From: Han-Wen Nienhuys Date: Sat, 2 Nov 2002 18:33:15 +0000 (+0000) Subject: (First steps): change to new X-Git-Tag: release/1.7.6~5 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=8ed0880cdc61ba9ab286d5e4468594690de981ee;p=lilypond.git (First steps): change to new chord/tie/slur/beam notation. --- diff --git a/ChangeLog b/ChangeLog index f06a45c602..bb3a41dc70 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,9 +1,12 @@ 2002-11-02 Han-Wen Nienhuys + * Documentation/user/tutorial.itely (First steps): change to new + chord/tie/slur/beam notation. + * lily/parser.yy (event_that_take_dir): allow postfix notation for ties. * lily/new-tie-engraver.cc (process_acknowledged_grobs): new - engraver. process ties in postfix notation, i.e. c8-~ c + engraver. Process ties in postfix notation, i.e. c8-~ c * lilypond-mode.el (LilyPond-command-alist): run LaTeX by default. diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 9a05dff775..96b6ddbcbd 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -1,4 +1,4 @@ - @c -*-texinfo-*- +@c -*-texinfo-*- @c TODO: @c * LilyPond Lilypond lilypond (sometimes: the program) @@ -448,19 +448,21 @@ c'4 c'' c''' \clef bass c c, @end quotation @separate -A tie is created by entering a tilde ``@code{~}'' between the notes to -be tied. A tie between two notes means that the second note must not be -played separately; it just makes the first note sound longer: - +A tie is created by adding a tilde ``@code{~}'' to the first note +being tied. @quotation @lilypond[fragment,verbatim] -g'4 ~ g' a'2 ~ a'4 +g'4-~ g' a'2-~ a'4 @end lilypond @end quotation @separate +A tilde is different from a tie. A tie simply makes the first note +sound longer, and can only be used on pairs of notes with the same +pitch. -The key signature is set with the command ``@code{\key}''. One caution: -you need to specify whether the key is @code{\major} or @code{\minor}. +The key signature is set with the command ``@code{\key}''. One +caution word of caution: you need to specify whether the key is +@code{\major} or @code{\minor}. @quotation @example \key d \major @@ -491,8 +493,8 @@ This example shows notes, ties, octave marks, and rests in action. \key d \minor \clef violin r4 r8 d''8 cis''4 e'' - d''8 a'4. ~ a' b'8 - cis''4 cis''8 cis'' bis'4 d''8 cis'' ~ + d''8 a'4.-~ a' b'8 + cis''4 cis''8 cis'' bis'4 d''8 cis''-~ cis''2 r2 @} \paper @{ @} @@ -506,8 +508,8 @@ This example shows notes, ties, octave marks, and rests in action. \clef violin \key d \minor r4 r8 d''8 cis''4 e'' - d''8 a'4. ~ a' b'8 - cis''4 cis''8 cis'' bis'4 d''8 cis'' ~ + d''8 a'4.-~ a' b'8 + cis''4 cis''8 cis'' bis'4 d''8 cis''-~ cis''2 r2 } \paper { linewidth = 50*\staffspace } @@ -692,7 +694,7 @@ A slur is drawn across many notes, and indicates bound articulation @quotation @lilypond[fragment,relative 1, verbatim] -d4( )c16( cis d e c cis d )e( )d4 +d4-( c16-)-( cis d e c cis d e-)-( d4-) @end lilypond @end quotation @separate @@ -711,17 +713,17 @@ phrasing), you can also make a phrasing slur with @code{\(} and @quotation @lilypond[fragment,relative 1, verbatim] -a8(\( ais b ) c cis2 b'2 a4 cis, \) c +a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\) @end lilypond @end quotation @separate Beams are drawn automatically, but if you don't like the choices, you -can enter beams by hand. Surround the notes to be grouped with @code{[} -and @code{]}: +can enter beams by hand. Mark the first note to be beamed with +@code{[} and the last one with @code{]}: @quotation @lilypond[fragment,relative 1, verbatim] -[a8 ais] [d es r d] +a8-[ ais-] d-[ es r d-] @end lilypond @end quotation @separate @@ -755,7 +757,7 @@ We can now typeset a melody with two staves: < \context Staff = staffA { \time 3/4 \clef violin - \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. } + \relative c'' { e2-( d4 c2 b4 a8-[ a-] b-[ b-] g-[ g-] a2.-) } } \context Staff = staffB { \clef bass @@ -791,19 +793,19 @@ c-\ff c-\mf @separate Crescendi and decrescendi are started with the commands @code{\<} and -@code{\>}. The command @code{\!} finishes a crescendo on the following -note. +@code{\>}. The command @code{\!} finishes a crescendo on the note it +is attached to. @quotation @lilypond[verbatim,relative 1] -c2\< \!c2-\ff \>c2 \!c2 +c2-\< c2-\!-\ff c2-\> c2-\! @end lilypond @end quotation @separate -Chords can be made by surrounding notes with @code{<} and @code{>}: +Chords can be made by surrounding notes with @code{<<} and @code{>>}: @quotation @lilypond[relative 0, fragment,verbatim] -r4 +r4 <>4 <>8 @end lilypond @end quotation @separate @@ -820,7 +822,7 @@ You can combine beams and ties with chords. Beam and tie markings must be placed outside the chord markers: @quotation @lilypond[relative 0, fragment,verbatim] -r4 [ ] ~ +r4 <>8-[ <>-]-~ <> @end lilypond @end quotation @@ -832,44 +834,11 @@ by the chord @code{< >} and the dynamic @code{\< \>}! @quotation @example -r4 ( > < ) \! c8 f a> +r4 <>8-\>-( <> <> <>8-\!-\) @end example @lilypond[relative 0, fragment] \slurUp -r4 ( > < ) \! c8 f a> -@end lilypond -@end quotation -@separate - -@c this example is a bit too strongly worded -- there's nothing wrong -@c with starting a piece with a chord; you just have to be careful when -@c you do so. I've rephrased this example below. -@c There is one golden rule that you should keep in mind when writing -@c LilyPond input: -@c @quotation -@c @strong{DO NOT START A PIECE WITH A CHORD} -@c @end quotation -@c Of course, it is a allowed, but the result might not be what you expect: - -@c rephrased "don't start with a chord" -There is one caution when using chords: if you use a chord at the very -beginning of the piece, LilyPond might not understand what you want: - -@quotation -@lilypond[verbatim,singleline] -\score { \notes } -@end lilypond -@end quotation -@separate - -If you have a piece that begins with a chord, you must explicitly -state that the notes of the chord are to be put on the same staff, in -the same voice. This is done by specifying @code{\context Staff} or -@code{\context Voice} for the notes: - -@quotation -@lilypond[verbatim,singleline] -\score { \notes \context Voice } +r4 <>8-\>-( <> <> <>8-\!-\) @end lilypond @end quotation @separate @@ -1006,8 +975,8 @@ fragment of The Free Software Song: \score { \notes { \addlyrics \notes \relative c' { \time 7/4 - d'2 c4 b16 ( a g a b a b ) c a2 - b2 c4 b8 ( a16 g ) a4 g2 } + d'2 c4 b16-( a g a b a b c-) a2 + b2 c4 b8-( a16 g a4-) g2 } \context Lyrics \lyrics { Join us now __ and share the soft -- ware; } @@ -1085,8 +1054,8 @@ The melody of the song doesn't offer anything new: @example \notes \relative c' @{ \time 7/4 - d'2 c4 b16 ( a g a b a b ) c a2 - b2 c4 b8 ( a16 g ) a4 g2 @} + d'2 c4 b16-( a g a b a b c-) a2 + b2 c4 b8-( a16 g a4-) g2 @} @end example Both can be combined with the @code{\addlyrics}: @@ -1945,7 +1914,7 @@ manual staff switch here. @separate @example -\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} > +\context Voice = reallyLow @{\stemDown g2-~ | g4 c8 @} > @end example @cindex tie @cindex @code{~}