+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@c This file is part of lilypond.tely
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.12.0"
-
-@node General input and output
-@chapter General input and output
-
-This section deals with general LilyPond input and output issues,
-rather than specific notation.
-
-@menu
-* Input structure::
-* Titles and headers::
-* Working with input files::
-* Controlling output::
-* MIDI output::
-@end menu
-
-
-@node Input structure
-@section Input structure
-
-The main format of input for LilyPond are text files. By convention,
-these files end with @code{.ly}.
-
-@menu
-* Structure of a score::
-* Multiple scores in a book::
-* File structure::
-@end menu
-
-
-@node Structure of a score
-@subsection Structure of a score
-
-@funindex \score
-
-A @code{\score} block must contain a single music expression
-delimited by curly brackets:
-
-@example
-\score @{
-...
-@}
-@end example
-
-@warning{There must be @strong{only one} outer music expression in
-a @code{\score} block, and it @strong{must} be surrounded by
-curly brackets.}
-
-This single music expression may be of any size, and may contain
-other music expressions to any complexity. All of these examples
-are music expressions:
-
-@example
-@{ c'4 c' c' c' @}
-@end example
-
-@lilypond[verbatim,quote]
-{
- { c'4 c' c' c'}
- { d'4 d' d' d'}
-}
-@end lilypond
-
-@lilypond[verbatim,quote]
-<<
- \new Staff { c'4 c' c' c' }
- \new Staff { d'4 d' d' d' }
->>
-@end lilypond
-
-@example
-@{
- \new GrandStaff <<
- \new StaffGroup <<
- \new Staff @{ \flute @}
- \new Staff @{ \oboe @}
- >>
- \new StaffGroup <<
- \new Staff @{ \violinI @}
- \new Staff @{ \violinII @}
- >>
- >>
-@}
-@end example
-
-Comments are one exception to this general rule. (For others see
-@ref{File structure}.) Both single-line comments and comments
-delimited by @code{%@{ .. %@}} may be placed anywhere within an
-input file. They may be placed inside or outside a @code{\score}
-block, and inside or outside the single music expression within a
-@code{\score} block.
-
-
-@seealso
-Learning Manual:
-@rlearning{Working on input files},
-@rlearning{Music expressions explained},
-@rlearning{Score is a (single) compound musical expression}.
-
-
-@node Multiple scores in a book
-@subsection Multiple scores in a book
-
-@funindex \book
-@cindex movements, multiple
-
-A document may contain multiple pieces of music and text. Examples
-of these are an etude book, or an orchestral part with multiple
-movements. Each movement is entered with a @code{\score} block,
-
-@example
-\score @{
- @var{..music..}
-@}
-@end example
-
-and texts are entered with a @code{\markup} block,
-
-@example
-\markup @{
- @var{..text..}
-@}
-@end example
-
-@funindex \book
-
-All the movements and texts which appear in the same @code{.ly} file
-will normally be typeset in the form of a single output file.
-
-@example
-\score @{
- @var{..}
-@}
-\markup @{
- @var{..}
-@}
-\score @{
- @var{..}
-@}
-@end example
-
-However, if you want multiple output files from the same @code{.ly}
-file, then you can add multiple @code{\book} blocks, where each such
-@code{\book} block will result in a separate output. If you do not
-specify any @code{\book} block in the file, LilyPond will implicitly
-treat the full file as a single @code{\book} block, see @ref{File
-structure}. One important exception is within lilypond-book documents,
-where you explicitly have to add a @code{\book} block, otherwise only
-the first @code{\score} or @code{\markup} will appear in the output.
-
-The header for each piece of music can be put inside the @code{\score}
-block. The @code{piece} name from the header will be printed before
-each movement. The title for the entire book can be put inside the
-@code{\book}, but if it is not present, the @code{\header} which is at
-the top of the file is inserted.
-
-@example
-\header @{
- title = "Eight miniatures"
- composer = "Igor Stravinsky"
-@}
-\score @{
- @dots{}
- \header @{ piece = "Romanze" @}
-@}
-\markup @{
- ..text of second verse..
-@}
-\markup @{
- ..text of third verse..
-@}
-\score @{
- @dots{}
- \header @{ piece = "Menuetto" @}
-@}
-@end example
-
-@funindex \bookpart
-
-Pieces of music may be grouped into book parts using @code{\bookpart}
-blocks. Book parts are separated by a page break, and can start with a
-title, like the book itself, by specifying a @code{\header} block.
-
-@example
-\bookpart @{
- \header @{
- title = "Book title"
- subtitle = "First part"
- @}
- \score @{ @dots{} @}
- @dots{}
-@}
-\bookpart @{
- \header @{
- subtitle = "Second part"
- @}
- \score @{ @dots{} @}
- @dots{}
-@}
-@end example
-
-@node File structure
-@subsection File structure
-
-@funindex \paper
-@funindex \midi
-@funindex \layout
-@funindex \header
-@funindex \score
-@funindex \book
-@funindex \bookpart
-
-A @code{.ly} file may contain any number of toplevel expressions, where a
-toplevel expression is one of the following:
-
-@itemize @bullet
-@item
-An output definition, such as @code{\paper}, @code{\midi}, and
-@code{\layout}. Such a definition at the toplevel changes the default
-book-wide settings. If more than one such definition of
-the same type is entered at the top level any definitions in the later
-expressions have precedence.
-
-@item
-A direct scheme expression, such as
-@code{#(set-default-paper-size "a7" 'landscape)} or
-@code{#(ly:set-option 'point-and-click #f)}.
-
-@item
-A @code{\header} block. This sets the global header block. This
-is the block containing the definitions for book-wide settings, like
-composer, title, etc.
-
-@item
-A @code{\score} block. This score will be collected with other
-toplevel scores, and combined as a single @code{\book}.
-This behavior can be changed by setting the variable
-@code{toplevel-score-handler} at toplevel. The default handler is
-defined in the init file @file{../scm/@/lily@/.scm}.
-
-@item
-A @code{\book} block logically combines multiple movements
-(i.e., multiple @code{\score} blocks) in one document. If there
-are a number of @code{\score}s, one output file will be created
-for each @code{\book} block, in which all corresponding movements
-are concatenated. The only reason to explicitly specify
-@code{\book} blocks in a @code{.ly} file is if you wish to create
-multiple output files from a single input file. One exception is
-within lilypond-book documents, where you explicitly have to add
-a @code{\book} block if you want more than a single @code{\score}
-or @code{\markup} in the same example. This behavior can be
-changed by setting the variable @code{toplevel-book-handler} at
-toplevel. The default handler is defined in the init file
-@file{../scm/@/lily@/.scm}.
-
-@item
-A @code{\bookpart} block. A book may be divided into several parts,
-using @code{\bookpart} blocks, in order to ease the page breaking,
-or to use different @code{\paper} settings in different parts.
-
-@item
-A compound music expression, such as
-@example
-@{ c'4 d' e'2 @}
-@end example
-
-This will add the piece in a @code{\score} and format it in a
-single book together with all other toplevel @code{\score}s and music
-expressions. In other words, a file containing only the above
-music expression will be translated into
-
-@example
-\book @{
- \score @{
- \new Staff @{
- \new Voice @{
- @{ c'4 d' e'2 @}
- @}
- @}
- @}
- \layout @{ @}
- \header @{ @}
-@}
-@end example
-
-This behavior can be changed by setting the variable
-@code{toplevel-music-handler} at toplevel. The default handler is
-defined in the init file @file{../scm/@/lily@/.scm}.
-
-@item
-A markup text, a verse for example
-@example
-\markup @{
- 2. The first line verse two.
-@}
-@end example
-
-Markup texts are rendered above, between or below the scores or music
-expressions, wherever they appear.
-
-@cindex variables
-
-@item
-A variable, such as
-@example
-foo = @{ c4 d e d @}
-@end example
-
-This can be used later on in the file by entering @code{\foo}. The
-name of a variable should have alphabetic characters only; no
-numbers, underscores or dashes.
-
-@end itemize
-
-The following example shows three things that may be entered at
-toplevel
-
-@example
-\layout @{
- % Don't justify the output
- ragged-right = ##t
-@}
-
-\header @{
- title = "Do-re-mi"
-@}
-
-@{ c'4 d' e2 @}
-@end example
-
-
-At any point in a file, any of the following lexical instructions can
-be entered:
-
-@itemize
-@item @code{\version}
-@item @code{\include}
-@item @code{\sourcefilename}
-@item @code{\sourcefileline}
-@item
-A single-line comment, introduced by a leading @code{%} sign.
-
-@item
-A multi-line comment delimited by @code{%@{ .. %@}}.
-
-@end itemize
-
-
-@seealso
-Learning Manual:
-@rlearning{How LilyPond input files work}.
-
-
-@node Titles and headers
-@section Titles and headers
-
-Almost all printed music includes a title and the composer's name;
-some pieces include a lot more information.
-
-@menu
-* Creating titles::
-* Custom titles::
-* Reference to page numbers::
-* Table of contents::
-@end menu
-
-
-@node Creating titles
-@subsection Creating titles
-
-Titles are created for each @code{\score} block, as well as for the full
-input file (or @code{\book} block) and book parts (created by
-@code{\bookpart} blocks).
-
-The contents of the titles are taken from the @code{\header} blocks.
-The header block for a book supports the following
-
-
-@table @code
-@funindex dedication
-@item dedication
-The dedicatee of the music, centered at the top of the first page.
-
-@funindex title
-@item title
-The title of the music, centered just below the dedication.
-
-@funindex subtitle
-@item subtitle
-Subtitle, centered below the title.
-
-@funindex subsubtitle
-@item subsubtitle
-Subsubtitle, centered below the subtitle.
-
-@funindex poet
-@item poet
-Name of the poet, flush-left below the subsubtitle.
-
-@funindex instrument
-@item instrument
-Name of the instrument, centered below the subsubtitle. Also
-centered at the top of pages (other than the first page).
-
-@funindex composer
-@item composer
-Name of the composer, flush-right below the subsubtitle.
-
-@funindex meter
-@item meter
-Meter string, flush-left below the poet.
-
-@funindex arranger
-@item arranger
-Name of the arranger, flush-right below the composer.
-
-@funindex piece
-@item piece
-Name of the piece, flush-left below the meter.
-
-@funindex opus
-@item opus
-Name of the opus, flush-right below the arranger.
-
-@cindex page breaks, forcing
-@funindex breakbefore
-@item breakbefore
-This forces the title to start on a new page (set to ##t or ##f).
-
-@funindex copyright
-@item copyright
-Copyright notice, centered at the bottom of the first page. To
-insert the copyright symbol, see @ref{Text encoding}.
-
-@funindex tagline
-@item tagline
-Centered at the bottom of the last page.
-
-@end table
-
-Here is a demonstration of the fields available. Note that you
-may use any @ref{Formatting text}, commands in the header.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\paper {
- line-width = 9.0\cm
- paper-height = 10.0\cm
-}
-
-\book {
- \header {
- dedication = "dedicated to me"
- title = \markup \center-column { "Title first line" "Title second line,
-longer" }
- subtitle = "the subtitle,"
- subsubtitle = #(string-append "subsubtitle LilyPond version "
-(lilypond-version))
- poet = "Poet"
- composer = \markup \center-column { "composer" \small "(1847-1973)" }
- texttranslator = "Text Translator"
- meter = \markup { \teeny "m" \tiny "e" \normalsize "t" \large "e" \huge
-"r" }
- arranger = \markup { \fontsize #8.5 "a" \fontsize #2.5 "r" \fontsize
-#-2.5 "r" \fontsize #-5.3 "a" \fontsize #7.5 "nger" }
- instrument = \markup \bold \italic "instrument"
- piece = "Piece"
- }
-
- \score {
- { c'1 }
- \header {
- piece = "piece1"
- opus = "opus1"
- }
- }
- \markup {
- and now...
- }
- \score {
- { c'1 }
- \header {
- piece = "piece2"
- opus = "opus2"
- }
- }
-}
-@end lilypond
-
-As demonstrated before, you can use multiple @code{\header} blocks.
-When same fields appear in different blocks, the latter is used.
-Here is a short example.
-
-@example
-\header @{
- composer = "Composer"
-@}
-\header @{
- piece = "Piece"
-@}
-\score @{
- \new Staff @{ c'4 @}
- \header @{
- piece = "New piece" % overwrite previous one
- @}
-@}
-@end example
-
-If you define the @code{\header} inside the @code{\score} block, then
-normally only the @code{piece} and @code{opus} headers will be printed.
-Note that the music expression must come before the @code{\header}.
-
-@lilypond[quote,verbatim,line-width=11.0\cm]
-\score {
- { c'4 }
- \header {
- title = "title" % not printed
- piece = "piece"
- opus = "opus"
- }
-}
-@end lilypond
-
-@funindex print-all-headers
-@noindent
-You may change this behavior (and print all the headers when defining
-@code{\header} inside @code{\score}) by using
-
-@example
-\paper@{
- print-all-headers = ##t
-@}
-@end example
-
-@cindex copyright
-@cindex tagline
-
-The default footer is empty, except for the first page, where the
-@code{copyright} field from @code{\header} is inserted, and the last
-page, where @code{tagline} from @code{\header} is added. The default
-tagline is @qq{Music engraving by LilyPond (@var{version})}.@footnote{Nicely
-printed parts are good PR for us, so please leave the tagline if you
-can.}
-
-Headers may be completely removed by setting them to false.
-
-@example
-\header @{
- tagline = ##f
- composer = ##f
-@}
-@end example
-
-
-@node Custom titles
-@subsection Custom titles
-
-A more advanced option is to change the definitions of the following
-variables in the @code{\paper} block. The init file
-@file{../ly/titling-init.ly} lists the default layout.
-
-@table @code
-@funindex bookTitleMarkup
-@item bookTitleMarkup
- This is the title added at the top of the entire output document.
-Typically, it has the composer and the title of the piece
-
-@funindex scoreTitleMarkup
-@item scoreTitleMarkup
- This is the title put over a @code{\score} block. Typically, it has
-the name of the movement (@code{piece} field).
-
-@funindex oddHeaderMarkup
-@item oddHeaderMarkup
- This is the page header for odd-numbered pages.
-
-@funindex evenHeaderMarkup
-@item evenHeaderMarkup
- This is the page header for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, headers are defined such that the page number is on the
- outside edge, and the instrument is centered.
-
-@funindex oddFooterMarkup
-@item oddFooterMarkup
- This is the page footer for odd-numbered pages.
-
-@funindex evenFooterMarkup
-@item evenFooterMarkup
- This is the page footer for even-numbered pages. If unspecified,
- the odd header is used instead.
-
- By default, the footer has the copyright notice on the first, and
- the tagline on the last page.
-@end table
-
-
-@cindex \paper
-@cindex header
-@cindex footer
-@cindex page layout
-@cindex titles
-
-The following definition will put the title flush left, and the
-composer flush right on a single line.
-
-@verbatim
-\paper {
- bookTitleMarkup = \markup {
- \fill-line {
- \fromproperty #'header:title
- \fromproperty #'header:composer
- }
- }
-}
-@end verbatim
-
-@node Reference to page numbers
-@subsection Reference to page numbers
-
-A particular place of a score can be marked using the @code{\label}
-command, either at top-level or inside music. This label can then be
-referred to in a markup, to get the number of the page where the marked
-point is placed, using the @code{\page-ref} markup command.
-
-@lilypond[verbatim,line-width=11.0\cm]
-\header { tagline = ##f }
-\book {
- \label #'firstScore
- \score {
- {
- c'1
- \pageBreak \mark A \label #'markA
- c'
- }
- }
-
- \markup { The first score begins on page \page-ref #'firstScore "0" "?" }
- \markup { Mark A is on page \page-ref #'markA "0" "?" }
-}
-@end lilypond
-
-The @code{\page-ref} markup command takes three arguments:
-@enumerate
-@item the label, a scheme symbol, eg. @code{#'firstScore};
-@item a markup that will be used as a gauge to estimate the dimensions
-of the markup;
-@item a markup that will be used in place of the page number if the label
-is not known;
-@end enumerate
-
-The reason why a gauge is needed is that, at the time markups are
-interpreted, the page breaking has not yet occurred, so the page numbers
-are not yet known. To work around this issue, the actual markup
-interpretation is delayed to a later time; however, the dimensions of
-the markup have to be known before, so a gauge is used to decide these
-dimensions. If the book has between 10 and 99 pages, it may be "00",
-ie. a two digit number.
-
-
-@predefined
-@funindex \label
-@code{\label},
-@funindex \page-ref
-@code{\page-ref}.
-@endpredefined
-
-
-@node Table of contents
-@subsection Table of contents
-A table of contents is included using the @code{\markuplines \table-of-contents}
-command. The elements which should appear in the table of contents are
-entered with the @code{\tocItem} command, which may be used either at
-top-level, or inside a music expression.
-
-@verbatim
-\markuplines \table-of-contents
-\pageBreak
-
-\tocItem \markup "First score"
-\score {
- {
- c' % ...
- \tocItem \markup "Some particular point in the first score"
- d' % ...
- }
-}
-
-\tocItem \markup "Second score"
-\score {
- {
- e' % ...
- }
-}
-@end verbatim
-
-The markups which are used to format the table of contents are defined
-in the @code{\paper} block. The default ones are @code{tocTitleMarkup},
-for formatting the title of the table, and @code{tocItemMarkup}, for
-formatting the toc elements, composed of the element title and page
-number. These variables may be changed by the user:
-
-@verbatim
-\paper {
- %% Translate the toc title into French:
- tocTitleMarkup = \markup \huge \column {
- \fill-line { \null "Table des matières" \null }
- \hspace #1
- }
- %% use larger font size
- tocItemMarkup = \markup \large \fill-line {
- \fromproperty #'toc:text \fromproperty #'toc:page
- }
-}
-@end verbatim
-
-Note how the toc element text and page number are referred to in
-the @code{tocItemMarkup} definition.
-
-New commands and markups may also be defined to build more elaborated
-table of contents:
-@itemize
-@item first, define a new markup variable in the @code{\paper} block
-@item then, define a music function which aims at adding a toc element
-using this markup paper variable.
-@end itemize
-
-In the following example, a new style is defined for entering act names
-in the table of contents of an opera:
-
-@verbatim
-\paper {
- tocActMarkup = \markup \large \column {
- \hspace #1
- \fill-line { \null \italic \fromproperty #'toc:text \null }
- \hspace #1
- }
-}
-
-tocAct =
-#(define-music-function (parser location text) (markup?)
- (add-toc-item! 'tocActMarkup text))
-@end verbatim
-
-@lilypond[line-width=11.0\cm]
-\header { tagline = ##f }
-\paper {
- tocActMarkup = \markup \large \column {
- \hspace #1
- \fill-line { \null \italic \fromproperty #'toc:text \null }
- \hspace #1
- }
-}
-
-tocAct =
-#(define-music-function (parser location text) (markup?)
- (add-toc-item! 'tocActMarkup text))
-
-\book {
- \markuplines \table-of-contents
- \tocAct \markup { Atto Primo }
- \tocItem \markup { Coro. Viva il nostro Alcide }
- \tocItem \markup { Cesare. Presti omai l'Egizzia terra }
- \tocAct \markup { Atto Secondo }
- \tocItem \markup { Sinfonia }
- \tocItem \markup { Cleopatra. V'adoro, pupille, saette d'Amore }
- \markup \null
-}
-@end lilypond
-
-
-@seealso
-Init files: @file{../ly/@/toc@/-init@/.ly}.
-
-
-@predefined
-@funindex \table-of-contents
-@code{\table-of-contents},
-@funindex \tocItem
-@code{\tocItem}.
-@endpredefined
-
-
-@node Working with input files
-@section Working with input files
-
-@menu
-* Including LilyPond files::
-* Different editions from one source::
-* Text encoding::
-* Displaying LilyPond notation::
-@end menu
-
-
-@node Including LilyPond files
-@subsection Including LilyPond files
-
-@funindex \include
-@cindex including files
-
-A large project may be split up into separate files. To refer to
-another file, use
-
-@example
-\include "otherfile.ly"
-@end example
-
-The line @code{\include "otherfile.ly"} is equivalent to pasting the
-contents of @file{otherfile.ly} into the current file at the place
-where the @code{\include} appears. For example, in a large
-project you might write separate files for each instrument part
-and create a @qq{full score} file which brings together the
-individual instrument files. Normally the included file will
-define a number of variables which then become available
-for use in the full score file. Tagged sections can be
-marked in included files to assist in making them usable in
-different places in a score, see @ref{Different editions from
-one source}.
-
-Files in the current working directory may be referenced by
-specifying just the file name after the @code{\include} command.
-Files in other locations may be included by giving either a full
-path reference or a relative path reference (but use the UNIX
-forward slash, /, rather than the DOS/Windows back slash, \, as the
-directory separator.) For example, if @file{stuff.ly} is located
-one directory higher than the current working directory, use
-
-@example
-\include "../stuff.ly"
-@end example
-
-@noindent
-or if the included orchestral parts files are all located in a
-subdirectory called @file{parts} within the current directory, use
-
-@example
-\include "parts/VI.ly"
-\include "parts/VII.ly"
-... etc
-@end example
-
-Files which are to be included can also contain @code{\include}
-statements of their own. By default, these second-level
-@code{\include} statements are not interpreted until they have
-been brought into the main file, so the file names they specify
-must all be relative to the directory containing the main file,
-not the directory containing the included file. However,
-this behavior can be changed by passing the option
-@code{-drelative-includes} option at the command line
-(or by adding @code{#(ly:set-option 'relative-includes #t)}
-at the top of the main input file). With @code{relative-includes}
-set, the path for each @code{\include} command will be taken
-relative to the file containing that command. This behavior is
-recommended and it will become the default behavior in a future
-version of lilypond.
-
-Files can also be included from a directory in a search path
-specified as an option when invoking LilyPond from the command
-line. The included files are then specified using just their
-file name. For example, to compile @file{main.ly} which includes
-files located in a subdirectory called @file{parts} by this method,
-cd to the directory containing @file{main.ly} and enter
-
-@example
-lilypond --include=parts main.ly
-@end example
-
-and in main.ly write
-
-@example
-\include "VI.ly"
-\include "VII.ly"
-... etc
-@end example
-
-Files which are to be included in many scores may be placed in
-the LilyPond directory @file{../ly}. (The location of this
-directory is installation-dependent - see
-@rlearning{Other sources of information}). These files can then
-be included simply by naming them on an @code{\include} statement.
-This is how the language-dependent files like @file{english.ly} are
-included.
-
-LilyPond includes a number of files by default when you start
-the program. These includes are not apparent to the user, but the
-files may be identified by running @code{lilypond --verbose} from
-the command line. This will display a list of paths and files that
-LilyPond uses, along with much other information. Alternatively,
-the more important of these files are discussed in
-@rlearning{Other sources of information}. These files may be
-edited, but changes to them will be lost on installing a new
-version of LilyPond.
-
-Some simple examples of using @code{\include} are shown in
-@rlearning{Scores and parts}.
-
-
-@seealso
-Learning Manual:
-@rlearning{Other sources of information},
-@rlearning{Scores and parts}.
-
-
-@knownissues
-
-If an included file is given a name which is the same as one in
-LilyPond's installation files, LilyPond's file from the
-installation files takes precedence.
-
-
-
-@node Different editions from one source
-@subsection Different editions from one source
-
-Several mechanisms are available to facilitate the generation
-of different versions of a score from the same music source.
-Variables are perhaps most useful for combining lengthy sections
-of music and/or annotation in various ways, while tags are more
-useful for selecting one from several alternative shorter sections
-of music. Whichever method is used, separating the notation from
-the structure of the score will make it easier to change the
-structure while leaving the notation untouched.
-
-@menu
-* Using variables::
-* Using tags::
-@end menu
-
-@node Using variables
-@unnumberedsubsubsec Using variables
-
-@cindex variables, use of
-
-If sections of the music are defined in variables they can be
-reused in different parts of the score, see @rlearning{Organizing
-pieces with variables}. For example, an @notation{a cappella}
-vocal score frequently includes a piano reduction of the parts
-for rehearsal purposes which is identical to the vocal music, so
-the music need be entered only once. Music from two variables
-may be combined on one staff, see @ref{Automatic part combining}.
-Here is an example:
-
-@lilypond[verbatim,quote]
-sopranoMusic = \relative c'' { a4 b c b8( a)}
-altoMusic = \relative g' { e4 e e f }
-tenorMusic = \relative c' { c4 b e d8( c) }
-bassMusic = \relative c' { a4 gis a d, }
-allLyrics = \lyricmode {King of glo -- ry }
-<<
- \new Staff = "Soprano" \sopranoMusic
- \new Lyrics \allLyrics
- \new Staff = "Alto" \altoMusic
- \new Lyrics \allLyrics
- \new Staff = "Tenor" {
- \clef "treble_8"
- \tenorMusic
- }
- \new Lyrics \allLyrics
- \new Staff = "Bass" {
- \clef "bass"
- \bassMusic
- }
- \new Lyrics \allLyrics
- \new PianoStaff <<
- \new Staff = "RH" {
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \sopranoMusic
- \altoMusic
- }
- \new Staff = "LH" {
- \set Staff.printPartCombineTexts = ##f
- \clef "bass"
- \partcombine
- \tenorMusic
- \bassMusic
- }
- >>
->>
-@end lilypond
-
-Separate scores showing just the vocal parts or just the piano
-part can be produced by changing just the structural statements,
-leaving the musical notation unchanged.
-
-For lengthy scores, the variable definitions may be placed in
-separate files which are then included, see @ref{Including
-LilyPond files}.
-
-@node Using tags
-@unnumberedsubsubsec Using tags
-
-@funindex \tag
-@funindex \keepWithTag
-@funindex \removeWithTag
-@cindex tag
-@cindex keep tagged music
-@cindex remove tagged music
-
-The @code{\tag #'@var{partA}} command marks a music expression
-with the name @var{partA}.
-Expressions tagged in this way can be selected or filtered out by
-name later, using either @code{\keepWithTag #'@var{name}} or
-@code{\removeWithTag #'@var{name}}. The result of applying these filters
-to tagged music is as follows:
-@multitable @columnfractions .5 .5
-@headitem Filter
- @tab Result
-@item
-Tagged music preceded by @code{\keepWithTag #'@var{name}}
- @tab Untagged music and music tagged with @var{name} is included;
- music tagged with any other tag name is excluded.
-@item
-Tagged music preceded by @code{\removeWithTag #'@var{name}}
-@tab Untagged music and music tagged with any tag name other than
- @var{name} is included; music tagged with @var{name} is
- excluded.
-@item
-Tagged music not preceded by either @code{\keepWithTag} or
-@code{\removeWithTag}
-@tab All tagged and untagged music is included.
-@end multitable
-
-The arguments of the @code{\tag}, @code{\keepWithTag} and
-@code{\removeWithTag} commands should be a symbol
-(such as @code{#'score} or @code{#'part}), followed
-by a music expression.
-
-In the following example, we see two versions of a piece of music,
-one showing trills with the usual notation, and one with trills
-explicitly expanded:
-
-@lilypond[verbatim,quote]
-music = \relative g' {
- g8. c32 d
- \tag #'trills {d8.\trill }
- \tag #'expand {\repeat unfold 3 {e32 d} }
- c32 d
- }
-
-\score {
- \keepWithTag #'trills \music
-}
-\score {
- \keepWithTag #'expand \music
-}
-@end lilypond
-
-@noindent
-Alternatively, it is sometimes easier to exclude sections of music:
-
-@lilypond[verbatim,quote]
-music = \relative g' {
- g8. c32 d
- \tag #'trills {d8.\trill }
- \tag #'expand {\repeat unfold 3 {e32 d} }
- c32 d
- }
-
-\score {
- \removeWithTag #'expand
- \music
-}
-\score {
- \removeWithTag #'trills
- \music
-}
-@end lilypond
-
-Tagged filtering can be applied to articulations, texts, etc. by
-prepending
-
-@example
--\tag #'@var{your-tag}
-@end example
-
-to an articulation. For example, this would define a note with a
-conditional fingering indication and a note with a conditional
-annotation:
-
-@example
-c1-\tag #'finger ^4
-c1-\tag #'warn ^"Watch!"
-@end example
-
-Multiple tags may be placed on expressions with multiple
-@code{\tag} entries:
-
-@lilypond[quote,verbatim]
-music = \relative c'' {
- \tag #'a \tag #'both { a a a a }
- \tag #'b \tag #'both { b b b b }
-}
-<<
-\keepWithTag #'a \music
-\keepWithTag #'b \music
-\keepWithTag #'both \music
->>
-@end lilypond
-
-Multiple @code{\removeWithTag} filters may be applied to a single
-music expression to remove several differently named tagged sections:
-
-@lilypond[verbatim,quote]
-music = \relative c'' {
-\tag #'A { a a a a }
-\tag #'B { b b b b }
-\tag #'C { c c c c }
-\tag #'D { d d d d }
-}
-{
-\removeWithTag #'B
-\removeWithTag #'C
-\music
-}
-@end lilypond
-
-Two or more @code{\keepWithTag} filters applied to a single music
-expression will cause @emph{all} tagged sections to be removed, as
-the first filter will remove all tagged sections except the one
-named, and the second filter will remove even that tagged section.
-
-
-@seealso
-Learning Manual:
-@rlearning{Organizing pieces with variables}.
-
-Notation Reference:
-@ref{Automatic part combining},
-@ref{Including LilyPond files}.
-
-
-@ignore
-@c This warning is more general than this placement implies.
-@c Rests are not merged whether or not they come from tagged sections.
-@c Should be deleted? -td
-
-@knownissues
-
-Multiple rests are not merged if you create a score with more
-than one tagged section at the same place.
-
-@end ignore
-
-@node Text encoding
-@subsection Text encoding
-
-LilyPond uses the character repertoire defined by the Unicode
-consortium and ISO/IEC 10646. This defines a unique name and
-code point for the character sets used in virtually all modern
-languages and many others too. Unicode can be implemented using
-several different encodings. LilyPond uses the UTF-8 encoding
-(UTF stands for Unicode Transformation Format) which represents
-all common Latin characters in one byte, and represents other
-characters using a variable length format of up to four bytes.
-
-The actual appearance of the characters is determined by the
-glyphs defined in the particular fonts available - a font defines
-the mapping of a subset of the Unicode code points to glyphs.
-LilyPond uses the Pango library to layout and render multi-lingual
-texts.
-
-Lilypond does not perform any input-encoding conversions. This
-means that any text, be it title, lyric text, or musical
-instruction containing non-ASCII characters, must be encoded in
-UTF-8. The easiest way to enter such text is by using a
-Unicode-aware editor and saving the file with UTF-8 encoding. Most
-popular modern editors have UTF-8 support, for example, vim, Emacs,
-jEdit, and GEdit do. All MS Windows systems later than NT use
-Unicode as their native character encoding, so even Notepad can
-edit and save a file in UTF-8 format. A more functional
-alternative for Windows is BabelPad.
-
-If a LilyPond input file containing a non-ASCII character is not
-saved in UTF-8 format the error message
-
-@example
-FT_Get_Glyph_Name () error: invalid argument
-@end example
-
-will be generated.
-
-Here is an example showing Cyrillic, Hebrew and Portuguese
-text:
-
-@lilypond[quote]
-%c No verbatim here as the code does not display correctly in PDF
-% Cyrillic
-bulgarian = \lyricmode {
- Жълтата дюля беше щастлива, че пухът, който цъфна, замръзна като гьон.
-}
-
-% Hebrew
-hebrew = \lyricmode {
- זה כיף סתם לשמוע איך תנצח קרפד עץ טוב בגן.
-}
-
-% Portuguese
-portuguese = \lyricmode {
- à vo -- cê uma can -- ção legal
-}
-
-\relative {
- c2 d e f g f e
-}
-\addlyrics { \bulgarian }
-\addlyrics { \hebrew }
-\addlyrics { \portuguese }
-@end lilypond
-
-To enter a single character for which the Unicode escape sequence
-is known but which is not available in the editor being used, use
-@code{\char ##xhhhh} within a @code{\markup} block, where
-@code{hhhh} is the hexadecimal code for the character required.
-For example, @code{\char ##x03BE} enters the Unicode U+03BE
-character, which has the Unicode name @qq{Greek Small Letter Xi}.
-Any Unicode hexadecimal code may be substituted, and if all special
-characters are entered in this format it is not necessary to save
-the input file in UTF-8 format. Of course, a font containing all
-such encoded characters must be installed and available to LilyPond.
-
-The following example shows UTF-8 coded characters being used in
-four places -- in a rehearsal mark, as articulation text, in lyrics
-and as stand-alone text below the score:
-
-@lilypond[quote,verbatim]
-\score {
- \relative c'' {
- c1 \mark \markup { \char ##x03EE }
- c1_\markup { \tiny { \char ##x03B1 " to " \char ##x03C9 } }
- }
- \addlyrics { O \markup { \concat{ Ph \char ##x0153 be! } } }
-}
-\markup { "Copyright 2008--2009" \char ##x00A9 }
-@end lilypond
-
-To enter the copyright sign in the copyright notice use:
-
-@example
-\header @{
- copyright = \markup @{ \char ##x00A9 "2008" @}
-@}
-@end example
-
-@node Displaying LilyPond notation
-@subsection Displaying LilyPond notation
-
-@funindex \displayLilyMusic
-Displaying a music expression in LilyPond notation can be
-done using the music function @code{\displayLilyMusic}. For example,
-
-@example
-@{
- \displayLilyMusic \transpose c a, @{ c e g a bes @}
-@}
-@end example
-
-will display
-
-@example
-@{ a, cis e fis g @}
-@end example
-
-By default, LilyPond will print these messages to the console along
-with all the other messages. To split up these messages and save
-the results of @code{\display@{STUFF@}}, redirect the output to
-a file.
-
-@c TODO What happens under Windows?
-
-@example
-lilypond file.ly >display.txt
-@end example
-
-
-
-@node Controlling output
-@section Controlling output
-
-@menu
-* Extracting fragments of music::
-* Skipping corrected music::
-@end menu
-
-@node Extracting fragments of music
-@subsection Extracting fragments of music
-
-It is possible to quote small fragments of a large score directly from
-the output. This can be compared to clipping a piece of a paper score
-with scissors.
-
-This is done by defining the measures that need to be cut out
-separately. For example, including the following definition
-
-
-@verbatim
-\layout {
- clip-regions
- = #(list
- (cons
- (make-rhythmic-location 5 1 2)
- (make-rhythmic-location 7 3 4)))
-}
-@end verbatim
-
-@noindent
-will extract a fragment starting halfway the fifth measure, ending in
-the seventh measure. The meaning of @code{5 1 2} is: after a 1/2 note
-in measure 5, and @code{7 3 4} after 3 quarter notes in measure 7.
-
-More clip regions can be defined by adding more pairs of
-rhythmic-locations to the list.
-
-In order to use this feature, LilyPond must be invoked with
-@code{-dclip-systems}. The clips are output as EPS files, and are
-converted to PDF and PNG if these formats are switched on as well.
-
-For more information on output formats, see @rprogram{Invoking lilypond}.
-
-@node Skipping corrected music
-@subsection Skipping corrected music
-
-
-@funindex skipTypesetting
-@funindex showFirstLength
-@funindex showLastLength
-
-When entering or copying music, usually only the music near the end (where
-you
-are adding notes) is interesting to view and correct. To speed up
-this correction process, it is possible to skip typesetting of all but
-the last few measures. This is achieved by putting
-
-@verbatim
-showLastLength = R1*5
-\score { ... }
-@end verbatim
-
-@noindent
-in your source file. This will render only the last 5 measures
-(assuming 4/4 time signature) of every @code{\score} in the input
-file. For longer pieces, rendering only a small part is often an order
-of magnitude quicker than rendering it completely. When working on the
-beginning of a score you have already typeset (e.g. to add a new part),
-the @code{showFirstLength} property may be useful as well.
-
-Skipping parts of a score can be controlled in a more fine-grained
-fashion with the property @code{Score.skipTypesetting}. When it is
-set, no typesetting is performed at all.
-
-This property is also used to control output to the MIDI file. Note that
-it skips all events, including tempo and instrument changes. You have
-been warned.
-
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- c8 d
- \set Score.skipTypesetting = ##t
- e e e e e e e e
- \set Score.skipTypesetting = ##f
- c d b bes a g c2 }
-@end lilypond
-
-In polyphonic music, @code{Score.skipTypesetting} will affect all
-voices and staves, saving even more time.
-
-
-
-@node MIDI output
-@section MIDI output
-
-@cindex Sound
-@cindex MIDI
-
-MIDI (Musical Instrument Digital Interface) is a standard for
-connecting and controlling digital instruments. A MIDI file is a
-series of notes in a number of tracks. It is not an actual
-sound file; you need special software to translate between the
-series of notes and actual sounds.
-
-Pieces of music can be converted to MIDI files, so you can listen to
-what was entered. This is convenient for checking the music; octaves
-that are off or accidentals that were mistyped stand out very much
-when listening to the MIDI output.
-
-@c TODO Check this
-The midi output allocates a channel for each staff, and one for global
-settings. Therefore the midi file should not have more than 15 staves
-(or 14 if you do not use drums). Other staves will remain silent.
-
-@menu
-* Creating MIDI files::
-* MIDI block::
-* What goes into the MIDI output?::
-* Repeats in MIDI::
-* Controlling MIDI dynamics::
-* Percussion in MIDI::
-@end menu
-
-@node Creating MIDI files
-@subsection Creating MIDI files
-
-To create a MIDI output file from a LilyPond input file, add a
-@code{\midi} block to a score, for example,
-
-@example
-\score @{
- @var{...music...}
- \midi @{ @}
-@}
-@end example
-
-If there is a @code{\midi} block in a @code{\score} with no
-@code{\layout} block, only MIDI output will be produced. When
-notation is needed too, a @code{\layout} block must be also be
-present.
-
-@example
-\score @{
- @var{...music...}
- \midi @{ @}
- \layout @{ @}
-@}
-@end example
-
-Pitches, rhythms, ties, dynamics, and tempo changes are interpreted
-and translated correctly to the MIDI output. Dynamic marks,
-crescendi and decrescendi translate into MIDI volume levels.
-Dynamic marks translate to a fixed fraction of the available MIDI
-volume range. Crescendi and decrescendi make the volume vary
-linearly between their two extremes. The effect of dynamic markings
-on the MIDI output can be removed completely, see @ref{MIDI block}.
-
-The initial tempo and later tempo changes can be specified
-with the @code{\tempo} command within the music notation. These
-are reflected in tempo changes in the MIDI output. This command
-will normally result in the metronome mark being printed, but this
-can be suppressed, see @ref{Metronome marks}. An alternative way
-of specifying the inital or overall MIDI tempo is described below,
-see @ref{MIDI block}.
-
-@unnumberedsubsubsec Instrument names
-
-@cindex instrument names
-@funindex Staff.midiInstrument
-
-The MIDI instrument to be used is specified by setting the
-@code{Staff.midiInstrument} property to the instrument name.
-The name should be chosen from the list in @ref{MIDI instruments}.
-
-@example
-\new Staff @{
- \set Staff.midiInstrument = #"glockenspiel"
- @var{...notes...}
-@}
-@end example
-
-@example
-\new Staff \with @{midiInstrument = #"cello"@} @{
- @var{...notes...}
-@}
-@end example
-
-If the selected instrument does not exactly match an instrument from
-the list of MIDI instruments, the Grand Piano (@code{"acoustic grand"})
-instrument is used.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
-{changing-midi-output-to-one-channel-per-voice.ly}
-
-@knownissues
-
-@c In 2.11 the following no longer seems to be a problem -td
-@ignore
-Unterminated (de)crescendos will not render properly in the midi file,
-resulting in silent passages of music. The workaround is to explicitly
-terminate the (de)crescendo. For example,
-
-@example
-@{ a\< b c d\f @}
-@end example
-
-@noindent
-will not work properly but
-
-@example
-@{ a\< b c d\!\f @}
-@end example
-
-@noindent
-will.
-@end ignore
-
-Changes in the MIDI volume take place only on starting a note, so
-crescendi and decrescendi cannot affect the volume of a
-single note.
-
-Not all midi players correctly handle tempo changes in the midi
-output. Players that are known to work include MS Windows Media
-Player and @uref{http://@/timidity@/.sourceforge@/.net/,timidity}.
-
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-A @code{\midi} block must appear within a score block if MIDI output
-is required. It is analogous to the layout block, but somewhat
-simpler. Often, the @code{\midi} block is left empty, but it
-can contain context rearrangements, new context definitions or code
-to set the values of properties. For example, the following will
-set the initial tempo exported to a MIDI file without causing a tempo
-indication to be printed:
-
-@example
-\score @{
- @var{...music...}
- \midi @{
- \context @{
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 4)
- @}
- @}
-@}
-@end example
-
-In this example the tempo is set to 72 quarter note
-beats per minute. This kind of tempo specification cannot take
-a dotted note length as an argument. If one is required, break
-the dotted note into smaller units. For example, a tempo of 90
-dotted quarter notes per minute can be specified as 270 eighth
-notes per minute:
-
-@example
-tempoWholesPerMinute = #(ly:make-moment 270 8)
-@end example
-
-@cindex MIDI context definitions
-
-Context definitions follow precisely the same syntax as those
-within a @code{\layout} block. Translation modules for sound are
-called performers. The contexts for MIDI output are defined in
-@file{../ly/@/performer@/-init@/.ly},
-see @rlearning{Other sources of information}.
-For example, to remove the effect of dynamics
-from the MIDI output, insert the following lines in the
-@code{\midi@{ @}} block.
-
-@example
-\midi @{
- ...
- \context @{
- \Voice
- \remove "Dynamic_performer"
- @}
-@}
-@end example
-
-MIDI output is created only when a @code{\midi} block is included
-within a score block defined with a @code{\score} command. If it
-is placed within an explicitly instantiated score context (i.e.
-within a @code{\new Score} block) the file will fail. To solve
-this, enclose the @code{\new Score} and the @code{\midi} commands
-in a @code{\score} block.
-
-@example
-\score @{
- \new Score @{ @dots{}notes@dots{} @}
- \midi @{ @}
-@}
-@end example
-
-@node What goes into the MIDI output?
-@subsection What goes into the MIDI output?
-
-@c TODO Check grace notes - timing is suspect?
-
-@unnumberedsubsubsec Supported in MIDI
-
-@cindex Pitches in MIDI
-@cindex MIDI, Pitches
-@cindex Quarter tones in MIDI
-@cindex MIDI, quarter tones
-@cindex Microtones in MIDI
-@cindex MIDI, microtones
-@cindex Chord names in MIDI
-@cindex MIDI, chord names
-@cindex Rhythms in MIDI
-@cindex MIDI, Rhythms
-@c TODO etc
-
-The following items of notation are reflected in the MIDI output:
-
-@itemize
-@item Pitches
-@item Microtones (See @ref{Accidentals}. Rendering needs a
-player that supports pitch bend.)
-@item Chords entered as chord names
-@item Rhythms entered as note durations, including tuplets
-@item Tremolos entered without @q{@code{:}[@var{number}]}
-@item Ties
-@item Dynamic marks
-@item Crescendi, decrescendi over multiple notes
-@item Tempo changes entered with a tempo marking
-@item Lyrics
-@end itemize
-
-@unnumberedsubsubsec Unsupported in MIDI
-
-@c TODO index as above
-
-The following items of notation have no effect on the MIDI output:
-
-@itemize
-@item Rhythms entered as annotations, e.g. swing
-@item Tempo changes entered as annotations with no tempo marking
-@item Staccato and other articulations and ornamentations
-@item Slurs and Phrasing slurs
-@item Crescendi, decrescendi over a single note
-@item Tremolos entered with @q{@code{:}[@var{number}]}
-@item Figured bass
-@item Microtonal chords
-@end itemize
-
-
-@node Repeats in MIDI
-@subsection Repeats in MIDI
-
-@cindex repeats in MIDI
-@funindex \unfoldRepeats
-
-With a few minor additions, all types of repeats can be represented
-in the MIDI output. This is achieved by applying the
-@code{\unfoldRepeats} music function. This function changes all
-repeats to unfold repeats.
-
-@lilypond[quote,verbatim]
-\unfoldRepeats {
- \repeat tremolo 8 {c'32 e' }
- \repeat percent 2 { c''8 d'' }
- \repeat volta 2 {c'4 d' e' f'}
- \alternative {
- { g' a' a' g' }
- {f' e' d' c' }
- }
-}
-\bar "|."
-@end lilypond
-
-When creating a score file using @code{\unfoldRepeats} for MIDI,
-it is necessary to make two @code{\score} blocks: one for MIDI
-(with unfolded repeats) and one for notation (with volta, tremolo,
-and percent repeats). For example,
-
-@example
-\score @{
- @var{..music..}
- \layout @{ .. @}
-@}
-\score @{
- \unfoldRepeats @var{..music..}
- \midi @{ .. @}
-@}
-@end example
-
-@node Controlling MIDI dynamics
-@subsection Controlling MIDI dynamics
-
-MIDI dynamics are implemented by the Dynamic_performer which lives
-by default in the Voice context. It is possible to control the
-overall MIDI volume, the relative volume of dynamic markings and
-the relative volume of different instruments.
-
-@unnumberedsubsubsec Dynamic marks
-
-Dynamic marks are translated to a fixed fraction of the available
-MIDI volume range. The default fractions range from 0.25 for
-@notation{ppppp} to 0.95 for @notation{fffff}. The set of dynamic
-marks and the associated fractions can be seen in
-@file{../scm/midi.scm}, see @rlearning{Other sources of information}.
-This set of fractions may be changed or extended by providing a
-function which takes a dynamic mark as its argument and returns the
-required fraction, and setting
-@code{Score.dynamicAbsoluteVolumeFunction} to this function.
-
-For example, if a @notation{rinforzando} dynamic marking,
-@code{\rfz}, is required, this will not by default
-have any effect on the MIDI volume, as this dynamic marking is not
-included in the default set. Similarly, if a new dynamic marking
-has been defined with @code{make-dynamic-script} that too will not
-be included in the default set. The following example shows how the
-MIDI volume for such dynamic markings might be added. The Scheme
-function sets the fraction to 0.9 if a dynamic mark of rfz is
-found, or calls the default function otherwise.
-
-@lilypond[verbatim,quote]
-#(define (myDynamics dynamic)
- (if (equal? dynamic "rfz")
- 0.9
- (default-dynamic-absolute-volume dynamic)))
-
-\score {
- \new Staff {
- \set Staff.midiInstrument = #"cello"
- \set Score.dynamicAbsoluteVolumeFunction = #myDynamics
- \new Voice {
- \relative c'' {
- a\pp b c-\rfz
- }
- }
- }
- \layout {}
- \midi {}
-}
-@end lilypond
-
-Alternatively, if the whole table of fractions needs to be
-redefined, it would be better to use the
-@notation{default-dynamic-absolute-volume} procedure in
-@file{../scm/midi.scm} and the associated table as a model.
-The final example in this section shows how this might be done.
-
-@unnumberedsubsubsec Overall MIDI volume
-
-The minimum and maximum overall volume of MIDI dynamic markings is
-controlled by setting the properties @code{midiMinimumVolume} and
-@code{midiMaximumVolume} at the @code{Score} level. These
-properties have an effect only on dynamic marks, so if they
-are to apply from the start of the score a dynamic mark must be
-placed there. The fraction corresponding to each dynamic mark is
-modified with this formula
-
-@example
-midiMinimumVolume + (midiMaximumVolume - midiMinimumVolume) * fraction
-@end example
-
-In the following example the dynamic range of the overall MIDI
-volume is limited to the range 0.2 - 0.5.
-
-@lilypond[verbatim,quote]
-\score {
- <<
- \new Staff {
- \key g \major
- \time 2/2
- \set Staff.midiInstrument = #"flute"
- \new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
- e4 d8 cis d2
- }
- }
- \new Staff {
- \key g \major
- \set Staff.midiInstrument = #"clarinet"
- \new Voice \relative c'' {
- b1\p a2. b8 a
- g2. fis8 e
- fis2 r
- }
- }
- >>
- \layout { }
- \midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
- midiMinimumVolume = #0.2
- midiMaximumVolume = #0.5
- }
- }
-}
-@end lilypond
-
-@unnumberedsubsubsec Equalizing different instruments (i)
-
-If the minimum and maximum MIDI volume properties are set in
-the @code{Staff} context the relative volumes of the MIDI
-instruments can be controlled. This gives a basic instrument
-equalizer, which can enhance the quality of the MIDI output
-remarkably.
-
-In this example the volume of the clarinet is reduced relative
-to the volume of the flute. There must be a dynamic
-mark on the first note of each instrument for this to work
-correctly.
-
-@lilypond[verbatim,quote]
-\score {
- <<
- \new Staff {
- \key g \major
- \time 2/2
- \set Staff.midiInstrument = #"flute"
- \set Staff.midiMinimumVolume = #0.7
- \set Staff.midiMaximumVolume = #0.9
- \new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
- e4 d8 cis d2
- }
- }
- \new Staff {
- \key g \major
- \set Staff.midiInstrument = #"clarinet"
- \set Staff.midiMinimumVolume = #0.3
- \set Staff.midiMaximumVolume = #0.6
- \new Voice \relative c'' {
- b1\p a2. b8 a
- g2. fis8 e
- fis2 r
- }
- }
- >>
- \layout { }
- \midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
- }
- }
-}
-@end lilypond
-
-@unnumberedsubsubsec Equalizing different instruments (ii)
-
-If the MIDI minimum and maximum volume properties are not set
-LilyPond will, by default, apply a small degree of equalization
-to a few instruments. The instruments and the equalization
-applied are shown in the table @notation{instrument-equalizer-alist}
-in @file{../scm/midi.scm}.
-
-This basic default equalizer can be replaced by setting
-@code{instrumentEqualizer} in the @code{Score} context to a new
-Scheme procedure which accepts a MIDI instrument name as its only
-argument and returns a pair of fractions giving the minimum and
-maximum volumes to be applied to that instrument. This replacement
-is done in the same way as shown for resetting the
-@code{dynamicAbsoluteVolumeFunction} at the start of this section.
-The default equalizer, @notation{default-instrument-equalizer}, in
-@file{../scm/midi.scm} shows how such a procedure might be written.
-
-The following example sets the relative flute and clarinet volumes
-to the same values as the previous example.
-
-@lilypond[verbatim,quote]
-#(define my-instrument-equalizer-alist '())
-
-#(set! my-instrument-equalizer-alist
- (append
- '(
- ("flute" . (0.7 . 0.9))
- ("clarinet" . (0.3 . 0.6)))
- my-instrument-equalizer-alist))
-
-#(define (my-instrument-equalizer s)
- (let ((entry (assoc s my-instrument-equalizer-alist)))
- (if entry
- (cdr entry))))
-
-\score {
- <<
- \new Staff {
- \key g \major
- \time 2/2
- \set Score.instrumentEqualizer = #my-instrument-equalizer
- \set Staff.midiInstrument = #"flute"
- \new Voice \relative c''' {
- r2 g\mp g fis ~
- fis4 g8 fis e2 ~
- e4 d8 cis d2
- }
- }
- \new Staff {
- \key g \major
- \set Staff.midiInstrument = #"clarinet"
- \new Voice \relative c'' {
- b1\p a2. b8 a
- g2. fis8 e
- fis2 r
- }
- }
- >>
- \layout { }
- \midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 72 2)
- }
- }
-}
-@end lilypond
-
-@ignore
-@c Delete when satisfied this is adequately covered elsewhere -td
-
-@n ode Microtones in MIDI
-@s ubsection Microtones in MIDI
-
-@cindex microtones in MIDI
-
-Microtones consisting of half sharps and half flats are exported
-to the MIDI file and render correctly in MIDI players which support
-pitch bending. See @ref{Note names in other languages}. Here is
-an example showing all the half sharps and half flats. It can be
-copied out and compiled to test microtones in your MIDI player.
-
-@lilypond[verbatim,quote]
-\score {
- \relative c' {
- c cih cis cisih
- d dih ees eeh
- e eih f fih
- fis fisih g gih
- gis gisih a aih
- bes beh b bih
- }
- \layout {}
- \midi {}
-}
-@end lilypond
-@end ignore
-
-
-@node Percussion in MIDI
-@subsection Percussion in MIDI
-
-Percussion instruments are generally notated in a @code{DrumStaff}
-context and when notated in this way they are outputted correctly
-to MIDI channel@tie{}10, but some pitched percussion instruments,
-like the xylophone, marimba, vibraphone, timpani, etc., are
-treated like @qq{normal} instruments and music for these instruments
-should be entered in a normal @code{Staff} context, not a
-@code{DrumStaff} context, to obtain the correct MIDI output.
-
-Some non-pitched percussion sounds included in the general MIDI
-standard, like melodic tom, taiko drum, synth drum, etc., cannot
-be reached via MIDI channel@tie{}10, so the notation for such
-instruments should also be entered in a normal @code{Staff}
-context, using suitable normal pitches.
-
-Many percussion instruments are not included in the general MIDI
-standard, e.g. castanets. The easiest, although unsatisfactory,
-method of producing some MIDI output when writing for such
-instruments is to substitute the nearest sound from the standard
-set.
-
-@c TODO Expand with examples, and any other issues
-
-@knownissues
-
-Because the general MIDI standard does not contain rim shots, the
-sidestick is used for this purpose instead.
-
-
projects / lilypond.git / blobdiff