From: Ralph Palmer Date: Tue, 9 Sep 2008 20:25:22 +0000 (+0100) Subject: docs Index fundamental.itely part 1 X-Git-Tag: release/2.11.58-1~7 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=ff479ed23b3d876bbb2b1c5d16f23667843fa4c3;p=lilypond.git docs Index fundamental.itely part 1 --- diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely index f24c77c091..754003d849 100644 --- a/Documentation/user/fundamental.itely +++ b/Documentation/user/fundamental.itely @@ -7,8 +7,6 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.11.51" - @node Fundamental concepts @chapter Fundamental concepts @@ -65,7 +63,9 @@ There are many variations of this basic pattern, but this example serves as a useful starting place. @funindex \book +@funindex book @funindex \score +@funindex score @cindex book @cindex score @@ -103,6 +103,7 @@ LilyPond will interpret the file as though the music expression was wrapped up inside the commands shown above. @cindex implicit contexts +@cindex contexts, implicit @strong{A word of warning!} Many of the examples in the LilyPond documentation will omit the @code{\new Staff} and @code{\new Voice} @@ -149,8 +150,11 @@ things, such as @end example @funindex \header +@funindex header @funindex \layout +@funindex layout @funindex \midi +@funindex midi @cindex header @cindex layout @cindex midi @@ -173,6 +177,10 @@ Notation Reference -- @ruser{Score layout}, and @ruser{Creating MIDI files}. @cindex scores, multiple +@cindex book block, implicit +@cindex implicit book block +@funindex \book +@funindex book You may code multiple @code{\score} blocks. Each will be treated as a separate score, but they will be all combined into @@ -192,6 +200,8 @@ your entire input code in a @code{\book} block implicitly. Every @code{\score} block is a separate chunk of music within a @code{\book} block. +@cindex layout block, effect of location + Every @code{\layout} block affects the @code{\score} or @code{\book} block in which it appears -- i.e., a @code{\layout} block inside a @code{\score} block affects only that @code{\score} @@ -240,9 +250,12 @@ For a complete definition of the input format, see @subsection Score is a (single) compound musical expression @funindex \score +@funindex score @cindex score -@cindex Compound music expression -@cindex Music expression, compound +@cindex contents of a score block +@cindex score block, contents of +@cindex compound music expression +@cindex music expression, compound We saw the general organization of LilyPond input files in the previous section, @ref{Introduction to the LilyPond file structure}. @@ -286,7 +299,7 @@ it. We @emph{do} need a singer and a piano, though. << \new Staff = "singer" << >> - \new PianoStaff = piano << + \new PianoStaff = "piano" << >> >> \layout @{ @} @@ -328,7 +341,7 @@ staff: it contains an upper staff (right hand) and a lower staff (left hand). At this stage, we could start filling in notes. Inside the curly -braces next to @code{\new Voice = vocal}, we could start writing +braces next to @code{\new Voice = "vocal"}, we could start writing @example \relative c'' @{ @@ -388,6 +401,7 @@ Notation Reference: @ruser{Structure of a score}. @subsection Nesting music expressions @cindex staves, temporary +@cindex temporary staves @cindex ossias It is not essential to declare all staves at the beginning; they may @@ -458,6 +472,8 @@ and @ruser{Ossia staves}. @subsection On the un-nestedness of brackets and ties @cindex brackets, nesting +@cindex bracket types +@cindex brackets, enclosing vs. marking You have already met a number of different types of bracket in writing the input file to LilyPond. These obey different rules @@ -494,14 +510,12 @@ the different types to be properly nested, like this, encountered in exactly the opposite order to the opening brackets. This @strong{is} a requirement for the three types of bracket described by the word @q{Encloses} in the table above -- -they must nest properly. -However, the remaining brackets, described with the word -@q{Marks} in the table above together with ties and tuplets, -do @strong{not} have to nest -properly with any of the brackets. In fact, these are not -brackets in the sense that -they enclose something -- they are simply markers to indicate -where something starts and ends. +they must nest properly. However, the remaining brackets, +described with the word @q{Marks} in the table above together +with ties and tuplets, do @strong{not} have to nest properly +with any of the brackets. In fact, these are not brackets in +the sense that they enclose something -- they are simply +markers to indicate where something starts and ends. So, for example, a phrasing slur can start before a manually inserted beam and end before the end of the beam -- not very @@ -549,10 +563,15 @@ of all LilyPond's concepts. @cindex polyphony @cindex layers @cindex multiple voices +@cindex voices, multiple @cindex Voice context @cindex context, Voice @cindex simultaneous music +@cindex music, simultaneous @cindex concurrent music +@cindex music, concurrent +@cindex voices vs. chords +@cindex chords vs. voices The lowest, most fundamental or innermost layers in a LilyPond score are called @q{Voice contexts} or just @q{Voices} for short. @@ -649,6 +668,11 @@ separately, like this: @end lilypond +@cindex voices, naming +@cindex voices crossing brackets +@cindex slurs crossing brackets +@cindex ties crossing brackest + This example has just two voices, but the same construct may be used to encode three or more voices by adding more back-slash separators. @@ -730,6 +754,9 @@ user. See @ref{Visibility and color of objects} and @ref{Using variables for tweaks}. +@cindex polyphony and relative note entry +@cindex relative note entry and polyphony + Polyphony does not change the relationship of notes within a @code{\relative @{ @}} block. Each note is still calculated relative to the note immediately preceding it, or to the first @@ -760,15 +787,14 @@ command at the start of each voice: \relative c' @{ noteE ... @} @end example -Let us finally analyze the voices in a more complex piece of -music. Here are -the notes from the first two bars of the second of Chopin's -Deux Nocturnes, Op 32. This example will be used at later -stages in this and the next chapter to illustrate several -techniques for producing notation, so please ignore for now -anything in the underlying code which looks mysterious and -concentrate just on the music and the voices -- the -complications will all be explained in later sections. +Let us finally analyze the voices in a more complex piece of music. +Here are the notes from the first two bars of the second of Chopin's +Deux Nocturnes, Op 32. This example will be used at later stages in +this and the next chapter to illustrate several techniques for +producing notation, so please ignore for now anything in the +underlying code which looks mysterious and concentrate just on the +music and the voices -- the complications will all be explained in +later sections. @c The following should appear as music without code @lilypond[quote,ragged-right] @@ -792,12 +818,11 @@ complications will all be explained in later sections. } @end lilypond -The direction of the stems is often used to indicate the -continuity of two simultaneous melodic lines. Here the -stems of the highest notes are all pointing up and the -stems of the lower notes are all pointing down. -This is the first indication that more than one voice -is required. +The direction of the stems is often used to indicate the continuity of +two simultaneous melodic lines. Here the stems of the highest notes +are all pointing up and the stems of the lower notes are all pointing +down. This is the first indication that more than one voice is +required. But the real need for multiple voices arises when notes which start at the same time have different durations. @@ -859,6 +884,8 @@ enter the music of the first bar in three voices: @end lilypond @cindex stem down +@cindex voices and stem directions +@cindex stem directions and voices @cindex stem up The stem directions are automatically assigned with the @@ -907,12 +934,17 @@ Notation Reference: @ruser{Multiple voices}. @subsection Explicitly instantiating voices @funindex \voiceOne +@funindex voiceOne @funindex \voiceTwo +@funindex voiceTwo @funindex \voiceThree +@funindex voiceThree @funindex \voiceFour +@funindex voiceFour @funindex \oneVoice +@funindex oneVoice @funindex \new Voice -@cindex Voice contexts, creating +@cindex voice contexts, creating Voice contexts can also be created manually inside a @code{<< >>} block to create polyphonic music, using @@ -952,6 +984,9 @@ Both of the above would produce >> @end lilypond +@cindex voices, reverting to single +@cindex reverting to a single voice + The @code{\voiceXXX} commands set the direction of stems, slurs, ties, articulations, text annotations, augmentation dots of dotted notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} @@ -1029,7 +1064,7 @@ permitting a phrasing slur to be drawn over them. @cindex nesting music expressions @cindex nesting simultaneous constructs - +@cindex nesting voices @cindex voices, temporary @cindex voices, nesting @@ -1091,11 +1126,17 @@ as here: @subsubheading Note columns @cindex note column +@cindex note collisions +@cindex collisions, notes @cindex shift commands @funindex \shiftOff +@funindex shiftOff @funindex \shiftOn +@funindex shiftOn @funindex \shiftOnn +@funindex shiftOnn @funindex \shiftOnnn +@funindex shiftOnnn Closely spaced notes in a chord, or notes occurring at the same time in different voices, are arranged in two, occasionally more, @@ -1114,7 +1155,7 @@ chords of the voice should be shifted if a collision would otherwise occur. By default, the outer voices (normally voices one and two) have @code{\shiftOff} specified, while the inner voices (three and four) have @code{\shiftOn} specified. -When a shift is applied, Voices one and three are shifted to +When a shift is applied, voices one and three are shifted to the right and voices two and four to the left. @code{\shiftOnn} and @code{\shiftOnnn} define further shift @@ -1141,6 +1182,8 @@ expressions -- notes and lyrics. @funindex \new Lyrics @funindex \lyricsto +@funindex lyricsto +@funindex Lyrics @cindex Lyrics context, creating @cindex lyrics, linking to voice @@ -1173,6 +1216,7 @@ explicitly. @cindex lyrics and beaming @cindex beaming and lyrics @funindex \autoBeamOff +@funindex autoBeamOff The automatic beaming which LilyPond uses by default works well for instrumental music, but not so well for music with lyrics, @@ -1181,8 +1225,11 @@ melismata in the lyrics. In the example above we use the command @code{\autoBeamOff} to turn off the automatic beaming. @funindex \new ChoirStaff +@funindex ChoirStaff @funindex \lyricmode +@funindex lyricmode @cindex vocal score structure +@cindex choir staff Let us reuse the earlier example from Judas Maccabæus to illustrate this more flexible technique. We first recast @@ -1227,13 +1274,16 @@ SopTwoLyrics = \lyricmode { } @end lilypond -This is the basic structure of all vocal scores. More staves may -be added as required, more voices may be added to the staves, -more verses may be added to the lyrics, -and the variables containing the music can easily be placed -in separate files should they become too long. +This is the basic structure of all vocal scores. More staves may be +added as required, more voices may be added to the staves, more verses +may be added to the lyrics, and the variables containing the music can +easily be placed in separate files should they become too long. @cindex hymn structure +@cindex SATB structure +@cindex vocal scores with multiple verses +@cindex multiple vocal verses +@cindex verses, multiple vocal Here is an example of the first line of a hymn with four verses, set for SATB. In this case the words for all four @@ -1403,6 +1453,7 @@ refrainwordsB = \lyricmode { @cindex book, example of using @funindex \book +@funindex book However, although this is an interesting and useful exercise to help you to understand how sequential and simultaneous blocks work,