From 357771aa3fef2896f58017992f1322714842dedc Mon Sep 17 00:00:00 2001 From: Jan Nieuwenhuizen Date: Tue, 27 Jul 1999 16:30:24 +0200 Subject: [PATCH] patch::: 1.1.68.jcn1 pl 68.jcn1 - small tutorial fixes --- Documentation/tex/tutorial.yo | 389 +++++++++++++++++++++------------- NEWS | 3 + TODO | 6 +- VERSION | 2 +- 4 files changed, 248 insertions(+), 152 deletions(-) diff --git a/Documentation/tex/tutorial.yo b/Documentation/tex/tutorial.yo index f17b5b58a7..cdcfb23aff 100644 --- a/Documentation/tex/tutorial.yo +++ b/Documentation/tex/tutorial.yo @@ -4,15 +4,30 @@ COMMENT(-*-text-*-) redef(var)(1)(whenlatex(latexcommand({\normalfont\scshape )ARG1+latexcommand(}))\ whenhtml(sc(ARG1))) +COMMENT(urg) +DEFINEMACRO(Large)(1)(\ + whenlatex(latexcommand(\Large{)ARG1+latexcommand(}))\ + whentexinfo(texinfocommand(@strong{)ARG1+texinfocommand(}))\ + whenhtml(htmlcommand()ARG1+htmlcommand())\ + whentxt(ARG1)) + COMMENT( This document contains Mudela fragments. You need at least Yodl-1.30.18 to convert this to tex or html. TODO -pipethrough(date) sucks. + * pipethrough(date) sucks. + * paragraphs have too much space. + * fix the amount of spaces (urg:tabs) at the start of verb() blocks + or even better: do verb and description side-by side + (TeX: use minipage construct): -paragraphs have too much space. + \foo This does the + foo construct + The explaining texts are right in between examples. + Constructs like 'This shows' and 'The next line' are esp. + confusing, here. ) COMMENT( @@ -63,16 +78,17 @@ latexcommand(\parindent2pc) LilyPond prints music from a specification that you, the user, supply. You have to give that specification using a em(language). This document is a gentle introduction to that language, which is called -Mudela, an abbreviation for Music Definition Language. +Mudela, an acronym of Music Definition Language. This tutorial will demonstrate how to use Mudela by presenting examples of input along with resulting output. We will use English -terms for notation, so if you are not familiar with those, you should +terms for notation. In case you are not familiar with those, you may consult the glossary that is distributed with LilyPond. The examples discussed are included in the distribution, in the subdirectory file(input/tutorial/). It is recommended that you -experiment with input yourself, to get a feel for how LilyPond behaves. +experiment with writing Mudela input yourself, to get a feel for +how LilyPond behaves. sect(The first tune) label(sec:firsttune) @@ -81,6 +97,7 @@ To demonstrate what LilyPond input looks like, we start off with a full fledged, yet simple example. It is a convoluted version of the famous menuet in bind(J.)bind(S.)Bach's em(Klavierbuechlein). +COMMENT(urg: the fermata sign is placed below the note by default) mudela(verbatim)(% lines preceded by a percent are comments. \include "paper16.ly" \score { @@ -106,106 +123,118 @@ mudela(verbatim)(% lines preceded by a percent are comments. \bar "|."; } \paper { - linewidth = 14.0 \cm; % standard settings are too wide for a book + % standard settings are too wide for a book + linewidth = 14.0 \cm; } }) -Enter it (or copy it, the filename is file(menuet.ly)), and compile it +Enter it (or copy it, the filename is file(menuet.ly)), compile it with LilyPond and view the output. Details of this procedure may vary -from system to system. To create the output, one would issue -code(ly2dvi menuet). file(ly2dvi) is a program that does the job of -calling LilyPond and TeX() and adjusting page margins. +from system to system. To create the output, one would issue the +command `code(ly2dvi menuet)'. file(ly2dvi) is a program that does +the job of running LilyPond and TeX(), handling of titles and +adjusting of page margins. -If all goes well, this will create the file file(menuet.dvi). -To view this output, issue the command code(xdvi menuet). +If all goes well, the file file(menuet.dvi) will be created. +To view this output, issue the command `code(xdvi menuet)'. -Now that we are familiar with the procedure to produce output, we will -analyse the input itself, line by line. +Now that we are familiar with the procedure of producing output, we +will analyse the input, line by line.COMMENT( -verb(% lines preceded by a percent are comments.)COMMENT( +)verb( + % lines preceded by a percent are comments. +)COMMENT( )The percent sign, `code(%)', introduces a line comment. If you want to make larger comments, you can use block comments. These are delimited by `code(%{)' and `code(%})'COMMENT( -)verb(\input "paper16.ly")COMMENT( +)verb( + \input "paper16.ly" +)COMMENT( -)By default, LilyPond will use definitions for a staff of 20 +)By default, LilyPond will use definitions for a 20 nop(point)footnote(A point is the standard measure of length for -printing. One point is 1/72.27 inch.) high. We want smaller output -(16 point staff height), you have to import the settings for that -size, which is done.COMMENT( +printing. One point is 1/72.27 inch.) high staff. We want smaller +output (16 point staff height), so we must import the settings for +that size, which is done.COMMENT( -)verb(\score {) COMMENT( +)verb( + \score { +) COMMENT( ) A mudela file combines music with directions for outputting that music. The music is combined with the output directions by putting them into a code(\score) block. verb( - \notes + \notes ) COMMENT( )This makes LilyPond ready for accepting notes. verb( - \relative c'' + \relative c'' )COMMENT( ) As we will see, pitches are combinations of octave, note name and chromatic alteration. In this scheme, the octave is indicated by using raised quotes (`code(')') and ``lowered'' quotes (commas: `code(,)'). The central C is denoted by code(c'). The C one octave -higher is code(c''). One and two octaves below central C is denoted -by code(c) and code(c,) respectively. +higher is code(c''). One and two octaves below the central C is +denoted by code(c) and code(c,) respectively. For pitches in a long piece you might have to type many quotes. To remedy this, LilyPond has a ``relative'' octave entry mode. In this mode, octaves of notes without quotes are chosen such that a note is -as close as possible to the the preceding note. If you add a -high-quote an extra octave is added. The lowered quote (a comma) will -subtract an extra octave. Because the first note has no predecessor, -you have to give the (absolute) pitch of the note to start with. -COMMENT( +as close as possible (graphically, on the staff) to the the preceding +note. If you add a high-quote an extra octave is added. The lowered +quote (a comma) will subtract an extra octave. Because the first note +has no predecessor, you have to give the (absolute) pitch of the note +to start with.COMMENT( )verb( - \sequential { + \sequential { )COMMENT( ) What follows is sequential music, i.e., -notes that are to be played and printed after each other. -COMMENT( +notes that are to be played and printed after each other.COMMENT( )verb( \time 3/4; ) COMMENT( ) This command changes the time signature of the current piece: a 3/4 -sign is printed. This commond is also used to generate bar lines -in the right spots.COMMENT( +sign is printed. This command is also used to generate bar lines in +the right spots.COMMENT( )verb( \key g; -) COMMENT( +)COMMENT( ) This command changes the current key to G-major. Although this command comes after the code(\time) command, in the output, the key signature comes before the time signature: LilyPond knows about music typesetting conventions. COMMENT( -)verb( \repeat "volta" 2 ) COMMENT( +)verb( + \repeat "volta" 2 +) COMMENT( ) This command tells LilyPond that the following piece of music must be played twice; code("volta") volta brackets should be used for alternatives---if there were any. COMMENT( -)verb( { ) COMMENT( +)verb( + { +)COMMENT( -)The subject of the repeat are again sequential notes. Since -code(\sequential) is such a common construct, a abbreviation is -provided: just leave off code(\sequential), and the result is the -same. COMMENT( +)The subject of the repeat is again sequential music. Since +code(\sequential) is such a common construct, a shorthand is provided: +just leave off code(\sequential), and the result is the same. COMMENT( -)verb(d4) COMMENT( +)verb( + d4 +)COMMENT( ) This is a note with pitch code(d) (determined up to octaves). The relative music was started with a code(c''), so the real pitch of this @@ -221,12 +250,12 @@ duration is the same as the code(g), there is no need to enter the duration (You may enter it anyway, eg. code(a4 b4)) COMMENT( )verb( - d4 g, g | -) COMMENT( + d4 g, g | +)COMMENT( -) Three more notes. The `code(|)' character is a `barcheck'. When processing the -music, LilyPond will check that barchecks are found at the start of -a measure. This can help you track down errors. +) Three more notes. The `code(|)' character is a `barcheck'. When +processing the music, LilyPond will verify that barchecks are found at +the start of a measure. This can help you track down errors. COMMENT( )verb( @@ -240,7 +269,9 @@ sharp sign in the output. The program keeps track of key signatures, and will only print accidentals if they are needed. COMMENT( -)verb(c8 d e fis)COMMENT( +)verb( + c8 d e fis +)COMMENT( )LilyPond guesses were beams can be added to eighth and shorter notes. In this case, a beam over 4 eighths is added. @@ -262,7 +293,9 @@ the notes.COMMENT( )Automatic beaming can be overridden by inserting beam marks (brackets). Brackets are put around notes you want beamed.COMMENT( -)verb(g2. |)COMMENT( +)verb( + g2. | +)COMMENT( )A duration with augmentation dot is notated with the duration number followed by a period.COMMENT( @@ -270,57 +303,62 @@ with the duration number followed by a period.COMMENT( } ) COMMENT( -) This ends the sequential music to be repeated. LilyPond will typset +) This ends the sequential music to be repeated. LilyPond will typeset a repeat bar. COMMENT( )verb( - cis'4 b8 cis a4 | + cis'4 b8 cis a4 | ) COMMENT( )This line shows that Lily will print an accidental if that is needed: the first C sharp will be printed with an accidental, the second one without. COMMENT( -)verb( a8-. b-. cis-. d-. e-. fis-. )COMMENT( +)verb( + a8-. b-. cis-. d-. e-. fis-. +)COMMENT( -)You can enter articulation signs either in a verbose or in an -abbreviated form. Here we demonstrate the abbreviated form: it is -formed by a dash and the the character for the articulation to use, -e.g. code(-.) for staccato as shown above. COMMENT( +)You can enter articulation signs either in a verbose form using a +shorthand. Here we demonstrate the shorthand: it is formed by a dash +and the the character for the articulation to use, e.g. `code(-.)' for +staccato as shown above. COMMENT( )verb( - fis a, r8 cis8 + fis a, r8 cis8 ) COMMENT( ) -Rests are denoted by the special notename code(r). You can also enter -an invisible rest by using the special notename code(s). +Rests are denoted by the special notename `code(r)'. You can also enter +an invisible rest by using the special notename `code(s)'. verb( d2.-\fermata ) COMMENT( )All articulations have a verbose form, like code(\fermata). The -`command' code(\fermata) is not part of the -core of the language (most of the other discussed elements are), but -it is an abbreviation of a more complicated description of a fermata. -code(\fermata) names that description and is therefore called an -em(identifier). COMMENT( +command `code(\fermata)' is not part of the core of the language (most +of the other discussed elements are), but it is a shorthand for a more +complicated description of a fermata. code(\fermata) names that +description and is therefore called an em(identifier). COMMENT( -)verb( } ) COMMENT( +)verb( + } +) COMMENT( ) Here the music ends. COMMENT( -)verb(\paper { - linewidth = 14.0\cm; -})COMMENT( +)verb( + \paper { + linewidth = 14.0\cm; + } +)COMMENT( )This specifies a conversion from music to notation output. Most of the details of this conversions (font sizes, dimensions, etc.) have been taken care of, but to fit the output in this document, it has -to be smaller. We do this by setting the line width to 10 centimeters -(approximately 4 inches). +to be smaller. We do this by setting the line width to 14 centimeters +(approximately 6 inches). COMMENT( )verb( @@ -336,7 +374,7 @@ notation. Therefore Second, the format tries to be em(context-free): a note will sound the same regardless of the current time signature, the key, etc. -The purpose of LilyPond informally is explained by the term `music +The purpose of LilyPond is explained informally by the term `music typesetter'. This is not a fully correct name: not only does the program print musical symbols, it also makes esthetic decisions. All symbols and their placement is em(generated) from a high-level musical @@ -347,8 +385,8 @@ described by `music compiler' or `music to notation compiler'. sect(Lyrics and chords) In this section we show how to typeset a song of (unknown -origin).footnote(The author would welcome information about the origin -of this song.) +origin)footnote(The author would welcome information about the origin +of this song.). verb(\header { title = "The river is flowing"; @@ -375,31 +413,32 @@ accompaniment =\chords { \score { \simultaneous { -% \accompaniment +% \accompaniment \context ChordNames \accompaniment \addlyrics - \context Staff = mel - { \property Staff.noAutoBeaming = "1" - \property Staff.automaticMelismas = "1" - \melody } - \context Lyrics \text + \context Staff = mel { + \property Staff.noAutoBeaming = "1" + \property Staff.automaticMelismas = "1" + \melody + } + \context Lyrics \text } \midi { } \paper { linewidth = 10.0\cm; } }) -The result would look this.footnote(The titling and font size shown +The result would look bind(this)footnote(The titling and font size shown may differ, since the titling in this document is not generated by -file(ly2dvi)) +file(ly2dvi).). -center(bf(The river is flowing) +center(bf(Large(The river is flowing)) var(Traditonal (?)) ) -mudela()(\header { +mudela(center)(\header { title = "The river is flowing"; composer = "Traditonal (?)"; } @@ -428,11 +467,12 @@ accompaniment =\chords { \context ChordNames \accompaniment \addlyrics - \context Staff = mel - { \property Staff.noAutoBeaming = "1" - \property Staff.automaticMelismas = "1" - \melody } - \context Lyrics \text + \context Staff = mel { + \property Staff.noAutoBeaming = "1" + \property Staff.automaticMelismas = "1" + \melody + } + \context Lyrics \text } \midi { } \paper { linewidth = 10.0\cm; } @@ -440,7 +480,9 @@ accompaniment =\chords { Again, we will dissect the file line by line.COMMENT( -)verb(\header {)COMMENT( +)verb( + \header { +)COMMENT( )Information about the music you are about to typeset goes into a code(\header) block. The information in this block is not used by @@ -457,108 +499,134 @@ want to store. In this case, you want to put in strings. The information have to be quoted, because they contain spaces. The assignment is finished with a semicolon.COMMENT( -)code(\include "paper16.ly")COMMENT( +)verb( + \include "paper16.ly" +)COMMENT( )Smaller size for inclusion in a book.COMMENT( -)verb(melody = \notes \relative c' {)COMMENT( +)verb( + melody = \notes \relative c' { +)COMMENT( )The structure of the file will be the same as the previous one, a code(\score) block with music in it. To keep things readable, we will give the different parts of music names, and use names to construct music within the score block. -verb(\partial 8;) +verb( + \partial 8; +) The piece starts an anacrusis of one eighth. COMMENT( -)verb(c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g | -c4 c8 d [es () d] c4 | d4 es8 d c4. -\bar "|."; +)verb( + c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g | + c4 c8 d [es () d] c4 | d4 es8 d c4. + \bar "|."; )COMMENT( )We use explicit beaming. Since this is a song, we turn automatic beams off, and use explicit beaming where needed.COMMENT( -)verb(})COMMENT( +)verb( + } +)COMMENT( )This ends the definition of code(melody). Note that there are no semicolons after declarations at top level.COMMENT( -)verb(text = \lyrics {)COMMENT( +)verb( + text = \lyrics { +)COMMENT( )Another identifier assignment. This one is for the lyrics. Lyrics are formed by syllables that have duration, and not by notes. To make LilyPond parse words as syllables, switch it into -lyrics mode with code(\lyrics). The brace after code(\lyrics) again -is an abbreviation of code(\sequential {). COMMENT( - -)code(The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the - ri- ver is flo- __ wing down to the sea. - })COMMENT( - -)The syllables themselves. They are separated by spaces. You can get -syllable extenders by entering code(__), and centered hyphens with -code(--). We enter the syllables as if they are all quarter notes in -length (hence the code(4)), and use a feature to align the syllables -to the music, which isn't all quarter notes. +lyrics mode with code(\lyrics). Again, the brace after code(\lyrics) +is a shorthand for code(\sequential {). COMMENT( + +)verb( + The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the + ri- ver is flo- __ wing down to the sea. + } +)COMMENT( + +)The syllables themselves, separated by spaces. You can get syllable +extenders by entering `code(__)', and centered hyphens with +`code(--)'. We enter the syllables as if they are all quarter notes +in length (hence the code(4)), and use a feature to align the +syllables to the music, which obviously isn't all quarter notes. COMMENT( )verb( -accompaniment =\chords { + accompaniment =\chords { )COMMENT( )We'll put chords over the music. There is a special mode (analogous to code(\lyrics) and code(\notes) mode) where you can give the names -of the chords you want, in stead of the notes comprising the chord. +of the chords you want, instead of the notes comprising the chord. COMMENT( -)verb(r8)COMMENT( +)verb( + r8 +)COMMENT( )There is no accompaniment during the anacrusis.COMMENT( -)verb(c2-3- f-3-.7 +)verb( + c2-3- f-3-.7 )A chords is started by a note that is the tonic of the chord. The first one lasts a half note. An unadorned note creates a major triad, while a minor triad is wanted. code(3-) modifies the third to be small. code(7) modifies (adds) a seventh, which is small by default -to create the code(f a c es) chord. Multiple modifiers must be -separated by a dot. -COMMENT( +to create the code(f a c es) chord. Multiple modifiers must be +separated by a dot.COMMENT( -)verb(d-min es4 c8-min r8)COMMENT( +)verb( + d-min es4 c8-min r8 +)COMMENT( )Some modifiers have predefined names, eg. code(min) is the same as code(3-), so code(d-min) is a minor code(d) chord.COMMENT( -)verb(c2-min f-min7 g-7^3.5 c-min })COMMENT( +)verb( + c2-min f-min7 g-7^3.5 c-min } +)COMMENT( -)You may leave out the dot between a named modifier code(min) and a -normal modifier code(7). Tones from a chord are removed with chord -substractions. Substractions are started with a caret, and they are +)A named modifier code(min) and a normal modifier code(7) do not have +to be separated by a dot. Tones from a chord are removed with chord +subtractions. Subtractions are started with a caret, and they are also separated by dots. In this example, code(g-7^3.5) produces a minor seventh. The brace ends the sequential music. COMMENT( -)verb(\score { - \simultaneous {)COMMENT( +)verb( + \score { + \simultaneous { +)COMMENT( -)We put the music together in score block. Melody, lyrics and +)We assemble the music in the code(\score) block. Melody, lyrics and accompaniment have to sound at the same time, so they should be code(\simultaneous).COMMENT( -)verb( % \accompaniment)COMMENT( +)verb( + %\accompaniment +)COMMENT( -)Chords mode generates notes grouped in code(\simultaneous) music. If -want to see the chords in normal notation, you can remove the comment -sign. The chords are then printed on a staff with noteheads. COMMENT( +)Chord mode generates notes grouped in code(\simultaneous) music. If +you remove the comment sign, you can see the chords in normal +notation. The chords will then be printed as chords of note heads on +a separate staff. COMMENT( -)verb(\context ChordNames \accompaniment)COMMENT( +)verb( + \context ChordNames \accompaniment +)COMMENT( -)Normally, the notes that you enter are transformed into noteheads. +)Normally, the notes that you enter are transformed into note heads. The note heads alone make no sense, they need surrounding information: a key signature, a clef, staff lines, etc. They need em(context). This context also is a thing that has to be created. This is done by -code(\context). It takes two arguments. The first is the name of a +code(\context). It takes two arguments. The first is the name of a em(notation) or em(interpration context). The name is a string, it can be quoted with code(") quotes). The second argument is the music that should be interpreted in this context. @@ -568,7 +636,9 @@ would remove the code(%) sign in the previous line, you see that mechanism in action. For the previous line, we could have written code(\context Staff \accompaniment), and get the same effect.COMMENT( -)verb(\addlyrics)COMMENT( +)verb( + \addlyrics +)COMMENT( )The lyrics need to be aligned with the melody. This is done by combining both with code(\addlyrics). code(\addlyrics) takes two @@ -576,9 +646,11 @@ pieces of music (usually a melody and lyrics, in that order) and aligns the lyrics syllables of the second piece under the notes of the first piece. If you would reverse the order, the notes would be aligned on the lyrics, which is not very useful. (Besides, it looks -silly).COMMENT( +silly.)COMMENT( -)verb( \context Staff = mel {)COMMENT( +)verb( + \context Staff = mel { +)COMMENT( )This is first piece of music. We instantiate a code(Staff) context explicitly: should you chose to remove comment before the ``note @@ -587,48 +659,65 @@ nameless staff. In that case, the melody has to be on a different staff as the accompaniment. This is accomplished by giving the melody staff a different name.COMMENT( -)verb({ \property Staff.noAutoBeaming = "1")COMMENT( +)verb( + \property Staff.noAutoBeaming = "1" +)COMMENT( -)An interpretation context has variables that tune its behavior. One +)An interpretation context has variables that tune its behaviour. One of the variables is code(noAutoBeaming). If set and non-zero (i.e., true) LilyPond will not try to automatic beaming on the current staff.COMMENT( -)verb( \property Staff.automaticMelismas = "1")COMMENT( +)verb( + \property Staff.automaticMelismas = "1" +)COMMENT( )Similarly, we want do not want to put a lyric syllable when there is a slur. This sets up the Staff context to signal slurs while code(\addlyrics) is processed. COMMENT( -)verb( \melody })COMMENT( +)verb( + \melody + } +)COMMENT( -)Finally, we put the melody on the current. Note that the +)Finally, we put the melody on the current. Note that the code(\property) directives and code(\melody) are grouped in sequential music. So the property settings are done before the melody is processed. COMMENT( -)verb( \context Lyrics \text)COMMENT( +)verb( + \context Lyrics \text +)COMMENT( -)The second argument of code(\addlyrics) is the text. Text also -should land on a Staff, but on a context for syllables, +)The second argument of code(\addlyrics) is the text. Text also +should land on a Staff, but on a context for syllables, extenders, hyphens etc. This context is called Lyrics.COMMENT( -)verb( })COMMENT( +)verb( + } +)COMMENT( )This ends code(\simultaneous).COMMENT( -)verb( \midi { })COMMENT( +)verb( + \midi { } +)COMMENT( )This makes the music go to a MIDI file as well. MIDI is great for -checking music you enter. You listen to the MIDI file, if you hear -something weird, its probably a typing error. code(\midi) is a `output -definition', a declaration that specifies how to output music +checking music you enter. You listen to the MIDI file: if you hear +something unexpected, it's probably a typing error. code(\midi) is a +`output definition', a declaration that specifies how to output music analogous to code(\paper { }).COMMENT( -)verb( \paper { linewidth = 10.0\cm; })COMMENT( +)verb( + \paper { linewidth = 10.0\cm; } +)COMMENT( )We also want notation output.COMMENT( -)verb(})COMMENT( +)verb( + } +)COMMENT( )End the score block. diff --git a/NEWS b/NEWS index 4b64237a2e..033344407d 100644 --- a/NEWS +++ b/NEWS @@ -1,3 +1,6 @@ +pl 68.jcn1 + - small tutorial fixes + pl 67.hwn1 - tutorial updates - \property beamAuto -> noAutoBeaming diff --git a/TODO b/TODO index cfc892e184..96c12071f6 100644 --- a/TODO +++ b/TODO @@ -10,7 +10,11 @@ Grep -i for TODO, FIXME and ugh/ugr/urg. .* TODO before 1.2 . * Break_req handling is silly (break_forbid () + \break fucks up.) -. * chord names. +. * chord names. -- what about? +. * check html (png) music: pictures are cut-off at the bottom over here (jcn) +. * Staff.noAutoBeaming = 0 ? (vs: automaticMelismas) I don't like +settings with negations in them (manualBeaming?) +. * Melismas(*) --> Melismata (at least in doco) .* Cleanups needed . * \$ and $ identifier syntax in examples. diff --git a/VERSION b/VERSION index 21a9f1cb6e..66638b722b 100644 --- a/VERSION +++ b/VERSION @@ -2,7 +2,7 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=1 PATCH_LEVEL=68 -MY_PATCH_LEVEL= +MY_PATCH_LEVEL=jcn1 # use the above to send patches: MY_PATCH_LEVEL is always empty for a # released version. -- 2.39.5