+++ /dev/null
-% -*-LaTeX-*-
-% this document should be run through the mudela-book script after lilypond
-% has been installed.
-
-
-\documentclass{article}
-\usepackage{a4wide}
-\title{Mudela and LilyPond crash course}
-\author{Han-Wen Nienhuys}
-\date{October 20, 1997}
-\def\file#1{{\texttt{#1}}}
-
-\begin{document}
-\maketitle
-\def\interexample{\par Produces the following:\par}
-\def\preexample{\par\medskip}
-\def\postexample{\par\medskip}
-
-\emph{This document is not complete yet. It's just a brief blurb which
- skims some features of Mudela}
-
-\section{Who is who}
-
-This document describes various things, but let's first point out the
-different parts of the package, and their names.
-\begin{description}
-\item[Mudela] A language for defining music.
-\item[LilyPond] A package (the only one existing :-) which can
- read a mudela file and interpret it.
-\item[Feta] A (Meta)Font of musical symbols. LilyPond uses it to
- render sheet music.
-\end{description}
-
-\section{Overview}
-
-Let's start with a very simple example, we will enter ``twinkle
-twinkle little star.'' We start with the most important part: the
-notes.
-
-Imagine being in a music-lesson, and that you made an error playing
-``twinkle twinkle''. Your teacher asks you to read out loud the
-melody of the song, just to verify your eyesight. You would probably
-say something like
-\begin{quote}
- A quarter note C, Another quarter note C, a quarter G, another one, etc.
-\end{quote}
-
-Mudela tries to capture this verbal presentation of sheet music, in
-the following way. The first line of twinkle twinkle is written in
-as follows
-\begin{verbatim}
-c4 c4 g4 g4 a4 a4 g2
-f4 f4 e4 e4 d4 d4 c2
-\end{verbatim}
-
-The notes are entered with names (a, b, c) combined with numbers
-(2,4). The names designate the pitches, the numbers the durations: 4
-is a quarter note, 2 a half note, etc.
-
-Now all we have to specify what should be done with the music. We
-want a paper version, so we combine the music with a ``output this on
-paper'' statement. These two are combined in ``score'' block. This
-is the final result with its output. We add a comment (the line
-starting with \verb+%+).
-Put this into a file
-called \file{twinkle.ly}
-
-\begin{verbatim}
-
-% twinkle, v1
-\score {
- \melodic {
- c4 c4 g4 g4 a4 a4 g2
- f4 f4 e4 e4 d4 d4 c2
- }
- \paper {}
-}
-\end{verbatim}
-
-there are a few things to note about this example:
-
-The braces are grouping characters. In general, in mudela data entry
-for a data section called ``foobar'' looks like this:
-
-\begin{verbatim}
-\foobar { ...... }
-\end{verbatim}
-
-To see if it actually works, we run it through LilyPond. Invoke the
-command
-\begin{verbatim}
- lilypond twinkle.ly
-\end{verbatim}
-When LilyPond starts working it will produce various ``operator
-pacification'' messages, which you can safely ignore for now. The run
-should have left a file called \file{lelie.tex} in your working
-directory. You can process that file with \TeX, and it will look like
-this:
-
-\begin{mudela}
-\score {
- \melodic {
- c4 c4 g4 g4 a4 a4 g2
- f4 f4 e4 e4 d4 d4 c2
- }
- \paper {}
-}
-\end{mudela}
-
-As you can see, this is the song that we wanted, albeit a little
-low-pitched. You would probably want a version of the song which has
-all notes an octave higher. This can be done by adding a
-\verb+\octave+ command to the source. This sets the default octave
-for all notes. Another convenience is the default duration: if you do
-not specify a duration with the notename, the last explicitly entered
-is used. The improved version reads thus
-
-
-\begin[verbatim]{mudela}
- % twinkle v2
-\score {
- \melodic {
- \octave c';
- c4 c g g a a g2
- f4 f e e d d c2
- }
- \paper {}
-}
-\end{mudela}
-
-
-
-FIXME rewrite starting here.
-
-\begin[verbatim]{mudela}
- \score {
- \melodic { % {...} is a voice
- c'4 g'4 % c and g are pitches, 4 is the duration
- % (crotchet/quarter note)
- c''4 ''c4 % c' is 1 octave up, 'c 1 down.
- <c'4 g'4> % <...> is a chord
- }
-}
-\end{mudela}
-
-
-\begin[fragment,verbatim]{mudela}
- { c4 e4 g4 }
-\end{mudela}
-
-Basics: the \verb+%+ introduces a comment. All music is inside a
-\verb+\score+ block which represents one movement, ie one contiguous
-block of music. Voices are grouped by \verb+{+ and \verb+}+ and
-chords by \verb+<+ and \verb+>+.
-
-
-The \verb+\octave+ command controls the default pitch (octave). If you
-do not specify duration, the last one entered is used. The
-\verb+\paper+ block contains parameters for spacing and dimensions.
-
-\begin[verbatim]{mudela}
-\score {
- % twinkle twinkle little star
- \melodic {
- \octave c';
- c4 c g g a a g2
- f4 f e e d [d8. e16] c2
-
- }
- \paper { linewidth = 5.\cm; }
-}
-\end{mudela}
-
-A more complex example; The multi command controls at what level the
-different components of a chord are interpreted. The LilyPond chord
-is much more general than a traditional chord. Multiple voices on a
-staff are entered as a chord of voices. A score is a chord of staffs,
-etc.
-
-\begin[verbatim]{mudela}
-
-\score{
- \melodic
- { \octave c'; c4 c4
- \multi 1 < { c2 c2 } { c'2 c'2 } >
- \multi 2 < { \stemdown c2 c2 } { \stemup c'2 c'2 } >
- \multi 3 <
- { \clef "bass"; c2 c2 }
- { \meter 2/4;\bar "||";
- \key fis cis gis; c'2 c'2 } >
- c2 c1
- c1 c1
- \multi 1< \multi 3 <
- { \meter 2/4; \clef "violin"; c2 c2 }
- { \meter 2/4; \clef "bass"; c2 c2 }
- >
- \multi 3 <
- { \meter 2/4; \clef "violin"; c2 c2 }
- { \meter 2/4; \clef "bass"; c2 c2 }
- >
- >
- }
-}
-
-\end{mudela}
-
-
-LilyPond is designed to handle complicated stuff automatically.
-Expertise should be in the program, not in the user.
-
-The following example shows how multiple voices on the same staff are
-handled graciously (well, somewhat). If the noteheads of different
-voices collide, they are moved horizontally. Rests are moved
-vertically.
-
-[FIXME]
-\def\bla{
-\begin[verbatim]{mudelaXX}
-two_voice = \melodic
- \multi 2 <
- { \octave c'; \stemdown
- c4 d e f g2~ g4 a [c8 d e f] c2| }
- { \stemup
- g4 f e g ~ g2 g2 c4 g4 g2 }
-
- >
-
-two_voice_steminvert = \melodic
- \multi 2 <
- { \octave c'; \stemup
-% the f and g on 4th beat are exceptionally ugh.
- c4 d e f g2 g4 a | }
- { \stemdown
- g4 f e g g2 g2 }
-
- >
-
-three_voice = \melodic
- \multi 2 <
- { \stemup
- g4 f e f g a g2 }
- { \property Voice.hshift = 1 \stemup
- e2 e2 e2 e2 }
- { \stemdown
- c4 d e d c d es }
- >
-
-
-restsII = \melodic {
- \octave c';
- \multi2 <
- { \stemup g'8 f' e' d' c' b a g f e d c }
- { \stemdown r r r r r r r r r r r r }
- >
- r8 r4
- \multi 2 < r8 r8 >
- \multi 2 < r8 r8 r8 >
- \multi 2 < r8 r8 r8 r8 >
- \multi 2 < r r >
- \multi 2 < r r r >
- \stemup
- [c''8 r8 c''8 c''8]
- [c8 r8 c8 c8]
-}
-
-\score{
- \melodic { \$two_voice \$two_voice_steminvert
- \$three_voice \restsII }
-}
-
-}
-\end{document}
projects / lilypond.git / commitdiff