X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ftutorial.itely;h=047f71dc60f0f7e0ec55b823d44093f19ffba283;hb=ea1cd9ac0821fabc809e48f2b9390f26e6e90829;hp=cf84115ce163781f5240d53f3949606a227615b7;hpb=7ea47a1a1f5f64f1ac5df7e676741d33b74e5bef;p=lilypond.git diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index cf84115ce1..047f71dc60 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -752,7 +752,10 @@ demonstrated here: In this example, @code{staffA} and @code{staffB} are names that are given to the staves. It doesn't matter what names you give, as long -as each staff has a different name. +as each staff has a different name. If you give them the same name, +LilyPond will assume that you only want one staff, and will but both +pieces of music on the same staff. + @separate @@ -818,13 +821,6 @@ r4 <>4 <>8 @end quotation @separate -@ignore -@c te diepzinnig? -@c hmm, te losjes, iig -In general, @code{ < @var{stuff} > } is used when @var{stuff} all -happens at the same time, like in chords, or (like in the two-staff -example above) in a bunch of stacked staves. -@end ignore You can combine beams and ties with chords. Beam and tie markings must be placed outside the chord markers: @@ -834,11 +830,12 @@ r4 <>8-[ <>-]-~ <> @end lilypond @end quotation +@ignore When you want to combine chords with slurs and dynamics, technical detail crops up: you have type these commands next to the notes, which means that they have to be inside the @code{< >}. Don't get confused by the chord @code{< >} and the dynamic @code{\< \>}! - +@end ignore @quotation @example @@ -970,8 +967,6 @@ polyphonic music, and integrating text and music. - - @node Printing lyrics @section Printing lyrics @cindex lyrics @@ -1096,6 +1091,8 @@ The complete file is listed here: @node A melody with chords @section A melody with chords +[TODO: show how to do fixed 4 measures to the line] + In this section we show how to typeset a melody with chord accompaniment. This file is included as @file{input/tutorial/flowing.ly}. @@ -1463,8 +1460,6 @@ The convention for naming @code{LyricsVoice} and @code{Voice} must also be used to get melismata on rests correct. -@c I think we need to change the name of this section, but that -@c would probably involve a lot of changes in other places too. @node More movements @section More movements @@ -1474,16 +1469,6 @@ you need to use @code{ly2dvi}, which comes with LilyPond. @code{ly2dvi} creates the title, then calls @code{lilypond} to format the sheet music. In this section, we show you how to create titles like this: -@c Old version of the above paragraph. -@c LilyPond only produces sheet music; it doesn't concern itself with -@c producing titles. Titles are produced using a simply wrapper program -@c This is the jobs of a simple wrapper -@c program called ly2dvi. @code{ly2dvi} calls LilyPond to do the -@c sheet music formatting. Then it produces titles, and ties together all -@c inputs into a single @file{dvi} file. In this section, we show some of -@c the options for titling. We will show how you can produce a file -@c that looks like this: - @center @strong{Two miniatures} @flushright Opus 1. @@ -1572,7 +1557,7 @@ versions using old print-outs. @cindex tag line Many people find the default tagline (``Lily was here'') too droll. -If that is the case, you can change @code{tagline} to somethign else, +If that is the case, you can change @code{tagline} to something else, as shown above. @separate @@ -1726,16 +1711,14 @@ precisely one @code{Voice} context, so we give it a unique name @separate @example - +<>4-\arpeggio @end example -The delimiters @code{<} and @code{>} are shorthands for -@code{\simultaneous @{} and @code{@}}. The expression enclosed in -@code{<} and @code{>} is a chord. +The delimiters @code{<<} and @code{>>} enclose the pitches of a chord. +@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) +before the chord. @cindex arpeggio -@code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before -the chord. @separate @example @@ -1777,7 +1760,7 @@ these notes are indeed processed by precisely one context with @code{\context}. @separate @example -\voiceOne s4 g8. b,16 c8 r +\voiceOne s4 g8. b,16 c8 r <>8. <>16 @end example The oboes should have stems up to keep them from interfering with @@ -1785,7 +1768,7 @@ the staff-jumping bass figure. To do that, we use @code{\voiceOne}. @separate @example -\grace < d4 )f> +\grace <>-( <>4-) <>2 @end example @cindex @code{\grace} @cindex ornaments @@ -1806,7 +1789,7 @@ of music is multiplied by the fraction. Triplets make notes occupy 2/3 of their notated duration, so in this case the fraction is 2/3. @separate @example -@{ @} +@{ <>8 <> <> @} @end example The piece of music to be `tripletted' is sequential music containing three chords. @@ -1847,7 +1830,7 @@ This ends the two-part section. @separate @example \stemBoth -\grace <)b8. d8.-\trill> | +\grace <>8-( <>8.-\trill <>16 | @end example @cindex trill @cindex stemBoth @@ -2169,13 +2152,14 @@ a collision with the slur. This could be achieved with works. We insert an empty text between the 5 and the note. The empty text pushes the fingering instruction away: @example - a^" "^#'(finger "5") + a-)^" "^\markup @{ \finger "5" @} @end example -Lilypond tries to put fingering instructions as close to the notes as -possible. To make sure that Lilypond doesn't do that, we disguise the -fingering as text: @code{(finger "5")}. - +A fingering instruction, which would be entered as @code{^5}, is put +as close to the notes as possible, closer than the space entered to +push away the 5. Hence, the 5 is entered as a normal text, formatting +of fingering instructions. + @separate Normally one would specify all dynamics in the same voice, so that @@ -2234,6 +2218,9 @@ these ties: whenever we need such a tie, we insert a notehead in a different voice, and blank the stem. This is done in the following snippet of code. +@cindex transparent objects +@cindex removing objects +@cindex invisible objects @example \property Voice.Stem \set #'transparent = ##t d' @@ -2354,72 +2341,75 @@ for transposing instruments. @subsection The full score -The second file, @file{input/tutorial/os-score.ly}, reads the definitions of the first -(@file{input/tutorial/os-music.ly}), and defines the @code{\score} block for the full -conductor's score. - +The second file, @file{input/tutorial/os-score.ly}, reads the +definitions of the first (@file{input/tutorial/os-music.ly}), and +defines the @code{\score} block for the full conductor's score. @example -% os-score.ly +\version "1.7.6" + \include "os-music.ly" \include "paper13.ly" #(ly:set-point-and-click 'line-column) -#(define text-flat '((font-relative-size . -2) - (music "accidentals--1"))) - +textFlat = \markup @{\smaller \musicglyph #"accidentals--1"@} \score @{ < \global \property Score.BarNumber \override #'padding = #3 \context StaffGroup = woodwind < \context Staff = flauti < - \property Staff.midiInstrument = #"flute" - \property Staff.instrument = "2 Flauti" - \property Staff.instr = "Fl." + \property Staff.midiInstrument = #"flute" + \property Staff.instrument = "2 Flauti" + \property Staff.instr = "Fl." \Key - \context Voice=one @{ \voiceOne \flautoI @} - \context Voice=two @{ \voiceTwo \flautoII @} + \context Voice=one @{ \voiceOne \flautoI @} + \context Voice=two @{ \voiceTwo \flautoII @} > > \context StaffGroup = timpani < \context Staff = timpani < - \property Staff.midiInstrument = #"timpani" - \property Staff.instrument = #'(lines "Timpani" "(C-G)") - \property Staff.instr = #"Timp." - \clef bass + \property Staff.midiInstrument = #"timpani" + \property Staff.instrument = \markup @{ \column << "Timpani" "(C-G)" >> @} + \property Staff.instr = #"Timp." + \clef bass \Key - \timpani + \timpani > > \context StaffGroup = brass < \context Staff = trombe < - \property Staff.midiInstrument = #"trumpet" - \property Staff.instrument = #`(lines "2 Trombe" "(C)") - \property Staff.instr = #`(lines "Tbe." "(C)") + \property Staff.midiInstrument = #"trumpet" + \property Staff.instrument = \markup @{ \column << "2 Trombe" "(C)" >> @} + \property Staff.instr = \markup@{ \column << "Tbe." "(C)">> @} \Key - \context Voice=one \partcombine Voice - \context Thread=one \tromboI - \context Thread=two \tromboII + \context Voice=one \partcombine Voice + \context Thread=one \tromboI + \context Thread=two \tromboII > \context Staff = corni < \property Staff.midiInstrument = #"french horn" - \property Staff.instrument = #`(lines "Corno" - (columns "(E" ,text-flat ")")) - \property Staff.instr = #`(lines "Cor." - (columns "(E" ,text-flat ")")) - \property Staff.transposing = #3 - \notes \key bes \major - \context Voice=one \corno + \property Staff.instrument + = \markup @{ \column << "Corno" @{ "(E" \textFlat ")" @} >> @} + \property Staff.instr = + \markup @{ \column << "Cor." @{ "(E" \textFlat ")" @} >> @} + \property Staff.transposing = #3 + \notes \key bes \major + \context Voice=one \corno > > > \paper @{ indent = 15 * \staffspace - linewidth = 55 * \staffspace + linewidth = 60 * \staffspace textheight = 90 * \staffspace + \translator@{ + \VoiceContext + \consists "Multi_measure_rest_engraver" + @} \translator@{ \HaraKiriStaffContext + \remove "Multi_measure_rest_engraver" @} @} \midi @{