X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fessay%2Fengraving.itely;h=3b97143b2a713f2583f99dc4dbbd4903ada7db0c;hb=70df07e1be5c44b9489a6983b37ceec08145af19;hp=8c0a3f6941da7465a0ee14f457d6ae1c1a39b13d;hpb=13da8b27aabc5d5a752d00ed1e2b99ad20f0f264;p=lilypond.git diff --git a/Documentation/essay/engraving.itely b/Documentation/essay/engraving.itely index 8c0a3f6941..3b97143b2a 100644 --- a/Documentation/essay/engraving.itely +++ b/Documentation/essay/engraving.itely @@ -8,7 +8,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.24" @node Music engraving @chapter Music engraving @@ -447,15 +447,11 @@ magnified by 236% to print at the same size as the previous example: At smaller sizes, LilyPond uses proportionally heavier lines so the music will still read well. -@ignore This also allows staves of different sizes to coexist peacefully when used together on the same page: -@c TODO: are the stems in this example the right thickness? How should -@c line weights be scaled for small staves? - @c Grieg's Violin Sonata Op. 45 -@lilypond[indent=1.5cm] +@lilypond[indent=1.5\cm] global = { \time 6/8 \key c \minor @@ -464,26 +460,24 @@ global = { \score { << \new Staff \with { - fontSize = #-4 - \override StaffSymbol.staff-space = #(magstep -4) - \override StaffSymbol.thickness = #(magstep -3) + \magnifyStaff #2/3 } - \relative c' { + \relative { \global \set Staff.instrumentName = #"Violin" - c8.(\f^> b16 c d) ees8.(^> d16 c b) + c'8.(\f^> b16 c d) ees8.(^> d16 c b) g8.(^> b16 c ees) g8-.^> r r R2. } \new PianoStaff << \set PianoStaff.instrumentName = #"Piano" - \new Staff \relative c' { + \new Staff \relative { \global s2. - s4. s8 r8 r16 + s4. s8 r8 r16 4.^> 8 r r } - \new Staff \relative c { + \new Staff \relative { \global \clef "bass" << @@ -503,7 +497,7 @@ global = { >> } @end lilypond -@end ignore + @node Why work so hard? @unnumberedsubsec Why work so hard? @@ -561,7 +555,7 @@ How do we actually make formatting decisions? In other words, which of the three configurations should we choose for the following slur? @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[( f] g[ a b d,)] r4 @@ -601,7 +595,7 @@ has given each one a score in @q{ugly points}. The first example gets 15.39 points for grazing one of the noteheads: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(1.5 . 1) e8[(_"15.39" f] g[ a b d,)] r4 @@ -615,7 +609,7 @@ side, plus another 2 points because the slur ascends while the melody descends for a total of 13.08 ugly points: @lilypond -\relative c { +\relative { \clef bass \once \override Slur.positions = #'(2 . 3) e8[(_"13.08" f] g[ a b d,)] r4 @@ -628,7 +622,7 @@ it is the most attractive of the three configurations, so LilyPond selects this one: @lilypond -\relative c { +\relative { \clef bass e8[(_"12.04" f] g[ a b d,)] r4 } @@ -744,10 +738,10 @@ For our comparison we selected Bach's Fugue in G minor from the Well-Tempered Clavier, Book I, BWV 861, whose opening subject is @lilypond -\relative c' { +\relative { \key g \minor \clef "treble_8" - r8 d ees g, fis4 g + r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes8 } @end lilypond @@ -779,24 +773,24 @@ measures 28--29, as shown here with Finale first and LilyPond second: @lilypond[staffsize=19.5,line-width=14\cm] global = { \key g \minor } -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a @@ -860,7 +854,7 @@ collide = \once \override NoteColumn.force-hshift = #0 \new Voice { \voiceTwo bes \collide bes } >> } - \new Lyrics \lyricsto "sample" \lyricmode { "good " " bad" } + \new Lyrics \lyricsto "sample" { "good " " bad" } >> } @end lilypond @@ -976,8 +970,8 @@ formed by the concept of music expressions: by combining small fragments of music into larger ones, more complex music can be expressed. For example -@lilypond[quote,verbatim,fragment,relative=1] -f4 +@lilypond[quote,verbatim,fragment] +f'4 @end lilypond @noindent @@ -1038,12 +1032,12 @@ nature of music notation: @lilypond[quote,fragment] << - \new Staff \relative c'' { + \new Staff \relative { \key g \major \time 3/4 - d4 g,8 a b c d4 g, g + d''4 g,8 a b c d4 g, g } - \new Staff \relative c' { + \new Staff \relative { \clef "bass" \key g \major 2 a4 b2. @@ -1084,17 +1078,17 @@ consider a more complicated musical example: \new PianoStaff << \new Staff = "RH" << - \new Voice = "I" \relative c''' { + \new Voice = "I" \relative { \time 3/4 \voiceOne - \times 6/7 { g8 g g g g g g } + \tuplet 7/6 { g''8 g g g g g g } \oneVoice r4 r4\fermata } - \new Voice = "II" \relative c' { + \new Voice = "II" \relative { \voiceTwo - c4 - \times 4/5 { + c'4 + \tuplet 5/4 { 8 f g \change Staff = "LH" \oneVoice \stemUp g,( c} @@ -1105,7 +1099,7 @@ consider a more complicated musical example: } >> \new Staff = "LH" << - \new Voice = "III" \relative c' { + \new Voice = "III" \relative { \time 2/4 \clef "bass" g4 \stopStaff s @@ -1168,6 +1162,7 @@ heads, the @code{Note_heads_engraver}. \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" + \remove "New_fingering_engraver" \remove "Beam_engraver" \remove "Auto_beam_engraver" } @@ -1200,6 +1195,7 @@ Then a @code{Staff_symbol_engraver} adds the staff, \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" + \remove "New_fingering_engraver" \remove "Beam_engraver" \remove "Auto_beam_engraver" } @@ -1231,6 +1227,7 @@ the @code{Clef_engraver} defines a reference point for the staff, \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" + \remove "New_fingering_engraver" \remove "Beam_engraver" \remove "Auto_beam_engraver" } @@ -1259,6 +1256,7 @@ and the @code{Stem_engraver} adds stems. \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" + \remove "New_fingering_engraver" \remove "Beam_engraver" \remove "Auto_beam_engraver" } @@ -1366,8 +1364,8 @@ chord has all directions up (right). @lilypond[quote,ragged-right] \score { - \relative c' { - \stemDown 4_>-\arpeggio + \relative { + \stemDown 4_>-\arpeggio \override Arpeggio.direction = #RIGHT \stemUp 4^>-\arpeggio } @@ -1375,7 +1373,7 @@ chord has all directions up (right). \context { \Score \override SpacingSpanner.spacing-increment = #3 - \override TimeSignature.transparent = ##t + \hide TimeSignature } } } @@ -1436,11 +1434,11 @@ note head symbol is changed during the music fragment. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else "bla"))))))))) -\new Voice \relative c' { +\new Voice \relative { \stemUp \set autoBeaming = ##f \time 2/4 - 4 + 4 \once \override NoteHead.stencil = #note-head::brew-ez-stencil \once \override NoteHead.font-size = #-7 \once \override NoteHead.font-family = #'sans @@ -1448,11 +1446,11 @@ note head symbol is changed during the music fragment. 4 \once \override NoteHead.style = #'cross 4 - \applyOutput #'Voice #mc-squared + \applyOutput Voice #mc-squared 4 << { d8[ es-( fis^^ g] fis2-) } - \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 } + \repeat unfold 5 { \applyOutput Voice #mc-squared s8 } >> } @end lilypond @@ -1484,9 +1482,9 @@ By adding chord names and lyrics we obtain a lead sheet. << \chords { c2 c f2 c } \new Staff - \relative c' { + \relative { \time 2/4 - c4 c g' g a a g2 + c'4 c g' g a a g2 } \addlyrics { twin -- kle twin -- kle lit -- tle star } >> @@ -1525,7 +1523,7 @@ following example combines some more exotic constructs. \set followVoice = ##t c'''32([ b''16 a''16 gis''16 g''32)] } \\ { - s4 \times 2/3 { d'16[ f' g'] } as'32[ b''32 e'' d''] + s4 \tuplet 3/2 { d'16[ f' g'] } as'32[ b''32 e'' d''] } \\ { s4 \autoBeamOff d''8.. f''32 } \\ { @@ -1576,8 +1574,8 @@ therefore be easily embedded in other text-based formats such as @command{lilypond-book} program, included with LilyPond, the input fragments can be replaced by music images in the resulting PDF or HTML output files. Another example is the third-party OOoLilyPond extension -for OpenOffice.org, which makes it extremely easy to embed musical -examples in documents. +for OpenOffice.org or LibreOffice, which makes it extremely easy to +embed musical examples in documents. For more examples of LilyPond in action, full documentation, and the software itself, see our main website: www.lilypond.org. @@ -1655,42 +1653,42 @@ LilyPond, version @version{}: @lilypond[staffsize=14.3,line-width=15.9\cm] global = {\key g \minor} -partI = \relative c' { +partI = \relative { \voiceOne - fis8 d' ees g, fis4 g + fis'8 d' ees g, fis4 g r8 a16 bes c8 bes16 a d8 r r4 r2 r8 d16 ees f8 ees16 d - ees4 ~ ees16 d c bes a4 r8 ees'16 d + ees4 ~ 16 d c bes a4 r8 ees'16 d c8 d16 ees d8 e16 fis g8 fis16 g a4 ~ - a8 d, g f ees d c bes + 8 d, g f ees d c bes a2 g\fermata \bar "|." } -partII = \relative c' { +partII = \relative { \voiceTwo - d4 r4 r8 d'16 c bes8 c16 d + d'4 r4 r8 d'16 c bes8 c16 d ees8 d c ees a, r r4 r8 fis16 g a8 g16 fis g2 ~ - g2 r8 d' ees g, + 2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a bes4. 8 r r 4 d2 } -partIII = \relative c' { +partIII = \relative { \voiceOne - r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a - bes2 ~ bes8 b16 a g8 a16 b + r2 r8 d' ees g, fis4 g r8 a16 bes c8 bes16 a + bes2 ~ 8 b16 a g8 a16 b c4 r r2 R1 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a b2 } -partIV = \relative c { +partIV = \relative { \voiceTwo d4 r r2 r8 d ees g, fis4 a d,8 d'16 c bes8 c16 d ees2 ~ - ees8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a + 8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a d,8 d'16 c bes8 c16 d ees8 c a fis' g f ees d c bes a g c a d d, g2\fermata