* Adding titles::
* Single staff polyphony::
* Piano staves::
+* Organizing larger pieces::
+* An orchestral part::
+* After the tutorial::
@end menu
More information on formatting piano music is given in @ref{Piano music}.
+@node Organizing larger pieces
+@section Organizing larger pieces
+
+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 pieces,
+more deeply nested. Such large expressions can become unwieldy.
+
+By using variables, also known as identifiers, it is possible to 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)
+}
+{ \seufzer \seufzer }
+@end lilypond
+
+The name of an identifier should have alphabetic characters only; no
+numbers, underscores or dashes. The assignment should be outside of
+running music.
+
+It is possible to use variables for many other types of objects in the
+input. For example,
+
+@example
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
+
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables
+
+@example
+\paper @{
+ \aFivePaper
+ line-width = \width
+@}
+@{ 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
+@section 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
+(1@tie{}for a whole note, 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"
+
+<<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+>>
+@end example
+
+@noindent
+leading to
+
+@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}.
+
+Setting run-time variables (`properties') is discussed in
+@ref{Changing context properties on the fly}.
+
+
+@node After the tutorial
+@section 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.
+
+
projects / lilypond.git / blobdiff