\author{Jan Nieuwenhuizen}
\date{March 2, 1998}
+\def\file#1{\verb+#1+}
+
% ugh: trick to get examples not generate par
% these are for 16pt
\def\mudelapaperlinewidth{-28.452756}%
\def\mudelapaperinterbeam{3.140000}%
\def\mudelapapergourlay_energybound{100000.000000}%
\def\mudelapapergourlay_maxmeasures{14.000000}%
+% huh?
+% \def\exampleheight{2\mudelapaperbarsize pt}
+\def\exampleheight{2cm}
% ful of pars, needs the above
\input lilyponddefs
% generates par
\turnOnPostScript%
\def\turnOnPostScript{}
+% generates par
+\def\interscoreline{}
%
\begin{document}
\maketitle
-\def\interexample{\hskip15mm$\Longrightarrow$\hskip15mm}
-\def\preexample{}
+%\def\interexample{\hskip15mm$\Longrightarrow$\hskip15mm}
+%\def\interexample{\hbox to10mm{\hfill\hbox to0pt{\hss\vbox to\exampleheight{\vss$\Longrightarrow$\vss}\hss}\hfill}}
+\def\interexample{}
+\def\preexample{\par}
\def\postexample{\par\medskip}
-% ugh, howto?
-% \def\frag{\vbox to 2\mudelapaperbarsize pt{\vss}
-% \def\interexample{\vss}\hskip15mm$\Longrightarrow$\hskip15mm}
-% \def\preexample{\vbox to 2\mudelabarsize pt{\vss}
-% \def\postexample{\vss}\par\medskip}
-
\def\file#1{{\texttt{#1}}}
\setcounter{secnumdepth}{-1}
This document should provide a gentle introduction to
LilyPond's input language, Mudela.
For completeness and nifty features see
-\verb+input/*.ly+
+\file{input/*.ly}
and
-\verb+lily/parser.y, lily/lexer.l+.
-
-
-\section{Notes: pitches and durations}
-
-\begin[fragment,verbatim]{mudela}
+\file{lily/parser.y}, \file{lily/lexer.l}.
+By tradition, Mudela files have the extension \file{.ly}.
+
+Mudela is an ascii script language
+that is especially designed
+to be easy to read and write.
+In the following sections
+the basic elements of Mudela are presented
+in a series of simple examples.
+Each example has
+a verbatim snippet of Mudela%
+% a snippet of Mudela as it's typed-in%
+\footnote{
+In an effort not to bore you too much with details,
+we leave-out some red tape
+that's needed for a valid piece of Mudela.
+Therefore, before you try-out any of the examples,
+be sure to read the section `A complete example'.}
+on the left
+and the resulting fragment of music on the right
+as it was produced by LilyPond.
+
+\section{Notes}
+
+Let's start with a single note, a quarter C
+
+\begin[fragment,verbatim,center]{mudela}
c
\end{mudela}
-\begin[fragment,verbatim]{mudela}
+Now that was easy and entering a scale is not much harder
+
+%\subsection{Pitches}
+
+\begin[fragment,verbatim,center]{mudela}
c d e f g a b
\end{mudela}
-Durations are entered as reciproce values
-\begin[fragment,verbatim]{mudela}
-a1 | a2 a | a4 a a a
-\end{mudela}
-and default to the last previously used duration.
+% \subsection{Durations}
-Now we can write a little tune
-\begin[fragment,verbatim]{mudela}
-c d e c | c d e c | e f g2 | e4 f g2
+However, having only quarter notes may get a bit dull.
+Durations are entered as their reciproce values
+% a1 a2 a4 a a8 a a16 a a32 a a64 a a a a
+\begin[fragment,verbatim,center]{mudela}
+a1 a2 a4 a a8 a a16 a32 a64
\end{mudela}
-note the explicit duration change for
-the quarter e in the last measure.
+note that you only have to specify
+the duration when it changes:
+Lily assumes a note has the same duration as the previous one.
-Same for notes with flags
-\begin[fragment,verbatim]{mudela}
-a8 a16 a32 a64 a128
+Now we can already write a little tune
+\begin[fragment,verbatim,center]{mudela}
+c d e c | c d e c | e f g2
\end{mudela}
-
-\begin[fragment,verbatim]{mudela}
+As you'll probably have guessed,
+the vertical bar (pipe) \verb+|+ may be used to mark
+measures.
+
+In the scale shown above
+we left-out the last c note of the next octave.
+Postfixing the pitch with a quote \verb+'+
+produces a note by one octave higher
+\begin[fragment,verbatim,center]{mudela}
c c' c''
\end{mudela}
-\begin[fragment,verbatim]{mudela}
+Prefixing the pitch with a quote \verb+'+
+produces a note by one octave lower
+\begin[fragment,verbatim,center]{mudela}
a 'a ''a
\end{mudela}
A tie connects two adjacent noteheads
-\begin[fragment,verbatim]{mudela}
-c' ~ c
+\begin[fragment,verbatim,center]{mudela}
+e' ~ e
\end{mudela}
Whereas a slur rather connects `chords',
-and tries to avoid crossing stems.
+and tries to avoid crossing stems
-\begin[fragment,verbatim]{mudela}
-c'( )c
+\begin[fragment,verbatim,center]{mudela}
+e'( )e
\end{mudela}
-A (legato) slur can span several notes
-\begin[fragment,verbatim]{mudela}
-c'( d e )c
+And of course, such a (legato) slur can span several notes
+\begin[fragment,verbatim,center]{mudela}
+c( d e )f
\end{mudela}
-\section{Beams and plets}
+\section{Beams and Plets}
-\begin[fragment,verbatim]{mudela}
+A beam is
+\begin[fragment,verbatim,center]{mudela}
[a8 a] [a16 a a a]
\end{mudela}
-% [2/3 a8 a a]1/1
-\begin[fragment,verbatim]{mudela}
+Here's a beamed triplet
+\begin[fragment,verbatim,center]{mudela}
[/3 a8 a a]/1
\end{mudela}
-\begin[fragment,verbatim]{mudela}
+a triplet without a beam
+\begin[fragment,verbatim,center]{mudela}
\[/3 a4 a8\]
\end{mudela}
+and a combination
+\begin[fragment,verbatim,center]{mudela}
+[/3 a8 a16 a] a8 \]
+\end{mudela}
+
+Abbreviations
+\begin[fragment,verbatim,center]{mudela}
+c1:16 [:16 e1 g]
+\end{mudela}
+
+\begin[fragment,verbatim,center]{mudela}
+c4:32 [:16 c8 d8]
+\end{mudela}
+
+\section{Notenames}
+
+Lily has predefined sets of notenames
+for various languages%
+\footnote{These are Dutch, English, German, Italian and Swedish.
+Simply include the language specific init file \file{<language.ly>}.}.
+The default set are the ones we like best are the Dutch notenames.
+
+A sharp is formed by adding \verb+is+
+\begin[fragment,verbatim,center]{mudela}
+cis dis eis fis gis ais bis
+\end{mudela}
+
+and a flat is formed by adding \verb+es+%
+%\footnote{Exceptions: \verb+es+ and \verb+as+.}
+\footnote{Exceptions: {\tt es} and {\tt as}.}
+\begin[fragment,verbatim,center]{mudela}
+ces des es fes ges as bes
+\end{mudela}
+
+With the obvious names for double sharps
+\begin[fragment,verbatim,center]{mudela}
+cisis disis eisis fisis gisis aisis bisis
+\end{mudela}
+
+and double flats
+\begin[fragment,verbatim,center]{mudela}
+ceses deses eses feses geses ases beses
+\end{mudela}
+See why we like-em?
+
+There are two special `notenames', the rest
+\begin[fragment,verbatim,center]{mudela}
+r16 [a a a]
+\end{mudela}
+
+and the space
+\begin[fragment,verbatim,center]{mudela}
+a2 s-"diminuendo" | a
+\end{mudela}
+
+
\section{Commands}
-\begin[fragment,verbatim]{mudela}
+\begin[fragment,verbatim,center]{mudela}
\clef "bass"; 'c
\end{mudela}
-\begin[fragment,verbatim]{mudela}
+and a clef-change
+\begin[fragment,verbatim,center]{mudela}
+\clef "violin"; f' e' \clef "alto"; d' c'
+\end{mudela}
+
+\begin[fragment,verbatim,center]{mudela}
\meter 3/4; c g g |
\end{mudela}
-\begin[fragment,verbatim]{mudela}
+\begin[fragment,verbatim,center]{mudela}
\key fis cis;
'g 'a 'b cis d e fis g'
\end{mudela}
+Note how Mudela allows you to
+convey a musical message
+rather than forces you to produce a list of typesetting commands.
+If the music a \verb+cis+, you type a \verb+cis+.
+Depending on the key and context of the note
+Lily will determine what accidentals to typeset.
+
+A reminder accidental can be forced by
+using an exclamation mark \verb+!+
+on a pitch a reminder accidental
+\begin[fragment,verbatim,center]{mudela}
+cis d e cis | c! d e c |
+\end{mudela}
+
+\begin[fragment,verbatim,center]{mudela}
+\meter 2/4;
+\bar "|:"; c c \bar ":|:"; c c \bar ":|"; c c \bar "|.";
+\end{mudela}
-\section{Example}
+\section{Scripts}
+
+Staccato may be abbreviated
+\begin[fragment,verbatim,center]{mudela}
+a-\staccato a-.
+\end{mudela}
+
+Marcato
+\begin[fragment,verbatim,center]{mudela}
+a-\marcato a-|
+\end{mudela}
+
+Staccatissimo
+\begin[fragment,verbatim,center]{mudela}
+a-\staccatissimo a-^
+\end{mudela}
+
+Sforzato
+% duh?
+% a-\sforzato a->
+\begin[fragment,verbatim,center]{mudela}
+a-\accent a->
+\end{mudela}
+
+\begin[fragment,verbatim,center]{mudela}
+a-\fermata
+\end{mudela}
+
+\begin[fragment,verbatim,center]{mudela}
+a-\fermata
+\end{mudela}
+
+Dynamics from pianississimo upto mezzopiano
+\begin[fragment,verbatim,center]{mudela}
+a\ppp a\pp a\p a\mp
+\end{mudela}
+
+from fortississimo downto mezzoforte
+\begin[fragment,verbatim,center]{mudela}
+a\fff a\ff a\f a\mf
+\end{mudela}
+
+sforzando, sforzato and rinforzato
+% huh?
+% a\sfz a\sf a\rf
+\begin[fragment,verbatim,center]{mudela}
+a\sfz a\sf
+\end{mudela}
+
+Fingering
+\begin[fragment,verbatim,center]{mudela}
+[e8-1 c'-5 g-3 f-2] a''-\flageolet
+\end{mudela}
+
+Bowing
+\begin[fragment,verbatim,center]{mudela}
+c-\upbow d-\downbow
+\end{mudela}
+
+Footwork
+\begin[fragment,verbatim,center]{mudela}
+\clef "bass"; \octave c;
+ 'b4.-\lheel [cis8-\ltoe dis8-\rtoe e8-\rheel]
+\end{mudela}
+
+\section{Chords and Voices}
+
+Here's a simple chord
+\begin[fragment,verbatim,center]{mudela}
+<c e g>
+\end{mudela}
+
+here are a few
+\begin[fragment,verbatim,center]{mudela}
+<
+ { c()d()c }
+ { e()f()e }
+ { g()a()g }
+>
+\end{mudela}
+
+and similarly voices
+\begin[fragment,verbatim,center]{mudela}
+<
+ { \voiceone c g c g }
+ { \voicetwo 'c2 'g2 }
+>
+\end{mudela}
+
+
+\section{A complete example}
+%\label{se:complete}
A Mudela file needs some red tape
-\begin[verbatim]{mudela}
+\begin[verbatim,center]{mudela}
\score{
- \melodic{
+ \melodic {
\octave c';
- c d e c
+ c d e c |
+ c d e c |
+ e f g2 |
}
}
\end{mudela}
\section{Lyrics}
-% this nesting syntax sucks
-\begin[verbatim]{mudela}
+\begin[verbatim,center]{mudela}
\score{
<
- \melodic \type Staff = bla < \melodic{\octave c'; c d e c} >
-% huh?
-% \lyric \type Lyrics = bli < \lyric{Fre- re Ja- que} >
- >
+ \melodic{
+ \octave c';
+ c d e c | c d e c |
+ e f g2 | e4 f g2
+ \bar "|.";
+ }
+ \type Lyrics \lyric{
+ Fr\`e-4 re Ja- que
+ Fr\`e- re Ja- que
+ Dor- mez vous?2
+ Dor-4 mez vous?2
+ }
+ >
}
\end{mudela}
\section{Variables}
+
+\section{Ly2dvi}
+Check-out this handy little script
+that not only may save you quite some keystrokes,
+but produces titles and takes care of
+margins and (hopefully) papersizes.
+See \file{ly2dvi (1)}.
+
\end{document}
=head1 SYNOPSIS
- ly2dvi file[.ly]
+ ly2dvi [options] inputfile[.ly] [....]
=head1 DESCRIPTION
-ly2dvi is a script that will setup LaTeX and TeX for you to ...
+ly2dvi is a shell script which creates input file for LaTeX,
+based on information from the output file(s) from lilypond.
+The script handles multiple files. If a mudela file name is
+specified lilypond is run to make an output (TeX) file.
+
+One or more LaTeX files are created, based on information found
+in the output (TeX) file(s), and latex is finally run to create
+one or more DVI files.
=head1 OPTIONS
=over 5
-=item B<--help>
+=item B<-D,--debug>
+
+Set debug mode. There are two levels - in level one some debug
+info is written, in level two the command C<set -x> is run, which
+echoes every command in the ly2dvi script.
+
+=item B<-O,--orientation=>
+
+Set orientation - portrait is the default.
+(C<-O> landscape produces C<\usepackage[landscape]{article}>)
+
+=item B<-o,--output=>
+
+Set output directory.
+
+=item B<-h,--help>
+
+Print help.
-give help
+=item B<-k,--keep>
-=item .....
+Keep the LaTeX file after the run.
+
+=item B<-l,--language>
+
+Specify LaTeX language.
+(C<-l norsk> produces C<\usepackage[norsk]{babel}>).
+
+=item B<-p,--papersize=>
+
+Specify papersize.
+(C<-p a4paper> produces C<\usepackage[a4paper]{article}>)
+
+=item B<-s,--separate>
+
+Normally all output files are included into one LaTeX file.
+With this switch all files are run separately, to produce one
+DVI file for each.
=back
-=head1 SOMETHING
+=head1 FEATURES
+
+ly2dvi responds to several parameters specified in the mudela
+file. They are overridden by corresponding command line options.
+
+=over 5
+
+=item B<papersize>
+
+Specify papersize.
+
+=item B<orientation>
+
+Set orientation.
+
+=item B<language>
+
+Specify LaTeX language
+
+=item B<paperlinewidth>
+
+Specify the width (pt, mm or cm) of the printed lines.
+
+=back
=head1 ENVIRONMENT
+=over 5
+
+=item B<LILYINCLUDE>
+
+Additional directories for the input file(s).
+
+=item B<TMP>
+
+Temporary directory. Default is /tmp
+
+=back
+
=head1 FILES
-F</etc/papersize> contains ...
+F<titledefs.tex> is inspected for definitions used to extract
+additional text definitions from the mudela file. In the current
+version the following are defined:
+
+=over 5
+
+=item B<title>
+
+The title of the music. Centered on top of the first page.
+
+=item B<subtitle>
+
+Subtitle, centered below the title.
+
+=item B<composer>
+
+Name of the composer, rightflushed below the subtitle.
+
+=item B<arranger>
+
+Name of the arranger, rightflushed below the composer.
+
+=item B<instrument>
+
+Name of the instrument, leftflushed at same level as the composer.
+
+=back
=head1 SEE ALSO
-lilypond(1),
+lilypond(1), TeX, LaTeX
=head1 AUTHOR
-JAF
+Jan Arne Fagertun <Jan.A.Fagertun@energy.sintef.no>,
+http://www.termo.unit.no/mtf/people/janaf/
=head1 BUGS
-Does not handle margins properly
+If you have found a bug, you should send a bugreport.
+
+=over 4
+
+=item *
+Send a copy of the input which causes the error.
+
+=item *
+Send a description of the platform you use.
+
+=item *
+Send a description of the LilyPond and ly2dvi version you use.
+
+=item *
+Send a description of the bug itself.
+
+=item *
+Send it to bug-gnu-music@gnu.org (you don't have to subscribe
+to this mailinglist).
+
+=back
+
+=head1 REMARKS
+
+Only one papersize is supported, A4. Information on other sizes
+(LaTeX names, horizontal and vertical sizes) should be mailed to
+the author or to the mailing list.
projects / lilypond.git / commitdiff