@menu
* Overview::
-* Music constructs::
* Modifying music::
* Repeats::
* Note entry::
* Piano music::
* Lyrics::
* Chords::
+* Writing parts::
* Page layout::
* Sound::
* Music entry::
@end itemize
-@c . {Music constructs}
-@node Music constructs
-@section Music constructs
-@cindex Music constructs
-@menu
-* Music expressions::
-* Sequential music::
-* Simultaneous music::
-* Compound music expressions::
-@end menu
-
-@c . {Music expressions}
-@node Music expressions
-@subsection Music expressions
-
-@cindex music expressions
-
-Music in LilyPond is entered as a music expression. Notes, rests, lyric
-syllables are music expressions (the atomic expressions), and you can
-combine music expressions to form new ones. This example forms a
-compound expressions out of the quarter @code{c} note and a @code{d}
-note:
-
-@example
-\sequential @{ c4 d4 @}
-@end example
-
-The meaning of this compound expression is to play the @code{c}
-first, and then the @code{d} (as opposed to playing them
-simultaneously, for instance).
-
-@c . {Sequential music}
-@node Sequential music
-@subsection Sequential music
-@cindex Sequential music
-@cindex @code{\sequential}
-@cindex sequential music
-
-@example
- \sequential @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-This means that list should be played or written in sequence, i.e.,
-the second after the first, the third after the second. The duration
-of sequential music is the the sum of the durations of the elements.
-There is a shorthand, which leaves out the keyword:
-
-@example
-@cindex @code{<}
-@cindex @code{>}
-
- @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-@c . {Simultaneous music}
-@node Simultaneous music
-@subsection Simultaneous music
-@cindex Simultaneous music
-@cindex @code{\simultaneous}
-
-@example
- \simultaneous @code{@{} @var{musicexprlist} @code{@}}
-@end example
-
-It constructs a music expression where all of its arguments start at
-the same moment. The duration is the maximum of the durations of the
-elements. The following shorthand is a common idiom:
-
-@example
- @code{<} @var{musicexprlist} @code{>}
-@end example
-
-If you try to use a chord as the first thing in your score, you might
-get multiple staffs instead of a chord.
-
-@lilypond[verbatim,center]
- \score {
- \notes <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
-
-This happens because the chord is interpreted by a score context.
-Each time a note is encountered a default Voice context (along with a
-Staff context) is created. The solution is to explicitly instantiate
-a Voice context:
-
-@lilypond[verbatim,center]
- \score {
- \notes\context Voice <c''4 e''>
- \paper {
- linewidth = -1.;
- }
- }
-@end lilypond
-
-@c . {Compound music expressions}
-@node Compound music expressions
-@subsection Compound music expressions
-
-@cindex Compound music expressions
-
-Music expressions are compound data structures. You can nest music
-expressions any way you like. This simple example shows how three
-chords can be expressed in two different ways:
-
-@lilypond[fragment,verbatim,center]
- \notes \context Staff {
- <a c'> <b d' > <c' e'>
- < { a b c' } { c' d' e' } >
- }
-
-@end lilypond
-
-@cindex @code{\context}
-@cindex context selection
-
-@example
- \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
-@end example
-
-Interpret @var{musicexpr} within a context of type @var{contexttype}.
-If the context does not exist, it will be created. The new context
-can optionally be given a name.
-
@c . {Modifying music}
@node Modifying music
Repeating music expressions?
@menu
-* Transpose::
* Apply::
@end menu
-@c . {Transpose}
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The syntax
-is
-@example
- \transpose @var{pitch} @var{musicexpr}
-@end example
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
-
-@end lilypond
-@end quotation
-
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
@c . {Apply}
@node Apply
Print a |: bar line
@item 'stop-repeat
Print a :| bar line
-@item (volta . #f)
@item (volta . @var{text})
Print a volta bracket saying @var{text}.
+@item (volta . #f)
+ Stop a running volta bracket
@end table
@lilypond[verbatim, fragment]
* Durations::
* Notes::
* Rests::
-* Multi measure rests::
* Skip::
@end menu
@end lilypond
-
-
@c . {Rests}
@node Rests
@subsection Rests
duration.
-@c . {Multi measure rests}
-@node Multi measure rests
-@subsection Multi measure rests
-@cindex Multi measure rests
-
-@cindex @code{R}
-
-[todo: moveme to orchestral-part section?]
-
-Multi measure rests are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the appropriate number is added
-automatically.
-
-@lilypond[fragment,verbatim]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
-@end lilypond
-
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
-
-@cindex condensing rests
-
@c . {Skip}
@node Skip
@subsection Skip
* Crescendo and Decrescendo::
* Bar lines::
* Breath marks::
-* Rehearsal marks::
@end menu
@end example
You are encouraged to use @code{\repeat} for repetitions. See
-@ref{Repeat}, and the documentation of @code{whichBar} in
+@ref{Repeats}, and the documentation of @code{whichBar} in
@ref{(lilypond-internals)LilyPond context properties}.
@subsubsection Breath marks
@cindex Breath marks
-@c . {Rehearsal marks}
-@node Rehearsal marks
-@subsubsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
-
-@example
- \mark @var{unsigned};
-@cindex @code{Mark_engraver}
- \mark @var{string};
-@end example
-
-Prints a mark over or under the staff.
@c . {Bar check}
@end quotation
-
-
-
-
-
-
@c . {Lyrics}
@node Lyrics
@section Lyrics
@end lilypond
@end quotation
+@node Writing parts
+@section Writing parts
+
+@c . {Transpose}
+@menu
+* Rehearsal marks::
+* Transpose::
+* Multi measure rests::
+@end menu
+
+[TODO:
+
+partcombine
+
+rehearsal marks
+
+bar numbering
+
+tranposing midi property.
+
+]
+
+@c . {Rehearsal marks}
+@node Rehearsal marks
+@subsection Rehearsal marks
+@cindex Rehearsal marks
+@cindex mark
+@cindex @code{\mark}
+
+@example
+ \mark @var{unsigned};
+@cindex @code{Mark_engraver}
+ \mark @var{string};
+@end example
+
+Prints a mark over or under the staff.
+
+[TODO: automatic increments]
+
+@node Transpose
+@subsection Transpose
+@cindex Transpose
+@cindex transposition of pitches
+@cindex @code{\transpose}
+
+A music expression can be transposed with @code{\transpose}. The syntax
+is
+@example
+ \transpose @var{pitch} @var{musicexpr}
+@end example
+
+This means that middle C in @var{musicexpr} is transposed to
+@var{pitch}.
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose cis'} or @code{\transpose des'} will transpose up half
+a tone. The first version will print sharps and the second version
+will print flats.
+
+@quotation
+@lilypond[fragment,verbatim]
+\context Staff {
+ \clef "F";
+ { \key e \major; c d e f }
+ \clef "G";
+ \transpose des'' { \key e \major; c d e f }
+ \transpose cis'' { \key e \major; c d e f }
+}
+
+@end lilypond
+@end quotation
+
+If you want to use both @code{\transpose} and @code{\relative}, then
+you must use @code{\transpose} first. @code{\relative} will have no
+effect music that appears inside a @code{\transpose}.
+
+
+@c . {Multi measure rests}
+@node Multi measure rests
+@subsection Multi measure rests
+@cindex Multi measure rests
+
+@cindex @code{R}
+
+Multi measure rests are entered using `@code{R}'. It is specifically
+meant for entering parts: the rest can expand to fill a score with
+rests, or it can be printed as a single multimeasure rest This expansion
+is controlled by the property @code{Score.skipBars}. If this is set to true,
+Lily will not expand empty measures, and the appropriate number is added
+automatically.
+
+@lilypond[fragment,verbatim]
+ \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
+@end lilypond
+Currently, there is no way to condense multiple rests into a single
+multimeasure rest.
+
+@cindex condensing rests
@c . {Page layout}
@section Engravers
@cindex engravers
@menu
+* Selecting contexts::
* Context definitions::
* Notation Contexts::
@end menu
-[rewrite this entirely]
+@c . {Music expressions}
+@node Selecting contexts
+@subsection Selecting contexts
+
+@cindex @code{\context}
+@cindex context selection
+
+@example
+ \context @var{contexttype} [= @var{contextname}] @var{musicexpr}
+@end example
+
+Interpret @var{musicexpr} within a context of type @var{contexttype}.
+If the context does not exist, it will be created. The new context
+can optionally be given a name.
+
+
@c . {Context definitions}
@node Context definitions
@menu
* Top level::
* Identifiers::
+* Music expressions::
* Assignments::
* Lexical details::
* Lexical modes::
@end itemize
+@node Music expressions
+@subsection Music expressions
+
+@cindex music expressions
+
+Music in LilyPond is entered as a music expression. Notes, rests, lyric
+syllables are music expressions, and you can combine music expressions
+to form new ones, for example by enclosing a list of expressions in
+@code{\sequential @{ @}} or @code{< >}. In this example, a compound
+expression is formed out of the quarter note @code{c} and a quarter note
+@code{d}:
+
+@example
+\sequential @{ c4 d4 @}
+@end example
+
+@cindex Sequential music
+@cindex @code{\sequential}
+@cindex sequential music
+@cindex @code{<}
+@cindex @code{>}
+@cindex Simultaneous music
+@cindex @code{\simultaneous}
+
+The two basic compound music expressions are simultaneous and
+sequential music.
+
+@example
+ \sequential @code{@{} @var{musicexprlist} @code{@}}
+ \simultaneous @code{@{} @var{musicexprlist} @code{@}}
+@end example
+For both, there is a shorthand:
+@example
+ @code{@{} @var{musicexprlist} @code{@}}
+@end example
+for sequential and
+@example
+ @code{<} @var{musicexprlist} @code{>}
+@end example
+for simultaneous music.
+Other compound music expressions include
+@example
+ \repeat @var{expr}
+ \transpose @var{pitch} @var{expr}
+ \apply @var{func} @var{expr}
+ \context @var{type} = @var{id} @var{expr}
+ \times @var{fraction} @var{expr}
+@end example
+
+In principle, the way in which you nest sequential and simultaneous to
+produce music is not relevant. In the following example, three chords
+are expressed in two different ways:
+
+@lilypond[fragment,verbatim,center]
+ \notes \context Voice {
+ <a c'> <b d' > <c' e'>
+ < { a b c' } { c' d' e' } >
+ }
+@end lilypond
+
+However, in some cases, LilyPond will also try to choose contexts, and
+use the structure of the music expression to do so. This can have
+undesired effects: for example, LilyPond will create a separate staff
+for each note if you start a @code{\score} with a chord:
+@lilypond[verbatim,center]
+ \score {
+ \notes <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end lilypond
+ The solution is to explicitly instantiate the context you desire.
+In this case this is typically a Voice context
+@lilypond[verbatim,center]
+ \score {
+ \notes\context Voice <c''4 e''>
+ \paper {
+ linewidth = -1.;
+ }
+ }
+@end lilypond
+If you use @code{\context Staff} you will get separate stems for each
+note head, leading to collisions, so don't use that.
+
+
+
@c . {Assignments}
@node Assignments
@subsection Assignments
projects / lilypond.git / commitdiff