accepts.
Two more commands you have not previously seen are
-@code{\layout @{ @}} and @code{\midi @{@}}. If these appear as
-shown they will cause LilyPond to produce a printed output and a
+@code{\layout @{ @}} and @code{\midi @{@}}. If these appear as
+shown they will cause LilyPond to produce a printed output and a
MIDI output respectively. They are described fully in the
Notation Reference -- @ruser{Score layout} and
@ruser{Creating MIDI files}.
separate output files from one @code{.ly} file then the
@code{\book} command should be used to separate the different
sections: each @code{\book} block will produce a
-separate output file. For details see @ruser{Multiple scores
-in a book}.
+separate output file.
+
+In summary:
+
+Every @code{\book} block creates a separate output file (e.g., a
+pdf file). If you haven't explicitly added one, LilyPond wraps
+your entire input code in a @code{\book} block implicitly.
+
+Every @code{\score} block is a separate chunk of music within a
+@code{\book} block.
+
+Every @code{\layout} block affects the @code{\score} or
+@code{\book} block in which it appears -- i.e., a @code{\layout}
+block inside a @code{\score} block affects only that @code{\score}
+block, but a @code{\layout} block outside of a @code{\score} block
+(and thus in a @code{\book} block, either explicitly or
+implicitly) will affect every @code{\score} in that @code{\book}.
+
+Every @code{\context} block will affect the named context (e.g.,
+@code{\StaffGroup}) throughout the block (@code{\score} or
+@code{\book}) in which it appears.
+
+For details see @ruser{Multiple scores in a book}.
@cindex variables
Closely spaced notes in a chord, or notes occurring at the same
time in different voices, are arranged in two, occasionally more,
columns to prevent the note heads overlapping. These are called
-note columns. There are separate columns for each voice, and
-the currently specified voice-dependent shift is applied to the
+note columns. There are separate columns for each voice, and
+the currently specified voice-dependent shift is applied to the
note column if there would otherwise be a collision. This can
be seen in the example above. In bar 2 the C in voice two is
shifted to the right relative to the D in voice one, and in the
The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
@code{\shiftOff} commands specify the degree to which notes and
chords of the voice should be shifted if a collision
-would otherwise occur. By default, the outer voices (normally
-voices one and two) have @code{\shiftOff} specified, while the
-inner voices (three and four) have @code{\shiftOn} specified.
-When a shift is applied, Voices one and three are shifted to
+would otherwise occur. By default, the outer voices (normally
+voices one and two) have @code{\shiftOff} specified, while the
+inner voices (three and four) have @code{\shiftOn} specified.
+When a shift is applied, Voices one and three are shifted to
the right and voices two and four to the left.
@code{\shiftOnn} and @code{\shiftOnnn} define further shift
A note column can contain just one note (or chord) from a voice
with stems up and one note (or chord) from a voice with stems
down. If notes from two voices which have their stems in the
-same direction are placed at the same position and both voices
+same direction are placed at the same position and both voices
have no shift or the same shift specified, the error message
@qq{Too many clashing note columns} will be produced.
melismata in the lyrics. In the example above we use the command
@code{\autoBeamOff} to turn off the automatic beaming.
-Let us reuse the earlier example from Judas Maccabæus to
+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
-from the staff structure. We also introduce a ChoirStaff
-bracket. The lyrics themselves must be introduced with
+from the staff structure. We also introduce a ChoirStaff
+bracket. The lyrics themselves must be introduced with
@code{\lyricmode} to ensure they are interpreted as lyrics
rather than music.
and the variables containing the music can easily be placed
in separate files should they become too long.
-Here is a final example of the first line of a hymn with four
+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.
AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e }
TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 }
BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 }
-VerseOne = \lyricmode {
+VerseOne = \lyricmode {
E -- | ter -- nal fa -- ther, | strong to save, }
-VerseTwo = \lyricmode {
+VerseTwo = \lyricmode {
O | Christ, whose voice the | wa -- ters heard, }
-VerseThree = \lyricmode {
+VerseThree = \lyricmode {
O | Ho -- ly Spi -- rit, | who didst brood }
-VerseFour = \lyricmode {
+VerseFour = \lyricmode {
O | Tri -- ni -- ty of | love and pow'r }
\score {
}
@end lilypond
+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
+this within a single score is quite tricky, so follow the
+explanation carefully!
+
+Let's start with a score block containing a @code{ChoirStaff}, as
+we would like the brace to appear at the start of the chorus.
+Normally you would need angle brackets after @code{\new ChoirStaff}
+to bring in all the staves in parallel, but here we want to
+defer the parallelism during the solo so we use braces, although
+angle brackets here wouldn't hurt. Inside the @code{ChoirStaff} we
+want first the staff which will contain the verse. This must
+contain notes and lyrics in parallel, so here we need angle
+brackets around the @code{\new Voice} and @code{\new Lyrics} to
+start them at the same time:
+
+@lilypond[quote,verbatim,ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4 g g g b b b
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+\score {
+ \new Choirstaff {
+ \new Staff <<
+ \new Voice = "verse" {
+ \versenotes \break
+ }
+ \new Lyrics \lyricsto verse {
+ \versewords
+ }
+ >>
+ }
+}
+@end lilypond
+
+That gives the verse line.
+
+Now we want to continue with refrainA on the same staff while a
+second staff is introduced in parallel with it for refrainB, so
+this is a parallel section which must be positioned immediately
+following the @code{\break} in the verse Voice. Yes, @emph{within}
+the verse Voice! Here's that parallel section. More staves
+could be introduced here in the same way.
+
+@example
+<<
+ \refrainnotesA
+ \new Lyrics \lyricsto verse @{
+ \refrainwordsA
+ @}
+ \new Staff <<
+ \new Voice = "refrainB" @{
+ \refrainnotesB
+ @}
+ \new Lyrics \lyricsto "refrainB" @{
+ \refrainwordsB
+ @}
+ >>
+>>
+@end example
+
+Here's the final result with two staves in the chorus showing
+how the parallel section is positioned within the verse Voice:
+
+@lilypond[quote,verbatim, ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4 g g g b b b
+}
+refrainnotesA = \relative c'' {
+ \time 2/4
+ c c g g \bar "|."
+}
+refrainnotesB = \relative c {
+ \clef "bass"
+ \key g \major
+ c e d d
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+refrainwordsA = \lyricmode {
+ la la la la
+}
+refrainwordsB = \lyricmode {
+ dum dum dum dum
+}
+\score {
+ \new ChoirStaff {
+ \new Staff <<
+ \context Voice = "verse" {
+ \versenotes \break
+ <<
+ \refrainnotesA
+ \new Lyrics \lyricsto "verse" {
+ \refrainwordsA
+ }
+ \new Staff <<
+ \new Voice = "refrainB" {
+ \refrainnotesB
+ }
+ \new Lyrics \lyricsto "refrainB" {
+ \refrainwordsB
+ }
+ >>
+ >>
+ }
+ \new Lyrics \lyricsto "verse" {
+ \versewords
+ }
+ >>
+ }
+}
+@end lilypond
+
+@cindex book, example of using
+@funindex \book
+
+However, although this is an interesting and useful exercise to
+help you to understand how sequential and simultaneous blocks work,
+in practice one would perhaps choose to code this as two
+@code{\score} blocks within an implicit @code{\book} block, as
+follows:
+
+@lilypond[quote,verbatim,ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4 g g g b b b
+}
+refrainnotesA = \relative c'' {
+ \time 2/4
+ c c g g \bar "|."
+}
+refrainnotesB = \relative c {
+ \clef "bass"
+ \key g \major
+ c e d d
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+refrainwordsA = \lyricmode {
+ la la la la
+}
+refrainwordsB = \lyricmode {
+ dum dum dum dum
+}
+\score {
+ \new Staff <<
+ \new Voice = "verse" {
+ \versenotes
+ }
+ \new Lyrics \lyricsto "verse" {
+ \versewords
+ }
+ >>
+}
+
+\score {
+ \new ChoirStaff <<
+ \new Staff <<
+ \new Voice = "refrainA" {
+ \refrainnotesA
+ }
+ \new Lyrics \lyricsto "refrainA" {
+ \refrainwordsA
+ }
+ >>
+ \new Staff <<
+ \new Voice = "refrainB" {
+ \refrainnotesB
+ }
+ \new Lyrics \lyricsto "refrainB" {
+ \refrainwordsB
+ }
+ >>
+ >>
+}
+@end lilypond
+
@node Contexts and engravers
@section Contexts and engravers
Contexts and engravers have been mentioned informally
-in earlier sections; we now must look at
+in earlier sections; we now must look at
these concepts in more detail, as they are important
in the fine-tuning of LilyPond output.
@menu
-* Contexts explained::
-* Creating contexts::
-* Engravers explained::
-* Modifying context properties::
-* Adding and removing engravers::
+* Contexts explained::
+* Creating contexts::
+* Engravers explained::
+* Modifying context properties::
+* Adding and removing engravers::
@end menu
@node Contexts explained
projects / lilypond.git / commitdiff