From acfd8836e40498e4c26ec1642aad82acc0b9cbf0 Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Tue, 25 Jun 2002 23:20:57 +0000 Subject: [PATCH] '' --- Documentation/user/tutorial.itely | 208 ++++++++++++++++-------------- input/tutorial/sammartini.ly | 6 +- 2 files changed, 111 insertions(+), 103 deletions(-) diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 25051856b8..124b21bd04 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -1913,31 +1913,6 @@ As you can see, this example features multiple voices on one staff. To make room for those voices, their notes have to be stemmed in opposite directions. -Printed symbols are internally represented by so-called Graphical -Objects (more colloquially: Grobs). These statements concern the -grob called `Stem'. Each grob is described by a bunch of settings. These -setting determine the fonts, offsets, sub-routines to be called on the -grob, etc. The initial values of these settings are set in the Scheme -file @file{scm/grob-description.scm}. - -@separate -@example - stemDown = \property Voice.Stem \override #'direction = #-1 -@end example - -Set a property for all Stem grobs in the current Voice: -@code{direction} is set to @code{-1}, which encodes down. The setting -remains in effect until it is reverted. - -@separate -@example - \property Voice.Stem \revert #'direction -@end example - -Revert the to the previous setting. The effect of precisely one -@code{\stemDown} or @code{\stemUp} is neutralized. - - LilyPond includes the identifiers @code{\stemUp}, @code{\stemDown} along with some other commonly used formatting instructions, but to explain how it works, we wrote our own here. Of course, you should use predefined @@ -1957,30 +1932,28 @@ precisely one @code{Voice} context, so we give it a unique name @separate @example - + @end example The delimiters @code{<} and @code{>} are shorthands for @code{\simultaneous @{} and @code{@}}. The expression enclosed in @code{<} and @code{>} is a chord. -@cindex dynamics -@cindex loudness -@cindex forte @cindex arpeggio -@code{\f} places a forte symbol under the chord. The forte applies to -the whole chord, but the syntax requires that commands like forte and -arpeggio are attached to a note, so here we attach them to the first -note. - @code{\arpeggio} typesets an arpeggio sign (a wavy vertical line) before the chord. @separate @example - \stemDown + \voiceTwo @end example +We want the viola to have stems down, and have all the other +characteristics of a second voice. This is enforced using the +@code{\voiceTwo} command: it inserts instructions that makes stem, +ties, slurs, etc. go down. + + @separate @example @@ -2010,25 +1983,23 @@ these notes are indeed processed by precisely one context with @code{\context}. @separate @example -\stemUp s4 g8. b,16 c8 r -@end example -@code{\stemUp} is a reference to the @code{\property \override} command -defined above. +\voiceOne s4 g8. b,16 c8 r +@end example + +The oboes should have stems up, so they should have stems up, to keep +them from interfering with the staff-jumping bass figure. + @separate @example -\grace < d4 f> +\grace < d4 )f> @end example @cindex @code{\grace} @cindex ornaments @cindex grace notes @code{\grace} introduces grace notes. It takes one argument, in this -case a chord. +case a chord. A slur is introduced starting from the @code{\grace} +ending on the following chord. -@ignore -The slur started on the @code{e} of the chord -will be attached to the next note.@footnote{LilyPond will squirm -about unended Slurs. In this case, you can ignore the warning}. -@end ignore @separate @example \times 2/3 @@ -2041,16 +2012,10 @@ of music is multiplied by the fraction. Triplets make notes occupy 2/3 of their notated duration, so in this case the fraction is 2/3. @separate @example -@{ @} +@{ @} @end example The piece of music to be `tripletted' is sequential music containing -three notes. On the first chord, a crescendo is started with -@code{\<}. To be precise, the crescendo start is syntactically attached -to the preceding note, the @code{d}. - -@cindex dynamics -@cindex crescendo -@cindex @code{\<} +three chords. @separate @example @@ -2062,41 +2027,18 @@ we make a `chord' of sequences to do it. We start with the upper voice, which continues with upward stems: @separate @example - @{ \times 2/3 @{ a8 g c @} \! c2 @} + @{ \times 2/3 @{ a8 g c @} c2 @} @end example -@cindex @code{\!} - -The crescendo is ended at the half note by the escaped exclamation -mark @code{\!}. -@separate -@example -\context Voice = oboeTwo @{ -\stemDown -@end example -We can't share stems with the other voice, so we have to create a new -@code{Voice} context. We give it the name @code{oboeTwo} to distinguish -it from the other context. Stems go down in this voice. @separate -@example -\grace +@example +\\ @end example -@cindex Grace context -When a grace section is processed, a @code{Grace} context is -created. This context acts like a miniature score of its own. It has -its own time bookkeeping, and you can make notes, beams, slurs -etc. Here we fiddle with a property and make a beam. The argument of -@code{\grace} is sequential music. - -@separate -@example - \property Voice.Stem \override #'direction = #-1 - [f,16 g] - \property Voice.Stem \revert #'direction -@end example - -Normally, grace notes are always stem up, but in this case, the upper -voice interferes, so we set the stems down here. +The easiest way to enter multiple voices is demonstrated +here. Separate the components of the voice (single notes or entire +sequences) with @code{\\} in a simultaneous music expression. The +@code{\\} separators split first voice, second voice, third voice, and +so on. As far as relative mode is concerned, the previous note is the @code{c'''2} of the upper voice, so we have to go an octave down for @@ -2104,7 +2046,7 @@ the @code{f}. @separate @example - f8 e e2 + f,8 e e2 @} > @end example This ends the two-part section. @@ -2140,24 +2082,36 @@ The first specifies what central C should be transposed to. The second is the to-be-transposed music. As you can see, in this case, the transposition has no effect, as central C stays at central C. -The purpose of this no-op is circumventing relative mode. Relative mode -can not be used together with transposition, so @code{\relative} will -leave the contents of @code{\hoomPah} alone. We can use it without -having to worry about getting the motive in a wrong octave. +The purpose of this no-op is to protect it from being interpreted as +relative notes. Relative mode can not be used together with +transposition, so @code{\relative} will leave the contents of +@code{\hoomPah} alone. We can use it without having to worry about +getting the motive in a wrong octave. +@separate +@cindex staff switch, manual +@cindex cross staff voice, manual +@cindex @code{\translator} + +@example + \translator Staff = down + \stemUp + c8 + \translator Staff = up + \stemDown + c'8 } +@end example +Voices can switch between staves. Here you see two staff switching +commands. The first one moves to the lower staff, the second one to +the lower one. If you set stem directions explicitly (using the +identifiers @code{\stemUp} and @code{\stemDown}. + @separate @example bassvoices = \notes \relative c' @{ c4 g8. b,16 \autochange Staff \hoomPah \context Voice @end example -@cindex staff switch, automatic -@cindex cross staff voice, automatic -@cindex @code{\autochange} -Voices can switch between staves. The easiest way to get this, is to use -@code{\autochange}. This command looks at the pitch of each note, and if -necessary, will cross to the other staff. For this to work, the two -staves must be called @code{"up"} and @code{"down"}. @separate @example \translator Staff = down @@ -2211,12 +2165,70 @@ to the page layout of this document. @node Fine tuning a piece @section Fine tuning a piece +In this section, we show some ways to fine tune the final output of a +piece. We do so using a single measure of a moderately complex piano +piece: a Brahms intermezzo (opus 119, no. 1). + +The code for the untuned example shows us some new things. + +@lilypondfile[verbatim]{brahms-original.ly} +Hairpin dynamics can be indicated using @code{\>} to start a +decrescendo, and @code{\!} to end one. The crescendo is started using +@code{\<} and also ended using @code{\!}. Absolute dynamics can be +entered using @code{\p}, @code{\mf}, etc. -@lilypondfile{brahms-original.ly} +Fingering indications are entered quite simply using @code{-@var{N}}, +where @var{N} is a digit. @lilypondfile{brahms-tweaked.ly} +Printed symbols are internally represented by so-called Graphical +Objects (more colloquially: Grobs). These statements concern the +grob called `Stem'. Each grob is described by a bunch of settings. These +setting determine the fonts, offsets, sub-routines to be called on the +grob, etc. The initial values of these settings are set in the Scheme +file @file{scm/grob-description.scm}. + + +@separate +@example + stemDown = \property Voice.Stem \override #'direction = #-1 +@end example + +Set a property for all Stem grobs in the current Voice: +@code{direction} is set to @code{-1}, which encodes down. The setting +remains in effect until it is reverted. + +@separate +@example + \property Voice.Stem \revert #'direction +@end example + +Revert the to the previous setting. The effect of precisely one +@code{\stemDown} or @code{\stemUp} is neutralized. + + +@cindex dynamics +@cindex loudness +@cindex forte +@code{\f} places a forte symbol under the chord. The forte applies to +the whole chord, but the syntax requires that commands like forte and +arpeggio are attached to a note, so here we attach them to the first +note. + +On the first chord, a crescendo is started with +@code{\<}. To be precise, the crescendo start is syntactically attached +to the preceding note, the @code{d}. + +@cindex dynamics +@cindex crescendo +@cindex @code{\<} + +@cindex @code{\!} + +The crescendo is ended at the half note by the escaped exclamation +mark @code{\!}. @node An orchestral score diff --git a/input/tutorial/sammartini.ly b/input/tutorial/sammartini.ly index a1b0253ec6..2d5e755733 100644 --- a/input/tutorial/sammartini.ly +++ b/input/tutorial/sammartini.ly @@ -17,11 +17,7 @@ oboes = \notes \relative c'' \context Voice = oboes { < { \times 2/3 { a8 g c } c2 } \\ - { \grace { - \stemDown - [f,16 g] - \stemBoth } - f8 e e2 } + { f,8 e e2 } > \grace <)b8. d8.-\trill> | -- 2.39.5