-% -*-LaTeX-*-
+% -*-LaTeX-*- vim:tw=72
\documentclass{article}
\title{LilyPond feature test}
\mudelafile{stem-tremolo.ly}
-Abbreviation beams (official naming?) are a kind of repeat symbol.
-To avoid confusion, abbreviation beams do not touch the stems, but
-leave a gap. Abbreviation beams on half notes are not ambiguous,
-and should touch the stems.
-
-\mudelafile{abbreviation-beam.sly}
+Chord tremolos look like beams, but are a kind of repeat symbol.
+To avoid confusion, chord tremolo beams do not reach the stems, but
+leave a gap. Chord tremolo beams on half notes are not ambiguous,
+as half notes cannot appear in a regular beam, and should reach the
+stems.
+
+\mudelafile{chord-tremolo.sly}
Beams, stems and noteheads often have communication troubles, since
the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
Lyrics can be set to a melody automatically. Excess lyrics will be
dumped. Lyrics will not be set over rests. You can have melismata
either by setting a property melismaBusy, or by setting
-automaticMelismas (which will set melismas during slurs). If you want a
-different order than first Music, then Lyrics, you must precook a
-chord of staffs/lyrics and label those. Of course \verb+\rhythm+
-ignores any other rhythms in the piece. Hyphens and extenders do not
-assume anything about lyric lengths, so they continue to work.
+automaticMelismas (which will set melismas during slurs and ties). If
+you want a different order than first Music, then Lyrics, you must
+precook a chord of staffs/lyrics and label those. Of course
+\verb+\rhythm+ ignores any other rhythms in the piece. Hyphens and
+extenders do not assume anything about lyric lengths, so they continue
+to work.
\mudelafile{lyric-combine.ly}
and whole rests just outside the staff get ledger lines in different
cases.
-\mudelafile{rest-collision.ly}
+% \m udelafile{rest-collision.ly}
Normal collisions. We have support for four voice polyphony, where the
middle voices are horizontally shifted in a limited number of cases.
\mudelafile{collisions.ly}
+In some cases, collisions may be hairy to resolve, or the typesetter
+may have special whishes. For those special cases, note shifts can be
+set by hand.
+
+\mudelafile{note-shift.sly}
+
The number of stafflines of a staff can be set with the property
numberOfStaffLines. Ledger lines both on note heads and rests are
adjusted. Barlines also are adjusted.
)
-This document describes the the GNU LilyPond input format, which is a
+
+sect(Overview)
+
+
+This bind(document)footnote(This document was revised for LilyPond
+1.2.) describes the the GNU LilyPond input format, which is a
language for defining music. We call this language (rather
arrogantly) The Musical Definition Language or Mudela, for
short.footnote(If anybody comes up with a better name, we'd gladly
Score Definition Language. ISO standard 10743 defines a Standard
Music Description Language. We're not being original here.)
-This document was revised for LilyPond 1.2.
+Mudela is a language that allows you to
+itemize(
+it() create musical expressions by combining pitches, durations to
+it() output those musical expressions to various formats
+it() give those musical expressions and output definitions names, so
+you can enter them in manageable chunks.
+)
-The first aim of Mudela is to define a piece of music, being complete
-from both from a musical typesetting, as from a musical performing
-point of view.
+Mudela aims to be a language that defines a piece of music completely
+both for typesetting and for a performance point of view.
-The Musical Definition Language (Mudela), has a logical structure,
-making use of identifiers, that allows for flexible input, and
-definition reuse. See the documentation file file(MANIFESTO), included
-with the LilyPond sources for reasons and design considerations.
+sect(General syntax)
+The percent sign introduces line comments.
-sect(Running LilyPond)
+The syntax for most constructions follows this pattern: A keyword that
+is the name of the construction, followed by a list of items, which is
+enclosed in braces, e.g. a paper block looks like this
+verb(\paper {
+ linewidth = 14.0 \cm; % one item
+ indent = \linewidth / 12.0 ; % another one.
+})
+Keywords are prefixed by a backslash. Words without backslashes are
+strings, like ``linewidth'' in the above example. When you do an
+assigment, the left hand side is a string, the name name of the
+identifier you wish to assign to. When you refer to an identifier,
+you must put a backslash before the name, like in second item of the
+example.
-When invoked with a filename that has no extension, LilyPond will try
-adding a file(.ly) extension first, then a file(.sly) and then a
-file(.ly) extension second. If the filename ends with file(.fly),
-LilyPond processes the file as music using file(init.fly). In this
-case, LilyPond does something like: COMMENT(
+sect(Music expressions)
-)verb(\score {
- \notes\relative c {
- \input "yourfile.fly"
- }
- \paper{}
- \midi{}
-})
-If you invoke LilyPond with a file file(foo.)var(ext) that doesn't
-have the file(.ly) extension then LilyPond will look for a file called
-file(init.)var(ext) and process this file. The file
-file(init.)var(ext) must contain the code(\maininput) keyword or LilyPond
-will not read the user specified file.
+Music in mudela 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 music expressions. This example
+forms a compound expressions out of the quarter code(c) note and a
+code(d) note:COMMENT(
-When LilyPond processes file(filename.ly) it will produce
-file(filename.tex) as output. If file(filename.ly) contains a second
-code(\paper) keyword, then LilyPond will produce file(filename-1.tex)
-as well. Subsequent code(\paper) keywords will produces sequentially
-numbered file names. Several files can be specified; they will each
-be processed independently.footnote(Not entirely true: the status of
-GUILE is kept).
+)verb(\sequential { c4 d4 })COMMENT(
+)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).
+We shall first review how to make atomic music expressions, and then
+how to make compound expressions.
-sect(Syntax)
+subsect(Atomic music expressions)
+subsect(Composition music expressions)
subsect(Basic Mudela)
-Mudela is a declarative input format: in a file you can declare items
-with identifiers, and instruct LilyPond to typeset music
-
A Mudela file consists of keywords with arguments and identifier
assignments separated by spaces, tabs or newlines. Semicolons are
keywords: code(\mm), code(\pt), code(\in), or code(\cm). Dimensions
are converted immediately to a real which gives the dimension in
points, so they can be mixed with reals, but the result is no longer
-of type dimension. The keywords that require a dimension
-(code(\shape)).
+of type dimension.
dit(pitch)
A pitch is a string which is the name of a pitch. Example: code(a).
\paper{ \foo }
})
If code(\foo) is used here without the surrounding code(\paper) then
-an error will result. Note however that the following is acceptible
+an error will result. Note however that the following is acceptable
verb(foo = \notes { ... }
\score{ \foo })
It is not necessary to specify code(\notes).
Identifiers can be set equal to integers, reals, strings, music,
durations (specified with code(\duration)), note ornaments (specified
with code(\script), dynamics commands, or code(:)), note name tables
-(specified with code(\notenames), translator definitions, the
+(specified with code(\notenames)), translator definitions, the
code(\paper) block, the code(\midi) block or the code(\score) block.
When identifiers are used for translators, the code(\paper),
code(\midi), and code(\score) blocks, they may only be referred to as
after the note. The length must be at least 8. A var(length) value
of 8 gives one line across the note stem.
If the length is omitted,
-then the last value is used, or the value of the code(Abbrev)
-property if there was no last value.
-
+then the last value is used, or the value of the code(abbrev)
+property if there was no last value. To place tremolo marks in
+between two notes, begin with code([:)var(length) and end with code(]).
+The tremolo marks will appear instead of beams. Putting more than two
+notes in such a construction will produce odd effects.
+
mudela(fragment,verbatim,center)(
-c'2:8 c':32 c'
-))
-
+ c'2:8 c':32 [:16 e'1 g'] [:8 e'4 f']
+)
+
+mudela(fragment,verbatim,center)(
+ c'4:32 [:16 c'8 d'8]
+)
sect(Other Ways to Enter Pitches)
subsect(Relative Pitch Specification)
label(relative)
-One very common error when entering music is to place notes in the wrong
-octave. One way to avoid being confused by large numbers of octave changing
-marks is to use
-the code(\relative) keyword.
-Music which appears within code(\relative) is
-interpreted differently. The octave of a note is determined by making it as
-close to the previous note as possible. The octave changing marks code(') and
-code(,) can then be added to raise or lower this note by octaves. You have to
-specify a starting pitch because the first note of a list has no predecessor.
+A very common mistake when entering music is to place a note in the wrong
+octave. One can easily get confused by the large numbers of octave changing
+marks in the music. For most music, a much friendlier way of specifying
+a note's octave is by using the Relative Pitch Specification mode, that is
+introduced by the code(\relative) keyword. For real world music entry,
+Relative mode is being used almost exclusively.
+
+The octave of notes that appear in code(\relative) mode is calculated
+differently: The octave of a note depends on the previous note.
+When no octave changing marks are used, the basic interval (without
+accidentals) between two notes is always taken to be equal to or smaller
+than a quart. The octave changing marks code(') and code(,) can then be
+added to raise or lower that interval by octaves. Upon entering
+code(\relative) mode, an absolute starting pitch must be specified
+that will act as the predecessor of the first note of the following music.
+
+Thus, entering scales is straightforward
+
+mudela(fragment,verbatim,center)(
+\relative c' { c d e f g a b c c, }
+)
+
+and octave changing marks are used for intervals greater than a quart.
mudela(fragment,verbatim,center)(
-\relative c'' { c d b c, d b c' d
- b c,, d b }
+\relative c'' { c g c f, c' a,, e''' }
)
When the preceding item is a chord, the first note of the chord is used to
\addlyrics
\transpose c'' { c4 d8. e16 f2 }
\context Lyrics \lyrics { do4 re mi fa }
-)
+)COMMENT(
-You should use a single rhythm melody, and single rhythm lyrics (a
+)You should use a single rhythm melody, and single rhythm lyrics (a
constant duration is the obvious choice). If you do not, you will get
undesired effects when using multiple stanzas: COMMENT(
Since this assignment is possible at top-level and within paper, these
are two conflicts.
-it() A chord followed by
-code(-3)
-can be interpreted as a chord substraction, or as the fingering `2' (with
-neutral direction)
-it() Similarly code(^2) is a conflict.
- chord_addition '^' ->?
it()
If you do a nested repeat,
verb (
code(another) is removed.
Almost all music expressions inherit their interpretation context from
-their parent. In other words, suppose that the syntax for a music expression is
-code(code(\keyword) var(musicexpr1) var(musicexpr2) dots()).
+their parent. In other words, suppose that the syntax for a music expression is code(\keyword) var(musicexpr1) var(musicexpr2) dots().
When the interpretation of this music expression starts,
the context for var(musicexpr1), var(musicexpr2), etc. that of
the total expression.
description(
+dit(code(stemLength)) Set length of stems. Unit is
+code(interline)/2, so stemLength defaults to 7.
+
dit(code(stemLeftBeamCount)) Specify the number of beams to draw on
the left side of the next note. Overrides automatic beaming. The
value is only used once, and then it is erased.
a larger value for dashed slurs. Identifiers code(\slurnormal) and
code(\slurdotted) are predefined to set the first two settings.
-dit(code(horizontalNoteShift)) Set to 1 to enable LilyPond to shift notes
+dit(code(horizontalNoteShift)) Enable LilyPond to shift notes
horizontally if they collide with other notes. This is useful when
typesetting many voices on one staff. The identifier code(\shift) is
-defined to enable this. If there are several voices, every voice must
-have a distinct value of this property or no shifting will occur.
+defined to enable this. Traditionally, the outer chords (the upmost
+and downmost voices), should have no horizontalNoteShift. Voice s
+
dit(code(forceHorizontalShift)) Force horizontal shift for collision
resolution. It overrides automatic collision resolution.
The engravers for paper output are:
description(
-dit(code(Abbreviation_beam_engraver)) [FIXME. Broken as of 1.0.?]
dit(code(Bar_engraver)) Engraves bar lines. Normally in code(Staff) and
code(RhythmicStaff).
dit(code(Bar_number_engraver)) Engrave bar numbers. These numbers
code(LyricVoice).
dit(code(Chord_name_engraver)) Engraves chord names. Normally in
code(ChordNameVoice)
+dit(code(Chord_tremolo_engraver))
dit(code(Clef_engraver)) Engraves the clef symbol. Normally in code(Staff).
dit(code(Collision_engraver))
dit(code(Dot_column_engraver)) Engraves dots on dotted notes shifted to the
)
)
+
+sect(Running LilyPond)
+
+
+When invoked with a filename that has no extension, LilyPond will try
+adding a file(.ly) extension first, then a file(.sly) and then a
+file(.ly) extension second. If the filename ends with file(.fly),
+LilyPond processes the file as music using file(init.fly). In this
+case, LilyPond does something like: COMMENT(
+
+)verb(\score {
+ \notes\relative c {
+ \input "yourfile.fly"
+ }
+ \paper{}
+ \midi{}
+})
+If you invoke LilyPond with a file file(foo.)var(ext) that doesn't
+have the file(.ly) extension then LilyPond will look for a file called
+file(init.)var(ext) and process this file. The file
+file(init.)var(ext) must contain the code(\maininput) keyword or LilyPond
+will not read the user specified file.
+
+When LilyPond processes file(filename.ly) it will produce
+file(filename.tex) as output. If file(filename.ly) contains a second
+code(\paper) keyword, then LilyPond will produce file(filename-1.tex)
+as well. Subsequent code(\paper) keywords will produces sequentially
+numbered file names. Several files can be specified; they will each
+be processed independently.footnote(Not entirely true: the status of
+GUILE is kept).
R2. |
g8. b16 es4. d8 |
c8. g16 es4. c8 |
- % \times 2/3 { [ as\grace( bes ] )
\grace { as'16 bes } \times 2/3 { [ )as8( )g] as } c4. as8 |
g2. |
\grace { f16( g } \times 2/3 { [ )f8( )e] f } as4. f8 |
c8. g16 e4. c8 |
\grace { a'16( b } \times 2/3 { [ )a!8( ) gis] a } c4. a8 |
g!2. |
- % \times 2/3 { [ a\grace( b] )
- \times 2/3 { [ d'8\f cis] d } f4. b,8 |
+ \times 2/3 { [ d'8\f( )cis] d } f4. b,8 |
c!2. |
}
R2. |
\grace { a16( b } \times 2/3 { [ )a!8( ) gis] a } c4. a8 |
g!2. |
- \times 2/3 { [ d'8\f cis] d } f4. b,8 |
+ \times 2/3 { [ d'8\f( )cis] d } f4. b,8 |
c!2. ~ |
c4 r c |
as2. |
}
lyricVerseOne = \lyrics{
- Lei- " " se fleh- en mei- " " ne Lie- der
- Durch die Nacht " " zu dir;
- In " " den stil- len Hain " " her- nie- der
- Lieb- chen, komm " " zu mir!
+ Lei- se fleh- en mei- ne Lie- der
+ Durch die Nacht zu dir;
+ In den stil- len Hain her- nie- der
+ Lieb- chen, komm zu mir!
Fl\"us- ternd schlan- ke Wip- fel rau- schen
- In " " des Mon- des Licht,
- In " " des Mon- des Licht;
+ In des Mon- des Licht,
+ In des Mon- des Licht;
Des Ver- r\"a- ters feind- lich Lau- schen
- F\"urch- " " te, Hol- de, nicht,
- F\"urch- " " te, Hol- de, nicht.
+ F\"urch- te, Hol- de, nicht,
+ F\"urch- te, Hol- de, nicht.
}
lyricVerseTwo = \lyrics{
- H\"orst " " die Nach- ti- gal- " " len schla- gen?
- Ach! sie fleh- " " en dich,
- Mit " " der T\"o- ne s\"u- " " "\ss en" Kla- gen
- Fleh- en sie " " f\"ur mich.
+ H\"orst die Nach- ti- gal- len schla- gen?
+ Ach! sie fleh- en dich,
+ Mit der T\"o- ne s\"u- "\ss en" Kla- gen
+ Fleh- en sie f\"ur mich.
Sie- ver- "steh'n" des Bus- ens Seh- nen
- Ken- " " nen Lieb- es- schmerz,
- Ken- " " nen Lieb- es- schmerz.
+ Ken- nen Lieb- es- schmerz,
+ Ken- nen Lieb- es- schmerz.
R\"uh- ren mit den Sil- ber- t\"o- nen
- Jed- " " es wei- che Herz,
- Jed- " " es wei- che Herz.
+ Jed- es wei- che Herz,
+ Jed- es wei- che Herz.
}
lyricThrough = \lyrics{
La\ss auch dir die Brust be- we- gen
Lieb- chen, h\"o- re mich!
- Be- bend harr' " " ich dir ent- ge- gen!
+ Be- bend harr' ich dir ent- ge- gen!
- Komm, " " be- gl\"uk- ke mich!
- Komm, " " be- gl\"uk- ke mich, __ " "
+ Komm, be- gl\"uk- ke mich!
+ Komm, be- gl\"uk- ke mich, __
Be- gl\"uk- ke mich!
}
\clef treble;
% certainly no auto-beaming for vocals
\property Voice.beamAuto=0
+ \property Staff.automaticMelismas=1
\property Voice.dynamicDir = \up
\skip 4 * 12;
projects / lilypond.git / commitdiff