@end example
+
+We close the flutes staff and woodwind staff group.
+@example
+ >
+ >
+@end example
+
+The timpani staff only shows a new piece of scheme markup, it sets two
+lines of text.
+@example
+ \property Staff.instrument = #'(lines "Timpani" "(C-G)")
+@end example
+
+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.
+@example
+ \context Voice=one \partcombine Voice
+ \context Thread=one \tromboI
+ \context Thread=two \tromboII
+@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 (rows), the @code{E}
+and the flat sign @code{text-flat} that we defined before.
+@example
+ \property Staff.instrument = #`(lines "Corno"
+ (rows "(E" ,text-flat ")"))
+@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.
+@example
+ \property Staff.transposing = #3
+@end example
+
+Therefore, it has a different key.
+@example
+ \notes \key bes \major;
+@end example
+
+We specify a big indent for the first line and a small linewith for this
+tuturial.
+@example
+ indent = 15 * \staffspace;
+ linewidth = 60 * \staffspace;
+@end example
+
+Because we have a Thread representing one instument, we move the
+need the @code{Rest_engraver} from Voice to Thread level.
+@example
+ \translator@{
+ \ThreadContext
+ \consists "Rest_engraver";
+ @}
+ \translator@{
+ \VoiceContext
+ \remove "Rest_engraver";
+ @}
+@end example
+
+In orchestral scores, it often happens that one instrument has only
+rests during one line of the score. The @code{HaraKiriStaffContext} can
+be used as a regular @code{StaffContext} drop-in and will take care of
+the automatic removing of empty staffs.
+@example
+ \translator@{
+ \HaraKiriStaffContext
+ @}
+@end example
+
+We want bar numbering at score level and want to move the bar number a
+few staff spaces up.
+@example
+ \translator @{
+ \OrchestralScoreContext
+ BarNumber \override #'padding = #3
+ @}
+@end example
+
+@node Part extraction
+@section Part extraction
+
+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 Staff.midiInstrument = #"flute"
+ \global
+ \Key
+ \flautoII
+ >
+ \header @{
+ instrument = "Flauto II";
+ @}
+ \paper @{
+ linewidth = 80 * \staffspace;
+ textheight = 200 * \staffspace;
+ \translator @{
+ \OrchestralScoreContext
+ skipBars = ##t
+ @}
+ @}
+ \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.
+
+In this individual part the second flute has a whole staff for itself,
+so we don't want to force stem or tie directions.
+@example
+ \flautoII
+@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.
+@example
+ \header @{
+ instrument = "Flauto II";
+ @}
+@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.
+@example
+ skipBars = ##t
+@end example
@node end of tutorial
@section The end
projects / lilypond.git / blobdiff