X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fputting.itely;h=c0046654fb9c7b94926ca0a1df5c3c99f575c146;hb=0e9253e0c699653be5e569c5d81610bf724aac7c;hp=7c25c1193f70d3f1fcd868e47fcb76abf85ca898;hpb=32666ceb04d43968c3a17e6d50a25463dc8f7784;p=lilypond.git

diff --git a/Documentation/user/putting.itely b/Documentation/user/putting.itely
index 7c25c1193f..c0046654fb 100644
--- a/Documentation/user/putting.itely
+++ b/Documentation/user/putting.itely
@@ -2,69 +2,18 @@
 @node Putting it all together
 @chapter Putting it all together
 
-This section explains how to use the rest of the documentation and
-how to solve common problems.
+This chapter is an extention of the tutorial, dealing with FIXME.
+
 
 @menu
-* Suggestions for writing LilyPond files::  
 * Extending the templates::     
-* Fixing overlapping notation::  
 * How LilyPond files work::     
 * Score is a single musical expression::  
-* Troubleshooting (taking it all apart)::  
+* Organizing larger pieces::    
+* An orchestral part::          
 @end menu
 
 
-@node Suggestions for writing LilyPond files
-@section Suggestions for writing LilyPond files
-
-Now you're ready to begin writing larger LilyPond files -- not just the
-little examples in the tutorial, but whole pieces.  But how should you
-go about doing it?
-
-The best answer is ``however you want to do it.''  As long as LilyPond
-can understand your files and produces the output that you want, it
-doesn't matter what your files look like.  That said, sometimes we
-make mistakes when writing files.  If LilyPond can't understand your
-files, or produces output that you don't like, how do you fix the
-problem?
-
-Here are a few suggestions that can help you to avoid or fix
-problems:
-
-@itemize @bullet
-@item Include @code{\version} numbers in every file.  Note that all
-templates contain a @code{\version "2.6.0"} string.  We
-highly recommend that you always include the @code{\version}, no matter
-how small your file is.  Speaking from personal experience, it's
-quite frustrating to try to remember which version of LilyPond you were
-using a few years ago.  @code{convert-ly} requires you to declare
-which version of LilyPond you used.
-
-@item Include checks: See @ref{Bar check} and @ref{Octave check}.  If you
-include checks every so often, then if you make a mistake, you can pinpoint
-it quicker.  How often is ``every so often''?  It depends on the complexity
-of the music.  For very simple music, perhaps just once or twice.  For
-very complex music, every bar.
-
-@item One bar per line.  If there is anything complicated, either in the music
-itself or in the output you desire, it's often good to write only one bar
-per line.  Saving screen space by cramming eight bars per line just isn't
-worth it if you have to `debug' your files.
-
-@item Comment your files, with either bar numbers (every so often) or
-references to musical themes (``second theme in violins'', ``fourth
-variation'').  You may not need it when you're writing the piece for
-the first time, but if you want to go back and change something two
-or three years later, you won't know how your file is structured if you
-didn't comment the file.
-
-@item Ident your braces.  A lot of problems are caused by an imbalance
-in the number of @code{@{} and @code{@}}.
-
-@end itemize
-
-
 @node Extending the templates
 @section Extending the templates
 
@@ -78,7 +27,7 @@ cello.  In this case, we would start with ``Notes and lyrics'' (for the
 soprano part).
 
 @example
-\version "2.6.0"
+\version "2.7.39"
 melody = \relative c' @{
   \clef treble
   \key c \major
@@ -93,11 +42,11 @@ text = \lyricmode @{
 
 \score@{
   <<
-    \context Voice = one @{
+    \new Voice = "one" @{
       \autoBeamOff
       \melody
     @}
-    \lyricsto "one" \new Lyrics \text
+    \new Lyrics \lyricsto "one" \text
   >>
   \layout @{ @}
   \midi @{ \tempo 4=60 @}
@@ -107,7 +56,7 @@ text = \lyricmode @{
 Now we want to add a cello part.  Let's look at the ``Notes only'' example:
 
 @example
-\version "2.6.0"
+\version "2.7.39"
 melody = \relative c' @{
   \clef treble
   \key c \major
@@ -143,7 +92,7 @@ normally use bass clef.  We'll also give the cello some different
 notes.
 
 @example
-\version "2.6.0"
+\version "2.7.39"
 sopranoMusic = \relative c' @{
   \clef treble
   \key c \major
@@ -166,11 +115,11 @@ celloMusic = \relative c @{
 
 \score@{
   <<
-    \context Voice = one @{
+    \new Voice = "one" @{
       \autoBeamOff
       \sopranoMusic
     @}
-    \lyricsto "one" \new Lyrics \sopranoLyrics
+    \new Lyrics \lyricsto "one" \sopranoLyrics
   >>
   \layout @{ @}
   \midi @{ \tempo 4=60 @}
@@ -193,16 +142,16 @@ more than one thing (in this case staff) happening at once.  The
 
 @example
 \score@{
-<<
   <<
-    \context Voice = one @{
-      \autoBeamOff
-      \sopranoMusic
-    @}
-    \lyricsto "one" \new Lyrics \sopranoLyrics
+    <<
+      \new Voice = "one" @{
+        \autoBeamOff
+        \sopranoMusic
+      @}
+      \new Lyrics \lyricsto "one" \sopranoLyrics
+    >>
+    \new Staff \celloMusic
   >>
-  \new Staff \celloMusic
->>
   \layout @{ @}
   \midi @{ \tempo 4=60 @}
 @}
@@ -212,8 +161,8 @@ more than one thing (in this case staff) happening at once.  The
 This looks a bit messy; the indentation is messed up now.  That is
 easily fixed.  Here's the complete soprano and cello template.
 
-@lilypond[quote,verbatim,raggedright]
-\version "2.6.0"
+@lilypond[quote,verbatim,ragged-right]
+\version "2.7.39"
 sopranoMusic = \relative c' {
   \clef treble
   \key c \major
@@ -236,14 +185,14 @@ celloMusic = \relative c {
 
 \score{
   <<
-  <<
-    \context Voice = one {
-      \autoBeamOff
-      \sopranoMusic
-    }
-    \lyricsto "one" \new Lyrics \sopranoLyrics
-  >>
-  \new Staff \celloMusic
+    <<
+      \new Voice = "one" {
+        \autoBeamOff
+        \sopranoMusic
+      }
+      \new Lyrics \lyricsto "one" \sopranoLyrics
+    >>
+    \new Staff \celloMusic
   >>
   \layout { }
   \midi { \tempo 4=60 }
@@ -252,72 +201,6 @@ celloMusic = \relative c {
 
 
 
-@node Fixing overlapping notation
-@section Fixing overlapping notation
-
-This may come as a surprise, but LilyPond isn't perfect.  Some notation
-elements can overlap.  This is unfortunate, but (in most cases) is easily
-solved.
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-@cindex padding
-
-The easiest solution is to increase the distance between the object
-(in this case text, but it could easily be fingerings or dynamics
-instead) and the note.  In LilyPond, this is called the
-@code{padding} property.  For most objects, it is around 1.0 or
-less (it varies with each object).  We want to increase it, so let's
-try 1.5
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'padding = #1.5
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-That looks better, but it isn't quite big enough.  After experimenting
-with a few values, we think 2.3 is the best number in this case.  However,
-this number is merely the result of experimentation and my personal
-taste in notation.  Try the above example with 2.3... but also try higher
-(and lower) numbers.  Which do you think looks the best?
-
-@cindex extra-offset
-
-Another solution gives us complete control over placing the object -- we
-can move it horizontally or vertically.  This is done with the
-@code{extra-offset} property.  It is slightly more complicated and can
-cause other problems.  When we move objects with @code{extra-offset},
-the movement is done after LilyPond has placed all other objects.  This means
-that the result can overlap with other objects.
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'extra-offset = #'( 1.0 . -1.0 )
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-With @code{extra-offset}, the first number controls the horizontal
-movement (left is negative); the second number controls the vertial
-movement (up is positive).  After a bit of experimenting, we decided
-that these values look good
-
-@lilypond[quote,fragment,raggedright,verbatim,relative=2]
-\once \override TextScript #'extra-offset = #'( -1.6 . 1.0 )
-e4^\markup{ \italic ritenuto } g b e
-@end lilypond
-
-@noindent
-Again, these numbers are simply the result of a few experiments and
-looking at the output.  You might prefer the text to be slightly higher,
-or to the left, or whatever.  Try it and look at the result!
-
-
-@seealso
-
-This manual: @ref{The \override command}, @ref{Common tweaks}.
-
-
 @node How LilyPond files work
 @section How LilyPond files work
 
@@ -344,13 +227,12 @@ examples.  They all need at least curly braces to compile
 @}
 @end example
 
-@noindent
-but most examples also make use of the @code{\relative c'}
+Most examples also make use of the @code{\relative c'}
 (or @code{c''}) command.  This is not necessary to merely
 compile the examples, but in most cases the output will
 look very odd if you omit the @code{\relative c'}.
 
-@lilypond[quote,fragment,raggedright,verbatim]
+@lilypond[quote,fragment,ragged-right,verbatim]
 \relative c'' {
   c4 a b c
 }
@@ -365,7 +247,7 @@ correct output, it is shorthand for
 \score @{
   \relative c'' @{
     c4 a b c
-	@}
+  @}
 @}
 @end example
 
@@ -376,8 +258,8 @@ be anything from a single note to a huge
 @example
 @{
   \new GrandStaff <<
-	  insert the whole score of a Wagner opera in here
-	>>
+    insert the whole score of a Wagner opera in here
+  >>
 @}
 @end example
 
@@ -390,10 +272,10 @@ The @code{\score} can contain other things, such as
 @example
 \score @{
   @{ c'4 a b c' @}
-	\layout @{ @}
-	\paper @{ @}
-	\midi @{ @}
-	\header @{ @}
+  \layout @{ @}
+  \paper @{ @}
+  \midi @{ @}
+  \header @{ @}
 @}
 @end example
 
@@ -417,12 +299,12 @@ melody = \relative c' @{
 @end example
 
 When LilyPond looks at this file, it takes the value of
-@code{melody} (ie everything to the right of the
-@code{melody = }) and inserts it whenever it sees
+@code{melody} (everything after the equals sign) and
+inserts it whenever it sees
 @code{\melody}.  There's nothing special about the
-name @code{melody}, @code{global}, @code{pianorighthand},
-or @code{foofoobarbaz}.  You can use whatever variable
-names you want.
+names -- it could be @code{melody}, @code{global},
+@code{pianorighthand}, or @code{foofoobarbaz}.  You
+can use whatever variable names you want.
 
 For a complete definition
 of the input format, see @ref{File structure}.
@@ -460,7 +342,7 @@ work our way down.
       insert the whole score of a Wagner opera in here
     >>
   @}   % this brace ends the overall music expression
-	\layout @{ @}
+  \layout @{ @}
 @}
 @end example
 
@@ -474,10 +356,10 @@ though.
 \score @{
   @{
     <<
-		  \context Staff = singer @{
-			@}
-			\context PianoStaff = piano @{
-			@}
+      \new Staff = "singer" <<
+      >>
+      \new PianoStaff = piano <<
+      >>
     >>
   @}
   \layout @{ @}
@@ -492,14 +374,14 @@ the vocal part and piano part at the same time!
 \score @{
   @{
     <<
-		  \context Staff = singer @{
-			  \context Voice = vocal @{ @}
-				\lyricsto vocal \new Lyrics @{ @}
-			@}
-			\context PianoStaff = piano @{
-			  \context Staff = upper @{ @}
-				\context Staff = lower @{ @}
-			@}
+      \new Staff = "singer" <<
+        \new Voice = "vocal" @{ @}
+      >>
+      \new Lyrics \lyricsto vocal \new Lyrics @{ @}
+      \new PianoStaff = "piano" <<
+        \new Staff = "upper" @{ @}
+        \new Staff = "lower" @{ @}
+      >>
     >>
   @}
   \layout @{ @}
@@ -507,14 +389,15 @@ the vocal part and piano part at the same time!
 @end example
 
 Now we have a lot more details.  We have the singer's
-staff.  It contains a @code{Voice} (in LilyPond, this
+staff: it contains a @code{Voice} (in LilyPond, this
 term refers to a set of notes, not necessarily vocal
 notes -- for example, a violin generally plays one
-voice) and some lyrics.  The piano contains an upper
-staff (right hand) and a lower staff (left hand).
+voice) and some lyrics.  We also have a piano staff:
+it contains an upper staff (right hand) and a lower
+staff (left hand).
 
 At this stage, we could start filling in notes.  Inside
-the curly braces next to @code{\context Voice = vocal},
+the curly braces next to @code{\new Voice = vocal},
 we could start writing
 
 @example
@@ -536,14 +419,14 @@ lower = @{ @}
 \score @{
   @{
     <<
-		  \context Staff = singer @{
-			  \context Voice = vocal @{ \melody @}
-				\lyricsto vocal \new Lyrics @{ \text @}
-			@}
-			\context PianoStaff = piano @{
-			  \context Staff = upper @{ \upper @}
-				\context Staff = lower @{ \lower @}
-			@}
+      \new Staff = "singer" <<
+        \new Voice = "vocal" @{ \melody @}
+      >>
+      \new Lyrics \lyricsto vocal \new Lyrics @{ \text @}
+      \new PianoStaff = "piano" <<
+        \new Staff = "upper" @{ \upper @}
+        \new Staff = "lower" @{ \lower @}
+      >>
     >>
   @}
   \layout @{ @}
@@ -551,7 +434,9 @@ lower = @{ @}
 @end example
 
 @noindent
-Remember that you can use any names you like.
+Remember that you can use almost any name you like.  The
+limitations on identifier names are detailed in
+@ref{File structure}.
 
 When writing a @code{\score} section, or when reading
 one, just take it slowly and carefully.  Start with
@@ -562,52 +447,187 @@ layer starts on the same horizontal position in your
 text editor!
 
 
-@node Troubleshooting (taking it all apart)
-@section Troubleshooting (taking it all apart)
+@node Organizing larger pieces
+@section Organizing larger pieces
+
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic pieces,
+more deeply nested.  Such large expressions can become unwieldy.
+
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions.  An identifier is assigned as follows
+
+@example
+namedMusic = @{ @dots{} @}
+@end example
+
+@noindent
+The contents of the music expression @code{namedMusic}, can be used
+later by preceding the name with a backslash, i.e., @code{\namedMusic}.
+In the next example, a two-note motive is repeated two times by using
+variable substitution
+
+@lilypond[quote,ragged-right,verbatim,nofragment]
+seufzer = {
+  e'4( dis'4)
+}
+{ \seufzer \seufzer }
+@end lilypond
+
+The name of an identifier should have alphabetic characters only; no
+numbers, underscores or dashes.  The assignment should be outside of
+running music.
 
-Sooner or later, you will write a file that LilyPond cannot
-compile.  The messages that LilyPond gives may help
-you find the error, but in many cases you need to do some
-investigation to determine the source of the problem.
+It is possible to use variables for many other types of objects in the
+input.  For example,
 
-The most powerful tool for this purpose is the
-comment (@code{%} and @code{%@{ ... %@}}).  If you don't
-know where a problem is, start commenting out huge portions
-of your input file.  After you comment out a section, try
-compiling the file again.  If it works, then the problem
-must exist in the portion you just commented.  If it doens't
-work, then keep on commenting out material until you have
-something that works.
+@example
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
 
-In an extreme case, you might end up with only
+Depending on its contents, the identifier can be used in different
+places.  The following example uses the above variables
 
 @example
-\score @{ <<
-  % \melody
-	% \harmony
-	% \bass
->>
-  \layout@{@}
+\paper @{
+  \aFivePaper
+  line-width = \width
 @}
+@{ c4^\name @}
 @end example
 
-@noindent
-(in other words, an empty file)
+More information on the possible uses of identifiers is given in the
+technical manual, in @ref{Input variables and Scheme}.
+@c fixme: the ref is too technical.
+
+
+@node An orchestral part
+@section An orchestral part
+
+In orchestral music, all notes are printed twice.  Once in a part for
+the musicians, and once in a full score for the conductor.  Identifiers can
+be used to avoid double work.  The music is entered once, and stored in
+a variable.  The contents of that variable is then used to generate
+both the part and the full score.
+
+It is convenient to define the notes in a special file.  For example,
+suppose that the file @file{horn-music.ly} contains the following part
+of a horn/@/bassoon duo
 
-If that happens, don't give up.  Uncomment a bit -- say,
-the bass part -- and see if it works.  If it doesn't,
-then comment out all of the bass music (but leave
-@code{\bass} in the @code{\score} uncommented.
+@example
+hornNotes = \relative c @{
+  \time 2/4
+  r4 f8 a cis4 f e d
+@}
+@end example
+
+@noindent
+Then, an individual part is made by putting the following in a file
 
 @example
-bass = \relative c' @{
-%@{
-  c4 c c c
-  d d d d
-%@}
+\include "horn-music.ly"
+\header @{
+  instrument = "Horn in F"
+@}
+
+@{
+ \transpose f c' \hornNotes
 @}
 @end example
 
-Now start slowly uncommenting more and more of the
-@code{bass} part until you find the problem line.
+The line
+
+@example
+\include "horn-music.ly"
+@end example
+
+@noindent
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards.  The command
+@code{\transpose f@tie{}c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth upwards.  Sounding
+@samp{f} is denoted by notated @code{c'}, which corresponds with the
+tuning of a normal French Horn in@tie{}F.  The transposition can be seen
+in the following output
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+  \time 2/4
+  r4 f8 a cis4 f e d
+}
+@end lilypond
+
+In ensemble pieces, one of the voices often does not play for many
+measures.  This is denoted by a special rest, the multi-measure
+rest.  It is entered with a capital @samp{R} followed by a duration
+(1@tie{}for a whole note, 2@tie{}for a half note, etc.).  By multiplying the
+duration, longer rests can be constructed.  For example, this rest
+takes 3@tie{}measures in 2/4 time
+
+@example
+R2*3
+@end example
+
+When printing the part, multi-rests
+must be condensed.  This is done by setting a run-time variable
+
+@example
+\set Score.skipBars = ##t
+@end example
+
+@noindent
+This command sets the property @code{skipBars} in the
+@code{Score} context to true (@code{##t}).  Prepending the rest and
+this option to the music above, leads to the following result
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+  \time 2/4
+  \set Score.skipBars = ##t 
+  R2*3
+  r4 f8 a cis4 f e d
+}
+@end lilypond
+
+
+The score is made by combining all of the music together.  Assuming
+that the other voice is in @code{bassoonNotes} in the file
+@file{bassoon-music.ly}, a score is made with
+
+@example
+\include "bassoon-music.ly"
+\include "horn-music.ly"
+
+<<
+  \new Staff \hornNotes
+  \new Staff \bassoonNotes
+>>
+@end example
+
+@noindent
+leading to 
+
+@lilypond[quote,ragged-right]
+\relative c <<
+  \new Staff {
+    \time 2/4 R2*3
+    r4 f8 a cis4 f e d
+  }
+  \new Staff {
+    \clef bass
+    r4 d,8 f | gis4 c | b bes |
+    a8 e f4 | g d | gis f
+  }
+>>
+@end lilypond
+
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ref{Orchestral music}.
+
+Setting run-time variables (`properties') is discussed in
+@ref{Changing context properties on the fly}.
+