@c -*- coding: utf-8; mode: texinfo; -*-
+@c This file is part of lilypond-learning.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
@node Working on LilyPond projects
@chapter Working on LilyPond projects
-This section explains a how to solve or avoid certain common
+This section explains how to solve or avoid certain common
problems. If you have programming experience, many of these
tips may seem obvious, but it is still advisable to read
this chapter.
@menu
* Suggestions for writing LilyPond files::
-* Typesetting existing music::
-* Updating old files::
-* Troubleshooting (taking it all apart)::
-* Saving typing with identifiers and functions::
-* Style sheets::
+* When things don't work::
+* Scores and parts::
@end menu
little examples in the tutorial, but whole pieces. But how should you
go about doing it?
-The best answer is ``however you want to do it.'' As long as LilyPond
-can understand your files and produces the output that you want, it
-doesn't matter what your files look like. That said, sometimes we
-make mistakes when writing files. If LilyPond can't understand your
-files, or produces output that you don't like, how do you fix the
-problem?
+As long as LilyPond can understand your files and produces the output
+that you want, it doesn't matter what your files look like. However,
+there are a few other things to consider when writing lilypond files.
+
+@itemize
+@item What if you make a mistake? The structure of a lilypond
+file can make certain errors easier (or harder) to find.
+
+@item What if you want to share your files with somebody
+else? In fact, what if you want to alter your own files in
+a few years? Some lilypond files are understandable at
+first glance; other files may leave you scratching your head
+for an hour.
+
+@item What if you want to upgrade your lilypond file for use
+with a later version of lilypond? The input syntax changes
+occasionally as lilypond improves. Most changes can be
+done automatically with @code{convert-ly}, but some changes
+might require manual assistance. Lilypond files can be
+structured in order to be easier (or harder) to update.
+@end itemize
+
+@menu
+* General suggestions::
+* Typesetting existing music::
+* Large projects::
+* Saving typing with variables and functions::
+* Style sheets::
+@end menu
+
+
+@node General suggestions
+@subsection General suggestions
Here are a few suggestions that can help you to avoid or fix
problems:
-@itemize @bullet
+@itemize
@item @strong{Include @code{\version} numbers in every file}. Note that all
-templates contain a @code{\version "2.8.0"} string. We
+templates contain @code{\version} information. We
highly recommend that you always include the @code{\version}, no matter
how small your file is. Speaking from personal experience, it's
quite frustrating to try to remember which version of LilyPond you were
using a few years ago. @code{convert-ly} requires you to declare
which version of LilyPond you used.
-@item @strong{Include checks}: @ref{Bar check} and @ref{Octave check}. If
-you
-include checks every so often, then if you make a mistake, you can pinpoint
-it quicker. How often is ``every so often''? It depends on the complexity
-of the music. For very simple music, perhaps just once or twice. For
-very complex music, perhaps every bar.
+@item @strong{Include checks}: @ruser{Bar and barnumber checks},
+@ruser{Octave check}. If you include checks every so often, then
+if you make a mistake, you can pinpoint it quicker. How often is
+@q{every so often}? It depends on the complexity of the music.
+For very simple music, perhaps just once or twice. For very
+complex music, perhaps every bar.
-@item @strong{One bar per line of text}. If there is anything complicated,
+@item @strong{One bar per line of text}. If there is anything complicated,
either in the music
itself or in the output you desire, it's often good to write only one bar
per line. Saving screen space by cramming eight bars per line just isn't
-worth it if you have to `debug' your files.
+worth it if you have to @q{debug} your files.
-@item @strong{Comment your files}. Use either bar numbers (every so often)
+@item @strong{Comment your files}. Use either bar numbers (every so often)
or
-references to musical themes (``second theme in violins,'' ``fourth
-variation'', etc). You may not need comments when you're writing the piece
-for the first time, but if you want to go back to change something two or
-three years later, or if you pass the source over to a friend, it will
+references to musical themes (@q{second theme in violins,} @q{fourth
+variation,} etc.). You may not need comments when you're writing the piece
+for the first time, but if you want to go back to change something two or
+three years later, or if you pass the source over to a friend, it will
be much more
-challenging to determine your intentions or how your file is structured if
+challenging to determine your intentions or how your file is structured if
you didn't comment the file.
-@item @strong{Indent your braces}. A lot of problems are caused by an
+@item @strong{Indent your braces}. A lot of problems are caused by an
imbalance
in the number of @code{@{} and @code{@}}.
+@item @strong{Explicitly add durations} at the beginnings of sections
+and variables. If you specify @code{c4 d e} at the beginning of a
+phrase (instead of just @code{c d e}) you can save yourself some
+problems if you rearrange your music later.
+
+@item @strong{Separate tweaks} from music definitions. See
+@ref{Saving typing with variables and functions}, and
+@ref{Style sheets}.
+
@end itemize
@node Typesetting existing music
-@section Typesetting existing music
+@subsection Typesetting existing music
If you are entering music from an existing score (i.e., typesetting a
piece of existing sheet music),
-@itemize @bullet
+@itemize
@item Enter one manuscript (the physical copy) system at a time (but still
only one bar per line of text), and
check each system when you finish it. You may use the
@code{showLastLength} command to speed up processing -- see
-@ref{Skipping corrected music}.
+@ruser{Skipping corrected music}.
@item Define @code{mBreak = @{ \break @}} and insert @code{\mBreak}
in the input file whenever the manuscript has a line break. This
@end itemize
-@node Updating old files
-@section Updating old files
-
-The LilyPond input syntax occasionally changes. As LilyPond itself
-improves, the syntax (input language) is modified accordingly. Sometimes
-these changes are made to make the input easier to read and write or
-sometimes the changes are made to accomodate new features of LilyPond.
-
-LilyPond comes with a file that makes this updating easier:
-@code{convert-ly}. For details about how to run this program, see
-@ref{Updating files with convert-ly}.
-
-Unforunately, @code{convert-ly} cannot handle all input changes. It
-takes care of simple search-and-replace changes (such as @code{raggedright}
-becoming @code{ragged-right}), but some changes are too
-complicated. The syntax changes that @code{convert-ly} cannot handle
-are listed in @ref{Updating files with convert-ly}.
-
-For example, in LilyPond 2.4 and earlier, accents and non-English
-letters were entered using LaTeX -- for example,
-"@code{No\"el}" (this would print the French word for
-`Christmas'). In LilyPond 2.6 and above, the special
-"@code{ë}" must be entered directly into the LilyPond file as an
-UTF-8 character. @code{convert-ly} cannot change all the LaTeX
-special characters into UTF-8 characters; you must manually update
-your old LilyPond files.
-
-
-@node Troubleshooting (taking it all apart)
-@section Troubleshooting (taking it all apart)
+@node Large projects
+@subsection Large projects
-Sooner or later, you will write a file that LilyPond cannot
-compile. The messages that LilyPond gives may help
-you find the error, but in many cases you need to do some
-investigation to determine the source of the problem.
+When working on a large project, having a clear structure to your
+lilypond files becomes vital.
-The most powerful tools for this purpose are the
-single line comment (indicated by @code{%}) and the block
-comment (indicated by @code{%@{ ... %@}}). If you don't
-know where a problem is, start commenting out huge portions
-of your input file. After you comment out a section, try
-compiling the file again. If it works, then the problem
-must exist in the portion you just commented. If it doesn't
-work, then keep on commenting out material until you have
-something that works.
+@itemize
-In an extreme case, you might end up with only
+@item @strong{Use an variable for each voice}, with a minimum of
+structure inside the definition. The structure of the
+@code{\score} section is the most likely thing to change;
+the @code{violin} definition is extremely unlikely to change
+in a new version of LilyPond.
@example
+violin = \relative c'' @{
+g4 c'8. e16
+@}
+...
\score @{
- <<
- % \melody
- % \harmony
- % \bass
- >>
- \layout@{@}
+ \new GrandStaff @{
+ \new Staff @{
+ \violin
+ @}
+ @}
@}
@end example
-@noindent
-(in other words, a file without any music)
-
-If that happens, don't give up. Uncomment a bit -- say,
-the bass part -- and see if it works. If it doesn't work,
-then comment out all of the bass music (but leave
-@code{\bass} in the @code{\score} uncommented.
+@item @strong{Separate tweaks from music definitions}. This
+point was made in previously, but for large
+projects it is absolutely vital. We might need to change
+the definition of @code{fthenp}, but then we only need
+to do this once, and we can still avoid touching anything
+inside @code{violin}.
@example
-bass = \relative c' @{
-%@{
- c4 c c c
- d d d d
-%@}
+fthenp = _\markup@{
+ \dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p @}
+violin = \relative c'' @{
+g4\fthenp c'8. e16
@}
@end example
-Now start slowly uncommenting more and more of the
-@code{bass} part until you find the problem line.
+@end itemize
-@node Saving typing with identifiers and functions
-@section Saving typing with identifiers and functions
+@node Saving typing with variables and functions
+@subsection Saving typing with variables and functions
+
+@cindex variables
+@cindex variables
By this point, you've seen this kind of thing:
}
@end lilypond
-However, you can also use these identifiers (also known as
+However, you can also use these variables (also known as
variables, macros, or (user-defined) command) for tweaks:
@lilypond[quote,verbatim,ragged-right]
}
@end lilypond
-These identifiers are obviously useful for saving
+These variables are obviously useful for saving
typing. But they're worth considering even if you
only use them once -- they reduce complexity. Let's
look at the previous example without any
-identifiers. It's a lot harder to read, especially
+variables. It's a lot harder to read, especially
the last line.
@example
violin = \relative c'' @{
\repeat volta 2 @{
c4._\markup@{ \italic \bold dolce @} b8 a8 g a b |
- \once \override TextScript #'padding = #5.0
+ \once \override TextScript #'padding = #5.0
c4.^"hi there!" d8 e' f g d |
c,4.\markup@{ \dynamic f \italic \small @{ 2nd @}
\hspace #0.1 \dynamic p @} b8 c4 c-. |
}
@end lilypond
-Using identifiers is also a good way to reduce work if the
+Using variables is also a good way to reduce work if the
LilyPond input syntax changes (see @ref{Updating old files}). If
you have a single definition (such as @code{\dolce}) for all your
files (see @ref{Style sheets}), then if the syntax changes, you
@node Style sheets
-@section Style sheets
+@subsection Style sheets
The output that LilyPond produces can be heavily modified; see
-@ref{Tweaking output} for details. But what if you have many
+@ref{Tweaking output}, for details. But what if you have many
files that you want to apply your tweaks to? Or what if you
simply want to separate your tweaks from the actual music? This
is quite easy to do.
Let's look at an example. Don't worry if you don't understand
-the parts with all the #(). This is explained in
+the parts with all the @code{#()}. This is explained in
@ref{Advanced tweaks with Scheme}.
@lilypond[quote,verbatim,ragged-right]
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup { \bold $markp }
#})
to use them in another piece. We could simply copy-and-paste them
at the top of every file, but that's an annoyance. It also leaves
those definitions in our music files, and I personally find all
-the #() somewhat ugly. Let's hide them in another file:
+the @code{#()} somewhat ugly. Let's hide them in another file:
@example
%%% save this to a file called "definitions.ly"
tempoMark = #(define-music-function (parser location markp) (string?)
#@{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup @{ \bold $markp @}
#@})
@end example
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup { \bold $markp }
#})
@end lilypond
That looks better, but let's make a few changes. The glissando is hard
-to see, so let's make it thicker and closer to the noteheads. Let's
+to see, so let's make it thicker and closer to the note heads. Let's
put the metronome marking above the clef, instead of over the first
-note. And finally, my composition professor hates "C" time signatures,
-so we'd better make that "4/4" instead.
+note. And finally, my composition professor hates @q{C} time signatures,
+so we'd better make that @q{4/4} instead.
Don't change @file{music.ly}, though. Replace our @file{definitions.ly}
with this:
tempoMark = #(define-music-function (parser location markp) (string?)
#@{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup @{ \bold $markp @}
#@})
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup { \bold $markp }
#})
@end lilypond
That looks nicer! But now suppose that I want to publish this
-piece. My composition professor doesn't like "C" time
+piece. My composition professor doesn't like @q{C} time
signatures, but I'm somewhat fond of them. Let's copy the
current @file{definitions.ly} to @file{web-publish.ly} and
modify that. Since this music is aimed at producing a pdf which
tempoMark = #(define-music-function (parser location markp) (string?)
#@{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup @{ \bold $markp @}
#@})
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
- \once \override Score . RehearsalMark #'no-spacing-rods = ##t
+ \once \override Score . RehearsalMark #'extra-spacing-width = #'(+inf.0 . -inf.0)
\mark \markup { \bold $markp }
#})
This approach can be useful even if you are only producing
one set of parts. I use half a dozen different
-``style sheet'' files for my projects. I begin every music
+@q{style sheet} files for my projects. I begin every music
file with @code{\include "../global.ly"}, which contains
@example
%%% global.ly
-\version "2.8.0"
+\version "2.11.38"
#(ly:set-option 'point-and-click #f)
\include "../init/init-defs.ly"
\include "../init/init-layout.ly"
@end example
+@node When things don't work
+@section When things don't work
+
+@menu
+* Updating old files::
+* Troubleshooting (taking it all apart)::
+* Minimal examples::
+@end menu
+
+@node Updating old files
+@subsection Updating old files
+
+The LilyPond input syntax occasionally changes. As LilyPond itself
+improves, the syntax (input language) is modified accordingly. Sometimes
+these changes are made to make the input easier to read and write or
+sometimes the changes are made to accomodate new features of LilyPond.
+
+LilyPond comes with a file that makes this updating easier:
+@code{convert-ly}. For details about how to run this program, see
+@rprogram{Updating files with convert-ly}.
+
+Unfortunately, @code{convert-ly} cannot handle all input changes. It
+takes care of simple search-and-replace changes (such as @code{raggedright}
+becoming @code{ragged-right}), but some changes are too
+complicated. The syntax changes that @code{convert-ly} cannot handle
+are listed in @rprogram{Updating files with convert-ly}.
+
+For example, in LilyPond 2.4 and earlier, accents and non-English
+letters were entered using LaTeX -- for example,
+@code{No\"el} (this would print the French word for
+@q{Christmas}). In LilyPond 2.6 and above, the special
+@code{ë} must be entered directly into the LilyPond file as an
+UTF-8 character. @code{convert-ly} cannot change all the LaTeX
+special characters into UTF-8 characters; you must manually update
+your old LilyPond files.
+
+
+@node Troubleshooting (taking it all apart)
+@subsection Troubleshooting (taking it all apart)
+
+Sooner or later, you will write a file that LilyPond cannot
+compile. The messages that LilyPond gives may help
+you find the error, but in many cases you need to do some
+investigation to determine the source of the problem.
+
+The most powerful tools for this purpose are the
+single line comment (indicated by @code{%}) and the block
+comment (indicated by @code{%@{ ... %@}}). If you don't
+know where a problem is, start commenting out huge portions
+of your input file. After you comment out a section, try
+compiling the file again. If it works, then the problem
+must exist in the portion you just commented. If it doesn't
+work, then keep on commenting out material until you have
+something that works.
+
+In an extreme case, you might end up with only
+
+@example
+\score @{
+ <<
+ % \melody
+ % \harmony
+ % \bass
+ >>
+ \layout@{@}
+@}
+@end example
+
+@noindent
+(in other words, a file without any music)
+
+If that happens, don't give up. Uncomment a bit -- say,
+the bass part -- and see if it works. If it doesn't work,
+then comment out all of the bass music (but leave
+@code{\bass} in the @code{\score} uncommented.
+
+@example
+bass = \relative c' @{
+%@{
+ c4 c c c
+ d d d d
+%@}
+@}
+@end example
+
+Now start slowly uncommenting more and more of the
+@code{bass} part until you find the problem line.
+
+Another very useful debugging technique is constructing
+@ref{Minimal examples}.
+
+
+@node Minimal examples
+@subsection Minimal examples
+
+A minimal example is an example which is as small as possible. These
+examples are much easier to understand than long examples. Minimal
+examples are used for
+
+@itemize
+@item Bug reports
+@item Sending a help request to mailists
+@item Adding an example to the @uref{http://lsr.dsi.unimi.it/,
+LilyPond Snippet Repository}
+@end itemize
+
+To construct an example which is as small as possible, the rule is
+quite simple: remove anything which is not necessary. When trying to
+remove unnecessary parts of a file, it is a very good idea to comment
+out lines instead of deleting them. That way, if you discover that you
+actually @emph{do} need some lines, you can uncomment them, instead of
+typing them in from scratch.
+
+There are two exceptions to the @qq{as small as possible} rule:
+
+@itemize
+@item Include the @code{\version} number.
+@item If possible, use @code{\paper@{ ragged-right=##t @}} at the
+top of your example.
+@end itemize
+
+The whole point of a minimal example is to make it easy to read:
+
+@itemize
+@item Avoid using complicated notes, keys, or time signatures, unless you
+wish to demonstrate something is about the behavior of those items.
+@item Do not use @code{\override} commands unless that is the point of the
+example.
+@end itemize
+
+
+
+@node Scores and parts
+@section Scores and parts
+
+TODO: this is really old stuff from the really old tutorial.
+Rewrite, fix, etc. Or maybe delete entirely. -gp
+Include section on tags -td
+and then move to section 5. Working ... -td
+
+In orchestral music, all notes are printed twice. Once in a part for
+the musicians, and once in a full score for the conductor. Variables 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
+@code{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 @code{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"
+
+<<
+ \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
+
+
projects / lilypond.git / blobdiff