@translationof Fundamental concepts
@translationof Fundamental concepts
-@untranslated
-
+Miután megtanultuk, hogyan állíthatunk elő gyönyörű kottákat egyszerű szöveges
+fájlokból, ebben a szakaszban megismerjük azokat a fogalmakat és technikákat,
+amelyek segítségével hasonlóan gyönyörű, de bonyolultabb kottákat készíthetünk.
@menu
* Hogyan működnek a LilyPond bemeneti fájlok?::
@translationof How LilyPond input files work
@translationof How LilyPond input files work
-@untranslated
-
+A LilyPond bemeneti formátuma meglehetősen rugalmas, így a tapasztalt
+felhasználóknak nagy szabadságot ad abban, hogyan strukturálják a
+forrásfájljaikat. De ez a rugalmasság az újdonsült felhasználók számára
+bonyolult lehet. Ez a szakasz elmagyarázza a struktúra nagy részét, az
+egyszerűség kedvéért bizonyos részleteket elnagyolva. A bemeneti formátum
+felépítésének teljes leírása a @ruser{File structure} c. szakaszban olvasható.
@menu
* Bevezetés a LilyPond fájlok szerkezetébe::
@translationof Introduction to the LilyPond file structure
@translationof Introduction to the LilyPond file structure
-@untranslated
-
-
-@c index input format
-@c index file structure
-@c index book
-@c index score
-@c ode{\score@{@}} command. This is because LilyPond automatically
-@c index implicit contexts
-@c index contexts, implicit
-@ref{Kontextusok és ábrázolók}.
-@c ode{\score} command, leaving the others to default.
-@c index header
-@c index layout
-@c index midi
-@c ode{\midi} -- are special: unlike many other commands which begin
-@c ode{\header} is often placed above the @code{\score} command, as the
-@c ode{\layout @{ @}} and @code{\midi @{@}}. If these appear as
-@c index scores, multiple
-@c index book block, implicit
-@c index implicit book block
-@c ode{\book} command should be used to separate the different
-@c ode{\book} block.
-@c index layout block, effect of location
-@c ode{\book} block in which it appears -- i.e., a @code{\layout}
-@c index variables
-@ref{Művek szervezettebbé tétele változók segítségével}. All the templates use this
-@c ode{melody} (everything after the equals sign) and inserts it
-@c ode{TimeKey},
-@c ode{pianorighthand}, or @code{foofoobarbaz}. For more details,
+@c index bemeneti formátum
+@c index fájlstruktúra
+
+A LilyPond bemeneti fájlok szerkezetére egy tipikus példa:
+
+@example
+\version @w{"@version{}"}
+
+\header @{ @}
+
+\score @{
+ @var{...összetett zenei kifejezés...} % ide jön a zene!
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+@noindent
+Ennek az alapvető mintának sok változata lehetséges, de ez a példa jó
+kiindulási alapot jelent.
+
+@funindex \book
+@funindex book
+@funindex \score
+@funindex score
+@cindex book
+@cindex score
+
+Eddig egyik példa sem használta a @code{\score@{@}} parancsot. Ennek oka, hogy
+a LilyPond automatikusan hozzáadja az egyszerű bemenethez a szükséges
+parancsokat. A következő bemenet például:
+
+@example
+\relative c'' @{
+ c4 a d c
+@}
+@end example
+
+@noindent
+a következő rövidítése:
+
+@example
+\book @{
+ \score @{
+ \new Staff @{
+ \new Voice @{
+ \relative c'' @{
+ c4 a b c
+ @}
+ @}
+ @}
+ \layout @{ @}
+ @}
+@}
+@end example
+
+Más szóval, ha a bemenet egyetlen zenei kifejezést tartalmaz, a LilyPond úgy
+értelmezi a fájlt, mintha a zenei kifejezés körül már szerepelnének a fenti
+parancsok.
+
+@cindex implicit kontextusok
+
+@strong{Figyelem!} A dokumentációban sok példa nem tartalmazza a
+@code{\new Staff} és @code{\new Voice} parancsokat, így azok implicite kerülnek
+létrehozásra. Ez egyszerű példáknál jól működik, de bonyolultabb esetekben,
+főleg, ha más parancsokat is használunk, a kontextusok implicit létrehozása
+meglepő kimenetet eredményezhet, például nemkívánatos kottasorok jelenlétét.
+A kontextusok explicit megadásának módja a @ref{Kontextusok és ábrázolók} c.
+részben olvasható.
+
+@warning{Többszólamú zeneművek esetén ajánlott explicit módon létrehozni a
+kottasorokat és az azon belüli szólamokat.}
+
+Egyelőre térjünk vissza az első példánkhoz, és vizsgáljuk meg csak a
+@code{\score} parancsot.
+
+A @code{\score} blokkon belül először pontosan egy zenei kifejezésnek kell
+következnie.
+Emlékezzünk arra, hogy egy zenei kifejezés lehet egy hang is, de akár
+egy olyan nagy összetett kifejezés is, mint:
+
+@example
+@{
+ \new StaffGroup <<
+ @var{...egy teljes Wagner-opera zenei anyaga...}
+ >>
+@}
+@end example
+
+@noindent
+Mivel mindez egy @code{@{ ... @}} blokkban szerepel, egy zenei
+kifejezésnek számít.
+
+Ahogy korábban láttuk, a @code{\score} blokk a zenén kívül más definíciókat is
+tartalmazhat, mint például:
+
+@example
+\score @{
+ @{ c'4 a b c' @}
+ \header @{ @}
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+@funindex \header
+@funindex header
+@funindex \layout
+@funindex layout
+@funindex \midi
+@funindex midi
+@cindex header
+@cindex layout
+@cindex midi
+
+@noindent
+Ez a három parancs -- @code{\header}, @code{\layout} és @code{\midi} --
+speciális: az eddigi parancsokkal ellentétben @emph{nem} zenei kifejezések, és
+nem azok részei. A @code{\score} blokkon belül vagy kívül is elhelyezkedhetnek
+-- például a @code{\header} (fejléc) blokk, melyben a kotta adatait (pl. cím,
+szerző stb.) lehet megadni, legtöbbször a @code{\score} parancs előtt szerepel,
+ahogy a szakasz elején található példában is látható.
+
+A két további, még ismeretlen parancs: @code{\layout @{ @}} és
+@code{\midi @{@}}. Ezek ebben a formában rendre azt jelentik, hogy a LilyPond
+kottaképet, ill. hangzó anyagot állítson elő. Teljes leírásuk a Kottaírás
+Kézikönyvében található, a @ruser{Score layout} és a
+@ruser{Creating MIDI files} szakaszokban.
+
+@cindex több kotta
+@cindex implicit book blokk
+@funindex \book
+@funindex book
+
+Egy fájlban több @code{\score} blokk lehet. Mindegyik egy-egy zeneművet
+vagy tételt jelöl, de ezek egy kimeneti fájlban fognak megjelenni. Nem
+szükséges @code{\book} blokkba foglalni őket -- ez implicite megtörténik.
+Ha azonban több kimeneti fájlt szeretnénk kapni egy forrásfájlból, akkor több
+@code{\book} blokkot kell megadnunk -- kimeneti fájlonként egyet-egyet.
+
+Összegezve:
+
+Minden @code{\book} blokk külön kimeneti fájlt eredményez (pl. egy-egy PDF
+állományt). Ha nem szerepel explicit módon a forráskódban, akkor a LilyPond
+körülveszi az egész forráskódot egy @code{\book} blokkal.
+
+Egy @code{\book} blokkon belül minden @code{\score} blokk különálló zenei
+egységet jelöl.
+
+@cindex layout blokk helye
+
+Minden @code{\layout} blokk arra a @code{\score} vagy @code{\book} blokkra
+érvényes, amelyben szerepel -- tehát egy @code{\score} blokkon belüli
+@code{\layout} blokk csakis arra az egy @code{\score} blokkra vonatkozik,
+de egy @code{\score} blokkon kívüli @code{\layout} blokk a @code{\score}
+blokkot tartalmazó (akár explicit, akár implicit) @code{\book} blokkon belüli
+minden @code{\score} blokkra érvényes.
+
+A részletek a @ruser{Multiple scores in a book} c. részben olvashatók.
+
+@cindex változók
+
+Fájljainkat áttekinthetőbbé tehetjük változók definiálásával (ld.
+@ref{Művek szervezettebbé tétele változók segítségével}). Minden sablonban ezt
+a módszert használjuk:
+
+@example
+dallam = \relative c' @{
+ c4 a b c
+@}
+
+\score @{
+ \dallam
+@}
+@end example
+
+Amikor a LilyPond feldolgozza ezt a fájlt, a @code{dallam} változó értékét
+(azaz mindent az egyenlőségjel utáni zenei kifejezésből) beszúrja mindenhova,
+ahol @code{\melody}. hivatkozást lát. A változók nevére nincs sok megkötés -- a
+következők mind helyes példák: @code{dallam}, @code{jobbKez}, @code{fuvola},
+@code{BII} stb. A @ref{Kevesebb gépelés változókkal és függvényekkel} c.
+szakasz további információkat tartalmaz. Mindössze annyi a korlátozás, hogy a
+változónevek csak az angol abc betűit tartalmazhatják, és nem ütközhetnek a
+LilyPond parancsok neveivel. A pontos szabályok a @ruser{File structure} c.
+részben vannak leírva.
+
+@seealso
+A bemeneti formátum teljes definíciója a
+@ruser{File structure} c. szakaszban található.
+
@node A kotta egy összetett zenei kifejezés
@subsection A kotta egy összetett zenei kifejezés
@translationof Score is a (single) compound musical expression
@translationof Score is a (single) compound musical expression
-@untranslated
+@funindex \score
+@funindex score
+@cindex score
+@cindex összetett zenei kifejezés
+Az előző szakaszban (@ref{Bevezetés a LilyPond fájlok szerkezetébe}) már láttuk
+a LilyPond fájlok általános felépítését. De a legfontosabb részt mintha
+átugrottuk volna: mi kerüljön a @code{\score} blokk belsejébe?
+
+Valójában ez sokkal egyszerűbb, mint gondolnánk. Ez a mondat mindent
+megmagyaráz:
-@c index score
-@c index contents of a score block
-@c index score block, contents of
-@c index compound music expression
-@c index music expression, compound
@quotation
+@emph{A @code{\score} blokknak egy összetett zenei kifejezéssel kell
+kezdődnie.}
@end quotation
-@ref{A zenei kifejezés fogalma}. In that section, we saw how to
-@c ode{StaffGroup} for this ensemble, which simply groups a number
-@c ode{text} variable are interpreted as lyrics we preface them with
-@c ode{\lyricmode}. Like @code{\addlyrics}, this switches the input
+
+@noindent
+Az összetett zenei kifejezés fogalmát már tisztáztuk
+@ref{A zenei kifejezés fogalma} c. részben. Láttuk, hogy építhetünk fel nagy
+zenei kifejezéseket kis részekből -- először hangokból, aztán akkordokból stb.
+Most egy összetett zenei kifejezést vizsgálunk meg felülről lefelé. Az
+egyszerűség kedvéért egy zongorakíséretes dal lesz a példánk. Először is
+szükségünk van az énekes és a zongorista szólamára.
+
+@example
+\score @{
+ <<
+ \new Staff = "enek" <<
+ >>
+ \new PianoStaff = "zongora" <<
+ >>
+ >>
+ \layout @{ @}
+@}
+@end example
+
+Elneveztük a két szólamot @qq{enek} és @qq{zongora} néven. Ez nem kötelező,
+de jó szokás, hogy első pillantásra lássuk, melyik szólam mire szolgál.
+
+Emlékezzünk arra, hogy @code{<< ... >>} szolgál több szólam jelölésére. Ennek
+hatására az ének- és a zongoraszólam egymás alatt fog megjelenni a kottában.
+A zongoraszólam két kottasort fog tartalmazni, az énekszólam pedig egy
+kottasort és egy dalszöveget, így mindkettőhöz @code{<< ... >>} blokk kell.
+A dalszöveghez az @code{\addlyrics} parancsot fogjuk használni. Ha szükséges
+feleleveníteni, az @ref{Egyszerű dalok kottázása} c. részben olvashatunk róla.
+
+@lilypond[verbatim,quote,ragged-right]
+\score {
+ <<
+ \new Staff = "enek" <<
+ \new Voice = "dallam" { c'1 }
+ \addlyrics { Szólt }
+ >>
+ \new PianoStaff = "zongora" <<
+ \new Staff = "jobbkez" { c'1 }
+ \new Staff = "bal" { c'1 }
+ >>
+ >>
+ \layout { }
+}
+@end lilypond
+
+Most megvan a teljes struktúra. Az énekszólam egy @code{Voice} kontextust
+tartalmaz a hangoknak, és egy strófányi dalszöveget. A zongoraszólam pedig
+a jobb- és balkéz kottasorait tartalmazza.
+
+Most elkezdhetjük kitölteni a hangokat. Elkezdhetnénk közvetlenül a Voice
+kontextus belsejébe beleírni, hogy
+
+@example
+\relative c'' @{
+ r4 d8\noBeam g, c4 r
+@}
+@end example
+
+De ha ezt tennénk, a @code{\score} blokk nagyon bonyolult lenne, és nem lehetne
+átlátni a szólamok szerkezetét. Így érdemes változókat használni. A dalszöveg
+változóként való megadására a @code{\lyricmode} parancsot kell használni, hogy
+a LilyPond dalszövegként és ne hangokként értelmezze a változó tartalmát.
+(A dalszöveg egy külön beviteli mód, ezekből még több is van, ld. az
+@ruser{Input modes} c. részt.)
+
+Tehát miután definiáltuk a megfelelő változókat, hivatkoztunk rájuk, és
+basszuskulccsal láttuk el a balkezet, kész egy valódi mű kezdete:
+
+@lilypond[verbatim,quote,ragged-right]
+dallam = \relative c'' { r4 d8\noBeam g, c4 r }
+dalszoveg = \lyricmode { Szólt az Úr, }
+jobbkez = \relative c'' { <g d g,>2~ <g d g,> }
+balkez = \relative c { b2 e2 }
+
+\score {
+ <<
+ \new Staff = "enek" <<
+ \new Voice = "dallam" { \melody }
+ \addlyrics { \dalszoveg }
+ >>
+ \new PianoStaff = "zongora" <<
+ \new Staff = "jobbkez" { \jobbkez }
+ \new Staff = "balkez" {
+ \clef "bass"
+ \balkez
+ }
+ >>
+ >>
+ \layout { }
+}
+@end lilypond
+
+Amikor a @code{\score} blokkot írjuk vagy olvassuk, mindig lassan, gondosan
+járjunk el. Haladjunk kívülről befelé, a magas szintű felépítéstől a részletek
+felé haladva. Nagyban segít, ha ügyelünk a behúzásokra -- minden blokk
+kezdődjön egy tabulátorral beljebb, így az egy szinten levő blokkok ugyanolyan
+mértékben lesznek behúzva.
+
+@seealso
+Referencia: @ruser{Structure of a score}.
+
+
@node Zenei kifejezések egymásba ágyazása
@subsection Zenei kifejezések egymásba ágyazása
@translationof Nesting music expressions
-@translationof Nesting music expressions
-@untranslated
+@cindex ideiglenes kottasorok
+@cindex ossia
+
+Ossiák bevitelekor jön jól, hogy kottasorok bármikor, darab közben is
+kezdődhetnek, és bármikor végződhetnek. Álljon itt erre egy példa:
+
+@lilypond[verbatim,quote,ragged-right]
+\new Staff {
+ \relative g' {
+ r4 g8 g c4 c8 d |
+ e4 r8
+ <<
+ { f c c }
+ \new Staff {
+ f8 f c
+ }
+ >>
+ r4 |
+ }
+}
+@end lilypond
+
+@noindent
+Figyeljük meg, hogy a kulcs mérete némileg kisebb, mint a sor elején szereplő
+kulcsé (mint ahogy kulcsváltásnál is).
+
+@cindex kottasorok pozíciója
+
+Az ossia a kottasor fölött is elhelyezkedhet:
+
+@lilypond[verbatim,quote,ragged-right]
+\new Staff = "main" {
+ \relative g' {
+ r4 g8 g c4 c8 d |
+ e4 r8
+ <<
+ { f c c }
+ \new Staff \with {
+ alignAboveContext = #"main" }
+ { f8 f c }
+ >>
+ r4 |
+ }
+}
+@end lilypond
+
+Ebben a példában a még ismeretlen @code{\with} parancsot használtuk, amelyet
+később ismertetünk. Most elég annyi, hogy a kottasor bizonyos tulajdonságainak
+módosítására szolgál. Itt egy olyan tulajdonságot adunk meg, ami azt mondja,
+hogy az új kottasor a @qq{main} nevű kottasor felett helyezkedjen el
+(ahelyett, hogy alatta helyezkedne el, ami az alapértelmezés).
+
+
+@seealso
+Az ossiákat általában kulcs és ütemmutató nélkül, valamint kisebb méretben
+szedjük. Ehhez további új parancsok kellenek; ld. az @ref{Size of objects} és
+@ruser{Ossia staves} szakaszokat.
-@c index staves, temporary
-@c index temporary staves
-@c index ossias
-@c index staff, positioning
@node A gerendák és ívek átfedhetik egymást
@subsection A gerendák és ívek átfedhetik egymást
@translationof On the un-nestedness of brackets and ties
-@translationof On the un-nestedness of brackets and ties
-@untranslated
+@cindex zárójeltípusok
+@cindex zárójelek egymásba ágyazása
+
+Már sok zárójelfajtával találkoztunk a LilyPond fájlok írása közben. Ezekre
+különböző szabályok vonatkoznak, amelyeket érdemes tisztázni. Ismételjük át
+ezeket a típusokat.
+
+@need 50
+@multitable @columnfractions .3 .7
+@headitem Zárójelfajta
+ @tab Szerep
+@item @code{@{ .. @}}
+ @tab Egymás után megszólaló hangokat tartalmaz
+@item @code{< .. >}
+ @tab Egy akkord hangjait tartalmazza
+@item @code{<< .. >>}
+ @tab Egyszerre megszólaló zenei kifejezéseket tartalmaz
+@item @code{( .. )}
+ @tab Egy ív kezdetét és végét jelöli
+@item @code{\( .. \)}
+ @tab Egy frazeálóív kezdetét és végét jelöli
+@item @code{[ .. ]}
+ @tab Egy kézi gerenda kezdetét és végét jelöli
+@end multitable
+
+A LilyPond világán kívül a különböző fajtájú zárójeleket megfelelően egymásba
+kell ágyazni, pl. így: @code{<< [ @{ ( .. ) @} ] >>}. Tehát a záró
+zárójeleknek pontosan fordított sorrendben kell állniuk, mint a nyitó
+zárójeleknek. A fenti táblázatban szereplő első három típusnál (a blokkoknál)
+ezt a LilyPond is megköveteli. A többi parancsnál ez nem követelmény.
+Valójában ezekre nem is úgy érdemes gondolni, mint a zárójelekre, hanem olyan
+jelzésekre, amelyek zenei elemek kezdetét és végét jelölik.
+
+Tehát például egy frazeálóív kezdődhet egy kézzel megadott gerenda előtt, és
+befejeződhet a gerenda vége előtt -- lehet, hogy nem a legzeneibb megoldás, de
+lehetséges:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+ { g8\( a b[ c b\) a] }
+@end lilypond
+
+Általánosságban az ívek, frazeálóívek, kötőívek és gerendák átnyúlhatnak
+a triolák és előkék határain. A következő példában az 1. sorban egy gerenda,
+a 2. sorban egy kötőív nyúl bele egy triolába, a 3. és 4. sorban pedig
+mindezek mellett még egy kötőív is található két triola között, valamint egy
+frazeálóív, amely túlnyúlik a triolán.
+
+@lilypond[quote,verbatim,fragment,ragged-right]
+{
+ r16[ g16 \times 2/3 {r16 e'8] }
+ g16( a \times 2/3 {b d) e' }
+ g8[( a \times 2/3 {b d') e'~]}
+ \times 4/5 {e'32\( a b d' e'} a'4.\)
+}
+@end lilypond
-@c index brackets, nesting
-@c index bracket types
-@c index brackets, enclosing vs. marking
-@c attempt to force this onto a new page
@node A szólamok zenét tartalmaznak
@section A szólamok zenét tartalmaznak
@translationof Voices contain music
-@translationof Voices contain music
-@untranslated
+Singers need voices to sing, and so does LilyPond.
+The actual music for all instruments in a score
+is contained in Voices -- the most fundamental
+of all LilyPond's concepts.
@menu
* Hangzatos szólamok::
@node Hangzatos szólamok
@subsection Hangzatos szólamok
@translationof I'm hearing Voices
-@translationof I'm hearing Voices
-@untranslated
-
-
-@c index polyphony
-@c index layers
-@c index multiple voices
-@c index voices, multiple
-@c index Voice context
-@c index context, Voice
-@c index simultaneous music
-@c index music, simultaneous
-@c index concurrent music
-@c index music, concurrent
-@c index voices vs. chords
-@c index chords vs. voices
-@c ode{\\}, to place them in separate voices. Without these, the
-@c index voices, naming
-@c index voices crossing brackets
-@c index slurs crossing brackets
-@c index ties crossing brackest
-@ref{Változók felhasználása a finomhangoláshoz}.
-@c index polyphony and relative note entry
-@c index relative note entry and polyphony
-@c ode{\relative @{ @}} block. Each note is still calculated
-@c ode{noteB} is relative to @code{noteA} @*
-@c ode{noteC} is relative to @code{noteB}, not @code{noteA}; @*
-@c ode{noteD} is relative to @code{noteB}, not @code{noteA} or
-@c ode{noteC}; @*
-@c ode{noteE} is relative to @code{noteD}, not @code{noteA}.
+
+@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.
+Voices are sometimes called @q{layers} in other notation
+packages.
+
+In fact, a Voice layer or context is the only one which can contain
+music. If a Voice context is not explicitly declared one is created
+automatically, as we saw at the beginning of this chapter. Some
+instruments such as an Oboe can play only one note at a time. Music
+written for such instruments is monophonic and requires just a single
+voice. Instruments which can play more than one note at a time like
+the piano will often require multiple voices to encode the different
+concurrent notes and rhythms they are capable of playing.
+
+A single voice can contain many notes in a chord, of course,
+so when exactly are multiple voices needed? Look first at
+this example of four chords:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=1]
+\key g \major
+<d g>4 <d fis> <d a'> <d g>
+@end lilypond
+
+This can be expressed using just the single angle bracket chord
+symbols, @code{< ... >}, and for this just a single voice is
+needed. But suppose the F-sharp were actually an eighth-note
+followed by an eighth-note G, a passing note on the way to the A?
+Now we have two notes which start at the same time but have
+different durations: the quarter-note D and the eighth-note
+F-sharp. How are these to be coded? They cannot be written as
+a chord because all the notes in a chord must have the same
+duration. And they cannot be written as two sequential notes
+as they need to start at the same time. This is when two
+voices are required.
+
+Let us see how this is done in LilyPond input syntax.
+
+@funindex << \\ >>
+@funindex \\
+
+The easiest way to enter fragments with more than one voice on a
+staff is to enter each voice as a sequence (with @code{@{...@}}),
+and combine them simultaneously with angle brackets, @code{<<...>>}.
+The fragments must also be separated with double backward slashes,
+@code{\\}, to place them in separate voices. Without these, the
+notes would be entered into a single voice, which would usually
+cause errors. This technique is particularly suited to pieces of
+music which are largely monophonic with occasional short sections
+of polyphony.
+
+Here's how we split the chords above into two voices and add both
+the passing note and a slur:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\key g \major
+% Voice "1" Voice "2"
+<< { g4 fis8( g) a4 g } \\ { d4 d d d } >>
+@end lilypond
+
+Notice how the stems of the second voice now point down.
+
+Here's another simple example:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\key d \minor
+% Voice "1" Voice "2"
+<< { r4 g g4. a8 } \\ { d,2 d4 g } >>
+<< { bes4 bes c bes } \\ { g4 g g8( a) g4 } >>
+<< { a2. r4 } \\ { fis2. s4 } >>
+@end lilypond
+
+It is not necessary to use a separate @code{<< \\ >>} construct
+for each bar. For music with few notes in each bar this layout
+can help the legibility of the code, but if there are many
+notes in each bar it may be better to split out each voice
+separately, like this:
+
+@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
+\key d \minor
+<< {
+ % Voice "1"
+ r4 g g4. a8 |
+ bes4 bes c bes |
+ a2. r4 |
+} \\ {
+ % Voice "2"
+ d,2 d4 g |
+ g4 g g8( a) g4 |
+ fis2. s4 |
+} >>
+@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.
+
+The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
+In each of these contexts, the vertical direction of slurs,
+stems, ties, dynamics etc., is set appropriately.
+
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ % Main voice
+ c16 d e f
+ % Voice "1" Voice "2" Voice "3"
+ << { g4 f e } \\ { r8 e4 d c8~ } >>
+ << { d2 e2 } \\ { c8 b16 a b8 g~ g2 } \\ { s4 b4 c2 } >>
+}
+@end lilypond
+
+These voices are all separate from the main voice that contains
+the notes just outside the @code{<< .. >>} construct. Let's call
+this the @emph{simultaneous construct}. Slurs and ties may only
+connect notes within the same voice, so slurs and ties cannot go
+into or out of a simultaneous construct. Conversely,
+parallel voices from separate simultaneous constructs on the same
+staff are the same voice. Other voice-related properties also
+carry across simultaneous constructs. Here is the same example,
+with different colors and note heads for each voice. Note that
+changes in one voice do not affect other voices, but they do
+persist in the same voice later. Note also that tied notes may be
+split across the same voices in two constructs, shown here in the
+blue triangle voice.
+
+@lilypond[quote,verbatim]
+\new Staff \relative c' {
+ % Main voice
+ c16 d e f
+ << % Bar 1
+ {
+ \voiceOneStyle
+ g4 f e
+ }
+ \\
+ {
+ \voiceTwoStyle
+ r8 e4 d c8~
+ }
+ >>
+ << % Bar 2
+ % Voice 1 continues
+ { d2 e2 }
+ \\
+ % Voice 2 continues
+ { c8 b16 a b8 g ~ g2 }
+ \\
+ {
+ \voiceThreeStyle
+ s4 b4 c2
+ }
+ >>
+}
+@end lilypond
+
+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@funindex \voiceNeutralStyle
+
+The commands @code{\voiceXXXStyle} are mainly intended for use in
+educational documents such as this one. They modify the color
+of the note head, the stem and the beams, and the style of the
+note head, so that the voices may be easily distinguished.
+Voice one is set to red diamonds, voice two to blue triangles,
+voice three to green crossed circles, and voice four (not used
+here) to magenta crosses; @code{\voiceNeutralStyle} (also not
+used here) reverts the style back to the default.
+We shall see later how commands like these may be created by the
+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
+note of the preceding chord. So in
+
+@example
+\relative c' @{ noteA << < noteB noteC > \\ noteD >> noteE @}
+@end example
+
+@noindent
+@code{noteB} is relative to @code{noteA} @*
+@code{noteC} is relative to @code{noteB}, not @code{noteA}; @*
+@code{noteD} is relative to @code{noteB}, not @code{noteA} or
+@code{noteC}; @*
+@code{noteE} is relative to @code{noteD}, not @code{noteA}.
+
+An alternative way, which may be clearer if the notes in the
+voices are widely separated, is to place a @code{\relative}
+command at the start of each voice:
+
+@example
+\relative c' @{ noteA ... @}
+<<
+ \relative c'' @{ < noteB noteC > ... @}
+\\
+ \relative g' @{ noteD ... @}
+>>
+\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.
+
@c The following should appear as music without code
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ << % Voice one
+ { c2 aes4. bes8 }
+ \\ % Voice two
+ { aes2 f4 fes }
+ \\ % No voice three
+ \\ % Voice four
+ {
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn #'force-hshift = #0
+ <ees c>2
+ \once \override NoteColumn #'force-hshift = #0.5
+ des2
+ }
+ >> |
+ <c ees aes c>1 |
+}
+@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.
+
+But the real need for multiple voices arises when notes
+which start at the same time have different durations.
+Look at the notes which start at beat three in the first
+bar. The A-flat is a dotted quarter note, the F is a
+quarter note and the D-flat is a half note. These
+cannot be written as a chord as all the notes in a chord
+must have the same duration. Neither can they be written
+as sequential notes, as they must start at the same time.
+This section of the bar requires three voices, and the
+normal practice would be to write the whole bar as three
+voices, as shown below, where we have used different note heads
+and colors for the three voices. Again, the code behind this
+example will be explained later, so ignore anything you do
+not understand.
+
@c The following should appear as music without code
@c The three voice styles should be defined in -init
-@c index stem down
-@c index voices and stem directions
-@c index stem directions and voices
-@c index stem up
+@lilypond[quote,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ <<
+ { % Voice one
+ \voiceOneStyle
+ c2 aes4. bes8
+ }
+ \\ % Voice two
+ { \voiceTwoStyle
+ aes2 f4 fes
+ }
+ \\ % No Voice three (we want stems down)
+ \\ % Voice four
+ { \voiceThreeStyle
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn #'force-hshift = #0
+ <ees c>2
+ \once \override NoteColumn #'force-hshift = #0.5
+ des2
+ }
+ >>
+ <c ees aes c>1
+}
+@end lilypond
+
+
+Let us try to encode this music from scratch. As we
+shall see, this encounters some difficulties. We begin as
+we have learnt, using the @code{<< \\ >>} construct to
+enter the music of the first bar in three voices:
+
+@lilypond[quote,verbatim,fragment,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ <<
+ { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des2 }
+ >>
+ <c ees aes c>1
+}
+@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
+odd-numbered voices taking upward stems and the even-numbered
+voices downward ones. The stems for voices 1 and 2 are right,
+but the stems in voice 3 should go down in this particular piece
+of music. We can correct this by skipping voice three
+and placing the music in voice four. This is done by simply
+adding another pair of @code{\\}.
+
+@lilypond[quote,verbatim,fragment,ragged-right]
+\new Staff \relative c'' {
+ \key aes \major
+ << % Voice one
+ { c2 aes4. bes8 }
+ \\ % Voice two
+ { aes2 f4 fes }
+ \\ % Omit Voice three
+ \\ % Voice four
+ { <ees c>2 des2 }
+ >>
+ <c ees aes c>1
+}
+@end lilypond
+
+@noindent
+We see that this fixes the stem direction, but exposes a problem
+sometimes encountered with multiple voices -- the stems of the notes
+in one voice can collide with the note heads in other voices. In
+laying out the notes, LilyPond allows the notes or chords from two
+voices to occupy the same vertical note column provided the stems are
+in opposite directions, but the notes from the third and fourth voices
+are displaced, if necessary, to avoid the note heads colliding. This
+usually works well, but in this example the notes of the lowest voice
+are clearly not well placed by default. LilyPond provides several ways
+to adjust the horizontal placing of notes. We are not quite ready yet
+to see how to correct this, so we shall leave this problem until a
+later section --- see the @code{force-hshift} property in @ref{Fixing
+overlapping notation}.
+
+
+@seealso
+Notation Reference: @ruser{Multiple voices}.
+
+
@node Szólamok kézi létrehozása
@subsection Szólamok kézi létrehozása
@translationof Explicitly instantiating voices
-@translationof Explicitly instantiating voices
-@untranslated
+@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
+
+Voice contexts can also be created manually
+inside a @code{<< >>} block to create polyphonic music, using
+@code{\voiceOne} ... @code{\voiceFour} to indicate the required
+directions of stems, slurs, etc. In longer scores this method
+is clearer, as it permits the voices to be separated and to be
+given more descriptive names.
+
+Specifically, the construct @code{<< \\ >>} which we used in
+the previous section:
+
+@example
+\new Staff @{
+ \relative c' @{
+ << @{ e4 f g a @} \\ @{ c,4 d e f @} >>
+ @}
+@}
+@end example
+
+@noindent
+is equivalent to
+
+@example
+\new Staff <<
+ \new Voice = "1" @{ \voiceOne \relative c' @{ e4 f g a @} @}
+ \new Voice = "2" @{ \voiceTwo \relative c' @{ c4 d e f @} @}
+>>
+@end example
+
+Both of the above would produce
-@c index voice contexts, creating
-@c ode{\voiceOne} ... @code{\voiceFour} to indicate the required
@c The following example should not display the code
-@c index voices, reverting to single
-@c index reverting to a single voice
-@c ode{\voiceFour} make them point downwards. These commands also
-@c ode{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on
-@c index nesting music expressions
-@c index nesting simultaneous constructs
-@c index nesting voices
-@c index voices, temporary
-@c index voices, nesting
-@c index spacing notes
-@subsubheading Hangoszlopok
-@c index note column
-@c index note collisions
-@c index collisions, notes
-@c index shift commands
-@c ode{\shiftOff} commands specify the degree to which notes and
-@c ode{\shiftOnn} and @code{\shiftOnnn} define further shift
+@lilypond[ragged-right,quote]
+\new Staff <<
+ \new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
+ \new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
+>>
+@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}
+make these objects point upwards, while @code{\voiceTwo} and
+@code{\voiceFour} make them point downwards. These commands also
+generate a horizontal shift for each voice when this is required
+to avoid clashes of note heads. The command @code{\oneVoice}
+reverts the settings back to the normal values for a single voice.
+
+Let us see in some simple examples exactly what effect
+@code{\oneVoice}, @code{\voiceOne} and @code{voiceTwo} have on
+markup, ties, slurs, and dynamics:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'{
+ % Default behavior or behavior after \oneVoice
+ c d8~ d e4( f g a) b-> c
+}
+@end lilypond
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'{
+ \voiceOne
+ c d8~ d e4( f g a) b-> c
+ \oneVoice
+ c, d8~ d e4( f g a) b-> c
+}
+@end lilypond
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'{
+ \voiceTwo
+ c d8~ d e4( f g a) b-> c
+ \oneVoice
+ c, d8~ d e4( f g a) b-> c
+}
+@end lilypond
+
+Now let's look at three different ways to notate the same passage
+of polyphonic music, each of which is advantageous in different
+circumstances, using the example from the previous section.
+
+An expression that appears directly inside a @code{<< >>} belongs
+to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
+construct). This is useful when extra voices appear while the
+main voice is playing. Here is a more correct rendition of our
+example. The red diamond-shaped notes
+demonstrate that the main melody is now in a single voice context,
+permitting a phrasing slur to be drawn over them.
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ \voiceOneStyle
+ % The following notes are monophonic
+ c16^( d e f
+ % Start simultaneous section of three voices
+ <<
+ % Continue the main voice in parallel
+ { g4 f e | d2 e2) | }
+ % Initiate second voice
+ \new Voice {
+ % Set stems, etc., down
+ \voiceTwo
+ r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ }
+ % Initiate third voice
+ \new Voice {
+ % Set stems, etc, up
+ \voiceThree
+ s2. | s4 b4 c2 |
+ }
+ >>
+}
+@end lilypond
+
+@cindex nesting music expressions
+@cindex nesting simultaneous constructs
+@cindex nesting voices
+@cindex voices, temporary
+@cindex voices, nesting
+
+More deeply nested polyphony constructs are possible, and if a
+voice appears only briefly this might be a more natural way to
+typeset the music:
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ <<
+ { g4 f e | d2 e2) | }
+ \new Voice {
+ \voiceTwo
+ r8 e4 d c8~
+ <<
+ { c8 b16 a b8 g~ g2 }
+ \new Voice {
+ \voiceThree
+ s4 b4 c2
+ }
+ >>
+ }
+ >>
+}
+@end lilypond
+
+@cindex spacing notes
+
+This method of nesting new voices briefly is useful
+when only small sections of the music
+are polyphonic, but when the whole staff is largely polyphonic
+it can be clearer to use multiple voices throughout, using
+spacing notes to step over sections where the voice is silent,
+as here:
+
+@lilypond[quote,ragged-right,verbatim]
+\new Staff \relative c' <<
+ % Initiate first voice
+ \new Voice {
+ \voiceOne
+ c16^( d e f g4 f e | d2 e2) |
+ }
+ % Initiate second voice
+ \new Voice {
+ % Set stems, etc, down
+ \voiceTwo
+ s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
+ }
+ % Initiate third voice
+ \new Voice {
+ % Set stems, etc, up
+ \voiceThree
+ s1 | s4 b4 c2 |
+ }
+>>
+@end lilypond
+
+@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,
+columns to prevent the note heads overlapping. These are called
+note columns. There are separate columns for each voice, and
+the currently specified voice-dependent shift is applied to the
+note column if there would otherwise be a collision. This can
+be seen in the example above. In bar 2 the C in voice two is
+shifted to the right relative to the D in voice one, and in the
+final chord the C in voice three is also shifted to the right
+relative to the other notes.
+
+The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
+@code{\shiftOff} commands specify the degree to which notes and
+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
+the right and voices two and four to the left.
+
+@code{\shiftOnn} and @code{\shiftOnnn} define further shift
+levels which may be specified temporarily to resolve collisions
+in complex situations -- see @ref{Real music example}.
+
+A note column can contain just one note (or chord) from a voice
+with stems up and one note (or chord) from a voice with stems
+down. If notes from two voices which have their stems in the
+same direction are placed at the same position and both voices
+have no shift or the same shift specified, the error message
+@qq{Too many clashing note columns} will be produced.
+
+
+@seealso
+Notation Reference: @ruser{Multiple voices}.
+
+
@node Szólamok és vokális zene
@subsection Szólamok és vokális zene
@translationof Voices and vocals
-@translationof Voices and vocals
-@untranslated
-
-
-@c index Lyrics context, creating
-@c index lyrics, linking to voice
-@c index lyrics and beaming
-@c index beaming and lyrics
-@c ode{\autoBeamOff} to turn off the automatic beaming.
-@c index vocal score structure
-@c index choir staff
-@c ode{\lyricmode} to ensure they are interpreted as lyrics
-@c index hymn structure
-@c index SATB structure
-@c index vocal scores with multiple verses
-@c index multiple vocal verses
-@c index verses, multiple vocal
-@c index verse and refrain
-@c index book, example of using
-@c ode{\score} blocks within an implicit @code{\book} block, as
+Vocal music presents a special difficulty: we need to combine two
+expressions -- notes and lyrics.
+
+@funindex \new Lyrics
+@funindex \lyricsto
+@funindex lyricsto
+@funindex Lyrics
+@cindex Lyrics context, creating
+@cindex lyrics, linking to voice
+
+You have already seen the @code{\addlyrics@{@}} command, which
+handles simple scores well. However, this technique is
+quite limited. For more complex music, you must introduce the
+lyrics in a @code{Lyrics} context using @code{\new Lyrics} and
+explicitly link
+the lyrics to the notes with @code{\lyricsto@{@}}, using the
+name assigned to the Voice.
+
+@lilypond[quote,verbatim,fragment]
+<<
+ \new Voice = "one" \relative c'' {
+ \autoBeamOff
+ \time 2/4
+ c4 b8. a16 g4. f8 e4 d c2
+ }
+ \new Lyrics \lyricsto "one" {
+ No more let sins and sor -- rows grow.
+ }
+>>
+@end lilypond
+
+Note that the lyrics must be linked to a @code{Voice} context,
+@emph{not} a @code{Staff} context. This is a case where it is
+necessary to create @code{Staff} and @code{Voice} contexts
+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,
+where beaming is either not required at all or is used to indicate
+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
+it to use variables so the music and lyrics can be separated
+from the staff structure. We also introduce a ChoirStaff
+bracket. The lyrics themselves must be introduced with
+@code{\lyricmode} to ensure they are interpreted as lyrics
+rather than music.
+
+@lilypond[quote,verbatim]
+global = { \time 6/8 \partial 8 \key f \major}
+SopOneMusic = \relative c'' {
+ c8 | c([ bes)] a a([ g)] f | f'4. b, | c4.~ c4 | }
+SopTwoMusic = \relative c' {
+ r8 | r4. r4 c8 | a'([ g)] f f([ e)] d | e([ d)] c bes' | }
+SopOneLyrics = \lyricmode {
+ Let | flee -- cy flocks the | hills a -- dorn, __ | }
+SopTwoLyrics = \lyricmode {
+ Let | flee -- cy flocks the | hills a -- dorn, | }
+
+\score {
+ \new ChoirStaff <<
+ \new Staff <<
+ \new Voice = "SopOne" {
+ \global
+ \SopOneMusic
+ }
+ \new Lyrics \lyricsto "SopOne" {
+ \SopOneLyrics
+ }
+ >>
+ \new Staff <<
+ \new Voice = "SopTwo" {
+ \global
+ \SopTwoMusic
+ }
+ \new Lyrics \lyricsto "SopTwo" {
+ \SopTwoLyrics
+ }
+ >>
+ >>
+}
+@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.
+
+@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
+parts are the same. Note how we use variables to separate the
+music notation and words from the staff structure. See too
+how a variable, which we have chosen to call @q{TimeKey}, is used
+to hold several commands for use within the two staves. In other
+examples this is often called @q{global}.
+
+@lilypond[quote,verbatim]
+TimeKey = { \time 4/4 \partial 4 \key c \major}
+SopMusic = \relative c' { c4 | e4. e8 g4 g | a a g | }
+AltoMusic = \relative c' { c4 | c4. c8 e4 e | f f e | }
+TenorMusic = \relative c { e4 | g4. g8 c4. b8 | a8 b c d e4 | }
+BassMusic = \relative c { c4 | c4. c8 c4 c | f8 g a b c4 | }
+VerseOne = \lyricmode {
+ E -- | ter -- nal fa -- ther, | strong to save, | }
+VerseTwo = \lyricmode {
+ O | Christ, whose voice the | wa -- ters heard, | }
+VerseThree = \lyricmode {
+ O | Ho -- ly Spi -- rit, | who didst brood | }
+VerseFour = \lyricmode {
+ O | Tri -- ni -- ty of | love and pow'r | }
+
+\score {
+ \new ChoirStaff <<
+ \new Staff <<
+ \clef "treble"
+ \new Voice = "Sop" { \voiceOne \TimeKey \SopMusic }
+ \new Voice = "Alto" { \voiceTwo \AltoMusic }
+ \new Lyrics \lyricsto "Sop" { \VerseOne }
+ \new Lyrics \lyricsto "Sop" { \VerseTwo }
+ \new Lyrics \lyricsto "Sop" { \VerseThree }
+ \new Lyrics \lyricsto "Sop" { \VerseFour }
+ >>
+ \new Staff <<
+ \clef "bass"
+ \new Voice = "Tenor" { \voiceOne \TimeKey \TenorMusic }
+ \new Voice = "Bass" { \voiceTwo \BassMusic }
+ >>
+ >>
+}
+@end lilypond
+
+@cindex verse and refrain
+
+We end with an example to show how we might code a solo verse which
+continues into a two-part refrain in two staves. The positioning
+of the sequential and simultaneous sections to achieve this within
+a single score is quite tricky, so follow the explanation carefully!
+
+Let's start with a score block containing a @code{ChoirStaff}, as
+we would like the brace to appear at the start of the chorus.
+Normally you would need angle brackets after @code{\new ChoirStaff}
+to bring in all the staves in parallel, but here we want to
+defer the parallelism during the solo so we use braces, although
+angle brackets here wouldn't hurt. Inside the @code{ChoirStaff} we
+want first the staff which will contain the verse. This must
+contain notes and lyrics in parallel, so here we need angle
+brackets around the @code{\new Voice} and @code{\new Lyrics} to
+start them at the same time:
+
+@lilypond[quote,verbatim,ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4
+ g g g | b b b |
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+\score {
+ \new ChoirStaff {
+ \new Staff <<
+ \new Voice = "verse" {
+ \versenotes \break
+ }
+ \new Lyrics \lyricsto verse {
+ \versewords
+ }
+ >>
+ }
+}
+@end lilypond
+
+That gives the verse line.
+
+Now we want to continue with refrainA on the same staff while a
+second staff is introduced in parallel with it for refrainB, so
+this is a parallel section which must be positioned immediately
+following the @code{\break} in the verse Voice. Yes, @emph{within}
+the verse Voice! Here's that parallel section. More staves
+could be introduced here in the same way.
+
+@example
+<<
+ \refrainnotesA
+ \new Lyrics \lyricsto verse @{
+ \refrainwordsA
+ @}
+ \new Staff <<
+ \new Voice = "refrainB" @{
+ \refrainnotesB
+ @}
+ \new Lyrics \lyricsto "refrainB" @{
+ \refrainwordsB
+ @}
+ >>
+>>
+@end example
+
+Here's the final result with two staves in the chorus showing
+how the parallel section is positioned within the verse Voice:
+
+@lilypond[quote,verbatim, ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4
+ g g g | b b b |
+}
+refrainnotesA = \relative c'' {
+ \time 2/4
+ c c | g g \bar "|."
+}
+refrainnotesB = \relative c {
+ \clef "bass"
+ \key g \major
+ c e | d d |
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+refrainwordsA = \lyricmode {
+ la la la la
+}
+refrainwordsB = \lyricmode {
+ dum dum dum dum
+}
+\score {
+ \new ChoirStaff {
+ \new Staff <<
+ \new Voice = "verse" {
+ \versenotes \break
+ <<
+ \refrainnotesA
+ \new Lyrics \lyricsto "verse" {
+ \refrainwordsA
+ }
+ \new Staff <<
+ \new Voice = "refrainB" {
+ \refrainnotesB
+ }
+ \new Lyrics \lyricsto "refrainB" {
+ \refrainwordsB
+ }
+ >>
+ >>
+ }
+ \new Lyrics \lyricsto "verse" {
+ \versewords
+ }
+ >>
+ }
+}
+@end lilypond
+
+@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,
+in practice one would perhaps choose to code this as two
+@code{\score} blocks within an implicit @code{\book} block, as
+follows:
+
+@lilypond[quote,verbatim,ragged-right]
+versenotes = \relative c'' {
+ \clef "treble"
+ \key g \major
+ \time 3/4
+ g g g | b b b |
+}
+refrainnotesA = \relative c'' {
+ \time 2/4
+ c c | g g \bar "|."
+}
+refrainnotesB = \relative c {
+ \clef "bass"
+ \key g \major
+ c e | d d |
+}
+versewords = \lyricmode {
+ One two three four five six
+}
+refrainwordsA = \lyricmode {
+ la la la la
+}
+refrainwordsB = \lyricmode {
+ dum dum dum dum
+}
+\score {
+ \new Staff <<
+ \new Voice = "verse" {
+ \versenotes
+ }
+ \new Lyrics \lyricsto "verse" {
+ \versewords
+ }
+ >>
+}
+
+\score {
+ \new ChoirStaff <<
+ \new Staff <<
+ \new Voice = "refrainA" {
+ \refrainnotesA
+ }
+ \new Lyrics \lyricsto "refrainA" {
+ \refrainwordsA
+ }
+ >>
+ \new Staff <<
+ \new Voice = "refrainB" {
+ \refrainnotesB
+ }
+ \new Lyrics \lyricsto "refrainB" {
+ \refrainwordsB
+ }
+ >>
+ >>
+}
+@end lilypond
+
+
+@seealso
+Notation Reference: @ruser{Vocal music}.
+
+
@node Kontextusok és ábrázolók
@section Kontextusok és ábrázolók
@translationof Contexts and engravers
-@translationof Contexts and engravers
-@untranslated
+
+Kontextusok és ábrázolók have been mentioned informally
+in earlier sections; we now must look at
+these concepts in more detail, as they are important
+in the fine-tuning of LilyPond output.
@menu
@node A kontextus fogalma
@subsection A kontextus fogalma
@translationof Contexts explained
-@translationof Contexts explained
-
-@untranslated
+@cindex contexts explained
+
+When music is printed, many notational elements which do not
+appear explicitly in the input file must be added to the
+output. For example, compare the input and output of the
+following example:
+
+@lilypond[quote,verbatim,relative=2,fragment]
+cis4 cis2. g4
+@end lilypond
+
+The input is rather sparse, but in the output, bar lines,
+accidentals, clef, and time signature have been added. When
+LilyPond @emph{interprets} the input the musical information
+is parsed from left to right, similar to the way a performer
+reads the score. While reading the input, the program remembers
+where measure boundaries are, and which pitches require explicit
+accidentals. This information must be held on several levels.
+For example, an accidental affects only a single staff, while
+a bar line must be synchronized across the entire score.
+
+Within LilyPond, these rules and bits of information are grouped in
+@emph{Contexts}. We have already introduced the @code{Voice} context.
+Others are the @code{Staff} and @code{Score} contexts. Contexts are
+hierarchical to reflect the hierarchical nature of a musical score.
+For example: a @code{Staff} context can contain many @code{Voice}
+contexts, and a @code{Score} context can contain many @code{Staff}
+contexts.
-@c index contexts explained
@quotation
@sourceimage{context-example,5cm,,}
@end quotation
-@c ode{Score} and @code{Staff} contexts.
-@c ode{Voice} contexts there are contexts which fit between
-@c ode{PianoStaff} and @code{ChoirStaff} contexts. There
-@c ode{GregorianTranscriptionStaff}.
+
+Each context has the responsibility for enforcing some notation rules,
+creating some notation objects and maintaining the associated
+properties. For example, the @code{Voice} context may introduce an
+accidental and then the @code{Staff} context maintains the rule to
+show or suppress the accidental for the remainder of the measure.
+
+As another example, the synchronization of bar lines is, by default,
+handled in the @code{Score} context.
+However, in some music we may not want the bar lines to be
+synchronized -- consider a polymetric score in 4/4 and 3/4 time.
+In such cases, we must modify the default settings of the
+@code{Score} and @code{Staff} contexts.
+
+For very simple scores, contexts are created implicitly, and you need
+not be aware of them. For larger pieces, such as anything with more
+than one staff, they must be
+created explicitly to make sure that you get as many staves as you
+need, and that they are in the correct order. For typesetting pieces
+with specialized notation, it is usual to modify existing, or
+even to define totally new, contexts.
+
+In addition to the @code{Score,} @code{Staff} and
+@code{Voice} contexts there are contexts which fit between
+the score and staff levels to control staff groups, such as the
+@code{PianoStaff} and @code{ChoirStaff} contexts. There
+are also alternative staff and voice contexts, and contexts for
+lyrics, percussion, fret boards, figured bass, etc.
+
+The names of all context types are formed from one or more
+words, each word being capitalized and joined immediately to the
+preceding word with no hyphen or underscore, e.g.,
+@code{GregorianTranscriptionStaff}.
+
+
+@seealso
+Notation Reference: @ruser{A kontextus fogalma}.
+
+
@node Kontextusok létrehozása
@subsection Kontextusok létrehozása
@translationof Creating contexts
-@translationof Creating contexts
-
-@untranslated
-@c index new contexts
-@c index creating contexts
-@c index contexts, creating
-@c ode{Staff} contexts may also be left to be created automatically,
-@c ode{Voice}). This command creates a new context, and starts
-@c ode{\with} block in which one or more score-wide default values
-@c ode{\with} blocks can be found under the heading
+@funindex \new
+@funindex new
+@cindex new contexts
+@cindex creating contexts
+@cindex contexts, creating
+
+In an input file a score block, introduced with a @code{\score}
+command, contains a single music expression and an associated
+output definition (either a @code{\layout} or a @code{\midi} block).
+The @code{Score} context is usually left to be created automatically
+when the interpretation of that music expression starts.
+
+For scores with only one voice and one staff, the @code{Voice} and
+@code{Staff} contexts may also be left to be created automatically,
+but for more complex scores it is necessary to create them by hand.
+The simplest command that does this is @code{\new}. It is prepended
+to a music expression, for example
+
+@example
+\new @var{type} @var{music-expression}
+@end example
+
+@noindent
+where @var{type} is a context name (like @code{Staff} or
+@code{Voice}). This command creates a new context, and starts
+interpreting the @var{music-expression} within that context.
+
+(Note that a @code{\new Score} command is not normally required,
+as the essential top-level @code{Score} context is created
+automatically when the music expression within the @code{\score}
+block is interpreted. The only reason for creating a @code{Score}
+context explicitly using @code{\new Score} is to introduce a
+@code{\with} block in which one or more score-wide default values
+of context properties may be specified. Information on using
+@code{\with} blocks can be found under the heading
+@qq{Setting context properties with @code{\\with} } in
@ref{Kontextusok tulajdonságainak módosítása}.)
-@c ode{Staff} and @code{Voice} contexts in earlier sections, but
-@c index contexts, naming
-@c index naming contexts
-@c ode{Staff}, @code{Voice}, etc, and the identifying name of a
+
+You have seen many practical examples which created new
+@code{Staff} and @code{Voice} contexts in earlier sections, but
+to remind you how these commands are used in practice, here's an
+annotated real-music example:
+
+@lilypond[quote,verbatim,ragged-right]
+\score { % start of single compound music expression
+ << % start of simultaneous staves section
+ \time 2/4
+ \new Staff { % create RH staff
+ \key g \minor
+ \clef "treble"
+ \new Voice { % create voice for RH notes
+ \relative c'' { % start of RH notes
+ d4 ees16 c8.
+ d4 ees16 c8.
+ } % end of RH notes
+ } % end of RH voice
+ } % end of RH staff
+ \new Staff << % create LH staff; needs two simultaneous voices
+ \key g \minor
+ \clef "bass"
+ \new Voice { % create LH voice one
+ \voiceOne
+ \relative g { % start of LH voice one notes
+ g8 <bes d> ees, <g c>
+ g8 <bes d> ees, <g c>
+ } % end of LH voice one notes
+ } % end of LH voice one
+ \new Voice { % create LH voice two
+ \voiceTwo
+ \relative g { % start of LH voice two notes
+ g4 ees
+ g4 ees
+ } % end of LH voice two notes
+ } % end of LH voice two
+ >> % end of LH staff
+ >> % end of simultaneous staves section
+} % end of single compound music expression
+@end lilypond
+
+(Note how all the statements which open a block with either a
+curly bracket, @code{@{}, or double angle brackets, @code{<<},
+are indented by two further spaces, and the corresponding
+closing bracket is indented by exactly the same amount. While
+this is not required, following this practice will greatly
+reduce the number of @q{unmatched bracket} errors, and is
+strongly recommended. It enables the structure of the music to
+be seen at a glance, and any unmatched brackets will be obvious.
+Note too how the LH staff is created using double angle brackets
+because it requires two voices for its music, whereas the RH staff
+is created with a single music expression surrounded by curly
+brackets because it requires only one voice.)
+
+@cindex contexts, naming
+@cindex naming contexts
+
+The @code{\new} command may also give an identifying name to the
+context to distinguish it from other contexts of the same type,
+
+@example
+\new @var{type} = @var{id} @var{music-expression}
+@end example
+
+Note the distinction between the name of the context type,
+@code{Staff}, @code{Voice}, etc, and the identifying name of a
+particular instance of that type, which can be any sequence of letters
+invented by the user. Digits and spaces can also be used in the
+identifying name, but then it has to be placed in quotes,
+i.e. @code{\new Staff = "MyStaff 1" @var{music-expression}}.
+The identifying name is used to
+refer back to that particular instance of a context. We saw this in
+use in the section on lyrics, see @ref{Szólamok és vokális zene}.
+
+
+@seealso
+Notation Reference: @ruser{Kontextusok létrehozása}.
+
+
@node Az ábrázoló fogalma
@subsection Az ábrázoló fogalma
-@translationof Engravers explained
-@translationof Engravers explained
+@subsection Az ábrázoló fogalma
-@untranslated
+@cindex engravers
+
+Every mark on the printed output of a score produced by LilyPond
+is produced by an @code{Engraver}. Thus there is an engraver
+to print staves, one to print note heads, one for stems, one for
+beams, etc, etc. In total there are over 120 such engravers!
+Fortunately, for most scores it is not necessary to know about
+more than a few, and for simple scores you do not need to know
+about any.
+
+Engravers live and operate in Contexts. Engravers such as the
+@code{Metronome_mark_engraver}, whose action and output apply to the
+score as a whole, operate in the highest level context -- the
+@code{Score} context.
+
+The @code{Clef_engraver} and @code{Key_engraver} are to be
+found in every @code{Staff} Context, as different staves may require
+different clefs and keys.
+
+The @code{Note_heads_engraver} and @code{Stem_engraver} live
+in every @code{Voice} context, the lowest level context of all.
+
+Each engraver processes the particular objects associated
+with its function, and maintains the properties that relate
+to that function. These properties, like the properties
+associated with contexts, may be modified to change the
+operation of the engraver or the appearance of those elements
+in the printed score.
+
+Engravers all have compound names formed from words which
+describe their function. Just the first word is capitalized,
+and the remainder are joined to it with underscores. Thus
+the @code{Staff_symbol_engraver} is responsible for creating the
+lines of the staff, the @code{Clef_engraver} determines and sets
+the pitch reference point on the staff by drawing a clef symbol.
+
+Here are some of the most common engravers together with their
+function. You will see it is usually easy to guess the function
+from the name, or vice versa.
+
+@multitable @columnfractions .3 .7
+@headitem Engraver
+ @tab Function
+@item Accidental_engraver
+ @tab Makes accidentals, cautionary and suggested accidentals
+@item Beam_engraver
+ @tab Engraves beams
+@item Clef_engraver
+ @tab Engraves clefs
+@item Completion_heads_engraver
+ @tab Splits notes which cross bar lines
+@c The old Dynamic_engraver is deprecated. -jm
+@item New_dynamic_engraver
+ @tab Creates hairpins and dynamic texts
+@item Forbid_line_break_engraver
+ @tab Prevents line breaks if a musical element is still active
+@item Key_engraver
+ @tab Creates the key signature
+@item Metronome_mark_engraver
+ @tab Engraves metronome marking
+@item Note_heads_engraver
+ @tab Engraves note heads
+@item Rest_engraver
+ @tab Engraves rests
+@item Staff_symbol_engraver
+ @tab Engraves the five (by default) lines of the staff
+@item Stem_engraver
+ @tab Creates stems and single-stem tremolos
+@item Time_signature_engraver
+ @tab Creates time signatures
+@end multitable
+
+@smallspace
+
+We shall see later how the output of LilyPond can be changed
+by modifying the action of Engravers.
+
+
+@seealso
+Internals reference: @rinternals{Engravers and Performers}.
-@c index engravers
-@c ode{Metronome_mark_engraver}, whose action and output apply to the
-@c ode{Score} context.
-@c The old Dynamic_engraver is deprecated. -jm
@node Kontextusok tulajdonságainak módosítása
@subsection Kontextusok tulajdonságainak módosítása
@translationof Modifying context properties
-@translationof Modifying context properties
-@untranslated
+@cindex context properties
+@cindex context properties, modifying
+@cindex modifying context properties
+@funindex \set
+@funindex set
+@funindex \unset
+@funindex unset
+
+Contexts are responsible for holding the values of a number of
+context @emph{properties}. Many of them can be changed to
+influence the interpretation of the input and so change the
+appearance of the output. They are changed by the
+@code{\set} command. This takes the form
+
+@example
+\set @emph{ContextName}.@emph{propertyName} = #@emph{value}
+@end example
+
+Where the @emph{ContextName} is usually @code{Score},
+@code{Staff} or @code{Voice}. It may be omitted,
+in which case the current context (typically @code{Voice}) is assumed.
+
+The names of context properties consist of words joined
+together with no hyphens or underscores, all except the
+first having a capital letter. Here are a few examples
+of some commonly used ones. There are many more.
-
-@c index context properties
-@c index context properties, modifying
-@c index modifying context properties
-@c ode{\set} command. This takes the form
-@c ode{Staff} or @code{Voice}. It may be omitted,
@c attempt to force this onto a new page
-@c index properties operating in contexts
-@c index setting properties within contexts
-@c ode{instrumentName} clearly lives in the @code{Staff} context, since
-@c ode{\set} command set the property @code{instrumentName} in the
-@c ode{Voice} context to @qq{Alto}, but as LilyPond does not look
-@c ode{\set} or @code{\unset} again. Let's try changing the
-@c ode{##t} and @code{##f}, with two hash signs. A text property
-@subsubheading Kontextusok tulajdonságainak beállítása a @code{\with} paranccsal
-@c index context properties, setting with \with
-@c ode{\new Score} command, like this:
-@c ode{\set} and returned to the default value set in the
-@c ode{\with} block with @code{\unset}.
-@c index fontSize, default and setting
-@c ode{\unset fontSize} command.
-@subsubheading Kontextusok tulajdonságainak beállítása a @code{\context} paranccsal
-@c index context properties, setting with \context
-@c ode{\with} block, introduced above. It is placed in a
-@c ode{\context} block within a @code{\layout} block. Each
-@c ode{\context} block will affect all contexts of the type specified
-@c ode{\layout} block appears. Here is a example to show the format:
-@c ode{\set} commands embedded in music statements.
-@c FIXME
-@c uncomment when backslash-node-name issue is resolved -pm
-@c @ruser{The set command}.
+@need 50
+@multitable @columnfractions .25 .15 .45 .15
+@headitem propertyName
+ @tab Type
+ @tab Function
+ @tab Example Value
+@item extraNatural
+ @tab Boolean
+ @tab If true, set extra natural signs before accidentals
+ @tab @code{#t}, @code{#f}
+@item currentBarNumber
+ @tab Integer
+ @tab Set the current bar number
+ @tab @code{50}
+@item doubleSlurs
+ @tab Boolean
+ @tab If true, print slurs both above and below notes
+ @tab @code{#t}, @code{#f}
+@item instrumentName
+ @tab Text
+ @tab Set the name to be placed at the start of the staff
+ @tab @code{"Cello I"}
+@item fontSize
+ @tab Real
+ @tab Increase or decrease the font size
+ @tab @code{2.4}
+@item stanza
+ @tab Text
+ @tab Set the text to print before the start of a verse
+ @tab @code{"2"}
+@end multitable
+
+@noindent
+where a Boolean is either True (@code{#t}) or False (@code{#f}),
+an Integer is a positive whole number, a Real is a positive
+or negative decimal number, and text is enclosed in double
+apostrophes. Note the occurrence of hash signs,
+(@code{#}), in two different places -- as part of the Boolean
+value before the @code{t} or @code{f}, and before @emph{value}
+in the @code{\set} statement. So when a Boolean is being
+entered you need to code two hash signs, e.g., @code{##t}.
+
+@cindex properties operating in contexts
+@cindex setting properties within contexts
+
+Before we can set any of these properties we need to know
+in which context they operate. Sometimes this is obvious,
+but occasionally it can be tricky. If the wrong context
+is specified, no error message is produced, but the expected
+action will not take place. For example, the
+@code{instrumentName} clearly lives in the @code{Staff} context, since
+it is the staff that is to be named.
+In this example the first staff is labelled, but not the second,
+because we omitted the context name.
+
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \new Staff \relative c'' {
+ \set Staff.instrumentName = #"Soprano"
+ c4 c
+ }
+ \new Staff \relative c' {
+ \set instrumentName = #"Alto" % Wrong!
+ d4 d
+ }
+>>
+@end lilypond
+
+Remember the default context name is @code{Voice}, so the second
+@code{\set} command set the property @code{instrumentName} in the
+@code{Voice} context to @qq{Alto}, but as LilyPond does not look
+for any such property in the @code{Voice} context, no
+further action took place. This is not an error, and no error
+message is logged in the log file.
+
+Similarly, if the property name is mis-spelt no error message is
+produced, and clearly the expected action cannot be performed. In
+fact, you can set any (fictitious) @q{property} using any name you
+like in any context that exists by using the @code{\set} command. But
+if the name is not known to LilyPond it will not cause any action to
+be taken. Some text editors with special support for LilyPond input
+files document property names with bullets when you hover them with
+the mouse, like JEdit with LilyPondTool, or highlight unknown property
+names differently, like ConTEXT. If you do not use an editor with
+such features, it is recommended to check the property name in the
+Internals Reference: see @rinternals{Tunable context properties}, or
+@rinternals{Contexts}.
+
+The @code{instrumentName} property will take effect only
+if it is set in the @code{Staff} context, but
+some properties can be set in more than one context.
+For example, the property @code{extraNatural} is by
+default set to ##t (true) for all staves.
+If it is set to ##f (false) in one particular @code{Staff}
+context it applies just to the accidentals on that staff.
+If it is set to false in the @code{Score} context
+it applies to all staves.
+
+So this turns off extra naturals in one staff:
+
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \new Staff \relative c'' {
+ ais4 aes
+ }
+ \new Staff \relative c'' {
+ \set Staff.extraNatural = ##f
+ ais4 aes
+ }
+>>
+@end lilypond
+
+@noindent
+and this turns them off in all staves:
+
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \new Staff \relative c'' {
+ ais4 aes
+ }
+ \new Staff \relative c'' {
+ \set Score.extraNatural = ##f
+ ais4 aes
+ }
+>>
+@end lilypond
+
+As another example, if @code{clefOctavation} is set in
+the @code{Score} context this immediately changes the value
+of the octavation in all current staves and sets a new default
+value which will be applied to all staves.
+
+The opposite command, @code{\unset}, effectively removes the
+property from the context, which causes most properties to
+revert to their default value. Usually @code{\unset} is not
+required as a new @code{\set} command will achieve what is
+wanted.
+
+The @code{\set} and @code{\unset} commands can appear anywhere
+in the input file and will take effect from the time they are
+encountered until the end of the score or until the property is
+@code{\set} or @code{\unset} again. Let's try changing the
+font size, which affects the size of the note heads (among
+other things) several times. The change is from the default
+value, not the most recently set value.
+
+@lilypond[quote,verbatim,ragged-right,relative=1,fragment]
+c4
+% make note heads smaller
+\set fontSize = #-4
+d e
+% make note heads larger
+\set fontSize = #2.5
+f g
+% return to default size
+\unset fontSize
+a b
+@end lilypond
+
+We have now seen how to set the values of several different types of
+property. Note that integers and numbers are always preceded by a
+hash sign, @code{#}, while a true or false value is specified by
+@code{##t} and @code{##f}, with two hash signs. A text property
+should be enclosed in double quotation signs, as above, although we
+shall see later that text can actually be specified in a much more
+general way by using the very powerful @code{\markup} command.
+
+@subsubheading Setting context properties with @code{\with}
+
+@funindex \with
+@funindex with
+@cindex context properties, setting with \with
+
+The default value of context properties may be set at the time the
+context is created. Sometimes this is a clearer way of setting a
+property value if it is to remain fixed for the duration of
+the context. When a context is created with a @code{\new}
+command it may be followed immediately by a @code{\with @{ .. @}}
+block in which the default property values are set. For example,
+if we wish to suppress the printing of extra naturals for the
+duration of a staff we would write:
+
+@example
+\new Staff \with @{ extraNatural = ##f @}
+@end example
+
+@noindent
+like this:
+
+@lilypond[quote,verbatim,ragged-right]
+<<
+ \new Staff
+ \relative c'' {
+ gis ges aes ais
+ }
+ \new Staff \with { extraNatural = ##f }
+ \relative c'' {
+ gis ges aes ais
+ }
+>>
+@end lilypond
+
+Or, if the property override is to be applied to all staves
+within the score, it may be appended to an explicit
+@code{\new Score} command, like this:
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ \new Score \with { extraNatural = ##f } <<
+ \new Staff {
+ \relative c'' {
+ gis ges aes ais
+ }
+ }
+ \new Staff {
+ \relative c'' {
+ gis ges aes ais
+ }
+ }
+ >>
+}
+@end lilypond
+
+Properties set in this way may still be changed dynamically using
+@code{\set} and returned to the default value set in the
+@code{\with} block with @code{\unset}.
+
+@cindex fontSize, default and setting
+
+So if the @code{fontSize} property is set in a @code{\with} clause
+it sets the default value of the font size. If it is later changed
+with @code{\set}, this new default value may be restored with the
+@code{\unset fontSize} command.
+
+@subsubheading Setting context properties with @code{\context}
+
+@cindex context properties, setting with \context
+@funindex \context
+@funindex context
+
+The values of context properties may be set in @emph{all} contexts
+of a particular type, such as all @code{Staff} contexts, with a single
+command. The context type is identified by using its
+type name, like @code{Staff}, prefixed by a back-slash: @code{\Staff}.
+The statement which sets the property value is the same as that in a
+@code{\with} block, introduced above. It is placed in a
+@code{\context} block within a @code{\layout} block. Each
+@code{\context} block will affect all contexts of the type specified
+throughout the @code{\score} or @code{\book} block in which the
+@code{\layout} block appears. Here is a example to show the format:
+
+@lilypond[verbatim,quote]
+\score {
+ \new Staff {
+ \relative c'' {
+ cis4 e d ces
+ }
+ }
+ \layout {
+ \context {
+ \Staff
+ extraNatural = ##t
+ }
+ }
+}
+@end lilypond
+
+@noindent
+Context properties set in this way may be overridden for particular
+instances of contexts by statements in a @code{\with} block, and by
+@code{\set} commands embedded in music statements.
+
+
+@seealso
+Notation Reference:
+@ruser{Changing context default settings}.
+@ruser{The set command}.
+
+Internals Reference:
+@rinternals{Contexts},
+@rinternals{Tunable context properties}.
+
+
@node Ábrázolók hozzáadása és eltávolítása
@subsection Ábrázolók hozzáadása és eltávolítása
@translationof Adding and removing engravers
-@translationof Adding and removing engravers
-@untranslated
-
-
-@c index engravers, adding
-@c index adding engravers
-@c index engravers, removing
-@c index removing engravers
-@subsubheading Egyetlenegy kontextus módosítása
-@c ode{\with} command placed immediately after the context creation
-@c index ambitus engraver
-@c ode{\consists @var{Engraver_name}},
-@c ode{Ambitus_engraver}, which is not normally included in any
-@c ode{Staff} context, it calculates the range from all
-@subsubheading Azonos típusú kontextusok módosítása
-@c ode{\set} command in a @code{\context} block in the
+@cindex engravers, adding
+@cindex adding engravers
+@cindex engravers, removing
+@cindex removing engravers
+
+@funindex \consists
+@funindex consists
+@funindex \remove
+@funindex remove
+
+We have seen that contexts each contain several engravers, each
+of which is responsible for producing a particular part of the
+output, like bar lines, staves, note heads, stems, etc. If an
+engraver is removed from a context, it can no longer produce its
+output. This is a crude way of modifying the output, but it
+can sometimes be useful.
+
+@subsubheading Changing a single context
+
+To remove an engraver from a single context we use the
+@code{\with} command placed immediately after the context creation
+command, as in the previous section.
+
+As an illustration, let's repeat an example from the previous section
+with the staff lines removed. Remember that the staff lines are
+produced by the @code{Staff_symbol_engraver}.
+
+@lilypond[quote,verbatim,ragged-right]
+\new Staff \with {
+ \remove Staff_symbol_engraver
+}
+\relative c' {
+ c4
+ \set fontSize = #-4 % make note heads smaller
+ d e
+ \set fontSize = #2.5 % make note heads larger
+ f g
+ \unset fontSize % return to default size
+ a b
+}
+@end lilypond
+
+@cindex ambitus engraver
+
+Engravers can also be added to individual contexts.
+The command to do this is
+
+@code{\consists @var{Engraver_name}},
+
+@noindent
+placed inside a @code{\with} block. Some vocal scores have an ambitus
+placed at the beginning of a staff to indicate the range of notes in
+that staff -- see @rglos{ambitus}. The ambitus is produced by the
+@code{Ambitus_engraver}, which is not normally included in any
+context. If we add it to the @code{Voice} context, it calculates the
+range from that voice only:
+
+@lilypond[quote,verbatim,ragged-right]
+\new Staff <<
+ \new Voice \with {
+ \consists Ambitus_engraver
+ }
+ \relative c'' {
+ \voiceOne
+ c a b g
+ }
+ \new Voice
+ \relative c' {
+ \voiceTwo
+ c e d f
+ }
+>>
+@end lilypond
+
+@noindent
+but if we add the ambitus engraver to the
+@code{Staff} context, it calculates the range from all
+the notes in all the voices on that staff:
+
+@lilypond[quote,verbatim,ragged-right]
+\new Staff \with {
+ \consists Ambitus_engraver
+ }
+ <<
+ \new Voice
+ \relative c'' {
+ \voiceOne
+ c a b g
+ }
+ \new Voice
+ \relative c' {
+ \voiceTwo
+ c e d f
+ }
+>>
+@end lilypond
+
+@subsubheading Changing all contexts of the same type
+
+@funindex \layout
+@funindex layout
+
+The examples above show how to remove or add engravers to
+individual contexts. It is also possible to remove or add
+engravers to every context of a specific type by placing the
+commands in the appropriate context in a @code{\layout}
+block. For example, if we wanted to show an ambitus for every
+staff in a four-staff score, we could write
+
+@lilypond[quote,verbatim,ragged-right]
+\score {
+ <<
+ \new Staff <<
+ \relative c'' {
+ c a b g
+ }
+ >>
+ \new Staff <<
+ \relative c' {
+ c a b g
+ }
+ >>
+ \new Staff <<
+ \clef "G_8"
+ \relative c' {
+ c a b g
+ }
+ >>
+ \new Staff <<
+ \clef "bass"
+ \relative c {
+ c a b g
+ }
+ >>
+ >>
+ \layout {
+ \context {
+ \Staff
+ \consists Ambitus_engraver
+ }
+ }
+}
+@end lilypond
+
+@noindent
+The values of context properties may also be set
+for all contexts of a particular type by including the
+@code{\set} command in a @code{\context} block in the
+same way.
+
+
+@seealso
+Notation Reference: @ruser{Modifying context plug-ins},
+@ruser{Changing context default settings}.
+
+
@node A sablonok kibővítése
@section A sablonok kibővítése
@translationof Extending the templates
-@translationof Extending the templates
-
-@untranslated
+You've read the tutorial, you know how to write music, you
+understand the fundamental concepts. But how can you
+get the staves that you want? Well, you can find lots of
+templates (see @ref{Templates}) which may give you a start.
+But what if you want something that isn't covered there? Read on.
@menu
* Szoprán és cselló::
@node Szoprán és cselló
@subsection Szoprán és cselló
@translationof Soprano and cello
-@translationof Soprano and cello
-@untranslated
+@cindex template, modifying
+@cindex modifying templates
+
+Start off with the template that seems closest to what you want to
+end up with. Let's say that you want to write something for
+soprano and cello. In this case, we would start with the
+@q{Notes and lyrics} template (for the soprano part).
+
+@example
+\version @w{"@version{}"}
+melody = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+ a4 b c d
+@}
+
+text = \lyricmode @{
+ Aaa Bee Cee Dee
+@}
+
+\score @{
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \melody
+ @}
+ \new Lyrics \lyricsto "one" \text
+ >>
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+Now we want to add a cello part. Let's look at the @q{Notes only} example:
+
+@example
+\version @w{"@version{}"}
+melody = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+ a4 b c d
+@}
+
+\score @{
+ \new Staff \melody
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+We don't need two @code{\version} commands. We'll need the
+@code{melody} section. We don't want two @code{\score} sections
+-- if we had two @code{\score}s, we'd get the two parts separately.
+We want them together, as a duet. Within the @code{\score}
+section, we don't need two @code{\layout} or @code{\midi}.
+
+If we simply cut and paste the @code{melody} section, we would
+end up with two @code{melody} definitions. This would not generate
+an error, but the second one would be used for both melodies.
+So let's rename them to make them distinct. We'll call the
+section for the soprano @code{sopranoMusic} and the section for
+the cello @code{celloMusic}. While we're doing this, let's rename
+@code{text} to be @code{sopranoLyrics}. Remember to rename both
+instances of all these names -- both the initial definition (the
+@code{melody = \relative c' @{ } part) and the name's use (in the
+@code{\score} section).
+
+While we're doing this, let's change the cello part's staff --
+celli normally use bass clef. We'll also give the cello some
+different notes.
+
+@example
+\version @w{"@version{}"}
+sopranoMusic = \relative c' @{
+ \clef treble
+ \key c \major
+ \time 4/4
+ a4 b c d
+@}
+
+sopranoLyrics = \lyricmode @{
+ Aaa Bee Cee Dee
+@}
+
+celloMusic = \relative c @{
+ \clef bass
+ \key c \major
+ \time 4/4
+ d4 g fis8 e d4
+@}
+
+\score @{
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \sopranoMusic
+ @}
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+This is looking promising, but the cello part won't appear in the
+score -- we haven't used it in the @code{\score} section. If we
+want the cello part to appear under the soprano part, we need to add
+
+@example
+\new Staff \celloMusic
+@end example
+
+@noindent
+underneath the soprano stuff. We also need to add @code{<<} and
+@code{>>} around the music -- that tells LilyPond that there's
+more than one thing (in this case, two @code{Staves}) happening
+at once. The @code{\score} looks like this now:
-
-@c index template, modifying
-@c index modifying templates
-@c ode{melody} section. We don't want two @code{\score} sections
-@c ode{text} to be @code{sopranoLyrics}. Remember to rename both
-@c ode{melody = \relative c' @{ } part) and the name's use (in the
-@c ode{\score} section).
-@c ode{>>} around the music -- that tells LilyPond that there's
@c Indentation in this example is deliberately poor
+@example
+\score @{
+ <<
+ <<
+ \new Voice = "one" @{
+ \autoBeamOff
+ \sopranoMusic
+ @}
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
+ >>
+ \layout @{ @}
+ \midi @{ @}
+@}
+@end example
+
+@noindent
+This looks a bit messy; the indentation is messed up now. That is
+easily fixed. Here's the complete soprano and cello template.
+
+@lilypond[quote,verbatim,ragged-right,addversion]
+sopranoMusic = \relative c' {
+ \clef treble
+ \key c \major
+ \time 4/4
+ a4 b c d
+}
+
+sopranoLyrics = \lyricmode {
+ Aaa Bee Cee Dee
+}
+
+celloMusic = \relative c {
+ \clef bass
+ \key c \major
+ \time 4/4
+ d4 g fis8 e d4
+}
+
+\score {
+ <<
+ <<
+ \new Voice = "one" {
+ \autoBeamOff
+ \sopranoMusic
+ }
+ \new Lyrics \lyricsto "one" \sopranoLyrics
+ >>
+ \new Staff \celloMusic
+ >>
+ \layout { }
+ \midi { }
+}
+@end lilypond
+
+
+@seealso
+The starting templates can be found in the @q{Templates} appendix,
+see @ref{Single staff}.
+
+
@node Négyszólamú vegyeskar
@subsection Négyszólamú vegyeskar
@translationof Four-part SATB vocal score
-@translationof Four-part SATB vocal score
-@untranslated
+@cindex template, SATB
+@cindex SATB template
+Most vocal scores of music written for four-part mixed choir
+with orchestral accompaniment such as Mendelssohn's Elijah or
+Handel's Messiah have the choral music and words on four
+staves, one for each of SATB, with a piano reduction of the
+orchestral accompaniment underneath. Here's an example
+from Handel's Messiah:
-@c index template, SATB
-@c index SATB template
@c The following should appear as music without code
-@c ode{\voiceXXX} commands should be removed. We also need to specify
+@lilypond[quote,ragged-right]
+global = { \key d \major \time 4/4 }
+sopranoMusic = \relative c'' {
+ \clef "treble"
+ r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+}
+sopranoWords = \lyricmode {
+ Wor -- thy is the lamb that was slain
+}
+altoMusic = \relative a' {
+ \clef "treble"
+ r4 a2 a4 | fis4. fis8 a2 | g4 fis e2 |
+}
+altoWords = \sopranoWords
+tenorMusic = \relative c' {
+ \clef "G_8"
+ r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+}
+tenorWords = \sopranoWords
+bassMusic = \relative c' {
+ \clef "bass"
+ r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+}
+bassWords = \sopranoWords
+upper = \relative a' {
+ \clef "treble"
+ \global
+ r4 <a d fis>2 <a e' a>4
+ <d fis d'>4. <d fis d'>8 <a d a'>2
+ <g cis g'>4 <a d fis> <a cis e>2
+}
+lower = \relative c, {
+ \clef "bass"
+ \global
+ <d d'>4 <d d'>2 <cis cis'>4
+ <b b'>4. <b' b'>8 <fis fis'>2
+ <e e'>4 <d d'> <a' a'>2
+}
+
+\score {
+ << % combine ChoirStaff and PianoStaff in parallel
+ \new ChoirStaff <<
+ \new Staff = "sopranos" <<
+ \set Staff.instrumentName = #"Soprano"
+ \new Voice = "sopranos" {
+ \global
+ \sopranoMusic
+ }
+ >>
+ \new Lyrics \lyricsto "sopranos" {
+ \sopranoWords
+ }
+ \new Staff = "altos" <<
+ \set Staff.instrumentName = #"Alto"
+ \new Voice = "altos" {
+ \global
+ \altoMusic
+ }
+ >>
+ \new Lyrics \lyricsto "altos" { \altoWords }
+ \new Staff = "tenors" <<
+ \set Staff.instrumentName = #"Tenor"
+ \new Voice = "tenors" {
+ \global
+ \tenorMusic
+ }
+ >>
+ \new Lyrics \lyricsto "tenors" { \tenorWords }
+ \new Staff = "basses" <<
+ \set Staff.instrumentName = #"Bass"
+ \new Voice = "basses" {
+ \global
+ \bassMusic
+ }
+ >>
+ \new Lyrics \lyricsto "basses" {
+ \bassWords
+ }
+ >> % end ChoirStaff
+ \new PianoStaff <<
+ \set PianoStaff.instrumentName = #"Piano"
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+ >>
+ >>
+}
+@end lilypond
+
+None of the templates provides this layout exactly. The nearest is
+@q{SATB vocal score and automatic piano reduction} -- see @ref{Vocal
+ensembles} -- but we need to change the layout and add a piano
+accompaniment which is not derived automatically from the vocal parts.
+The variables holding the music and words for the vocal parts are
+fine, but we shall need to add variables for the piano reduction.
+
+The order in which the contexts appear in the ChoirStaff of the
+template do not correspond with the order in the vocal score shown
+above. We need to rearrange them so there are four staves with the
+words written directly underneath the notes for each part. All the
+voices should be @code{\voiceOne}, which is the default, so the
+@code{\voiceXXX} commands should be removed. We also need to specify
+the tenor clef for the tenors. The way in which lyrics are specified
+in the template has not yet been encountered so we need to use the
+method with which we are familiar. We should also add the names of
+each staff.
+
+Doing this gives for our ChoirStaff:
+
+@example
+ \new ChoirStaff <<
+ \new Staff = "sopranos" <<
+ \set Staff.instrumentName = #"Soprano"
+ \new Voice = "sopranos" @{
+ \global
+ \sopranoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "sopranos" @{
+ \sopranoWords
+ @}
+ \new Staff = "altos" <<
+ \set Staff.instrumentName = #"Alto"
+ \new Voice = "altos" @{
+ \global
+ \altoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "altos" @{
+ \altoWords
+ @}
+ \new Staff = "tenors" <<
+ \set Staff.instrumentName = #"Tenor"
+ \new Voice = "tenors" @{
+ \global
+ \tenorMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "tenors" @{
+ \tenorWords
+ @}
+ \new Staff = "basses" <<
+ \set Staff.instrumentName = #"Bass"
+ \new Voice = "basses" @{
+ \global
+ \bassMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "basses" @{
+ \bassWords
+ @}
+ >> % end ChoirStaff
+@end example
+
+Next we must work out the piano part. This is
+easy - we just pull out the piano part from the
+@q{Solo piano} template:
+
+@example
+\new PianoStaff <<
+ \set PianoStaff.instrumentName = #"Piano "
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+>>
+@end example
+
+and add the variable definitions for @code{upper}
+and @code{lower}.
+
+The ChoirStaff and PianoStaff must be combined
+using angle brackets as we want them to be
+stacked one above the other:
+
+@example
+<< % combine ChoirStaff and PianoStaff one above the other
+ \new ChoirStaff <<
+ \new Staff = "sopranos" <<
+ \new Voice = "sopranos" @{
+ \global
+ \sopranoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "sopranos" @{
+ \sopranoWords
+ @}
+ \new Staff = "altos" <<
+ \new Voice = "altos" @{
+ \global
+ \altoMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "altos" @{
+ \altoWords
+ @}
+ \new Staff = "tenors" <<
+ \clef "G_8" % tenor clef
+ \new Voice = "tenors" @{
+ \global
+ \tenorMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "tenors" @{
+ \tenorWords
+ @}
+ \new Staff = "basses" <<
+ \clef "bass"
+ \new Voice = "basses" @{
+ \global
+ \bassMusic
+ @}
+ >>
+ \new Lyrics \lyricsto "basses" @{
+ \bassWords
+ @}
+ >> % end ChoirStaff
+
+ \new PianoStaff <<
+ \set PianoStaff.instrumentName = #"Piano"
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+ >>
+>>
+@end example
+
+Combining all these together and adding the music
+for the three bars of the example above gives:
+
+@lilypond[quote,verbatim,ragged-right,addversion]
+global = {
+ \key d \major
+ \time 4/4
+}
+sopranoMusic = \relative c'' {
+ \clef "treble"
+ r4 d2 a4 | d4. d8 a2 | cis4 d cis2 |
+}
+sopranoWords = \lyricmode {
+ Wor -- thy is the lamb that was slain
+}
+altoMusic = \relative a' {
+ \clef "treble"
+ r4 a2 a4 | fis4. fis8 a2 | g4 fis fis2 |
+}
+altoWords = \sopranoWords
+tenorMusic = \relative c' {
+ \clef "G_8"
+ r4 fis2 e4 | d4. d8 d2 | e4 a, cis2 |
+}
+tenorWords = \sopranoWords
+bassMusic = \relative c' {
+ \clef "bass"
+ r4 d2 cis4 | b4. b8 fis2 | e4 d a'2 |
+}
+bassWords = \sopranoWords
+upper = \relative a' {
+ \clef "treble"
+ \global
+ r4 <a d fis>2 <a e' a>4
+ <d fis d'>4. <d fis d'>8 <a d a'>2
+ <g cis g'>4 <a d fis> <a cis e>2
+}
+lower = \relative c, {
+ \clef "bass"
+ \global
+ <d d'>4 <d d'>2 <cis cis'>4
+ <b b'>4. <b' b'>8 <fis fis'>2
+ <e e'>4 <d d'> <a' a'>2
+}
+
+\score {
+ << % combine ChoirStaff and PianoStaff in parallel
+ \new ChoirStaff <<
+ \new Staff = "sopranos" <<
+ \set Staff.instrumentName = #"Soprano"
+ \new Voice = "sopranos" {
+ \global
+ \sopranoMusic
+ }
+ >>
+ \new Lyrics \lyricsto "sopranos" {
+ \sopranoWords
+ }
+ \new Staff = "altos" <<
+ \set Staff.instrumentName = #"Alto"
+ \new Voice = "altos" {
+ \global
+ \altoMusic
+ }
+ >>
+ \new Lyrics \lyricsto "altos" {
+ \altoWords
+ }
+ \new Staff = "tenors" <<
+ \set Staff.instrumentName = #"Tenor"
+ \new Voice = "tenors" {
+ \global
+ \tenorMusic
+ }
+ >>
+ \new Lyrics \lyricsto "tenors" {
+ \tenorWords
+ }
+ \new Staff = "basses" <<
+ \set Staff.instrumentName = #"Bass"
+ \new Voice = "basses" {
+ \global
+ \bassMusic
+ }
+ >>
+ \new Lyrics \lyricsto "basses" {
+ \bassWords
+ }
+ >> % end ChoirStaff
+
+ \new PianoStaff <<
+ \set PianoStaff.instrumentName = #"Piano "
+ \new Staff = "upper" \upper
+ \new Staff = "lower" \lower
+ >>
+ >>
+}
+@end lilypond
+
+
@node Kotta létrehozása az alapoktól
@subsection Kotta létrehozása az alapoktól
@translationof Building a score from scratch
-@translationof Building a score from scratch
-@untranslated
+@cindex template, writing your own
+@cindex example of writing a score
+@cindex writing a score, example
+@cindex score, example of writing
+
+After gaining some facility with writing LilyPond code, you
+may find that it is easier to build a score from scratch
+rather than modifying one of the templates. You can also
+develop your own style this way to suit the sort of music you
+like. Let's see how to put together the score for an organ
+prelude as an example.
+
+We begin with a header section. Here go the title, name
+of composer, etc, then come any variable definitions, and
+finally the score block. Let's start with these in outline
+and fill in the details later.
+
+We'll use the first two bars of Bach's prelude
+based on @emph{Jesu, meine Freude} which is written for two
+manuals and pedal organ. You can see these two bars of music
+at the bottom of this section. The top manual part has two voices,
+the lower and pedal organ one each. So we need four
+music definitions and one to define the time signature
+and key:
+
+@example
+\version @w{"@version{}"}
+\header @{
+ title = "Jesu, meine Freude"
+ composer = "J S Bach"
+@}
+TimeKey = @{
+ \time 4/4
+ \key c \minor
+@}
+ManualOneVoiceOneMusic = @{ s1 @}
+ManualOneVoiceTwoMusic = @{ s1 @}
+ManualTwoMusic = @{ s1 @}
+PedalOrganMusic = @{ s1 @}
+
+\score @{
+@}
+@end example
+
+For now we've just used a spacer note, @code{s1},
+instead of the real music. We'll add that later.
+
+Next let's see what should go in the score block.
+We simply mirror the staff structure we want.
+Organ music is usually written on three staves,
+one for each manual and one for the pedals. The
+manual staves should be bracketed together, so we
+need to use a PianoStaff for them. The first
+manual part needs two voices and the second manual
+part just one.
+
+@example
+ \new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \new Voice @{
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \ManualOneVoiceTwoMusic
+ @}
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" <<
+ \new Voice @{
+ \ManualTwoMusic
+ @}
+ >> % end ManualTwo Staff context
+ >> % end PianoStaff context
+@end example
+
+Next we need to add a staff for the pedal organ.
+This goes underneath the PianoStaff, but it must
+be simultaneous with it, so we need angle brackets
+around the two. Missing these out would generate
+an error in the log file. It's a common mistake
+which you'll make sooner or later! Try copying
+the final example at the end of this section,
+remove these angle brackets, and compile it to
+see what errors it generates.
+
+@example
+<< % PianoStaff and Pedal Staff must be simultaneous
+ \new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \new Voice @{
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \ManualOneVoiceTwoMusic
+ @}
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" <<
+ \new Voice @{
+ \ManualTwoMusic
+ @}
+ >> % end ManualTwo Staff context
+ >> % end PianoStaff context
+ \new Staff = "PedalOrgan" <<
+ \new Voice @{
+ \PedalOrganMusic
+ @}
+ >>
+>>
+@end example
+
+It is not necessary to use the simultaneous construct
+@code{<< .. >>} for the manual two staff and the pedal organ staff,
+since they contain only one music expression, but it does no harm,
+and always using angle brackets after @code{\new Staff} is a good
+habit to cultivate in case there are multiple voices. The opposite
+is true for Voices: these should habitually be followed by braces
+@code{@{ .. @}} in case your music is coded in several variables
+which need to run consecutively.
+
+Let's add this structure to the score block, and adjust the indenting.
+We also add the appropriate clefs, ensure stems, ties and slurs in
+each voice on the upper staff point to the right direction with
+@code{\voiceOne} and @code{\voiceTwo}, and enter the time signature
+and key to each staff using our predefined variable, @code{\TimeKey}.
+
+@example
+\score @{
+ << % PianoStaff and Pedal Staff must be simultaneous
+ \new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \TimeKey % set time signature and key
+ \clef "treble"
+ \new Voice @{
+ \voiceOne
+ \ManualOneVoiceOneMusic
+ @}
+ \new Voice @{
+ \voiceTwo
+ \ManualOneVoiceTwoMusic
+ @}
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" <<
+ \TimeKey
+ \clef "bass"
+ \new Voice @{
+ \ManualTwoMusic
+ @}
+ >> % end ManualTwo Staff context
+ >> % end PianoStaff context
+ \new Staff = "PedalOrgan" <<
+ \TimeKey
+ \clef "bass"
+ \new Voice @{
+ \PedalOrganMusic
+ @}
+ >> % end PedalOrgan Staff
+ >>
+@} % end Score context
+@end example
+
+That completes the structure. Any three-staff organ music
+will have a similar structure, although the number of voices
+may vary. All that remains now
+is to add the music, and combine all the parts together.
+
+@lilypond[quote,verbatim,ragged-right,addversion]
+\header {
+ title = "Jesu, meine Freude"
+ composer = "J S Bach"
+}
+TimeKey = {
+ \time 4/4
+ \key c \minor
+}
+ManualOneVoiceOneMusic = \relative g' {
+ g4 g f ees
+ d2 c2
+}
+ManualOneVoiceTwoMusic = \relative c' {
+ ees16 d ees8~ ees16 f ees d c8 d~ d c~
+ c c4 b8 c8. g16 c b c d
+}
+ManualTwoMusic = \relative c' {
+ c16 b c8~ c16 b c g a8 g~ g16 g aes ees
+ f ees f d g aes g f ees d e8~ ees16 f ees d
+}
+PedalOrganMusic = \relative c {
+ r8 c16 d ees d ees8~ ees16 a, b g c b c8
+ r16 g ees f g f g8 c,2
+}
+
+\score {
+ << % PianoStaff and Pedal Staff must be simultaneous
+ \new PianoStaff <<
+ \new Staff = "ManualOne" <<
+ \TimeKey % set time signature and key
+ \clef "treble"
+ \new Voice {
+ \voiceOne
+ \ManualOneVoiceOneMusic
+ }
+ \new Voice {
+ \voiceTwo
+ \ManualOneVoiceTwoMusic
+ }
+ >> % end ManualOne Staff context
+ \new Staff = "ManualTwo" <<
+ \TimeKey
+ \clef "bass"
+ \new Voice {
+ \ManualTwoMusic
+ }
+ >> % end ManualTwo Staff context
+ >> % end PianoStaff context
+ \new Staff = "PedalOrgan" <<
+ \TimeKey
+ \clef "bass"
+ \new Voice {
+ \PedalOrganMusic
+ }
+ >> % end PedalOrgan Staff context
+ >>
+} % end Score context
+@end lilypond
-@c index template, writing your own
-@c index example of writing a score
-@c index writing a score, example
-@c index score, example of writing
-@c ode{<< .. >>} for the manual two staff and the pedal organ staff,
-@c ode{@{ .. @}} in case your music is coded in several variables
-@c ode{\voiceOne} and @code{\voiceTwo}, and enter the time signature
@node Kevesebb gépelés változókkal és függvényekkel
@subsection Kevesebb gépelés változókkal és függvényekkel
@translationof Saving typing with variables and functions
-@translationof Saving typing with variables and functions
-
-@untranslated
+@cindex variables
+@cindex variables
+
+By this point, you've seen this kind of thing:
+
+@lilypond[quote,verbatim,ragged-right]
+hornNotes = \relative c'' { c4 b dis c }
+\score {
+ {
+ \hornNotes
+ }
+}
+@end lilypond
+
+You may even realize that this could be useful in minimalist music:
+
+@lilypond[quote,verbatim,ragged-right]
+fragmentA = \relative c'' { a4 a8. b16 }
+fragmentB = \relative c'' { a8. gis16 ees4 }
+violin = \new Staff {
+ \fragmentA
+ \fragmentA
+ \fragmentB
+ \fragmentA
+}
+\score {
+ {
+ \violin
+ }
+}
+@end lilypond
+
+However, you can also use these variables (also known as
+macros, or user-defined commands) for tweaks:
-@c index variables
-@c index variables
@c TODO Avoid padtext - not needed with skylining
+@lilypond[quote,verbatim,ragged-right]
+dolce = \markup { \italic \bold dolce }
+padText = { \once \override TextScript #'padding = #5.0 }
+fthenp=_\markup { \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p }
+violin = \relative c'' {
+ \repeat volta 2 {
+ c4._\dolce b8 a8 g a b
+ \padText
+ c4.^"hi there!" d8 e' f g d
+ c,4.\fthenp b8 c4 c-.
+ }
+}
+\score {
+ {
+ \violin
+ }
+\layout { ragged-right=##t }
+}
+@end lilypond
+
+These variables are obviously useful for saving
+typing. But they're worth considering even if you
+only use them once -- they reduce complexity. Let's
+look at the previous example without any
+variables. It's a lot harder to read, especially
+the last line.
+
+@example
+violin = \relative c'' @{
+ \repeat volta 2 @{
+ c4._\markup @{ \italic \bold dolce @} b8 a8 g a b
+ \once \override TextScript #'padding = #5.0
+ c4.^"hi there!" d8 e' f g d
+ c,4.\markup @{ \dynamic f \italic \small @{ 2nd @}
+ \hspace #0.1 \dynamic p @}
+ b8 c4 c-.
+ @}
+@}
+@end example
+
@c TODO Replace the following with a better example -td
@c Skylining handles this correctly without padText
-@c ode{padtext=}).
-@node Partitúra és szólamkották
-@subsection Partitúra és szólamkották
-@translationof Scores and parts
-@translationof Scores and parts
-@untranslated
+So far we've seen static substitution -- when LilyPond
+sees @code{\padText}, it replaces it with the stuff that
+we've defined it to be (ie the stuff to the right of
+@code{padtext=}).
+
+LilyPond can handle non-static substitution, too (you
+can think of these as functions).
+
+@lilypond[quote,verbatim,ragged-right]
+padText =
+#(define-music-function (parser location padding) (number?)
+ #{
+ \once \override TextScript #'padding = #$padding
+ #})
+
+\relative c''' {
+ c4^"piu mosso" b a b
+ \padText #1.8
+ c4^"piu mosso" d e f
+ \padText #2.6
+ c4^"piu mosso" fis a g
+}
+@end lilypond
+
+Using variables is also a good way to reduce work if the
+LilyPond input syntax changes (see
+@rprogram{Updating files with convert-ly}). If
+you have a single definition (such as @code{\dolce}) for all your
+input files (see @ref{Style sheets}), then if the syntax changes, you
+only need to update your single @code{\dolce} definition,
+instead of making changes throughout every @code{.ly} file.
-@c ode{\transpose f@tie{}c'} indicates that the argument, being
-@c ode{\hornNotes}, should be transposed by a fifth upwards. Sounding
-@c ode{f} is denoted by notated @code{c'}, which corresponds with the
-@c ode{Score} context to true (@code{##t}). Prepending the rest and
+@node Partitúra és szólamkották
+@subsection Partitúra és szólamkották
+@translationof Scores and parts
+In orchestral music, all notes are printed twice. Once in a part for
+the musicians, and once in a full score for the conductor. Variables can
+be used to avoid double work. The music is entered once, and stored in
+a variable. The contents of that variable is then used to generate
+both the part and the full score.
+
+It is convenient to define the notes in a special file. For example,
+suppose that the file @file{horn-music.ly} contains the following part
+of a horn/@/bassoon duo
+
+@example
+hornNotes = \relative c @{
+ \time 2/4
+ r4 f8 a cis4 f e d
+@}
+@end example
+
+@noindent
+Then, an individual part is made by putting the following in a file
+
+@example
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
+@}
+
+@{
+ \transpose f c' \hornNotes
+@}
+@end example
+
+The line
+
+@example
+\include "horn-music.ly"
+@end example
+
+@noindent
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards. The command
+@code{\transpose f@tie{}c'} indicates that the argument, being
+@code{\hornNotes}, should be transposed by a fifth upwards. Sounding
+@code{f} is denoted by notated @code{c'}, which corresponds with the
+tuning of a normal French Horn in@tie{}F. The transposition can be seen
+in the following output
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+ \time 2/4
+ r4 f8 a cis4 f e d
+}
+@end lilypond
+
+In ensemble pieces, one of the voices often does not play for many
+measures. This is denoted by a special rest, the multi-measure
+rest. It is entered with a capital @code{R} followed by a duration
+(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
+etc.). By multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes 3@tie{}measures in 2/4 time
+
+@example
+R2*3
+@end example
+
+When printing the part, multi-rests
+must be condensed. This is done by setting a run-time variable
+
+@example
+\set Score.skipBars = ##t
+@end example
+
+@noindent
+This command sets the property @code{skipBars} in the
+@code{Score} context to true (@code{##t}). Prepending the rest and
+this option to the music above, leads to the following result
+
+@lilypond[quote,ragged-right]
+\transpose f c' \relative c {
+ \time 2/4
+ \set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d
+}
+@end lilypond
+
+
+The score is made by combining all of the music together. Assuming
+that the other voice is in @code{bassoonNotes} in the file
+@file{bassoon-music.ly}, a score is made with
+
+@example
+\include "bassoon-music.ly"
+\include "horn-music.ly"
+
+<<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+>>
+@end example
+
+@noindent
+leading to
+
+@lilypond[quote,ragged-right]
+\relative c <<
+ \new Staff {
+ \time 2/4
+ R2*3
+ r4 f8 a cis4 f e d
+ }
+ \new Staff {
+ \clef bass
+ r4 d,8 f | gis4 c | b bes |
+ a8 e f4 | g d | gis f |
+ }
+>>
+@end lilypond
\ No newline at end of file
projects / lilypond.git / commitdiff