LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,ragged-right,relative=2]
-c-\markup { \bold \huge { Click here. } }
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
+}
@end lilypond
-By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
-to the end of the file, you have a
+By cutting and pasting everything in the @qq{ly snippet} section, you have a
starting template for experiments. If you like learning in this way,
you will probably want to print out or bookmark the
@ref{Cheat sheet}, which is a table listing of the most common
@menu
* First steps::
-* Notation for one note at once FIXME name::
+* Single staff notation::
* Multiple notes at once::
* Songs::
* Final touches::
-* FIXME merge with chapter 3::
@end menu
@noindent
the result looks like this
+@c in this case we don't want verbatim
@lilypond[quote,ragged-right]
{
c' e' g' e'
@end lilypond
@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
-braces @}} placed around the input. The braces should be also be
+braces @}} placed around the input. The braces should also be
surrounded by a space unless they are at the beginning or end of a
line to avoid ambiguities. These may be omitted in some examples in this
manual, but don't forget them in your own music!
@noindent
The result is the file @file{test.pdf} which you can print or view
with the standard facilities of your operating system.@footnote{If
-your system does not have any tools installed, you can try
+your system does not have any such tools installed, you can try
@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
available package for viewing and printing PDF and PostScript files.}
of your own.
-@node Notation for one note at once FIXME name
-@section Notation for one note at once FIXME name
+@node Single staff notation
+@section Single staff notation
-This section introduces common notation that is used for a single
-staff.
+This section introduces common notation that is used for one voice
+on one staff.
@menu
* Relative note names::
@cindex staccato
@subheading Articulations
-@c FIXME: change to @rglos once the term is added (articulations)
-Common articulations can be added to a note using a dash (@samp{-}) and a
-single character:
+Common @rglos{articulations} can be added to a note using a dash @samp{-}
+and a single character:
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
c-. c-- c-> c-^ c-+ c-_
@cindex partial measure
@subheading Partial measure
-@c FIXME: glossary "anacrusis".
-A pickup (or @q{anacrusis}) is entered with the keyword @code{\partial}. It
-is followed by a duration: @code{\partial 4} is a quarter note pickup
-and @code{\partial 8} an eighth note.
+A pickup (or @rglos{anacrusis}) is entered with the keyword
+@code{\partial}. It is followed by a duration: @code{\partial 4} is
+a quarter note pickup and @code{\partial 8} an eighth note.
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\partial 8
Similarly, hyphens between words can be entered as two dashes,
resulting in a centered hyphen between two syllables
-@example
-A -- le gri -- a
-@end example
-
@c no ragged-right here because otherwise the hypens get lost.
@lilypond[quote,verbatim]
<<
\time 2/4
f4 f c c
}
- \addlyrics { A -- le gri -- a }
+ \addlyrics { A -- le -- gri -- a }
>>
@end lilypond
* Version number::
* Adding titles::
* Absolute note names::
+* Organizing pieces with identifiers::
* After the tutorial::
* How to read the manual::
@end menu
is extremely useful for computer-generated LilyPond files.
-@node After the tutorial
-@subsection After the tutorial
-
-After finishing the tutorial, you should probably try writing a
-piece or two. Start with one of the @ref{Example templates} and
-add notes. If you need any notation that was not covered in the
-tutorial, look at the Notation Reference, starting with
-@ref{Basic notation}. If you want to write for an instrument
-ensemble which is not covered in the @ref{Example templates},
-take a look at @ref{Extending the templates}.
-
-Once you have written a few short pieces, read the rest of
-the Learning Manual (chapters 3-5). There's nothing wrong
-with reading them now, of course! However, the rest of the
-Learning Manual assumes that you are familiar with
-LilyPond input. You may wish to skim these chapters right
-now, and come back to them after you have more experience.
-
-
-@node How to read the manual
-@subsection How to read the manual
-
-As we saw in @ref{How to read the tutorial}, many examples in the
-tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
-example.
-
-In the rest of the manual, we are much more lax about the
-printed examples: sometimes they may have omitted a
-@code{\relative c'' @{ ... @}}, but in other times a different initial
-pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
-the whole example is in absolute note mode! However, ambiguities like
-this only exist where the pitches are not important. In any example
-where the pitch matters, we have explicitly stated our @code{\relative}
-our our absolute-mode @code{@{ @}}.
-
-If you are still confused about the exact LilyPond input that was
-used in an example, read the HTML version (if you are not already doing
-so) and click on the picture of the music. This will display the exact
-input that LilyPond used to generate this manual.
-
-
-
-@c zz
-
-@node FIXME merge with chapter 3
-@section FIXME merge with chapter 3
-
-@menu
-* Organizing larger pieces::
-* An orchestral part::
-@end menu
-
-
-
-@node Organizing larger pieces
-@subsection Organizing larger pieces
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
When all of the elements discussed earlier are combined to produce
-larger files, the @code{\score} blocks get a lot bigger because the
-music expressions are longer, and, in the case of polyphonic music,
-more deeply nested. Such large expressions can become unwieldy.
+larger files, the music expressions get a lot bigger. In polyphonic
+music with many staves, the input files can become very confusing. We can
+reduce this confusion by using @emph{identifiers}.
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
+Identifiers (also known as variables or macros), we can break up
+complex music expressions. An identifier is assigned as follows
@example
namedMusic = @{ @dots{} @}
@end example
-@noindent
-The contents of the music expression @code{namedMusic}, can be used
-later by preceding the name with a backslash, i.e., @code{\namedMusic}.
-In the next example, a two-note motive is repeated two times by using
-variable substitution
-
-@lilypond[quote,ragged-right,verbatim,nofragment]
-seufzer = {
- e'4( dis'4)
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command). Identifiers
+must be defined @emph{before} the main music expression.
+
+@lilypond[quote,verbatim,ragged-right]
+violin = \new Staff { \relative c'' {
+ a4 b c b
+}}
+cello = \new Staff { \relative c {
+ \clef bass
+ e2 d
+}}
+{
+ <<
+ \violin
+ \cello
+ >>
}
-{ \seufzer \seufzer }
@end lilypond
+@noindent
The name of an identifier should have alphabetic characters only: no
-numbers, underscores, or dashes. The assignment should be outside of
-running music.
+numbers, underscores, or dashes.
It is possible to use variables for many other types of objects in the
input. For example,
@end example
Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+places. The following example uses the above variables:
@example
\paper @{
@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
-
-
-@node An orchestral part
-@subsection An orchestral part
-
-In orchestral music, all notes are printed twice. Once in a part for
-the musicians, and once in a full score for the conductor. Identifiers can
-be used to avoid double work. The music is entered once, and stored in
-a variable. The contents of that variable is then used to generate
-both the part and the full score.
-
-It is convenient to define the notes in a special file. For example,
-suppose that the file @file{horn-music.ly} contains the following part
-of a horn/@/bassoon duo
-
-@example
-hornNotes = \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
-
-@noindent
-Then, an individual part is made by putting the following in a file
-
-@example
-\include "horn-music.ly"
-\header @{
- instrument = "Horn in F"
-@}
-
-@{
- \transpose f c' \hornNotes
-@}
-@end example
-
-The line
-
-@example
-\include "horn-music.ly"
-@end example
-@noindent
-substitutes the contents of @file{horn-music.ly} at this position in
-the file, so @code{hornNotes} is defined afterwards. The command
-@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth upwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with the
-tuning of a normal French Horn in@tie{}F. The transposition can be seen
-in the following output
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-In ensemble pieces, one of the voices often does not play for many
-measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital @samp{R} followed by a duration
-(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
-etc.). By multiplying the
-duration, longer rests can be constructed. For example, this rest
-takes 3@tie{}measures in 2/4 time
-
-@example
-R2*3
-@end example
-
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
-
-@example
-\set Score.skipBars = ##t
-@end example
-
-@noindent
-This command sets the property @code{skipBars} in the
-@code{Score} context to true (@code{##t}). Prepending the rest and
-this option to the music above, leads to the following result
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- \set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-
-The score is made by combining all of the music together. Assuming
-that the other voice is in @code{bassoonNotes} in the file
-@file{bassoon-music.ly}, a score is made with
-
-@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
+@node After the tutorial
+@subsection After the tutorial
-<<
- \new Staff \hornNotes
- \new Staff \bassoonNotes
->>
-@end example
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Templates} and
+add notes. If you need any notation that was not covered in the
+tutorial, look at the Notation Reference, starting with
+@ref{Basic notation}. If you want to write for an instrument
+ensemble which is not covered in the templates,
+take a look at @ref{Extending the templates}.
-@noindent
-leading to
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5). There's nothing wrong
+with reading them now, of course! However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input. You may wish to skim these chapters right
+now, and come back to them after you have more experience.
-@lilypond[quote,ragged-right]
-\relative c <<
- \new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
- }
- \new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
- }
->>
-@end lilypond
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
+@node How to read the manual
+@subsection How to read the manual
-Setting run-time variables (@q{properties}) is discussed in
-@ref{Changing context properties on the fly}.
+As we saw in @ref{How to read the tutorial}, many examples in the
+tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
+example.
+In the rest of the manual, we are much more lax about the
+printed examples: sometimes they may have omitted a
+@code{\relative c'' @{ ... @}}, but in other times a different initial
+pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
+the whole example is in absolute note mode! However, ambiguities like
+this only exist where the pitches are not important. In any example
+where the pitch matters, we have explicitly stated our @code{\relative}
+our our absolute-mode @code{@{ @}}.
+If you are still confused about the exact LilyPond input that was
+used in an example, read the HTML version (if you are not already doing
+so) and click on the picture of the music. This will display the exact
+input that LilyPond used to generate this manual.
projects / lilypond.git / blobdiff