From: fred Date: Sun, 24 Mar 2002 20:10:45 +0000 (+0000) Subject: lilypond-0.1.56 X-Git-Tag: release/1.5.59~3153 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=25f96f30d8873abf8987592db4c7f8eed4773258;p=lilypond.git lilypond-0.1.56 --- diff --git a/Documentation/mudela-course.doc b/Documentation/mudela-course.doc deleted file mode 100644 index a24d2f382a..0000000000 --- a/Documentation/mudela-course.doc +++ /dev/null @@ -1,272 +0,0 @@ -% -*-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. - % <...> 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}