X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fintroduction.itely;h=2ac91d0867f8e43a44e823533bba6f21e20e9f92;hb=9e69cb84d6ee5b0a861cd97869b10e3bdf0c833c;hp=8f03e9461d0400ad275503c138bda663409f9053;hpb=b4a71a67ea6e7517a1a272bb32a64ec35043b043;p=lilypond.git diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index 8f03e9461d..2ac91d0867 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -6,12 +6,12 @@ @menu -* Engraving:: -* Automated engraving:: -* What symbols to engrave?:: -* Music representation:: -* Example applications:: -* About this manual:: +* Engraving:: +* Automated engraving:: +* What symbols to engrave?:: +* Music representation:: +* Example applications:: +* About this manual:: @end menu @@ -54,11 +54,11 @@ one. It is rounded, and its weight harmonizes with the thickness of our staff lines, which are also much thicker than lines in the computer edition. -@multitable @columnfractions .05 .3 .3 .3 .05 +@multitable @columnfractions .125 .25 .25 .25 .125 @item @tab @ifnotinfo @iftex -@image{henle-flat-gray,,8cm} +@image{henle-flat-gray,,4cm} @end iftex @ifnottex @image{henle-flat-gray,,,png} @@ -66,7 +66,7 @@ computer edition. @tab @iftex -@image{baer-flat-gray,,8.4cm} +@image{baer-flat-gray,,4cm} @end iftex @ifnottex @image{baer-flat-gray,,,png} @@ -74,7 +74,7 @@ computer edition. @tab @iftex -@image{lily-flat-bw,,8cm} +@image{lily-flat-bw,,4cm} @end iftex @ifnottex @image{lily-flat-bw,,,png} @@ -82,7 +82,8 @@ computer edition. @end ifnotinfo @ifinfo @c workaround for makeinfo-4.6: line breaks and multi-column cookies -@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} @image{lily-flat-bw,,,png} +@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png} +@image{lily-flat-bw,,,png} @end ifinfo @item @tab @@ -113,7 +114,7 @@ spot which fragment is which? @c need to include it here, because we want two images. @lilypond \paper { - raggedright = ##t + ragged-right = ##t indent = #0.0 } @@ -122,7 +123,7 @@ music = { \stemDown b'8[ e'' a' e''] \stemNeutral - e'8[ e'8 e'8 e'8] + e'8[ e'8 e'8 e'8] } \score @@ -139,7 +140,7 @@ music = { @lilypond \paper { - raggedright = ##t + ragged-right = ##t indent = #0.0 } @@ -148,7 +149,7 @@ music = { \stemDown b'8[ e'' a' e''] \stemNeutral - e'8[ e'8 e'8 e'8] + e'8[ e'8 e'8 e'8] } \score { @@ -167,16 +168,17 @@ music = { @cindex regular rhythms @cindex regular spacing -The fragment only uses quarter notes: notes that are played in a +Each bar in the fragment only uses notes that are played in a constant rhythm. The spacing should reflect that. Unfortunately, the eye deceives us a little; not only does it notice the distance between note heads, it also takes into account the distance between consecutive stems. As a result, the notes of an up-stem/@/down-stem -combination should be put farther apart, and the notes of a down-stem/@/up-stem +combination should be put farther apart, and the notes of a +down-stem/@/up-stem combination should be put closer together, all depending on the -combined vertical positions of the notes. The first two measures are -printed with this correction, the last two measures without. The notes -in the last two measures form down-stem/@/up-stem clumps of notes. +combined vertical positions of the notes. The upper two measures are +printed with this correction, the lower two measures without, forming +down-stem/@/up-stem clumps of notes. @cindex typography @@ -268,7 +270,7 @@ with accents and arpeggios. In the first chord, the graphical objects have all directions down (or left). The second chord has all directions up (right). -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \new Score \with { \override SpacingSpanner #'spacing-increment = #3 \override TimeSignature #'transparent = ##t @@ -286,7 +288,7 @@ example, the thickness of many lines -- a characteristic of typographical style -- is a variable with a preset value. You are free to alter this value, giving your score a different typographical impression. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] fragment = { \clef bass f8 as8 c'4-~ c'16 as g f e16 g bes c' des'4 @@ -312,39 +314,41 @@ appearance of objects. In the following example, the rule which note head objects are used to produce their symbol is changed during the music fragment. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] +#(set-global-staff-size 30) + #(define (mc-squared grob orig current) - (let ((interfaces (ly:grob-property grob 'interfaces)) - (pos (ly:grob-property grob 'staff-position))) - (if (and (memq 'note-head-interface interfaces) - (memq pos '(-2 -3 -5))) + (let* ((interfaces (ly:grob-interfaces grob)) + (pos (ly:grob-property grob 'staff-position))) + (if (memq 'note-head-interface interfaces) (begin - (ly:grob-set-property! grob 'stencil Text_interface::print) + (ly:grob-set-property! grob 'stencil ly:text-interface::print) (ly:grob-set-property! grob 'font-family 'roman) - (ly:grob-set-property! - grob 'text - (make-raise-markup - -0.5 - (case pos - ((-5) (make-simple-markup "m")) - ((-3) (make-simple-markup "c ")) - ((-2) (make-smaller-markup (make-bold-markup "2"))) - (else (make-simple-markup "bla"))))))))) + (ly:grob-set-property! grob 'text + (make-raise-markup -0.5 + (case pos + ((-5) (make-simple-markup "m")) + ((-3) (make-simple-markup "c ")) + ((-2) (make-smaller-markup (make-bold-markup "2"))) + (else (make-simple-markup "bla"))))))))) \new Voice \relative c' { \stemUp \set autoBeaming = ##f \time 2/4 4 - \once \override NoteHead #'stencil = #Note_head::brew_ez_stencil + \once \override NoteHead #'stencil = #ly:note-head::brew-ez-stencil + \once \override NoteHead #'font-size = #-7 + \once \override NoteHead #'font-family = #'sans + \once \override NoteHead #'font-series = #'bold \once \override NoteHead #'style = #'cross - \applyOutput #mc-squared + \applyOutput #'Voice #mc-squared << { d8[ es-( fis^^ g] fis2-) } - \repeat unfold 5 { \applyOutput #mc-squared s8 } + \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 } >> } @end lilypond @@ -381,7 +385,7 @@ craftsmen who translate musical ideas to graphic symbols. In the following example, we see how we start out with a plug-in for note heads, the @code{Note_heads_engraver}. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { @@ -413,7 +417,7 @@ note heads, the @code{Note_heads_engraver}. @noindent Then a @code{Staff_symbol_engraver} adds the staff -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { @@ -444,7 +448,7 @@ Then a @code{Staff_symbol_engraver} adds the staff @noindent the @code{Clef_engraver} defines a reference point for the staff -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { @@ -473,7 +477,7 @@ the @code{Clef_engraver} defines a reference point for the staff @noindent and the @code{Stem_engraver} adds stems. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { @@ -498,6 +502,7 @@ and the @code{Stem_engraver} adds stems. } @end lilypond +@noindent The @code{Stem_engraver} is notified of any note head coming along. Every time one (or more, for a chord) note head is seen, a stem object is created and connected to the note head. By adding @@ -505,7 +510,7 @@ engravers for beams, slurs, accents, accidentals, bar lines, time signature, and key signature, we get a complete piece of notation. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { \topVoice } @end lilypond @@ -513,9 +518,9 @@ notation. This system works well for monophonic music, but what about polyphony? In polyphonic notation, many voices can share a staff. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" -\new Staff << \topVoice \\ \botVoice >> +\new Staff << \topVoice \\ \botVoice >> @end lilypond In this situation, the accidentals and staff are shared, but the stems, @@ -531,7 +536,7 @@ context. The Score context is the top level notation context. Program reference: @internalsref{Contexts}. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] \include "engraver-example.ily" \score { << @@ -581,7 +586,7 @@ c4 @noindent Chords can be constructed with @code{<<} and @code{>>} enclosing the notes -@c < > is not a music expression, +@c < > is not a music expression, @c so we use <<>> iso. <> to drive home the point of @c expressions. Don't change this back --hwn. @example @@ -647,7 +652,7 @@ simplest application is printing notes. @noindent By adding chord names and lyrics we obtain a lead sheet. -@lilypond[quote,raggedright] +@lilypond[quote,ragged-right] << \chords { c2 c f2 c } \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 } @@ -658,7 +663,7 @@ By adding chord names and lyrics we obtain a lead sheet. Polyphonic notation and piano music can also be printed. The following example combines some more exotic constructs. -@lilypondfile[quote,raggedright]{screech-boink.ly} +@lilypondfile[quote,ragged-right]{screech-boink.ly} The fragments shown above have all been written by hand, but that is not a requirement. Since the formatting engine is mostly automatic, it @@ -691,12 +696,7 @@ gives a gentle introduction to typesetting music. First time users should start here. @item -@emph{@ref{Example templates}} -provides templates of LilyPond pieces. Just cut and paste a -template into a file, add notes, and you're done! - -@item -@emph{@ref{Putting it all together}} +@emph{@ref{Working on LilyPond projects}} demonstrates practical uses of LilyPond. @item @@ -727,9 +727,14 @@ details about complicated or unusual notation. explains how to fine tune layout. @item -@emph{@ref{Output formats}} +@emph{@ref{Non-musical notation}} +discusses non-musical output such as titles, multiple movements, +and how to select which MIDI instruments to use. + +@item +@emph{@ref{Spacing issues}} discusses issues which affect the global output, such as selecting -paper size or which MIDI instruments to use. +paper size or specifying page breaks. @item @emph{@ref{LilyPond-book}} explains the details behind creating @@ -748,8 +753,15 @@ The @emph{@ref{Literature list}} contains a set of useful reference books for those who wish to know more on notation and engraving. + +@item +@emph{@ref{Example templates}} +provides templates of LilyPond pieces. Just cut and paste a +template into a file, add notes, and you're done! + @end itemize + Once you are an experienced user, you can use the manual as reference: there is an extensive index@footnote{If you are looking for something, and you cannot find it in the manual, that is considered a bug. In @@ -856,7 +868,7 @@ vary from system to system. On occasion, this manual refers to initialization and example files. Throughout this manual, we refer to input files relative to the top-directory of the source archive. For example, @file{input/@/test/@/bla@/.ly} may refer to the file -@file{lilypond@/-2.6.0/@/input/@/test/@/bla@/.ly}. On binary packages +@file{lilypond@/-2.8.0/@/input/@/test/@/bla@/.ly}. On binary packages for the Unix platform, the documentation and examples can typically be found somewhere below @file{/usr/@/share/@/doc/@/lilypond/}. Initialization files, for example @file{scm/@/lily@/.scm}, or