X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Ftex%2Fmudela.doc;h=321596152bffee3361b644d32c5fabe8c9ebdb7f;hb=1e95a0be01466d1c98644f7705c8e07e41cc645c;hp=0e0cb6cf022ccb403ccd382520b7e2a00fe41644;hpb=69b9cead5afe7164b9053d26eba582fec3825ef8;p=lilypond.git diff --git a/Documentation/tex/mudela.doc b/Documentation/tex/mudela.doc index 0e0cb6cf02..321596152b 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: may 98***} \section{Introduction} @@ -181,6 +180,18 @@ What is in your window should look like this: \end{mudela} \end{enumerate} +The above is quite a lot of work. Moreover, the result is pretty +crude: the page does include prettily printed titles, composer. Jan +Arne Fagertun wrote a tool to take the above tedious steps out of +your hands. The tool is called ly2dvi, and it should be on your +system if you run Unix. If you use ly2dvi, then you can do +\begin{verbatim} + ly2dvi silly.ly +\end{verbatim} +in stead of steps 2 and 3. You feel the real win of ly2dvi when you +add titling to the music. This is something that we will discuss in [XXX] + + 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 +199,7 @@ 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, @@ -220,7 +231,7 @@ music notation works. If you are not familiar with the English terms for music notation, then you should consult XXXX [FIXME], it contains a glossary of musical terms. -\section{Music copying versus music definition} +\section{Music copying versus music definition versus music entry} If you have done music copying before, then using LilyPond may seem awkward to you in the beginning. The purpose of LilyPond is informally @@ -241,14 +252,24 @@ hand from a printed score, you don't have to know what the score means; you just copy the symbols. With LilyPond such a thing is not possible: we expect you to enter the meaning of the score, not the score itself. If put more concretely: you do not enter ``black -notehead without flag, fourth staff line'', but ``a quarter note, -pitch d$^2$''. LilyPond will figure out from the musical info what -kind of graphic presentation is needed. +notehead without flag, fourth staff line, with dot'', but ``a dotted +quarter note, pitch d$^2$''. LilyPond will figure out from the +musical info what kind of graphic presentation is needed. This has some drawbacks: most notably, it is difficult to enter sheet music that you cannot read. On the other hand, any piece of music once entered can be played and transposed automatically. +Finally, in some spots we will cheat a bit when it comes to musical +definition. Mudela has some entry modes that help you to make typing +mudela pleasant. For example, the verbose phrase ``a dotted quarter +note, pitch d$^2$'' translates to the following longhand +\begin{verbatim} + \musical_pitch { 1 2 0 } \duration { 2 1} +\end{verbatim} +You can be conveniently abbreviate this to \verb+d''4.+, which is +considerably shorter. There are some features that also make the +quotes and numbers in \verb+d''4.+ superfluous in some cases. \section{When you know the notes to print\ldots} @@ -262,8 +283,16 @@ 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{mudela}[fragment,verbatim] @@ -274,7 +303,7 @@ 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{mudela}[fragment,verbatim] -'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 +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: @@ -301,7 +330,8 @@ 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\\ @@ -325,13 +355,84 @@ 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] + +\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 + + + +\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'' + + + +\end{verbatim} + +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+\relative+. From then on, the pitch of a note will be the +closest to the last one. You have to specify the first pitch because +the first note of a row obviously has no predecessor. Thus, you can +enter a scale without using octavation quotes, eg, + +\begin{mudela}[fragment,verbatim] + \relative c' { c d e f g a b c } +\end{mudela} + +For chords, the relative mode works slightly differently. In a +sequence of chords, the first note of a chord gives the starting point +for the next. We can demonstrate this with our twinkle twinkle example +\begin{verbatim} + \relative c' { + c4 c + + + + } +\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{mudela}[fragment,verbatim,center] @@ -360,7 +461,7 @@ c c' c'' Prefixing the pitch with a quote \verb+'+ produces a note by one octave lower \begin{mudela}[fragment,verbatim,center] -a 'a ''a +a a, a,, \end{mudela} \section{Slurs and Ties} @@ -459,7 +560,7 @@ a2 s-"diminuendo" | a \section{Commands} \begin{mudela}[fragment,verbatim,center] -\clef "bass"; 'c +\clef "bass"; c, \end{mudela} and a clef-change @@ -473,7 +574,7 @@ and a clef-change \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 @@ -514,7 +615,7 @@ and similarly voices \begin{mudela}[fragment,verbatim,center] < { \voiceone c g c g } - { \voicetwo 'c2 'g2 } + { \voicetwo c,2 g,2 } > \end{mudela} @@ -804,7 +905,7 @@ 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{mudela}[fragment,verbatim] - 'a % 110 + a, % 110 a % 220 A % 110, uppercase octavates down a' % 440