@end example
@c FIXME: have NOTIME also remove Score.timing?
-@lilypond[fragment,quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=2]
\set Score.timing = ##f
\set Staff.autoBeaming = ##f
{ a1 a2 a4 a16 a32 s16_" " }
a a8 a a2 a
@end example
-@lilypond[fragment,quote,notime,relative=1]
+@lilypond[fragment,quote,notime,relative=2]
\set Score.timing = ##f
{ a a8 a a2 a s16_" " }
@end lilypond
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
@code{joe}.@footnote{There are macro files for VIM addicts, and there
-is a @code{LilyPond-mode} for Emacs addicts. If it has not been
+is a @code{LilyPond-mode} for Emacs addicts. If they have not been
installed already, refer to
@c FIXME lousy reference.
the file @file{INSTALL.txt}.} In your text editor, enter the following
On Windows, start up a text-editor@footnote{Any simple or
programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, its formatting codes will confuse LilyPond.} and enter
+word processor, since these insert formatting codes that will confuse
+LilyPond.} and enter
@example
@{ c'4 e' g' @}
@end lilypond
@noindent
-no note gets an explicit accidental, but you still must enter
+no note has an explicit accidental, but you still must enter
@example
\key d \major
Adding all alterations explicitly might require a little more effort
when typing, but the advantage is that transposing is easier, and
-music can be printed according to different conventions. See
+accidentals can be printed according to different conventions. See
@ref{Accidentals}, for some examples how accidentals can be printed
according to different rules.
@noindent
The last example shows that music in a high register needs lots of quotes.
This makes the input less readable, and it is a source of errors. The
-solution is to use `relative octave' mode. In practice, this is the
-most convenient way to copy existing music. To use relative mode, add
-@code{\relative} before the piece of music.
-@ignore
-FIXME: move to notation manual?
- You must also give a note
-from which relative mode starts, in this case @code{c''}.
-@end ignore
-If you do not
-use octavation quotes (i.e., do not add @code{'} or @code{,} after a
-note), relative mode chooses the note that is closest to the previous
-one. For example, @samp{c f} goes up while @samp{c g} goes down
+solution is to use `relative octave' mode. This is the
+most convenient way to copy existing music.
+
+In relative mode, a note without octavation quotes (i.e. the @code{'}
+or @code{,} after a note) is chosen so it it is closest to the
+previous one. For example, @samp{c f} goes up while @samp{c g} goes
+down
+
+To use relative mode, add @code{\relative} before the piece of
+music. The first note is taken relative to the middle C
+@c no , for this sentence
+(i.e. @code{c'})
+
+
@lilypond[quote,notime,fragment,verbatim]
\relative {
without octavation quotes in relative mode. The previous example is
entered as
-@lilypond[quote,raggedright,fragment,verbatim]
+@lilypond[quote,raggedright,verbatim]
\relative {
\key a \major
\time 6/8
- cis''8. d16 cis8 e4 e8
+ cis'8. d16 cis8 e4 e8
b8. cis16 b8 d4 d8
}
@end lilypond
as a simultaneous combination of two sequences. A `simultaneous'
music expression is formed by enclosing expressions in @code{<<} and
@code{>>}. In the following example, three sequences (all containing
-two notes) are combined simultaneously
+two other notes) are combined simultaneously
@lilypond[fragment,quote,verbatim,relative=3]
<<
@cindex expression
@cindex music expression
-This example shows a sequence of expressions, where each expression is
-contained in the next one. The simplest expressions are numbers and
-operators (like @samp{+}, @samp{*} and @samp{/}). Parentheses are used
-to group expressions.
+This is a sequence of expressions, where each expression is contained
+in the next one. The simplest expressions are numbers, and larger
+ones are made by combining expressions with operators (like @samp{+},
+@samp{*} and @samp{/}) and parentheses.
Like mathematical expressions, music expressions can be nested
-arbitrarily deep@footnote{The reason for getting three staves in the
+arbitrarily deep,@footnote{The reason for getting three staves in the
previous example but just a single staff in the current one will be
-explained later.}
+explained in @ref{TODO}.} which is necessary for complex music like
+polyphonic scores.
@lilypond[fragment,quote,verbatim,relative=2]
{
}
@end lilypond
-
-@cindex indent
-When spreading expressions over multiple lines, it is customary to use
-an indent that indicates the nesting level. Formatting music like this
-eases reading, and helps you insert the right number of closing
-braces at the end of an expression. For example,
+Music files with deep nesting can be confusing to enter and
+maintain. One convention that helps against this confusion, is
+indenting. When entering a file with deep nesting of braces and
+angles, it is customary to use an indent that indicates the nesting
+level. Formatting music like this eases reading, and helps you insert
+the right number of closing braces at the end of an expression. For
+example,
@example
-\book @{
- \score @{
- <<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
- \paper @{
- @dots{}
- @}
- >>
+<<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
@}
-@}
+>>
@end example
Some editors have special support for entering LilyPond, and can help
gets its own stave.
There are several types of contexts: @code{Staff}, @code{Voice} and
-@code{Score} handle normal music notation. Other contexts are also
+@code{Score} handle melodic notation. Other contexts are also
@code{Lyrics} (for setting lyric texts) and @code{ChordNames} (for
printing chord names).
@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
@lilypond[fragment,quote,verbatim,raggedright]
-<<
+\relative <<
\new Staff {
\time 3/4
\clef violin
- \relative {
- e''2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2. }
+
+ e'2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.
}
\new Staff {
\clef bass
- c2 e4 g2.
+ c,,2 e4 g2.
f4 e d c2.
}
>>
@samp{(} and @samp{)}, respectively
@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16)( cis d e c cis d e)( d4)
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
@cindex slurs versus ties
A slur looks like a tie, but it has a different meaning. 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
+and can be used on larger groups of notes. Slurs and ties can be
+nested
@lilypond[quote,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@cindex line comment
@cindex block comment
A comment is a remark for the human reader of the music input; it is
-ignored and has no effect on the printed output. There are two types
-of comments. The percent symbol @samp{%} introduces a line comment;
-the rest of the line is ignored. A block comments marks a whole
-section of music input---anything that is enclosed in @code{%@{} and
-@code{%@}} is ignored. The following fragment shows possible uses for
-comments
+ignored while parsing, so it has no effect on the printed output.
+There are two types of comments. The percent symbol @samp{%}
+introduces a line comment; after @code{%} the rest of the line is
+ignored. A block comments marks a whole section of music
+input. Anything that is enclosed in @code{%@{} and @code{%@}} is
+ignored. The following fragment shows possible uses for comments
@example
% notes for twinkle twinkle follow
%@}
@end example
-There is a special statement that really is a kind of comment. The
-version statement marks for which version of LilyPond the file was
-written. To mark a file for version 2.1.17, use
+@cindex versioning
+
+There is a special statement that is a kind of comment. The @code{\version}
+statement marks for which version of LilyPond the file was written.
+To mark a file for version 2.1.17, use
@example
\version "2.1.17"
More options, like putting multiple lines of lyrics below a melody are
discussed in @ref{Vocal music}.
-@c FIXME: too geeky, for notation manual?
-@c or introduce using foo = \lyrics { a b c } ?
-
-When using variables for a piece of lyrics
-To prevent certain words (for example `as') as being read as a
-pitch, the input-mode must be switched. This is done with
-@code{\lyrics}. In @code{\lyrics} mode, all words are read as lyric
-syllables.
-
-@example
-myText = \lyrics @{ I want to break free @}
-@end example
-
-@noindent
-The braces @code{@{@}} signify that the syllables are sung in
-sequence.
-
-@ignore
-By default, music expressions are interpreted in @code{Staff} context. For
-lyrics, this is obviously not desirable, so it is necessary
-to explicitly specify a @code{Lyrics} context,
-
-@example
-\lyrics @{ I want to break free @}
-@end example
-
-The melody for this song is as follows
-
-@lilypond[fragment,quote,fragment,relative=2]
-r4 c \times 2/3 { f4 g g }
-\times 2/3 { g4( a2) }
-@end lilypond
-
-@end ignore
-
@node A lead sheet
@section A lead sheet
@cindex chords
@cindex chord names
-In popular music, it is common to denote accompaniment as chord names.
+In popular music, it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@example
-c2 f4. g8
-@end example
+@lilypond[quote,verbatim,raggedright]
+\chords { c2 f4. g8 }
+@end lilypond
@noindent
-but now, each pitch is read as the root of a chord instead of a note.
+Now each pitch is read as the root of a chord instead of a note.
This mode is switched on with @code{\chords}
-@lilypond[quote,verbatim,raggedright]
-\chords { c2 f4. g8 }
-@end lilypond
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
A complete list of modifiers and other options for layout can be found
in @ref{Chords}.
-@c FIXME: we talk about \midi before mentioning \paper (or \layout?)
-@node Listening to output
-@section Listening to output
-
-@cindex sound
-@cindex MIDI
-
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is like a
-tape recording of a MIDI instrument.
-
-To create a MIDI from a music piece of music, add a @code{\midi}
-block. This causes LilyPond to create a MIDI file, so you can listen
-to what you just entered. It is great for checking the music.
-Octaves that are off or accidentals that were mistyped stand out very
-much when listening to the musical transcription.
-
-The @code{\midi} block is added to @code{\score}, for example,
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
-@}
-@end example
-
-Here, the tempo is specified using the @code{\tempo} command. In this
-case the tempo of quarter notes is set to 72 beats per minute. More
-information on auditory output in the notation manual can be found in
-@ref{Sound}.
-
-If there is a @code{\midi} command in a @code{\score}, only MIDI will
-be produced. If notation is needed too, a @code{\paper} block must be
-added
-
-@example
-\score @{
- @var{...music...}
- \midi @{ \tempo 4=72 @}
- \paper @{ @}
-@}
-@end example
-@cindex paper block
-
@node Adding titles
@section Adding titles
@example
\header @{
- title = "Eight miniatures"
+ title = "Miniature"
composer = "Igor Stravinsky"
- tagline = "small is beautiful"
@}
@{ @dots{} @}
@end example
-@cindex bibliographic information
-@cindex titles
-@cindex composer
-@cindex Engraved by LilyPond
When the file is processed the title and composer are printed above
-the music. The `tagline' is a short line printed at bottom of the last
-page which normally says `Engraved by LilyPond, version @dots{}'. In
-the example above it is replaced by the line `small is
-beautiful.'@footnote{Nicely printed parts are good PR for us, so
-please leave the tagline if you can.}
-
-
-The @code{\header} block is usually put at the top of the file.
-
-A document may contains multiple pieces of music, examples are an
-etude book, or an orchestral part with multiple movements.
-@c FIXME: ugh. \header can only live at toplevel, or inside \score.
-@c If we allow it also to live inside \book, we do not need \score here?
-The @code{\book} block is used to group the individual @code{\score}
-blocks.
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement.
-
-@ignore
-
-FIXME: introduce \BOOK
-
-FIXME: Using "Adagio" as a name is confusing, it's more common to be
-a plain tempo indication.
-
-Since today (CVS-1.211) we also allow headers and composite music
-inside book:
-
- \header { ... }
- \book {
- \header { ... }
- { ... }
- \header { ... }
- { ... }
- }
-
-@end ignore
-
-@cindex Engraved by LilyPond
-@cindex signature line
-@cindex tag line
-
-@example
-\header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
- tagline = "small is beautiful"
-@}
-
-\book @{
- \score @{
- @dots{}
- \header @{ piece = "Adagio" @}
- @}
- \score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
- @}
-@}
-@end example
-
-More information on titling can be found in @ref{Invoking lilypond}.
+the music. More information on titling can be found in @ref{Titling}.
@node Single staff polyphony
@code{@{...@}}), and combining those simultaneously, separating the
voices with @code{\\}
-@lilypond[quote,verbatim,relative=3]
+@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 } >>
@end lilypond
temporarily do not play. Here is the same example with a spacer rest
instead of a normal rest---just use @samp{s} instead of @samp{r}
-@lilypond[quote,verbatim,relative=3]
+@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 } >>
@end lilypond
@noindent
Again, these expressions can be nested arbitrarily
-@lilypond[quote,fragment,verbatim,relative=3]
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
Setting run-time variables (`properties') is discussed in ref-TODO.
-@node Integrating text and music
-@section Integrating text and music
+@node Musicological essays
+@section Musicological essays
+@cindex musicology
@cindex La@TeX{}, music in
@cindex HTML, music in
@cindex Texinfo, music in
use the @code{--output=@var{dir}} option. It will create the files in
a separate subdirectory @file{dir}.
-Finally the result of the La@TeX{} example shown above.@footnote{Note
-that in this tutorial the example is processed with Texinfo. This gives
-slightly different results in layout.} This finishes the tutorial
-section.
+Finally the result of the La@TeX{} example shown above.@footnote{ This
+tutorial is processed with Texinfo, so the example is as well. This
+gives slightly different results in layout.} This finishes the
+tutorial section.
@page
projects / lilypond.git / blobdiff