X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ffundamental.itely;h=b4cb7d9ba0c33989d18c04e2379534347c66c2ba;hb=3e06d4668033e396c6cff199190ca9f33754cc40;hp=51ab75c3fa5e8a33763506e3e3670f03c228965a;hpb=b7af9cadbecca6f3a9eb7cae32fcf9d72b5ca1e7;p=lilypond.git diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely index 51ab75c3fa..b4cb7d9ba0 100644 --- a/Documentation/user/fundamental.itely +++ b/Documentation/user/fundamental.itely @@ -7,7 +7,7 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.11.38" +@c \version "2.11.51" @node Fundamental concepts @chapter Fundamental concepts @@ -18,10 +18,10 @@ concepts and techniques required to produce equally beautiful but more complex scores. @menu -* How LilyPond input files work:: -* Voices contain music:: -* Contexts and engravers:: -* Extending the templates:: +* How LilyPond input files work:: +* Voices contain music:: +* Contexts and engravers:: +* Extending the templates:: @end menu @@ -45,6 +45,9 @@ description of the input format, see @ruser{File structure}. @node Introduction to the LilyPond file structure @subsection Introduction to the LilyPond file structure +@cindex input format +@cindex file structure + A basic example of a LilyPond input file is @example @@ -61,6 +64,11 @@ A basic example of a LilyPond input file is There are many variations of this basic pattern, but this example serves as a useful starting place. +@funindex \book +@funindex \score +@cindex book +@cindex score + Up to this point none of the examples you have seen has used a @code{\score@{@}} command. This is because LilyPond automatically adds the extra commands which are needed when you give it simple @@ -94,16 +102,20 @@ In other words, if the input contains a single music expression, LilyPond will interpret the file as though the music expression was wrapped up inside the commands shown above. +@cindex implicit contexts + @strong{A word of warning!} Many of the examples in the LilyPond documentation will omit the @code{\new Staff} and @code{\new Voice} commands, leaving them to be created implicitly. For simple examples this works well, but for more complex examples, especially when additional commands are used, the implicit creation of contexts can give surprising results, maybe creating extra unwanted staves. -When entering more than a few lines of music it is advisable to -always create staves and voices explicitly, see +The way to create contexts explicitly is explained in @ref{Contexts and engravers}. +@warning{When entering more than a few lines of music it is +advisable to always create staves and voices explicitly.} + For now, though, let us return to the first example and examine the @code{\score} command, leaving the others to default. @@ -136,6 +148,13 @@ things, such as @} @end example +@funindex \header +@funindex \layout +@funindex \midi +@cindex header +@cindex layout +@cindex midi + @noindent Note that these three commands -- @code{\header}, @code{\layout} and @code{\midi} -- are special: unlike all other commands which @@ -155,6 +174,8 @@ MIDI output respectively. They are described fully in the Notation Reference -- @ruser{Score layout} and @ruser{Creating MIDI files}. +@cindex scores, multiple + You may code multiple @code{\score} blocks. Each will be treated as a separate score, but they will be all combined into a single output file. A @code{\book} command is not necessary @@ -204,14 +225,14 @@ melody = \relative c' @{ When LilyPond looks at this file, it takes the value of @code{melody} (everything after the equals sign) and inserts it whenever it sees @code{\melody}. There's nothing special about -the names -- it could be @code{melody}, @code{global}, +the names -- it could be @code{melody}, @code{global}, @code{TimeKey}, @code{pianorighthand}, or @code{foofoobarbaz}. For more details, see @ref{Saving typing with variables and functions}. Remember that you can use almost any name you like as long as it contains just alphabetic characters and is distinct from LilyPond command names. The exact -limitations on variable names are detailed in +limitations on variable names are detailed in @ruser{File structure}. @@ -224,6 +245,8 @@ For a complete definition of the input format, see @node Score is a (single) compound musical expression @subsection Score is a (single) compound musical expression +@funindex \score +@cindex score @cindex Compound music expression @cindex Music expression, compound @@ -240,7 +263,8 @@ there @emph{is} no mystery. This line explains it all: @end quotation @noindent -You may find it useful to review +To understand what is meant by a music expression and a compound +music expression you may find it useful to review @ref{Music expressions explained}. In that section, we saw how to build big music expressions from small pieces -- we started from notes, then chords, etc. Now we're going to start from a big @@ -260,7 +284,7 @@ music expression and work our way down. A whole Wagner opera would easily double the length of this manual, so let's just add a singer and piano. We don't need a @code{GrandStaff} for this ensemble, which simply groups a number -of staves together with a brace at the left, so we shall remove +of staves together with a brace at the left, so we shall remove it. We @emph{do} need a singer and a piano, though. @example @@ -281,7 +305,7 @@ music. And we definitely want to show the vocal part and piano part at the same time, not one after the other! However, the @code{<< ... >>} construct is not really necessary for the Singer staff, as it contains only one music expression, but Staves often -do require simultaneous Voices within them, so using +do require simultaneous Voices within them, so using @code{<< ... >>} rather than braces is a good habit to adopt. We'll add some real music later; for now let's just put in some dummy notes and lyrics. @@ -321,7 +345,7 @@ braces next to @code{\new Voice = vocal}, we could start writing But if we did that, the @code{\score} section would get pretty long, and it would be harder to understand what was happening. So let's use variables instead. These were introduced at the end -of the previous section, remember? So, adding a few notes, we +of the previous section, remember? So, adding a few notes, we now have a piece of real music: @lilypond[verbatim,quote,ragged-right] @@ -365,9 +389,12 @@ on the same horizontal position in your text editor. @node Nesting music expressions @subsection Nesting music expressions -It is not essential to declare all staves at the beginning; +@cindex staves, temporary +@cindex ossias + +It is not essential to declare all staves at the beginning; they may be introduced temporarily at any point. This is -particularly useful for creating ossia sections +particularly useful for creating ossia sections (see @rglos{ossia}). Here is a simple example showing how to introduce a new staff temporarily for the duration of three notes: @@ -376,7 +403,7 @@ three notes: \new Staff { \relative g' { r4 g8 g c4 c8 d | - e4 r8 + e4 r8 << { f c c } \new Staff { @@ -394,6 +421,8 @@ following a clef change -- slightly smaller than the clef at the beginning of the line. This is usual for clefs printed in the middle of a line. +@cindex staff, positioning + The ossia section may be placed above the staff as follows: @@ -413,10 +442,10 @@ as follows: } @end lilypond -This example uses @code{\with}, which will be explained more +This example uses @code{\with}, which will be explained more fully later. It is a means of modifying the default behavior -of a single Staff. Here it says that the new staff should be -placed above the staff called @qq{main} instead of the default +of a single Staff. Here it says that the new staff should be +placed above the staff called @qq{main} instead of the default position which is below. Ossia are often written without clef and without @@ -427,9 +456,11 @@ have not yet been introduced. See @ref{Size of objects} @node On the un-nestedness of brackets and ties @subsection On the un-nestedness of brackets and ties +@cindex brackets, nesting + You have already met a number of different types of bracket in writing the input file to LilyPond. These obey different rules -which can be confusing at first. Before we explain the rules +which can be confusing at first. Before we explain the rules let's first review the different types of bracket. @c attempt to force this onto a new page @@ -501,14 +532,14 @@ two tuplets, and a phrasing slur extending out of a tuplet @section Voices contain music Singers need voices to sing, and so does LilyPond. -The actual music for all instruments in a score -is contained in Voices -- the most fundamental +The actual music for all instruments in a score +is contained in Voices -- the most fundamental of all LilyPond's concepts. @menu -* I'm hearing Voices:: -* Explicitly instantiating voices:: -* Voices and vocals:: +* I'm hearing Voices:: +* Explicitly instantiating voices:: +* Voices and vocals:: @end menu @node I'm hearing Voices @@ -516,23 +547,27 @@ of all LilyPond's concepts. @cindex polyphony @cindex layers +@cindex multiple voices @cindex Voice context +@cindex context, Voice +@cindex simultaneous music +@cindex concurrent music -The lowest, most fundamental or innermost layers in a LilyPond +The lowest, most fundamental or innermost layers in a LilyPond score are called @q{Voice contexts} or just @q{Voices} for short. -Voices are sometimes called @q{layers} in other notation +Voices are sometimes called @q{layers} in other notation packages. In fact, a Voice layer or context is the only one which can contain music. If a Voice context is not explicitly declared one is created automatically, as we saw at the beginning of -this chapter. Some instruments such as an +this chapter. Some instruments such as an Oboe can play only one note at a time. Music written for such instruments is monophonic and requires just a single voice. Instruments which can play more than one note at a time like the piano will often require multiple voices to encode the different concurrent notes and rhythms they are -capable of playing. +capable of playing. A single voice can contain many notes in a chord, of course, so when exactly are multiple voices needed? Look first at @@ -543,8 +578,8 @@ this example of four chords: 4 @end lilypond -This can be expressed using just the single angle bracket chord -symbols, @code{< ... >}, and for this just a single voice is +This can be expressed using just the single angle bracket chord +symbols, @code{< ... >}, and for this just a single voice is needed. But suppose the F-sharp were actually an eighth-note followed by an eighth-note G, a passing note on the way to the A? Now we have two notes which start at the same time but have @@ -568,7 +603,7 @@ The fragments must also be separated with double backward slashes, notes would be entered into a single voice, which would usually cause errors. This technique is particularly suited to pieces of music which are largely monophonic with occasional short sections -of polyphony. +of polyphony. Here's how we split the chords above into two voices and add both the passing note and a slur: @@ -675,16 +710,24 @@ blue triangle voice. } @end lilypond +@funindex \voiceOneStyle +@funindex \voiceTwoStyle +@funindex \voiceThreeStyle +@funindex \voiceFourStyle +@funindex \voiceNeutralStyle + The commands @code{\voiceXXXStyle} are mainly intended for use in educational documents such as this one. They modify the color of the note head, the stem and the beams, and the style of the note head, so that the voices may be easily distinguished. Voice one is set to red diamonds, voice two to blue triangles, voice three to green crossed circles, and voice four (not used -here) to magenta crosses. We shall see later how commands like -these may be created by the user. -See @ref{Visibility and color of objects} -TODO Add link to using variables for tweaks +here) to magenta crosses; @code{\voiceNeutralStyle} (also not +used here) reverts the style back to the default. +We shall see later how commands like these may be created by the +user. +See @ref{Visibility and color of objects} and +@ref{Using variables for tweaks}. Polyphony does not change the relationship of notes within a @code{\relative @{ @}} block. Each note is still calculated @@ -716,7 +759,7 @@ command at the start of each voice: \relative c' @{ noteE ... @} @end example -Let us finally analyze the voices in a more complex piece of +Let us finally analyze the voices in a more complex piece of music. Here are the notes from the first two bars of the second of Chopin's Deux Nocturnes, Op 32. This example will be used at later @@ -778,11 +821,11 @@ not understand. << { % Voice one \voiceOneStyle - c2 aes4. bes8 + c2 aes4. bes8 } \\ % Voice two { \voiceTwoStyle - aes2 f4 fes + aes2 f4 fes } \\ % No Voice three (we want stems down) \\ % Voice four @@ -791,7 +834,7 @@ not understand. \once \override NoteColumn #'force-hshift = #0 2 \once \override NoteColumn #'force-hshift = #0.5 - des2 + des2 } >> | 1 | @@ -840,8 +883,8 @@ and placing the music in voice four: @end lilypond @noindent -We see that this fixes the stem direction, but exposes a -problem sometimes encountered with multiple voices -- the +We see that this fixes the stem direction, but exposes a +problem sometimes encountered with multiple voices -- the stems of the notes in one voice can collide with the note heads in other voices. In laying out the notes, LilyPond allows the notes or chords from two voices to occupy the same vertical @@ -853,7 +896,7 @@ notes of the lowest voice are clearly not well placed by default. LilyPond provides several ways to adjust the horizontal placing of notes. We are not quite ready yet to see how to correct this, so we shall leave this problem until a later section -(see the force-hshift property in @ref{Fixing overlapping +(see the force-hshift property in @ref{Fixing overlapping notation} ) @node Explicitly instantiating voices @@ -863,6 +906,9 @@ notation} ) @funindex \voiceTwo @funindex \voiceThree @funindex \voiceFour +@funindex \oneVoice +@funindex \new Voice +@cindex Voice contexts, creating Voice contexts can also be created manually inside a @code{<< >>} block to create polyphonic music, using @@ -883,7 +929,7 @@ the previous section: @end example @noindent -is equivalent to +is equivalent to @example \new Staff << @@ -907,11 +953,11 @@ ties, articulations, text annotations, augmentation dots of dotted notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour} make them point downwards. These commands also -generate a horizontal shift for each voice when this is required -to avoid clashes of note heads. The command @code{\oneVoice} +generate a horizontal shift for each voice when this is required +to avoid clashes of note heads. The command @code{\oneVoice} reverts the settings back to the normal values for a single voice. -Let us see in some simple examples exactly what effect +Let us see in some simple examples exactly what effect @code{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on markup, ties, slurs, and dynamics: @@ -940,11 +986,15 @@ markup, ties, slurs, and dynamics: } @end lilypond +Now let's look at three different ways to notate the same passage +of polyphonic music, each of which is advantageous in different +circumstances, using the example from the previous section. + An expression that appears directly inside a @code{<< >>} belongs to the main voice (but, note, @strong{not} in a @code{<< \\ >>} construct). This is useful when extra voices appear while the -main voice is playing. Here is a more correct rendition of the -example from the previous section. The red diamond-shaped notes +main voice is playing. Here is a more correct rendition of our +example. The red diamond-shaped notes demonstrate that the main melody is now in a single voice context, permitting a phrasing slur to be drawn over them. @@ -976,9 +1026,12 @@ permitting a phrasing slur to be drawn over them. @cindex nesting music expressions @cindex nesting simultaneous constructs +@cindex voices, temporary +@cindex voices, nesting + More deeply nested polyphony constructs are possible, and if a voice appears only briefly this might be a more natural way to -typeset the music. +typeset the music: @lilypond[quote,ragged-right,verbatim] \new Staff \relative c' { @@ -1000,6 +1053,7 @@ typeset the music. } @end lilypond +@cindex spacing notes This method of nesting new voices briefly is useful when only small sections of the music @@ -1017,19 +1071,21 @@ as here: } % Initiate second voice \new Voice { - % set stems, etc down + % Set stems, etc, down \voiceTwo s4 r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2 | } % Initiate third voice \new Voice { - % set stems, etc up + % Set stems, etc, up \voiceThree s1 | s4 b4 c2 | } >> @end lilypond +@subsubheading Note columns + @cindex note column @cindex shift commands @funindex \shiftOff @@ -1074,6 +1130,11 @@ have no shift or the same shift specified, the error message Vocal music presents a special difficulty: we need to combine two expressions -- notes and lyrics. +@funindex \new Lyrics +@funindex \lyricsto +@cindex Lyrics context, creating +@cindex lyrics, linking to voice + You have already seen the @code{\addlyrics@{@}} command, which handles simple scores well. However, this technique is quite limited. For more complex music, you must introduce the @@ -1095,17 +1156,25 @@ name assigned to the Voice. >> @end lilypond -Note that the lyrics must be linked to a @code{Voice} context, -@emph{not} a @code{Staff} context. This is a case where it is +Note that the lyrics must be linked to a @code{Voice} context, +@emph{not} a @code{Staff} context. This is a case where it is necessary to create @code{Staff} and @code{Voice} contexts explicitly. +@cindex lyrics and beaming +@cindex beaming and lyrics +@funindex \autoBeamOff + The automatic beaming which LilyPond uses by default works well for instrumental music, but not so well for music with lyrics, where beaming is either not required at all or is used to indicate melismata in the lyrics. In the example above we use the command @code{\autoBeamOff} to turn off the automatic beaming. +@funindex \new ChoirStaff +@funindex \lyricmode +@cindex vocal score structure + Let us reuse the earlier example from Judas Maccabæus to illustrate this more flexible technique. We first recast it to use variables so the music and lyrics can be separated @@ -1155,9 +1224,15 @@ more verses may be added to the lyrics, and the variables containing the music can easily be placed in separate files should they become too long. +@cindex hymn structure + Here is a example of the first line of a hymn with four verses, set for SATB. In this case the words for all four -parts are the same. +parts are the same. Note how we use variables to separate the +music notation and words from the staff structure. See too +how a variable, which we have chosen to call @q{TimeKey}, is used +to hold several commands for use within the two staves. In other +examples this is often called @q{global}. @lilypond[quote,verbatim] TimeKey = { \time 4/4 \partial 4 \key c \major} @@ -1194,6 +1269,8 @@ VerseFour = \lyricmode { } @end lilypond +@cindex verse and refrain + We end with an example to show how we might code a solo verse which continues into a two-part refrain in two staves. The positioning of the sequential and simultaneous sections to achieve @@ -1290,7 +1367,7 @@ refrainwordsB = \lyricmode { \score { \new ChoirStaff { \new Staff << - \context Voice = "verse" { + \new Voice = "verse" { \versenotes \break << \refrainnotesA @@ -1401,6 +1478,8 @@ in the fine-tuning of LilyPond output. @node Contexts explained @subsection Contexts explained +@cindex contexts explained + When music is printed, many notational elements which do not appear explicitly in the input file must be added to the output. For example, compare the input and output of the @@ -1471,6 +1550,11 @@ preceding word with no hyphen or underscore, e.g., @node Creating contexts @subsection Creating contexts +@funindex \new +@cindex new contexts +@cindex creating contexts +@cindex contexts, creating + There can be only one top level context: the @code{Score} context. This is created with the @code{\score} command, @@ -1483,10 +1567,6 @@ necessary to create them by hand. The simplest command that does this is @code{\new}. It is prepended to a music expression, for example -@funindex \new -@cindex new contexts -@cindex Context, creating - @example \new @var{type} @var{music-expression} @end example @@ -1500,6 +1580,63 @@ Note that there is no @code{\new Score} command; the single top-level @code{Score} context is introduced with @code{\score}. +You have seen many practical examples which created new +@code{Staff} and @code{Voice} contexts in earlier sections, but +to remind you how these commands are used in practice, here's an +annotated real-music example: + +@lilypond[quote,verbatim,ragged-right] +\score { % start of single compound music expression + << % start of simultaneous staves section + \time 2/4 + \new Staff { % create RH staff + \key g \minor + \clef "treble" + \new Voice { % create voice for RH notes + \relative c'' { % start of RH notes + d4 ees16 c8. | + d4 ees16 c8. | + } % end of RH notes + } % end of RH voice + } % end of RH staff + \new Staff << % create LH staff; needs two simultaneous voices + \key g \minor + \clef "bass" + \new Voice { % create LH voice one + \voiceOne + \relative g { % start of LH voice one notes + g8 ees, | + g8 ees, | + } % end of LH voice one notes + } % end of LH voice one + \new Voice { % create LH voice two + \voiceTwo + \relative g { % start of LH voice two notes + g4 ees | + g4 ees | + } % end of LH voice two notes + } % end of LH voice two + >> % end of LH staff + >> % end of simultaneous staves section +} % end of single compound music expression +@end lilypond + +(Note how all the statements which open a block with either a +curly bracket, @code{@{}, or double angle brackets, @code{<<}, +are indented by two further spaces, and the corresponding +closing bracket is indented by exactly the same amount. While +this is not required, following this practice will greatly +reduce the number of @q{unmatched bracket} errors, and is +strongly recommended. It enables the structure of the music to +be seen at a glance, and any unmatched brackets will be obvious. +Note too how the LH staff is created using double angle brackets +because it requires two voices for its music, whereas the RH staff +is created with a single music expression surrounded by curly +brackets because it requires only one voice.) + +@cindex contexts, naming +@cindex naming contexts + The @code{\new} command may also give a identifying name to the context to distinguish it from other contexts of the same type, @@ -1556,8 +1693,8 @@ lines of the staff, the @code{Clef_engraver} determines and sets the pitch reference point on the staff by drawing a clef symbol. Here are some of the most common engravers together with their -function. You will see it is easy to guess the function from -the name, or vice versa. +function. You will see it is usually easy to guess the function +from the name, or vice versa. @multitable @columnfractions .3 .7 @headitem Engraver @@ -1594,12 +1731,14 @@ the name, or vice versa. We shall see later how the output of LilyPond can be changed by modifying the action of Engravers. - + @node Modifying context properties @subsection Modifying context properties @cindex context properties +@cindex context properties, modifying +@cindex modifying context properties @funindex \set @funindex \unset @@ -1778,7 +1917,7 @@ a b @end lilypond We have now seen how to set the values of several different -types of property. Note that integers and numbers are alway +types of property. Note that integers and numbers are always preceded by a hash sign, @code{#}, while a true or false value is specified by ##t and ##f, with two hash signs. A text property should be enclosed in double quotation signs, as above, @@ -1788,6 +1927,7 @@ in a much more general way by using the very powerful @funindex \with +@cindex context properties, setting with \with Context properties may also be set at the time the context is created. Sometimes this is a clearer way of specifying a @@ -1830,8 +1970,8 @@ this new default value may be restored with the @node Adding and removing engravers @subsection Adding and removing engravers -@cindex Engravers, adding -@cindex Engravers, removing +@cindex engravers, adding +@cindex engravers, removing @funindex \consists @funindex \remove @@ -1864,7 +2004,7 @@ staff lines are produced by the Staff_symbol_engraver. d e \set fontSize = #2.5 % make note heads larger f g - \unset fontSize % return to original size + \unset fontSize % return to default size a b } @end lilypond @@ -1912,9 +2052,9 @@ the notes in all the voices on that staff: } << \new Voice - \relative c'' { + \relative c'' { \voiceOne - c a b g + c a b g } \new Voice \relative c' { @@ -1926,8 +2066,10 @@ the notes in all the voices on that staff: @subsubheading Changing all contexts of the same type +@funindex \layout + The examples above show how to remove or add engravers to -individual contexts. It is also possible to remove or add +individual contexts. It is also possible to remove or add engravers to every context of a specific type by placing the commands in the appropriate context in a @code{\layout} block. For example, if we wanted to show an ambitus for every @@ -1961,7 +2103,7 @@ staff in a four-staff score we could write @end lilypond @noindent -The default values of context properties may also be set +The values of context properties may also be set for all contexts of a particular type by including the @code{\set} command in a @code{\context} block in the same way. @@ -1969,24 +2111,26 @@ same way. @node Extending the templates @section Extending the templates -You've read the tutorial, you know how to write music, you +You've read the tutorial, you know how to write music, you understand the fundamental concepts. But how can you -get the staves that you want? Well, you can find lots of -templates (see @ref{Templates}) which may give you a start. +get the staves that you want? Well, you can find lots of +templates (see @ref{Templates}) which may give you a start. But what if you want something that isn't covered there? Read on. TODO Add links to templates after they have been moved to LSR @menu -* Soprano and cello:: -* Four-part SATB vocal score:: -* Building a score from scratch:: +* Soprano and cello:: +* Four-part SATB vocal score:: +* Building a score from scratch:: @end menu @node Soprano and cello @subsection Soprano and cello +@cindex template, modifying + Start off with the template that seems closest to what you want to end up with. Let's say that you want to write something for soprano and cello. In this case, we would start with @q{Notes and lyrics} (for the @@ -2036,16 +2180,16 @@ melody = \relative c' @{ @} @end example -We don't need two @code{\version} commands. We'll need the +We don't need two @code{\version} commands. We'll need the @code{melody} section. We don't want two @code{\score} sections -- if we had two @code{\score}s, we'd get the two parts separately. -We want them together, as a duet. Within the @code{\score} +We want them together, as a duet. Within the @code{\score} section, we don't need two @code{\layout} or @code{\midi}. -If we simply cut and paste the @code{melody} section, we would +If we simply cut and paste the @code{melody} section, we would end up with two @code{melody} definitions. This would not generate an error, but the second one would be used for both melodies. -So let's rename them to make them distinct. We'll call the +So let's rename them to make them distinct. We'll call the section for the soprano @code{sopranoMusic} and the section for the cello @code{celloMusic}. While we're doing this, let's rename @code{text} to be @code{sopranoLyrics}. Remember to rename both @@ -2053,8 +2197,8 @@ instances of all these names -- both the initial definition (the @code{melody = \relative c' @{ } part) and the name's use (in the @code{\score} section). -While we're doing this, let's change the cello part's staff -- -celli normally use bass clef. We'll also give the cello some +While we're doing this, let's change the cello part's staff -- +celli normally use bass clef. We'll also give the cello some different notes. @example @@ -2101,7 +2245,7 @@ want the cello part to appear under the soprano part, we need to add @noindent underneath the soprano stuff. We also need to add @code{<<} and @code{>>} around the music -- that tells LilyPond that there's -more than one thing (in this case, two @code{Staves}) happening +more than one thing (in this case, two @code{Staves}) happening at once. The @code{\score} looks like this now @c Indentation in this example is deliberately poor @@ -2165,6 +2309,9 @@ celloMusic = \relative c { @node Four-part SATB vocal score @subsection Four-part SATB vocal score +@cindex template, SATB +@cindex SATB template + Most vocal scores of music written for four-part mixed choir with orchestral accompaniment such as Mendelssohn's Elijah or Handel's Messiah have the choral music and words on four @@ -2175,28 +2322,28 @@ from Handel's Messiah: @c The following should appear as music without code @lilypond[quote,ragged-right] global = { \key d \major \time 4/4 } -sopMusic = \relative c'' { +sopranoMusic = \relative c'' { \clef "treble" r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | } -sopWords = \lyricmode { +sopranoWords = \lyricmode { Wor -- thy is the lamb that was slain } altoMusic = \relative a' { \clef "treble" r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 | } -altoWords = \sopWords +altoWords = \sopranoWords tenorMusic = \relative c' { \clef "G_8" r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | } -tenorWords = \sopWords +tenorWords = \sopranoWords bassMusic = \relative c' { \clef "bass" r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | } -bassWords = \sopWords +bassWords = \sopranoWords upper = \relative a' { \clef "treble" \global @@ -2217,9 +2364,9 @@ lower = \relative c, { \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = "Soprano" - \new Voice = "sopranos" { \global \sopMusic } + \new Voice = "sopranos" { \global \sopranoMusic } >> - \new Lyrics \lyricsto "sopranos" { \sopWords } + \new Lyrics \lyricsto "sopranos" { \sopranoWords } \new Staff = "altos" << \set Staff.instrumentName = "Alto" \new Voice = "altos" { \global \altoMusic } @@ -2238,7 +2385,7 @@ lower = \relative c, { >> % end ChoirStaff \new PianoStaff << - \set PianoStaff.instrumentName = "Piano " + \set PianoStaff.instrumentName = "Piano" \new Staff = "upper" \upper \new Staff = "lower" \lower >> @@ -2255,7 +2402,7 @@ the vocal parts are fine, but we shall need to add variables for the piano reduction. The order in which the contexts appear in the ChoirStaff of -the template do not correspond with the order in the vocal +the template do not correspond with the order in the vocal score shown above. We need to rearrange them so there are four staves with the words written directly underneath the notes for each part. @@ -2263,7 +2410,7 @@ All the voices should be @code{\voiceOne}, which is the default, so the @code{\voiceXXX} commands should be removed. We also need to specify the tenor clef for the tenors. The way in which lyrics are specified in the template has not yet -been encountered so we need to use the method with which we are +been encountered so we need to use the method with which we are familiar. We should also add the names of each staff. Doing this gives for our ChoirStaff: @@ -2272,9 +2419,9 @@ Doing this gives for our ChoirStaff: \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = "Soprano" - \new Voice = "sopranos" @{ \global \sopMusic @} + \new Voice = "sopranos" @{ \global \sopranoMusic @} >> - \new Lyrics \lyricsto "sopranos" @{ \sopWords @} + \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @} \new Staff = "altos" << \set Staff.instrumentName = "Alto" \new Voice = "altos" @{ \global \altoMusic @} @@ -2313,12 +2460,12 @@ using angle brackets as we want them to be stacked one above the other: @example -<< % combine ChoirStaff and PianoStaff one above the other +<< % combine ChoirStaff and PianoStaff one above the other \new ChoirStaff << \new Staff = "sopranos" << - \new Voice = "sopranos" @{ \global \sopMusic @} + \new Voice = "sopranos" @{ \global \sopranoMusic @} >> - \new Lyrics \lyricsto "sopranos" @{ \sopWords @} + \new Lyrics \lyricsto "sopranos" @{ \sopranoWords @} \new Staff = "altos" << \new Voice = "altos" @{ \global \altoMusic @} >> @@ -2336,7 +2483,7 @@ stacked one above the other: >> % end ChoirStaff \new PianoStaff << - \set PianoStaff.instrumentName = "Piano " + \set PianoStaff.instrumentName = "Piano" \new Staff = "upper" \upper \new Staff = "lower" \lower >> @@ -2348,28 +2495,28 @@ for the three bars of the example above gives: @lilypond[quote,verbatim,ragged-right,addversion] global = { \key d \major \time 4/4 } -sopMusic = \relative c'' { +sopranoMusic = \relative c'' { \clef "treble" r4 d2 a4 | d4. d8 a2 | cis4 d cis2 | } -sopWords = \lyricmode { +sopranoWords = \lyricmode { Wor -- thy is the lamb that was slain } altoMusic = \relative a' { \clef "treble" r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 | } -altoWords = \sopWords +altoWords = \sopranoWords tenorMusic = \relative c' { \clef "G_8" r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 | } -tenorWords = \sopWords +tenorWords = \sopranoWords bassMusic = \relative c' { \clef "bass" r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 | } -bassWords = \sopWords +bassWords = \sopranoWords upper = \relative a' { \clef "treble" \global @@ -2390,9 +2537,9 @@ lower = \relative c, { \new ChoirStaff << \new Staff = "sopranos" << \set Staff.instrumentName = "Soprano" - \new Voice = "sopranos" { \global \sopMusic } + \new Voice = "sopranos" { \global \sopranoMusic } >> - \new Lyrics \lyricsto "sopranos" { \sopWords } + \new Lyrics \lyricsto "sopranos" { \sopranoWords } \new Staff = "altos" << \set Staff.instrumentName = "Alto" \new Voice = "altos" { \global \altoMusic } @@ -2418,16 +2565,18 @@ lower = \relative c, { >> } @end lilypond - + @node Building a score from scratch @subsection Building a score from scratch +@cindex template, writing your own + After gaining some facility with writing LilyPond code you may find that it is easier to build a score from scratch rather than modifying one of the templates. You can also develop your own style this way to suit the sort of music you -like. Let's see how to put together the score for an organ +like. Let's see how to put together the score for an organ prelude as an example. We begin with a header section. Here go the title, name @@ -2486,8 +2635,8 @@ part just one. Next we need to add a staff for the pedal organ. This goes underneath the PianoStaff, but it must be simultaneous with it, so we need angle brackets -round the two. Missing these out would generate -an error in the log file. It's a common mistake +around the two. Missing these out would generate +an error in the log file. It's a common mistake which you'll make sooner or later! Try copying the final example at the end of this section, remove these angle brackets, and compile it to @@ -2511,10 +2660,13 @@ see what errors it generates. @end example It is not strictly necessary to use the simultaneous construct -@code{<< >>} for the manual two staff and the pedal organ staff, +@code{<< .. >>} for the manual two staff and the pedal organ staff, since they contain only one music expression, but it does no harm and always using angle brackets after @code{\new Staff} is a good -habit to cultivate in case there are multiple voices. +habit to cultivate in case there are multiple voices. The opposite +is true for Voices: these should habitually be followed by braces +@code{@{ .. @}} in case your music is coded in several variables +which need to run consecutively. Let's add this structure to the score block, and adjust the indenting. We also add the appropriate clefs, ensure the @@ -2549,7 +2701,7 @@ predefined variable, @code{\TimeKey}. That completes the structure. Any three-staff organ music will have a similar structure, although the number of voices -may vary. All that remains now +may vary. All that remains now is to add the music, and combine all the parts together. @lilypond[quote,verbatim,ragged-right,addversion] @@ -2562,7 +2714,7 @@ ManualOneVoiceOneMusic = \relative g' { g4 g f ees | d2 c2 | } ManualOneVoiceTwoMusic = \relative c' { - ees16 d ees8~ ees16 f ees s c8 d~ d c~ | + ees16 d ees8~ ees16 f ees d c8 d~ d c~ | c c4 b8 c8. g16 c b c d | } ManualTwoMusic = \relative c' { @@ -2593,7 +2745,7 @@ PedalOrganMusic = \relative c { \TimeKey \clef "bass" \new Voice { \PedalOrganMusic } - >> % end PedalOrgan Staff + >> % end PedalOrgan Staff context >> } % end Score context @end lilypond