X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Ftex%2Fmudela.doc;h=0690a64818e438dd7c3c995c59648b1bef39e03a;hb=c844072722a39a5fcd20372b0497d9130bd41dd7;hp=1d3e303bd5fbeefaf02d21eac8d37660b6292e30;hpb=2059367f59496fb11796bd2cf239f6b58625231e;p=lilypond.git

diff --git a/Documentation/tex/mudela.doc b/Documentation/tex/mudela.doc
index 1d3e303bd5..0690a64818 100644
--- a/Documentation/tex/mudela.doc
+++ b/Documentation/tex/mudela.doc
@@ -4,12 +4,12 @@
 % has been installed.  The rules have been precooked into the
 % Documentation/Rules.make file; do 
 %
-%   make out/introduction.dvi
+%   make out/mudela.dvi
 %
 % or
 %
-%   mudela-book --outdir=out/ --outname=introduction.mudtex introduction.doc
-%   latex '\nonstopmode \input out/introduction.mudtex'
+%   mudela-book --outdir=out/ --outname=mudela.mudtex mudela.doc
+%   latex '\nonstopmode \input out/mudela.mudtex'
 
 % Hoi Tim, hier staan wat 'enge' commando's (die dingen met een '\'
 % zoals \documentclass en \def\mudela...).
@@ -20,7 +20,6 @@
 \usepackage{a4wide}
 \title{Mudela}
 \author{Jan Nieuwenhuizen \& Han-Wen Nienhuys}
-\date{March 2, 1998}
 
 \def\file#1{\verb+#1+}
 
@@ -71,7 +70,7 @@
 
 \chapter{A tutorial}
 
-\emph{\Large ***Under construction***}
+\emph{\Large ***Under construction: april 98***}
 
 \section{Introduction}
 
@@ -181,6 +180,8 @@ What is in your window should look like this:
 \end{mudela}
 \end{enumerate}
 
+[talk about ly2dvi]
+
 The remainder of this document is not about \TeX, and mostly not even
 about LilyPond.  What you entered into your text editor in step~1. and
 fed to LilyPond is a special kind of file composed of notenames,
@@ -188,7 +189,7 @@ special words and punctation.  The remainder of this document explains
 how to combine these elements to express a piece of music in the
 language that LilyPond understands.  In other words, we try to explain
 how to use LilyPond, and not how LilyPond works.  For want of a better
-name we call this language Mudela (short for Music Description
+name we call the language Mudela (short for Music Description
 Language).
 
 This document does not cover all of Mudela.  Due to technical details,
@@ -257,28 +258,36 @@ print a note by specifying its pitch and the duration.  The pitch of
 the central C, also known as c$^1$, is written as \verb+c'+.  A quarter
 note duration is written as \verb+4+.  So, to print quarter note with
 central C pitch, you enter the following
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c'4
 \end{mudela}
 The pitch \verb+c'+ actually consists of two parts: one for the note
 name, and one part for the octave.  The number of apostrophes
-specifies the octave to use, and the letter which note name to use.
-The note names simply are the letters \verb+a+ to \verb+g+.
+specifies the octave to use if you are above central c.  If you want
+the octaves below central c, use the comma, eg, \verb+c,,+ (The comma
+is meant to represent a ``sunken'' apostrophe). The letter specifies
+which note name to use.  The note names simply are the letters
+\verb+a+ to \verb+g+.
+
+By convention, the \verb+a'+ concert pitch is the tone that is used to
+tune instruments.  The exact frequency of this tone has wandered: in
+Baroque time it was 335 Hz, most textbooks will tell you it is 440 Hz,
+and a lot of orchestras nowadays tune at 441.5 Hz.
 
 For example,
-\begin[fragment,verbatim]{mudela}
+\begin{mudela}[fragment,verbatim]
   c'4 d'4 e'4 c'4 c''4 d''4 e''4 f''4 g''4 a''4 b''4 c'''4
 \end{mudela}
 
 The duration of a note is specified as a number: a whole note is
 denoted by 1, the half note by 2, the quarter by 4, and so on.  Here
 are some random notes to show how it works
-\begin[fragment,verbatim]{mudela}
-'c8 c8 c'16 c''32 d''64 b'64 c'''2 c1 c'4 d'4 e'4 f'4 g'4 a'4
+\begin{mudela}[fragment,verbatim]
+c,8 c8 c'16 c''32 d''64 b'64 c'''2 c1 c'4 d'4 e'4 f'4 g'4 a'4
 \end{mudela}
 
 This gives us already enough material to make simple songs:
-\begin[fragment,verbatim]{mudela}
+\begin{mudela}[fragment,verbatim]
         c''4 d''4 e''4 c''4
         e''4 f''4 g''2
         g''8 a''8 g''8 f''8 e''4 c''4
@@ -301,7 +310,8 @@ flats ditto.
 
 \begin{table}[h]
   \begin{center}
-    \caption{Defaults note names}\label{notename-tab}
+    \caption{Default note names}\label{notename-tab}
+    
     \begin{tabular}{ll}
       english         &LilyPond\\
       \hline\\
@@ -325,16 +335,83 @@ names.  Included with the example initialisation files are note names
 for different languages, among others English (C sharp is abbreviated
 to cs), Italian, Swedish, Norwegian
 
-\section{Hairy rhythms}
+\section{[chords]}
+
+Up till so far we have only considered music that was rather simple.
+All the music had notes going in one direction, from left to right,
+the one following the other.  You might be wondering if this is all
+Lily could do, or whether is possible to stack notes as well (creating
+\emph{chords}).  Rest assured: we designed LilyPond with the goal mind
+that she must handle any notation construct that can be expressed
+conveniently.  Of course, we did not leave out chords.
+
+In mudela you can form a chord of several notes, by enclosing them in
+pointed parentheses, ie, $\langle$ and $\rangle$, for example a
+D-major chord can be described by
+\begin{mudela}[fragment,verbatim]
+  <d'8  fis'8 a'8 d''8>
+\end{mudela}
+Recall what was said in the previous section about flats and sharps:
+the \texttt{fis} is an f sharp.  Chords can be entered in the music in
+same places that notes can.  As an example we give a snippet of
+``twinkle twinkle little star'' in chords.  The chords may seem, well,
+unconventional, but they mostly serve to show how chords work 
+\begin{mudela}[verbatim, fragment]
+  c''4 c''4 <c''4 g''4> <c''4 e''4 g''4>
+  <c''4 e''4 a''4> <b'4 d''4 a''4> <b'2 d''2 g''2>
+  <a'4 d''4 f''4> <bes'4 d''4 f''4> <bes'4 c''4 e''4> <g'4 c''4 e''4>
+  <e'4 a'4 d''4> <a4 g'4 cis''4> <d'2 f'2 d''2>
+\end{mudela}
+
+\section{Shortcuts}
+
+If you have typed the last example in to a mudela file, you will have
+noticed that the input has lots of repetitions.  You probably made
+some little errors with the right amount of \texttt{'}'s as well.  For
+these reasons, saving keystrokes and preventing errors, mudela has
+some handy shortcuts.  You don't have to type the duration, if it the
+same as the last duration entered.  This saves a considerable number
+of keystrokes, and thus it reduces the potential for errors.  The
+previous example can be reduced to
+\begin{verbatim}
+  c''4 c'' <c'' g''> <c'' e'' g''>
+  <c'' e'' a''> <b' d'' a''> <b'2 d'' g''>
+  <a'4 d'' f''> <bes' d'' f''> <bes' c'' e''> <g' c'' e''>
+  <e' a' d''> <a g' cis''> <d'2 f' d''>
+\end{verbatim}
+
+[WARNING: relative octaves are still experimental!]
+
+The need for quotes can also be reduced: most of the pitch intervals
+in traditional music are small.  Therefore, it makes sense to leave
+out the quotes when the interval is small.  This is called the
+relative mode for octaves.  You can switch it on by entering
+\verb+\octave relative+.  From then on, the pitch of a note will be
+the closest to the last one, Thus, you can enter a scale without using
+octavation quotes:
+\begin{mudela}[fragment,verbatim]
+    \octave relative;   
+    c d e f g a b c  
+\end{mudela}
+
+The twinkle twinkle example reduces to the following input.
+\begin{verbatim}
+  \octave relative; 
+  c'4 c <c g'> <c, e g>
+  <c, e a> <b, d a'> <b,2 d g>
+  <a,4 d f> <bes, d f> <bes, c e> <g, c e>
+  <e, a d> <a,, g' cis'> <d,2 f d'>
+\end{verbatim}
+
+\section{Finishing touch}
+
 
-\section{Handy input}
 
-% \subsection{Durations}
+\chapter{Features}
 
-However, having only quarter notes may get a bit dull.
 Durations are entered as their reciproce values
 % a1 a2 a4 a a8 a a16 a a32 a a64 a a a a
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 a1 a2 a4 a a8 a a16 a32 a64
 \end{mudela}
 note that you only have to specify
@@ -342,7 +419,7 @@ the duration when it changes:
 Lily assumes a note has the same duration as the previous one.
 
 Now we can already write a little tune
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c d e c | c d e c | e f g2
 \end{mudela}
 As you'll probably have guessed,
@@ -353,64 +430,64 @@ In the scale shown above
 we left-out the last c note of the next octave.
 Postfixing the pitch with a quote \verb+'+
 produces a note by one octave higher
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c c' c''
 \end{mudela}
 
 Prefixing the pitch with a quote \verb+'+
 produces a note by one octave lower
-\begin[fragment,verbatim,center]{mudela}
-a 'a ''a
+\begin{mudela}[fragment,verbatim,center]
+a a, a,,
 \end{mudela}
 
 \section{Slurs and Ties}
 
 A tie connects two adjacent noteheads
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 e' ~ e
 \end{mudela}
 
 Whereas a slur rather connects `chords', 
 and tries to avoid crossing stems
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 e'( )e
 \end{mudela}
 
 And of course, such a (legato) slur can span several notes
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c( d e )f
 \end{mudela}
 
 \section{Beams and Plets}
 
 A beam is 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 [a8 a] [a16 a a a]
 \end{mudela}
 
 Here's a beamed triplet
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 [/3 a8 a a]/1
 \end{mudela}
 
 a triplet without a beam
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 \[/3 a4 a8\]
 \end{mudela}
 
 and a combination
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 [/3 a8 a16 a] a8 \]
 \end{mudela}
 
 Abbreviations
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c1:16 [:16 e1 g]
 \end{mudela}
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 c4:32 [:16 c8 d8]
 \end{mudela}
 
@@ -423,57 +500,57 @@ Simply include the language specific init file \file{<language.ly>}.}.
 The default set are the ones we like best are the Dutch notenames.
 
 A sharp is formed by adding \verb+is+
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 cis dis eis fis gis ais bis
 \end{mudela}
 
 and a flat is formed by adding \verb+es+%
 %\footnote{Exceptions: \verb+es+ and \verb+as+.}
 \footnote{Exceptions: {\tt es} and {\tt as}.}
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 ces des es fes ges as bes
 \end{mudela}
 
 With the obvious names for double sharps
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 cisis disis eisis fisis gisis aisis bisis
 \end{mudela}
 
 and double flats
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 ceses deses eses feses geses ases beses
 \end{mudela}
 See why we like-em?
 
 There are two special `notenames', the rest
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 r16 [a a a]
 \end{mudela}
 
 and the space
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 a2 s-"diminuendo" | a
 \end{mudela}
 
 
 \section{Commands}
 
-\begin[fragment,verbatim,center]{mudela}
-\clef "bass"; 'c
+\begin{mudela}[fragment,verbatim,center]
+\clef "bass"; c,
 \end{mudela}
 
 and a clef-change
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 \clef "violin"; f' e' \clef "alto"; d' c'
 \end{mudela}
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 \meter 3/4; c g g |
 \end{mudela}
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 \key fis cis;
-'g 'a 'b cis d e fis g'
+g, a, b, cis d e fis g'
 \end{mudela}
 Note how Mudela allows you to 
 convey a musical message
@@ -485,11 +562,11 @@ Lily will determine what accidentals to typeset.
 A reminder accidental can be forced by
 using an exclamation mark \verb+!+
 on a pitch a reminder accidental
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 cis d e cis | c! d e c |
 \end{mudela}
 
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 \meter 2/4;
 \bar "|:"; c c \bar ":|:"; c c \bar ":|"; c c \bar "|."; 
 \end{mudela}
@@ -497,12 +574,12 @@ cis d e cis | c! d e c |
 \section{Chords and Voices}
 
 Here's a simple chord
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 <c e g>
 \end{mudela}
 
 here are a few
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 <
         { c()d()c }
         { e()f()e }
@@ -511,10 +588,10 @@ here are a few
 \end{mudela}
 
 and similarly voices
-\begin[fragment,verbatim,center]{mudela}
+\begin{mudela}[fragment,verbatim,center]
 <
         { \voiceone c g c g }
-        { \voicetwo 'c2 'g2 }
+        { \voicetwo c,2 g,2 }
 >
 \end{mudela}
 
@@ -524,7 +601,7 @@ and similarly voices
 
 A Mudela file needs some red tape
 
-\begin[verbatim,center]{mudela}
+\begin{mudela}[verbatim,center]
 \score{
         \melodic {
                 \octave c';
@@ -537,7 +614,7 @@ A Mudela file needs some red tape
 
 \section{Lyrics}
 
-\begin[verbatim,center]{mudela}
+\begin{mudela}[verbatim,center]
 \score{
         < 
                 \melodic{ 
@@ -796,15 +873,15 @@ meaning of \verb+_+ and the resolution of words
 
 You enter a note by giving the name and the reciprocal of the duration:
 
-\begin[fragment,verbatim]{mudela}
+\begin{mudela}[fragment,verbatim]
 a'4     % Dutch names
 \end{mudela}
 
 is a A-1 pitched crotchet. The ' signifies an octave change.  A-1 is 440
 Hz concert-pitch. \verb+c'+ is also known as the central c. More examples:
 
-\begin[fragment,verbatim]{mudela}
-        'a      % 110
+\begin{mudela}[fragment,verbatim]
+        a,      % 110
         a       % 220
         A       % 110, uppercase octavates down
         a'      % 440
@@ -844,7 +921,7 @@ s       % a "space" rest, nothing is printed.
 These notenames along with duration are enough material to construct
 simple melodies:
 
-\begin[verbatim,fragment]{mudela}
+\begin{mudela}[verbatim,fragment]
 \octave c';
 c4 c4 g4 g4 a4 a4 g2
 f4 f4 e4 e4 d4 d4 c2
@@ -861,7 +938,7 @@ implemented as START and STOP stop features and then attached to the note.
 \end{description}
 
 example: 
-\begin[verbatim,fragment]{mudela}
+\begin{mudela}[verbatim,fragment]
   \octave c';
   [c8 () d8 () e8  
   e8(] [)g8 <c'8] e'8>              % NO nesting!
@@ -876,14 +953,14 @@ they should be attached to the note.  For this reason, the construct
 
 Ties connect the noteheads of adjacent notes. They are entered as follows:
 
-\begin[verbatim,fragment]{mudela}
+\begin{mudela}[verbatim,fragment]
 a'4 ~ a''4
 \end{mudela}
 
 Slurs connect whole chords, and try to avoid crossing stems. They are
 entered as follows:
 
-\begin[verbatim,fragment]{mudela}
+\begin{mudela}[verbatim,fragment]
 a'4(  )a''4
 \end{mudela}
 
@@ -891,7 +968,7 @@ a'4(  )a''4
 
 Symbols which can be put at either side (above or below) of a staff
 are entered as follows:
-\begin[verbatim,fragment]{mudela}
+\begin{mudela}[verbatim,fragment]
         a-^     % marcato, direction: default
         %a^-     % portato, direction: above note
         a_.     % staccato, direction: below note