X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fintroduction.itely;h=ccce7fd2db65d3d3453860564cbcc3d2063d805e;hb=b687e89b313ec664b41c6eede998c4738d6c84ab;hp=e8669e3632b545d1d68c7112ff298f0dd9638207;hpb=0c2af603fc3b4a9a35baea36ad190d3995af5d1a;p=lilypond.git diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index e8669e3632..ccce7fd2db 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -4,11 +4,6 @@ @node Introduction @chapter Introduction -LilyPond is a system for formatting music prettily. This chapter -discusses the backgrounds of LilyPond. It explains the problem of -printing music with computers, and our approach to solving those -problems. - @menu * Engraving:: @@ -31,16 +26,17 @@ inked, the depressions caused by the cutting and stamping would hold ink. An image was formed by pressing paper to the plate. The stamping and cutting was completely done by hand. Making a correction was cumbersome, if possible at all, so the engraving had to be perfect -in one go. Engraving was a highly specialized skill, a craftsman had -to complete around ten years of practical training before he could be -a master engraver. +in one go. Engraving was a highly specialized skill; a craftsman had +to complete around five years of training before earning the title of +master engraver, and another five years of experience were +necessary to become truly skilled. Nowadays, all newly printed music is produced with computers. This -has obvious advantages; prints are cheaper to make, editorial work can -be delivered by email. Unfortunately, the pervasive use of computers -has also decreased the graphical quality of scores. Computer -printouts have a bland, mechanical look, which makes them unpleasant -to play from. +has obvious advantages; prints are cheaper to make, and editorial work +can be delivered by email. Unfortunately, the pervasive use of +computers has also decreased the graphical quality of scores. +Computer printouts have a bland, mechanical look, which makes them +unpleasant to play from. @c introduce illustrating aspects of engraving, font... @@ -112,18 +108,15 @@ exact mathematical spacing, and once with corrections. Can you spot which fragment is which? @cindex optical spacing -@lilypond[quote,noindent] -\score { - \notes { - \override Staff.NoteSpacing #'stem-spacing-correction = #0.6 - c'4 e''4 e'4 b'4 | - \stemDown b'4 e''4 a'4 e''4 | \bar "||" - \override Staff.NoteSpacing #'stem-spacing-correction = #0.0 - \override Staff.StaffSpacing #'stem-spacing-correction = #0.0 - \stemBoth c'4 e''4 e'4 b'4 | - \stemDown b'4 e''4 a'4 e''4 | - } - \paper { raggedright = ##t } +@lilypond[quote,noindent,fragment] +{ + \override Staff.NoteSpacing #'stem-spacing-correction = #0.6 + c'4 e''4 e'4 b'4 | + \stemDown b'4 e''4 a'4 e''4 | \bar "||" + \override Staff.NoteSpacing #'stem-spacing-correction = #0.0 + \override Staff.StaffSpacing #'stem-spacing-correction = #0.0 + \stemNeutral c'4 e''4 e'4 b'4 | + \stemDown b'4 e''4 a'4 e''4 | } @end lilypond @@ -144,14 +137,13 @@ in the last two measures form down-stem/up-stem clumps of notes. @cindex typography Musicians are usually more absorbed with performing than with studying -the looks of piece of music; nitpicking about typographical details +the looks of piece of music, so nitpicking about typographical details may seem academical. But it is not. In larger pieces with monotonous rhythms, spacing corrections lead to subtle variations in the layout of every line, giving each one a distinct visual signature. Without -this signature all lines would look the same, they become like a -labyrinth. If the musician looks away once or has a lapse in his -concentration, he will be lost on the page. -@c he/she +this signature all lines would look the same, and they become like a +labyrinth. If a musician looks away once or has a lapse in +concentration, they might lose their place on the page. Similarly, the strong visual look of bold symbols on heavy staff lines stands out better when music is far away from reader, for example, if @@ -161,20 +153,20 @@ result minimizes the number of page turns, which is a great advantage. This is a common characteristic of typography. Layout should be pretty, not only for its own sake, but especially because it helps the -reader in his task. For performance material like sheet music, this is +reader in her task. For performance material like sheet music, this is of double importance: musicians have a limited amount of attention. The less attention they need for reading, the more they can focus on playing itself. In other words, better typography translates to better performances. -Hopefully, these examples also demonstrate that music typography is an -art that is subtle and complex, and to produce it requires -considerable expertise, which musicians usually do not have. LilyPond -is our effort to bring the graphical excellence of hand-engraved music -to the computer age, and make it available to normal musicians. We -have tuned our algorithms, font-designs, and program settings to -produce prints that match the quality of the old editions we love to -see and love to play from. +These examples demonstrate that music typography is an art that is +subtle and complex, and that producing it requires considerable +expertise, which musicians usually do not have. LilyPond is our +effort to bring the graphical excellence of hand-engraved music to the +computer age, and make it available to normal musicians. We have +tuned our algorithms, font-designs, and program settings to produce +prints that match the quality of the old editions we love to see and +love to play from. @@ -187,7 +179,7 @@ ten years to become true masters, how could we simple hackers ever write a program to take over their jobs? The answer is: we cannot. Typography relies on human judgment of -appearance, so people cannot be replaced ultimately. However, much of +appearance, so people cannot be replaced completely. However, much of the dull work can be automated. If LilyPond solves most of the common situations correctly, this will be a huge improvement over existing software. The remaining cases can be tuned by hand. Over the course @@ -217,9 +209,9 @@ method of grouping rules that do not match well with how music notation works. @end itemize -These problems have been addressed by integrating the GUILE -interpreter for the Scheme programming language and rewriting parts of -LilyPond in Scheme. The new, flexible formatting is built around the +These problems have been addressed by integrating an interpreter for +the Scheme programming language and rewriting parts of LilyPond in +Scheme. The current formatting architecture is built around the notion of graphical objects, described by Scheme variables and functions. This architecture encompasses formatting rules, typographical style and individual formatting decisions. The user has @@ -232,50 +224,53 @@ with accents and arpeggio. In the first chord, the graphical objects have all directions down (or left). The second chord has all directions up (right). -@lilypond[quote,raggedright,relative=1] +@lilypond[quote,raggedright,relative=1,fragment] \new Score \with { - \override SpacingSpanner #'spacing-increment = #3 - \override TimeSignature #'transparent = ##t - } { - \stemDown 4_>-\arpeggio - \override Arpeggio #'direction = #RIGHT - \stemUp 4^>-\arpeggio + \override SpacingSpanner #'spacing-increment = #3 + \override TimeSignature #'transparent = ##t +} { + \stemDown 4_>-\arpeggio + \override Arpeggio #'direction = #RIGHT + \stemUp 4^>-\arpeggio } @end lilypond +@noindent The process of formatting a score consists of reading and writing the -variables of graphical objects. - -Some variables have a preset value. For example, the thickness of many -lines---a characteristic of typographical style---are preset -variables. Changing them gives a different typographical impression. +variables of graphical objects. Some variables have a preset value. For +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] -fragment = \notes { - \clef bass f8 as8 - c'4-~ c'16 as g f e16 g bes c' des'4 +fragment = { + \clef bass f8 as8 + c'4-~ c'16 as g f e16 g bes c' des'4 } -\score { - << - \new Staff \fragment - \new Staff \with { +<< + \new Staff \fragment + \new Staff \with { \override Beam #'thickness = #0.3 \override Stem #'thickness = #0.5 \override Bar #'thickness = #3.6 \override Tie #'thickness = #2.2 \override StaffSymbol #'thickness = #3.0 \override Tie #'extra-offset = #'(0 . 0.3) - } \fragment - >> -} + } + \fragment +>> @end lilypond Formatting rules are also preset variables: each object has variables -containing procedures. These procedures perform the actual formatting, -and by substituting different ones, we can change behavior. In the -following example, the rule which note head objects use to produce -their symbol is changed during the music fragment. - +containing procedures. These procedures perform the actual +formatting, and by substituting different ones, we can change the +appearance of objects. In the following example, the rule which note +head objects use to produce their symbol is changed during the music +fragment. + +@c FIXME: this example has errors: +@c programming error: Grob `NoteHead' has no interface for property `text' +@c Continuing; crossing fingers @lilypond[quote,raggedright] #(define (mc-squared grob orig current) (let ((interfaces (ly:grob-property grob 'interfaces)) @@ -295,23 +290,21 @@ their symbol is changed during the music fragment. ((-2) (make-smaller-markup (make-bold-markup "2"))) (else (make-simple-markup "bla"))))))))) -\score { - \notes \context Voice \relative c' { - \stemUp - \set autoBeaming = ##f - \time 2/4 - 4 - \once \override NoteHead #'print-function = #Note_head::brew_ez_stencil - - \once \override NoteHead #'style = #'cross - - \applyoutput #mc-squared - - << +\new Voice \relative c' { + \stemUp + \set autoBeaming = ##f + \time 2/4 + 4 + \once \override NoteHead #'print-function = #Note_head::brew_ez_stencil + + \once \override NoteHead #'style = #'cross + + \applyoutput #mc-squared + + << { d8[ es-( fis^^ g] fis2-) } \repeat unfold 5 { \applyoutput #mc-squared s8 } - >> - } + >> } @end lilypond @@ -323,12 +316,12 @@ their symbol is changed during the music fragment. @cindex engraving @cindex typography -The formatting process in LilyPond decides where to place +The formatting process decides where to place symbols. However, this can only be done once it is decided @emph{what} symbols should be printed, in other words what notation to use. Common music notation is a system of recording music that has evolved -over the past 1000 years. The form that is now in common use, dates +over the past 1000 years. The form that is now in common use dates from the early renaissance. Although the basic form (i.e., note heads on a 5-line staff) has not changed, the details still change to express the innovations of contemporary notation. Hence, it encompasses some 500 @@ -336,13 +329,13 @@ years of music. Its applications range from monophonic melodies to monstrous counterpoint for large orchestras. How can we get a grip on such a many-headed beast, and force it into -the confines of a computer program? We have broken up the problem of -notation (as opposed to engraving, i.e., typography) into digestible -and programmable chunks: every type of symbol is handled by a separate -module, a so-called plug-in. Each plug-in is completely modular and -independent, so each can be developed and improved separately. People -who translate musical ideas to graphic symbols are called copyists or -engravers, so by analogy, each plug-in is called @code{engraver}. +the confines of a computer program? Our solution is break up the +problem of notation (as opposed to engraving, i.e., typography) into +digestible and programmable chunks: every type of symbol is handled by +a separate module, a so-called plug-in. Each plug-in is completely +modular and independent, so each can be developed and improved +separately. Such plug-ins are called @code{engraver}, by analogy with +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}. @@ -351,19 +344,19 @@ note heads, the @code{Note_heads_engraver}. \include "engraver-example.lyinc" \score { - \topVoice - \paper { - \context { - \VoiceContext + \topVoice + \paper { + \context { + \Voice \remove "Stem_engraver" \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" \remove "Beam_engraver" \remove "Auto_beam_engraver" - } - \context { - \StaffContext + } + \context { + \Staff \remove "Accidental_engraver" \remove "Key_engraver" \remove "Clef_engraver" @@ -371,8 +364,8 @@ note heads, the @code{Note_heads_engraver}. \remove "Time_signature_engraver" \remove "Staff_symbol_engraver" \consists "Pitch_squash_engraver" - } - } + } +} } @end lilypond @@ -386,7 +379,7 @@ Then a @code{Staff_symbol_engraver} adds the staff \topVoice \paper { \context { - \VoiceContext + \Voice \remove "Stem_engraver" \remove "Phrasing_slur_engraver" \remove "Slur_engraver" @@ -395,7 +388,7 @@ Then a @code{Staff_symbol_engraver} adds the staff \remove "Auto_beam_engraver" } \context { - \StaffContext + \Staff \remove "Accidental_engraver" \remove "Key_engraver" \remove "Clef_engraver" @@ -417,7 +410,7 @@ the @code{Clef_engraver} defines a reference point for the staff \topVoice \paper { \context { - \VoiceContext + \Voice \remove "Stem_engraver" \remove "Phrasing_slur_engraver" \remove "Slur_engraver" @@ -426,7 +419,7 @@ the @code{Clef_engraver} defines a reference point for the staff \remove "Auto_beam_engraver" } \context { - \StaffContext + \Staff \remove "Accidental_engraver" \remove "Key_engraver" \remove "Bar_engraver" @@ -446,7 +439,7 @@ and the @code{Stem_engraver} adds stems. \topVoice \paper { \context { - \VoiceContext + \Voice \remove "Phrasing_slur_engraver" \remove "Slur_engraver" \remove "Script_engraver" @@ -454,7 +447,7 @@ and the @code{Stem_engraver} adds stems. \remove "Auto_beam_engraver" } \context { - \StaffContext + \Staff \remove "Accidental_engraver" \remove "Key_engraver" \remove "Bar_engraver" @@ -466,8 +459,8 @@ and the @code{Stem_engraver} adds stems. 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 engravers for beams, slurs, accents, accidentals, bar lines, +object is created and connected to the note head. By adding +engravers for beams, slurs, accents, accidentals, bar lines, time signature, and key signature, we get a complete piece of notation. @@ -481,7 +474,7 @@ polyphony? In polyphonic notation, many voices can share a staff. @lilypond[quote,raggedright] \include "engraver-example.lyinc" -\score { \context Staff << \topVoice \\ \botVoice >> } +\new Staff << \topVoice \\ \botVoice >> @end lilypond In this situation, the accidentals and staff are shared, but the @@ -490,16 +483,16 @@ should be grouped. The engravers for note heads, stems, slurs, etc., go into a group called `Voice context,' while the engravers for key, accidental, bar, etc., go into a group called `Staff context.' In the case of polyphony, a single Staff context contains more than one Voice -context. In polyphonic notation, many voices can share a staff. +context. Similarly, more Staff contexts can be put into a single Score context. @lilypond[quote,raggedright] \include "engraver-example.lyinc" \score { - << - \new Staff << \topVoice \\ \botVoice >> - \new Staff << \pah \\ \hoom >> - >> + << + \new Staff << \topVoice \\ \botVoice >> + \new Staff << \pah \\ \hoom >> + >> } @end lilypond @@ -518,11 +511,14 @@ document. The syntax is also the user-interface for LilyPond, hence it is easy to type + @example c'4 d'8 @end example + @noindent a quarter note C1 (middle C) and an eighth note D1 (D above middle C) + @lilypond[quote,fragment] c'4 d'8 @end lilypond @@ -538,13 +534,17 @@ c4 @end lilypond @noindent -Chords can be constructed with < and > enclosing the notes +Chords can be constructed with @code{<<} and @code{>>} enclosing the notes +@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 -4 +<> @end example + @lilypond[quote,fragment,relative=1] -\new Voice { 4 } +\new Voice { <> } @end lilypond @noindent @@ -552,22 +552,24 @@ This expression is put in sequence by enclosing it in curly braces @code{@{@tie{}@dots{}@tie{}@}} @example -@{ 4 f4 @} +@{ f4 <> @} @end example -@lilypond[quote,relative=1] -\new Voice { 4 f4 } +@lilypond[quote,relative=1,fragment] +{ f4 <> } @end lilypond -@noindent -The above is an expression also, and thus it may be combined again with -another simultaneous expression (a half note) using <<, @code{\\}, and >> +@noindent +The above is also an expression, and so it may be combined +again with another simultaneous expression (a half note) using <<, +@code{\\}, and >> @example -<< g2 \\ @{ 4 f4 @} >> +<< g2 \\ @{ f4 <> @} >> @end example + @lilypond[quote,fragment,relative=2] -\new Voice { << g2 \\ { 4 f4 } >> } +\new Voice { << g2 \\ { f4 <> } >> } @end lilypond Such recursive structures can be specified neatly and formally in a @@ -579,10 +581,10 @@ User-interfaces and syntax are what people see and deal with most. They are partly a matter of taste, and also subject of much discussion. Although discussions on taste do have their merit, they are not very productive. In the larger picture of LilyPond, the -importance of input syntax is small: inventing neat syntax is easy, +importance of input syntax is small: inventing neat syntax is easy, while writing decent formatting code is much harder. This is also illustrated by the line-counts for the respective components: parsing -and representation take up less than 10% of the code. +and representation take up less than 10% of the source code. @node Example applications @@ -593,7 +595,7 @@ of music engraving into a computer program. Thanks to all that hard work, the program can now be used to perform useful tasks. The simplest application is printing notes. -@lilypond[quote,relative=1] +@lilypond[quote,relative=1,fragment] \time 2/4 c4 c g'4 g a4 a g2 @end lilypond @@ -601,13 +603,11 @@ simplest application is printing notes. By adding chord names and lyrics we obtain a lead sheet. @lilypond[quote,raggedright] -\score { - << - \context ChordNames \chords { c2 c f2 c } - \new Staff \notes \relative c' { \time 2/4 c4 c g'4 g a4 a g2 } - \context Lyrics \lyrics { twin4 kle twin kle lit tle star2 } - >> -} +<< + \chords { c2 c f2 c } + \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 } + \new Lyrics \lyricmode { twin4 kle twin kle lit tle star2 } +>> @end lilypond Polyphonic notation and piano music can also be printed. The following @@ -626,7 +626,7 @@ This manual also shows an application: the input format is text, and can therefore be easily embedded in other text-based formats such as La@TeX{}, HTML, or in the case of this manual, Texinfo. By means of a special program, the input fragments can be replaced by music images -in the resulting PostScript or HTML output files. This makes it easy +in the resulting PDF or HTML output files. This makes it easy to mix music and text in documents. @@ -642,8 +642,16 @@ The manual is divided into the following chapters: The @end ifhtml @emph{@ref{Tutorial}} -gives a gentle introduction to typesetting music. -First time users should start here. +gives a gentle introduction to typesetting music. First time +users should start here. + +@item +@ifhtml +The +@end ifhtml +@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 @ifhtml @@ -664,15 +672,15 @@ explains how to fine tune layout. @ifhtml The chapter @end ifhtml -@emph{@ref{Invoking LilyPond}} shows how to run LilyPond and its helper +@emph{@ref{Running LilyPond}} shows how to run LilyPond and its helper programs. @item @ifhtml The @end ifhtml -@emph{@ref{lilypond-book manual}} -explains the details behind creating documents with in-line music +@emph{@ref{Integrating text and music}} +explains the details behind creating documents with in-line music examples (like this manual). @item @@ -682,7 +690,7 @@ The chapter @emph{@ref{Converting from other formats}} explains how to run the conversion programs. These programs are supplied with the LilyPond package, and convert a variety of music -formats to the @code{.ly} format. In addition, this section explains +formats to the @code{.ly} format. In addition, this section explains how to upgrade input files from previous versions of LilyPond. @item @@ -690,8 +698,8 @@ how to upgrade input files from previous versions of LilyPond. The @end ifhtml @emph{@ref{Literature list}} -contains a set of useful reference books, for those who wish to know -more on notation and engraving. +contains a set of useful reference books for those who wish to know +more on notation and engraving. @end itemize Once you are an experienced user, you can use the manual as reference: @@ -749,23 +757,11 @@ Almost all formatting functionality that is used internally, is available directly to the user. For example, all variables that control thickness values, distances, etc., can be changed in input files. There are a huge number of formatting options, and all of them -are described in the generated documentation. Each section of the +are described in this document. Each section of the notation manual has a @b{See also} subsection, which refers to the the generated documentation. In the HTML document, these subsections have clickable links. -@item -Templates -@ifhtml -(available @uref{../../../input/template/out-www/collated-files.html,here}) -@end ifhtml - -After you have gone through the tutorial, you should be able to write -input files. In practice, writing files from scratch turns out to be -intimidating. To give you a head start, we have collected a number of -often-used formats in example files; simply copy the template and add -notes in the appropriate places. - @item Various input examples @ifhtml @@ -780,7 +776,7 @@ included. @item The regression tests @ifhtml -(available @uref{../../../input/regression/out-www/collated-files.html,here}) +(available @uref{../../../../input/regression/out-www/collated-files.html,here}) @end ifhtml This collection of files tests each notation and engraving feature of @@ -799,7 +795,7 @@ 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-1.7.19/input/test/bla.ly}. On binary packages for the +@file{lilypond-2.3.14/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 @file{ly/engraver-init.ly}, are