label(sec:firsttune)
To demonstrate what LilyPond input looks like, we start off with a
-full fledged, yet simple, example. It is somewhat convoluted version
+full fledged, yet simple, example. It is a convoluted version
of one of the menuets in bind(J.)bind(S.)Bach's em(Clavierbuchlein).
mudela(verbatim)(
)verb( a8-. b-. cis-. d-. e-. fis-. % try some super and subscripts.)COMMENT(
-)There is more to music than just pitches and rhythms. An important
+)There is more to music than pitches and rhythms. An important
aspect is articulation. You can enter articulation signs either in an
abbreviated form, by a dash and the the character for the
articulation to use, e.g. code(-.) for staccato as shown above.
\paper { }
})COMMENT(
-) we will leave out the the repetitive details for now and just print
+) we will leave out the the repetitive details for now and only print
code(XXXX).
can. As an example we give a snippet of ``Twinkle Twinkle Little
Star'' in chords. The chords may seem slightly unconventional, but
they only serve to show how chords work. We've aligned the chords in
-the input on their starting beat just to help you reading it. This
+the input on their starting beat to help you reading it. This
layout does not influence the typesetting result in any way.
mudela(verbatim, fragment)(
)COMMENT(
)
-As you can see, LilyPond has some difficulty typesetting this
+As you can see, LilyPond has difficulty typesetting this
elegantly. To adequately solve this, you have to persuade LilyPond to
make separate stems for both sequential music lists. This is a topic
that is covered in bind(Section)ref(sec:polyphonic).
A more common problem is the typesetting of chord names. LilyPond has
a special kind of staff for this, the code(ChordNames) staff.
-The code(ChordNames) staff accepts music just as a normal staff,
+The code(ChordNames) staff accepts music like a normal staff,
but typesets only the name of each chord:
COMMENT(
c''4-\tenuto )COMMENT(
) Typing a lot of staccato notes in this syntax will get tedious very
-quickly. Therefore, Mudela has some handy abbreviations for
+quickly. Therefore, Mudela has handy abbreviations for
articulation marks such as staccato and tenuto. They are shown in the
following example: COMMENT(
)mudela(fragment,verbatim)(c''4-1 g''4-5 c''-"Sul tasto" )
COMMENT(Currently, the meaning of the
-syntax `note-dash-digit/articulation/text' is just ``add a superscript to this
+syntax `note-dash-digit/articulation/text' is ``add a superscript to this
note.'' This is not in line with our goal to em (define) music with
Mudela. We hope that this will be fixed in a future version of the
language. In the meantime you can abuse this: the super- and
For example:
mudela(fragment,center,verbatim)( c'4( )c'4 )
- The slur is quite flexible: you can nest nop(slurs,)footnote(This is
+The slur is flexible: you can nest nop(slurs,)footnote(This is
inconsistent when compared to the syntax for articulation hints. This
will be fixed some time, we hope.) and you can connect a note with a
slur on both the left and the right side:
[c'8 c'16 c'8]
)
-In practice, you won't be needing this command very often: the
+In practice, you won't be needing this command often: the
grouping is switched automatically when you issue a code(\time)
command. It is set to a combination of groups
of 2 and 3 beats, with as many groups of
sect(Notation context)
COMMENT(This section is about translation contexts, a topic of LilyPond that
-is somewhat advanced. You don't have to understand this to use
+is advanced. You don't have to understand this to use
LilyPond to print simple music. If you don't want to typeset fancy
polyphonic music or tweak the LilyPond notation engine, you can skip
the next two sections.)
the concept of staff `staff symbol' from now on.
But
-there is more to a staff than just the symbol. A staff
-contains---besides a staff symbol--- some more components:
-itemize(
+there is more to a staff than the symbol. A staff
+contains---besides a staff symbol--- more components:
+COMMENT(
+
+)itemize(
it()A staff can have a key signature (printed at the left)
it()A staff can have a time signature (printed at the left)
it()A staff has bar lines
We see that a staff forms context, and that context is needed to
convert between notation and music. In LilyPond we turn around this
reasoning: LilyPond has a notion of notation context, and the staff is
-just one example of a notation context. In fact, the arguments of the
+an example of a notation context. In fact, the arguments of the
code(\context) command (Staff, GrandStaff) were all names of different
contexts. A notation context is a conversion between music and
notation.
dit(GrandStaff) A code(GrandStaff) context contains code(Staff)
contexts, and it adds a brace to the output at the
- nop(left.)footnote(The GrandStaff is quite limited, LilyPond can not
- do cross staff beaming and slurring.)
+ nop(left.)footnote(The GrandStaff is limited, LilyPond can not do
+ cross staff beaming and slurring.)
A code(GrandStaff) context can contain code(Staff)s. Typically, it
will contain two code(Staff)s, one treble staff, and one bass
label(tutorial:more-staffs)
Now we explain how to typeset music that runs in multiple staffs.
-Consider the following---somewhat unrealistic---example:
+Consider the following---unrealistic---example:
mudela(fragment)(
\context GrandStaff <e'4 {\clef bass; g4^""} >
>
)COMMENT(
-) The names that you choose do not matter just as long as they are
+) The names that you choose do not matter as long as they are
different. This is almost right, except for the brace at the left and
the clef of the second staff. If you want a brace, then you have to
-tell LilyPond that the chord you just formed is to be interpreted as a
+tell LilyPond that the chord you formed is to be interpreted as a
so-called grand staff. This is also done with the code(\context)
command. The bass clef is made with a clef command: COMMENT(
\context "Voice" = "two" { g'2 f'4 e'4 }
>)
-As you can see the result is not quite perfect. The notes on the last
+As you can see the result is not perfect. The notes on the last
two beats look like plain chords and not like separate voices. What
really happened was that the stems of the upper and lower voices were
printed on top of each other.
sect(Lyrics)
label(tutorial:lyrics)
-Since a lyrics can have durations just like notes, we consider them to
+Since a lyrics can have durations like notes, we consider them to
be music too. Entering lyrics in mudela has two aspects. First, you
have to enter the text, i.e., the syllables along with their
durations. After this, you have to specify how to convert these to
) The strings that makes up each syllable in the lyrics block are
passed along to TeX() verbatim, so if you are proficient with TeX()
-you can do various nifty things. Just keep in mind that a syllable
+you can do various nifty things. Keep in mind that a syllable
either starts with a letter (a character in the range `code(a)' to
`code(z)' or `code(A)' to `code(Z)'), or it is a string enclosed
double quotes. It ends with either a number for the duration, or a space.
sect(Toplevel Mudela)
Back in bind(Section)ref(sec:firsttune) we said we would ignore
-toplevel constructions (e.g., code(\score)) until some later moment.
+toplevel constructions (e.g., code(\score)) until a later moment.
Now we will look at these constructions.
You can also see identifiers in action within the code(\paper) block:
the value code(-1.0) is assigned to code(linewidth). Within the
code(\paper) block, identifiers are not used as abbreviation only:
-assigning to some identifiers can influence the output: in this case,
+assigning to some identifiers can influence the output: in this case,
the music line is printed at natural width.
Recall the properties of a context, that could be set with
The Urtext edition of a piece of music, is an edition that reflects
the original writing of the composer. Such editions are useful for
musicologists, and performers that want to perform authentic
-interpretations. However, for mere mortals, the Urtext can be quite
+interpretations. However, for mere mortals, the Urtext can be
hard to read. It might not contain fingering and beaming, and
typically it is full of footnotes. Moreover, common interpretations
may have emerged---after the composer died. For this reason, the
played. You may leave out the code(\alternative) part. There must not
be more alternative endings than the code(repeat-count).
-A somewhat less intuitive form may be needed for lyrics, when there are
+A less intuitive form may be needed for lyrics, when there are
a couple alternatives, but nothing is repeated. The code(\repeat) command
must be present, but it may specify an empty music list:
COMMENT(
projects / lilypond.git / blobdiff