CVSROOT: /cvsroot/lilypond
Module name: lilypond
Branch: lilypond_2_6
Changes by: Han-Wen Nienhuys <[EMAIL PROTECTED]> 05/07/11 11:57:16
Modified files:
. : ChangeLog
Documentation/user: tutorial.itely
Log message:
(Running LilyPond for the
first time): remove TeX remark.
CVSWeb URLs:
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/ChangeLog.diff?only_with_tag=lilypond_2_6&tr1=1.3836.2.4&tr2=1.3836.2.5&r1=text&r2=text
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lilypond/Documentation/user/tutorial.itely.diff?only_with_tag=lilypond_2_6&tr1=1.260&tr2=1.260.2.1&r1=text&r2=text
Patches:
Index: lilypond/ChangeLog
diff -u lilypond/ChangeLog:1.3836.2.4 lilypond/ChangeLog:1.3836.2.5
--- lilypond/ChangeLog:1.3836.2.4 Mon Jul 11 09:58:19 2005
+++ lilypond/ChangeLog Mon Jul 11 11:57:16 2005
@@ -1,5 +1,8 @@
2005-07-11 Han-Wen Nienhuys <[EMAIL PROTECTED]>
+ * Documentation/user/tutorial.itely (Running LilyPond for the
+ first time): remove TeX remark.
+
* VERSION (PACKAGE_NAME): release 2.6.1
2005-07-10 Han-Wen Nienhuys <[EMAIL PROTECTED]>
Index: lilypond/Documentation/user/tutorial.itely
diff -u /dev/null lilypond/Documentation/user/tutorial.itely:1.260.2.1
--- /dev/null Mon Jul 11 11:57:16 2005
+++ lilypond/Documentation/user/tutorial.itely Mon Jul 11 11:57:16 2005
@@ -0,0 +1,1371 @@
[EMAIL PROTECTED] -*- coding: latin-1; mode: texinfo; -*-
[EMAIL PROTECTED] This file is part of lilypond.tely
+
[EMAIL PROTECTED] TODO:
[EMAIL PROTECTED] * more details about running lilypond; error messages,
[EMAIL PROTECTED] compiling/viewing (emacs?)
[EMAIL PROTECTED] * where to go from First steps+More basics?
+
[EMAIL PROTECTED] wherever possible, do not include index entries here; the
[EMAIL PROTECTED] index should point to stuff in the reference manual. -gp
+
[EMAIL PROTECTED] Your first LilyPond score in 10 minutes?
+
[EMAIL PROTECTED] Tutorial
[EMAIL PROTECTED] Tutorial
+
+This tutorial starts with a short introduction to the LilyPond music
+language. After this first contact we will show you how to produce
+printed output. Then you will be able to create and print your own
+sheets of music.
+
[EMAIL PROTECTED]
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+picture in the HTML version of this manual, you will see the exact
+LilyPond input that was used to generate that image.
+Try it on this image
+
[EMAIL PROTECTED],quote,raggedright,relative=2]
+c-\markup { \bold \huge { Click here. } }
[EMAIL PROTECTED] lilypond
[EMAIL PROTECTED] ifhtml
+
+By cutting and pasting the full input into a test file, you have a
+starting template for experiments. If you like learning in this way,
+you will probably want to print out or bookmark
[EMAIL PROTECTED]
+the
[EMAIL PROTECTED] ifhtml
[EMAIL PROTECTED] sheet}, which is a table listing all commands for quick
+reference.
+
[EMAIL PROTECTED]
+* First steps::
+* Running LilyPond for the first time::
+* More about pitches::
+* Entering ties::
+* Automatic and manual beams::
+* Octave entry::
+* Music expressions explained::
+* More staves::
+* Adding articulation marks to notes::
+* Combining notes into chords::
+* Advanced rhythmic commands::
+* Commenting input files::
+* Printing lyrics::
+* A lead sheet::
+* Adding titles::
+* Single staff polyphony::
+* Piano staves::
+* Organizing larger pieces::
+* An orchestral part::
[EMAIL PROTECTED] menu
+
+
[EMAIL PROTECTED] First steps
[EMAIL PROTECTED] First steps
+
+The first example demonstrates how to enter the most elementary piece
+of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
+name, from @samp{a} through @samp{g}. So, if you enter
+
[EMAIL PROTECTED]
+c d e f g a b
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+the result looks like this
+
[EMAIL PROTECTED],quote,notime,relative=1]
+c d e f g a b
[EMAIL PROTECTED] lilypond
+
+The @rglos{duration} of a note is specified by a number after the note
+name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
[EMAIL PROTECTED] for a @rglos{quarter note} and so on
+
[EMAIL PROTECTED]
+a1 a2 a4 a16 a32
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime,relative=2]
+\set Staff.autoBeaming = ##f
+{ a1 a2 a4 a16 a32 s16_" " }
[EMAIL PROTECTED] lilypond
+
+If you do not specify a duration, the duration last entered is used
+for the next notes. The duration of the first note in input defaults
+to a quarter
+
[EMAIL PROTECTED]
+a a8 a a2 a
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime,relative=2]
+{ a a8 a a2 a s16_" " }
[EMAIL PROTECTED] lilypond
+
+
+A @rglos{rest} is entered just like a note, but with the name @samp{r}
+
[EMAIL PROTECTED]
+r2 r4 r8 r16
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime]
+r2 r4 r8 r16 s16_" "
[EMAIL PROTECTED] lilypond
+
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+
[EMAIL PROTECTED]
+a2. a4 a8. a16
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime,relative=1]
+{ a2. a4 a8. a16 s16_" " }
[EMAIL PROTECTED] lilypond
+
+The (or @rglos{time signature}) can be set with the @code{\time}
+command
+
[EMAIL PROTECTED]
+\time 3/4
+\time 6/8
+\time 4/4
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] A clef here may lead to confusion, remove it.
[EMAIL PROTECTED],quote]
+\override Staff.Clef #'transparent = ##t
+\time 3/4
+s4_" "
+\time 6/8
+s4_" "
+\time 4/4
+s16_" "
[EMAIL PROTECTED] lilypond
+
+The @rglos{clef} can be set using the @code{\clef} command
+
[EMAIL PROTECTED]
+\clef treble
+\clef bass
+\clef alto
+\clef tenor
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime]
+\clef treble
+s4_" "
+\clef bass
+s4_" "
+\clef alto
+s4_" "
+\clef tenor
+s16_" "
[EMAIL PROTECTED] lilypond
+
+
+Remember to enclose the notes and commands in curly braces
[EMAIL PROTECTED]@[EMAIL PROTECTED]@[EMAIL PROTECTED]@}} to convert it to
printable output.
+
[EMAIL PROTECTED],quote,noindent,linewidth=55\staffspace]
+\time 3/4
+\clef bass
+c2 e4 g2.
+f4 e d c2 r4
[EMAIL PROTECTED] lilypond
+
+For more elaborate information on
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] @asis
[EMAIL PROTECTED] Entering pitches and durations
+see
[EMAIL PROTECTED], and @ref{Durations}.
[EMAIL PROTECTED] Clefs
+see @ref{Clef}.
[EMAIL PROTECTED] Rests
+see @ref{Rests}.
[EMAIL PROTECTED] Time signatures and other timing commands
+see @ref{Time signature}.
[EMAIL PROTECTED] table
[EMAIL PROTECTED] quotation
+
+
[EMAIL PROTECTED] Running LilyPond for the first time
[EMAIL PROTECTED] Running LilyPond for the first time
+
[EMAIL PROTECTED] cheesy title to avoid clash with chapter name.
+
+In the last section we explained what kind of things you can enter in
+a LilyPond file. In this section we will explain what commands to run
+and how to view or print the output. If you have not used LilyPond
+before, want to test your setup, or want to run an example file
+yourself, read this section.
+
[EMAIL PROTECTED] MacOS X
+
+If you double click LilyPond.app, it will open with an example
+file. Save it, for example, to @file{test.ly} on your Desktop, and
+then process it with the menu command @samp{Compile > Typeset File}.
+The resulting PDF file will be displayed on your screen.
+
+Be warned that the first-ever run will take a minute or two, because
+all of the system fonts have to be analyzed first.
+
[EMAIL PROTECTED] Windows
+
+On Windows, start up a [EMAIL PROTECTED] simple or
+programmer-oriented editor will do, for example Notepad. Do not use a
+word processor, since these insert formatting codes that will confuse
+LilyPond.} and enter
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] c'4 e' g' @}
[EMAIL PROTECTED] example
+
+Save it on the desktop as @file{test.ly} and make sure that it is not
+called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
+the file and show the resulting PDF file.
+
+
[EMAIL PROTECTED] Unix
+
+Begin by opening a terminal window and starting a text editor. For
+example, you could open an xterm and execute
[EMAIL PROTECTED]@footnote{There are macro files for VIM addicts, and there
+is a @code{LilyPond-mode} for Emacs addicts. If they have not been
+installed already, refer to the file @file{INSTALL.txt}.} In your
+text editor, enter the following input and save the file as
[EMAIL PROTECTED]
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] c'4 e' g' @}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+To process @file{test.ly}, proceed as follows
+
[EMAIL PROTECTED]
+lilypond test.ly
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+You will see something resembling
+
[EMAIL PROTECTED]
+lilypond test.ly
+GNU LilyPond 2.6.0
+Processing `test.ly'
+Parsing...
+Interpreting music... [1]
+Preprocessing graphical objects...
+Calculating line breaks... [2]
+Layout output to `test.tex'...
+Converting to `test.dvi'...
+Converting to `test.ps'...
+Converting to `test.pdf'...
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] DVI file
[EMAIL PROTECTED] Viewing music
[EMAIL PROTECTED] xdvi
[EMAIL PROTECTED]
+The result is the file @file{test.pdf} which you can print or view
+with the standard facilities of your operating [EMAIL PROTECTED]
+your system does not have any tools installed, you can try
[EMAIL PROTECTED]://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
+available package for viewing and printing PDF and PostScript files.}
+
[EMAIL PROTECTED] More about pitches
[EMAIL PROTECTED] More about pitches
+
+A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
+the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+you might expect, a @rglos{double sharp} or @rglos{double flat} is
+made by adding @samp{isis} or @[EMAIL PROTECTED] syntax
+derived from note naming conventions in Nordic and Germanic languages,
+like German and Dutch.}
+
[EMAIL PROTECTED]
+cis1 ees fisis aeses
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime]
+\set Score.timing = ##f
+\transpose c c' { cis1 ees fisis aeses s16_" " }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] key signature, setting
+The key signature is set with the command @code{\key}, followed by
+a pitch and @code{\major} or @code{\minor}
+
[EMAIL PROTECTED]
+\key d \major
+g1
+\key c \minor
+g
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,notime,fragment]
+\key d \major
+g'1
+\key c \minor
+g'
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+Key signatures together with the pitches (including alterations) are
+used to determine when to print accidentals. This is a
+feature that often causes confusion to newcomers, so let us explain it
+in more detail.
+
+
+LilyPond makes a sharp distinction between musical content and
+layout. The alteration (flat, natural or sharp) of a note is part of
+the pitch, and is therefore musical content. Whether an accidental (a
+flat, natural or sharp @emph{sign}) is printed in front of the
+corresponding note is a question of layout. Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
+
+In this example
+
[EMAIL PROTECTED],notime,fragment]
+\key d \major
+d' cis' fis'
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+no note has an explicit accidental, but you still must enter
+
[EMAIL PROTECTED]
+\key d \major
+d cis fis
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+The code @samp{d} does not mean `print a black dot just below the
+staff.' Rather, it means: `a note with pitch D-natural.' In the key
+of A-flat major, it does get an accidental
+
[EMAIL PROTECTED],notime,fragment,relative=1,verbatim]
+\key as \major
+d
[EMAIL PROTECTED] lilypond
+
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+accidentals can be printed according to different conventions. See
[EMAIL PROTECTED] accidentals}, for some examples how accidentals can be printed
+according to different rules.
+
+
+For more information on
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] @asis
[EMAIL PROTECTED] Accidentals
+see @ref{Automatic accidentals}.
+
[EMAIL PROTECTED] Key signature
+see @ref{Key signature}.
[EMAIL PROTECTED] table
[EMAIL PROTECTED] quotation
+
[EMAIL PROTECTED] Entering ties
[EMAIL PROTECTED] Entering ties
+
[EMAIL PROTECTED] tie
+A @rglos{tie} is created by appending a tilde @samp{~} to the first
+note being tied
+
[EMAIL PROTECTED],notime,fragment,verbatim,relative=3]
+g4~ g a2~ a4
[EMAIL PROTECTED] lilypond
+
+For more information on Ties see @ref{Ties}.
+
+
+
[EMAIL PROTECTED] Automatic and manual beams
[EMAIL PROTECTED] Automatic and manual beams
+
[EMAIL PROTECTED] beams, by hand
+All @rglos{beam}s are drawn automatically
+
[EMAIL PROTECTED],fragment,relative=2,verbatim]
+a8 ais d es r d
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+If you do not like where beams are put, they can be entered by
+hand. Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.
+
[EMAIL PROTECTED],fragment,relative=2,verbatim]
+a8[ ais] d[ es r d]
[EMAIL PROTECTED] lilypond
+
+For more information on beams, see @ref{Manual beams}.
+
+
+Here are key signatures, accidentals and ties in action
+
[EMAIL PROTECTED],quote,noindent,linewidth=50\staffspace,verbatim]
+\relative c'' {
+ \time 4/4
+ \key g \minor
+ \clef treble
+ r4 r8 a8 gis4 b
+ a8 d4.~ d e,8
+ fis4 fis8 fis8 eis4 a8 gis~
+ gis2 r2
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] accidentals
+
+
[EMAIL PROTECTED]
+There are some interesting points to note in this example. Bar lines
+and beams are drawn automatically. Line breaks are calculated
+automatically; it does not matter where the line breaks are in the
+source file. Finally, the order in which time, key, and clef changes
+are entered is not relevant: in the printout, these are ordered
+according to standard notation conventions.
+
+
+
[EMAIL PROTECTED] Octave entry
[EMAIL PROTECTED] Octave entry
+
+
[EMAIL PROTECTED] Tim wants to move this quotes example just before the:
quotes-do not-work
[EMAIL PROTECTED] score, but we'd need to remove quotes from the other two (key
and
[EMAIL PROTECTED] tie) examples...
+
[EMAIL PROTECTED] better to have this just before the `octaves are bad' snipped
[EMAIL PROTECTED] but we'd need to remove the ', from \key and tie
+To raise a note by an octave, add a high quote @code{'} (apostrophe) to
+the note name, to lower a note one octave, add a `low quote' @code{,}
+(comma). Middle C is @code{c'}
+
[EMAIL PROTECTED],notime,fragment,verbatim]
+c'4 c'' c''' \clef bass c c,
[EMAIL PROTECTED] lilypond
+
+An example of the use of quotes is in the following Mozart fragment
+
[EMAIL PROTECTED],raggedright,fragment,verbatim]
+\key a \major
+\time 6/8
+cis''8. d''16 cis''8 e''4 e''8
+b'8. cis''16 b'8 d''4 d''8
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+This example shows that music in a high register needs lots of quotes.
+This makes the input less readable, and it is a source of errors. The
+solution is to use `relative octave' mode. This is the
+most convenient way to copy existing music.
+
+In relative mode, a note without octavation quotes (i.e. the @code{'}
+or @code{,} after a note) is chosen so that it is closest to the
+previous one. For example, @samp{c f} goes up while @samp{c g} goes
+down.
+
+To use relative mode, add @code{\relative} before the piece of
+music. The first note is taken relative to the middle C
[EMAIL PROTECTED] no , for this sentence
+(i.e., @code{c'})
+
+
+
[EMAIL PROTECTED],notime,fragment,verbatim]
+\relative {
+ c' f c g c
+}
[EMAIL PROTECTED] lilypond
+
+
+Since most music has small intervals, pieces can be written almost
+without octavation quotes in relative mode. The previous example is
+entered as
+
[EMAIL PROTECTED],raggedright,verbatim]
+\relative {
+ \key a \major
+ \time 6/8
+ cis'8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] needed better, maybe even redundant explanation
[EMAIL PROTECTED] added another example below.
[EMAIL PROTECTED] grappig: Pa vond het heel logies, en slim toen-i eenmaal
begreep.
[EMAIL PROTECTED] in eerste instantie drong het `relative' niet door zonder
extra uitleg.
+Larger intervals are made by adding octavation quotes.
+
[EMAIL PROTECTED],notime,verbatim,fragment]
+\relative c {
+ c'' f, f c' c g' c,
+}
[EMAIL PROTECTED] lilypond
+
+In summary, quotes or commas no longer determine the absolute height
+of a note in @code{\relative} mode. Rather, the height of a note is
+relative to the previous one, and changing the octave of a single note
+shifts all following notes an octave up or down.
+
+For more information on relative octaves see @ref{Relative octaves},
+and @ref{Octave check}.
+
+
[EMAIL PROTECTED] Music expressions explained
[EMAIL PROTECTED] Music expressions explained
+
+
+In input files, music is represent by so-called @emph{music
+expression}s. We have already seen some in the previous examples;
+a single note is a music expression
+
[EMAIL PROTECTED],quote,verbatim,relative=3]
+a4
[EMAIL PROTECTED] lilypond
+
+Enclosing a group of notes in braces creates a new music
+expression
+
[EMAIL PROTECTED],quote,verbatim,relative=3]
+{ a4 g4 }
[EMAIL PROTECTED] lilypond
+
+Putting a bunch of music expressions (e.g., notes) in braces, means that
+they should be played in sequence. The result again is a music
+expression, which can be grouped with other expressions sequentially.
+Here, the expression from the previous example is combined with two
+notes
+
[EMAIL PROTECTED],quote,verbatim,relative=3]
+{ { a4 g } f g }
[EMAIL PROTECTED] lilypond
+
+This technique is useful for non-monophonic music. To enter music
+with more voices or more staves, we also combine expressions in
+parallel. Two voices that should play at the same time, are entered
+as a simultaneous combination of two sequences. A `simultaneous'
+music expression is formed by enclosing expressions in @code{<<} and
[EMAIL PROTECTED]>>}. In the following example, three sequences (all containing
+two separate notes) are combined simultaneously
+
[EMAIL PROTECTED],quote,verbatim,relative=3]
+<<
+ { a4 g }
+ { f e }
+ { d b }
+>>
[EMAIL PROTECTED] lilypond
+
+This mechanism is similar to mathematical
+formulas: a big formula is created by composing small formulas. Such
+formulas are called expressions, and their definition is recursive, so
+you can make arbitrarily complex and large expressions. For example,
+
[EMAIL PROTECTED]
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] expression
[EMAIL PROTECTED] music expression
+This is a sequence of expressions, where each expression is contained
+in the next one. The simplest expressions are numbers, and larger
+ones are made by combining expressions with operators (like @samp{+},
[EMAIL PROTECTED] and @samp{/}) and parentheses. Like mathematical expressions,
+music expressions can be nested arbitrarily deep, which is necessary
+for complex music like polyphonic scores.
+
+Note that this example only has one staff, whereas
+the previous example had three separate staves. That is because this
+example begins with a single note. To determine the number of staves,
+LilyPond looks at the first element. If it is a single note, there is one
+staff; if there is a simultaneous expression, there is more than one staff.
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+{
+ c <<c e>>
+ << { e f } { c <<b d>> } >>
+}
[EMAIL PROTECTED] lilypond
+
+Music files with deep nesting can be confusing to enter and
+maintain. One convention that helps against this confusion is
+indenting. When entering a file with deep nesting of braces and
+angles, it is customary to use an indent that indicates the nesting
+level. Formatting music like this eases reading and helps you insert
+the right number of closing braces at the end of an expression. For
+example,
+
[EMAIL PROTECTED]
+<<
+ @{
+ @dots{}
+ @}
+ @{
+ @dots{}
+ @}
+>>
[EMAIL PROTECTED] example
+
+Some editors have special support for entering LilyPond, and can help
+indenting source files. See @ref{Editor support} for more information.
+
[EMAIL PROTECTED] More staves
[EMAIL PROTECTED] More staves
+
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it. These
[EMAIL PROTECTED] elements are then combined in parallel with @code{<<} and
[EMAIL PROTECTED]>>}, as demonstrated here
+
[EMAIL PROTECTED],fragment,verbatim]
+<<
+ \new Staff { \clef treble c'' }
+ \new Staff { \clef bass c }
+>>
[EMAIL PROTECTED] lilypond
+
+
+The command @code{\new} introduces a `notation context.' A notation
+context is an environment in which musical events (like notes or
[EMAIL PROTECTED] commands) are interpreted. For simple pieces, such
+notation contexts are created automatically. For more complex pieces, it
+is best to mark contexts explicitly. This ensures that each fragment
+gets its own stave.
+
+There are several types of contexts. @code{Staff}, @code{Voice} and
[EMAIL PROTECTED] handle melodic notation, while @code{Lyrics} sets lyric
+texts and @code{ChordNames} prints chord names.
+
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression. In this way it resembles the minus
+sign in mathematics. The formula @math{(4+5)} is an expression, so
[EMAIL PROTECTED](4+5)} is a bigger expression.
+
+We can now typeset a melody with two staves
+
[EMAIL PROTECTED] TODO: (c) status of this Paul McCartney (?) song (let's all
stand together)
+
[EMAIL PROTECTED],quote,verbatim,raggedright]
+\relative <<
+ \new Staff {
+ \time 3/4
+ \clef treble
+
+ e'2 d4 c2 b4 a8[ a]
+ b[ b] g[ g] a2.
+ }
+ \new Staff {
+ \clef bass
+ c,,2 e4 g2.
+ f4 e d c2.
+ }
+>>
[EMAIL PROTECTED] lilypond
+
+For more information on contexts see the description in
[EMAIL PROTECTED] contexts}.
+
+
+
[EMAIL PROTECTED] Adding articulation marks to notes
[EMAIL PROTECTED] Adding articulation marks to notes
+
[EMAIL PROTECTED] articulation
[EMAIL PROTECTED] accents
[EMAIL PROTECTED] staccato
+
+Common accents can be added to a note using a dash (@samp{-}) and a
+single character
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+c-. c-- c-> c-^ c-+ c-_
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] fingering
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+c-3 e-5 b-2 a-1
[EMAIL PROTECTED] lilypond
+
+Articulations and fingerings are usually placed automatically, but you
+can specify a direction using @samp{^} (up) or @samp{_} (down). You can
+also use multiple articulations on the same note. In most cases, however,
+it is best to let LilyPond determine the articulation directions.
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
[EMAIL PROTECTED] lilypond
+
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+c\ff c\mf
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] dynamics
[EMAIL PROTECTED] decrescendo
[EMAIL PROTECTED] crescendo
+
+Crescendi and decrescendi are started with the commands @code{\<} and
[EMAIL PROTECTED]>}. An ending dynamic, for example @code{\f}, will finish the
+(de)crescendo, or the command @code{\!} can be used
+
[EMAIL PROTECTED],quote,verbatim,relative=2]
+c2\< c2\ff\> c2 c2\!
[EMAIL PROTECTED] lilypond
+
+
+
[EMAIL PROTECTED] slur
+
+A @rglos{slur} is a curve drawn across many notes, and indicates
+legato articulation. The starting note and ending note are marked
+with @samp{(} and @samp{)}, respectively
+
[EMAIL PROTECTED],quote,fragment,relative=2,verbatim]
+d4( c16) cis( d e c cis d) e( d4)
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] slurs versus ties
+A slur looks like a @rglos{tie}, but it has a different meaning. A
+tie simply makes the first note sound longer, and can only be used on
+pairs of notes with the same pitch. Slurs indicate the articulations
+of notes, and can be used on larger groups of notes. Slurs and ties
+can be nested
+
[EMAIL PROTECTED],fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] phrasing slurs
+Slurs to indicate phrasing can be entered with @code{\(} and
[EMAIL PROTECTED])}, so you can have both legato slurs and phrasing slurs at the
+same time. You cannot have simultaneous slurs or simultaneous
+phrasing slurs.
+
[EMAIL PROTECTED],fragment,relative=2,verbatim]
+a8(\( ais b c) cis2 b'2 a4 cis, c\)
[EMAIL PROTECTED] lilypond
+
+
+For more information on
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] @asis
[EMAIL PROTECTED] Fingering
+see @ref{Fingering instructions}.
[EMAIL PROTECTED] Articulations
+see @ref{Articulations}.
[EMAIL PROTECTED] Slurs
+see @ref{Slurs}.
[EMAIL PROTECTED] Phrasing slurs
+see @ref{Phrasing slurs}.
[EMAIL PROTECTED] Dynamics
+see @ref{Dynamics}.
[EMAIL PROTECTED] table
[EMAIL PROTECTED] quotation
+
+
[EMAIL PROTECTED] Combining notes into chords
[EMAIL PROTECTED] Combining notes into chords
+
[EMAIL PROTECTED] chords
+Chords can be made by surrounding pitches with angle brackets.
+Angle brackets are the symbols @samp{<} and @samp{>}.
+
[EMAIL PROTECTED],relative=1,fragment,verbatim]
+r4 <c e g>4 <c f a>8
[EMAIL PROTECTED] lilypond
+
+
+You can combine markings like beams and ties with chords. They must
+be placed outside the angled brackets
+
[EMAIL PROTECTED],relative=1,fragment,verbatim]
+r4 <c e g>8[ <c f a>]~ <c f a>
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],relative=1,fragment]
+\slurUp
+r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
[EMAIL PROTECTED] lilypond
+
+
[EMAIL PROTECTED] Advanced rhythmic commands
[EMAIL PROTECTED] Advanced rhythmic commands
+
[EMAIL PROTECTED] pickup
[EMAIL PROTECTED] anacruse
[EMAIL PROTECTED] partial measure
+A pickup is entered with the keyword @code{\partial}. It
+is followed by a duration: @code{\partial 4} is a quarter note upstep
+and @code{\partial 8} an eighth note
+
[EMAIL PROTECTED],relative=2,verbatim,fragment]
+\partial 8
+f8 c2 d e
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] tuplets
[EMAIL PROTECTED] triplets
+Tuplets are made with the @code{\times} keyword. It takes two
+arguments: a fraction and a piece of music. The duration of the piece
+of music is multiplied by the fraction. Triplets make notes occupy
+2/3 of their notated duration, so a triplet has 2/3 as its fraction
+
[EMAIL PROTECTED],relative=1,verbatim,fragment]
+\times 2/3 { f8 g a }
+\times 2/3 { c r c }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] grace notes
[EMAIL PROTECTED] acciaccatura
+Grace notes are also made by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}
[EMAIL PROTECTED] appoggiatura
[EMAIL PROTECTED] acciaccatura
+
[EMAIL PROTECTED],relative=2,verbatim,fragment]
+c4 \appoggiatura b16 c4
+c4 \acciaccatura b16 c4
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+
+For more information on
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] @asis
[EMAIL PROTECTED] Grace notes
+see @ref{Grace notes},
[EMAIL PROTECTED] Tuplets
+see @ref{Tuplets},
[EMAIL PROTECTED] Pickups
+see @ref{Partial measures}.
[EMAIL PROTECTED] table
[EMAIL PROTECTED] quotation
+
+
[EMAIL PROTECTED] Commenting input files
[EMAIL PROTECTED] Commenting input files
+
[EMAIL PROTECTED] comments
[EMAIL PROTECTED] line comment
[EMAIL PROTECTED] block comment
+A comment is a remark for the human reader of the music input; it is
+ignored while parsing, so it has no effect on the printed output.
+There are two types of comments. The percent symbol @samp{%}
+introduces a line comment; after @code{%} the rest of the line is
+ignored. A block comment marks a whole section of music
+input. Anything that is enclosed in @[EMAIL PROTECTED] and @[EMAIL PROTECTED]
is
+ignored. The following fragment shows possible uses for comments
+
[EMAIL PROTECTED]
+% notes for twinkle twinkle follow
+ c4 c g' g a a g2
+
[EMAIL PROTECTED]
+ This line, and the notes below
+ are ignored, since they are in a
+ block comment.
+
+ g g f f e e d d c2
[EMAIL PROTECTED]
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED] TODO post-2.6 reorg
[EMAIL PROTECTED] This is good info, but I wouldn't call it a comment. IMO
it should
[EMAIL PROTECTED] be moved somewhere else.
+
[EMAIL PROTECTED] versioning
+
+There is a special statement that is a kind of comment. The @code{\version}
+statement marks for which version of LilyPond the file was written.
+To mark a file for version 2.6.0, use
+
[EMAIL PROTECTED]
+\version "2.6.0"
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+These annotations make future upgrades of LilyPond go more
+smoothly. Changes in the syntax are handled with a special program,
[EMAIL PROTECTED] (see @ref{Updating files with convert-ly}), and it uses
[EMAIL PROTECTED] to determine what rules to apply.
+
+
[EMAIL PROTECTED] Printing lyrics
[EMAIL PROTECTED] Printing lyrics
[EMAIL PROTECTED] lyrics
+
[EMAIL PROTECTED] TODO: (c) status of the Queen fragment.
+
[EMAIL PROTECTED] Lyrics
[EMAIL PROTECTED] Songs
+Lyrics are entered by separating each syllable with a space
+
[EMAIL PROTECTED]
+I want to break free
[EMAIL PROTECTED] example
+
+Consider the melody
+
[EMAIL PROTECTED],verbatim,fragment,raggedright]
+\relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+}
[EMAIL PROTECTED] lilypond
+
+The lyrics can be set to these notes, combining both with the
[EMAIL PROTECTED] keyword
+
[EMAIL PROTECTED],verbatim,fragment,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \addlyrics { I want to break free }
+>>
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] melisma
[EMAIL PROTECTED] extender line
[EMAIL PROTECTED] synonyms?
+This melody ends on a @rglos{melisma}, a single syllable (`free')
+sung to more than one note. This is indicated with an @emph{extender
+line}. It is entered as two underscores, i.e.,
+
[EMAIL PROTECTED]
[EMAIL PROTECTED] I want to break free __ @}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,raggedright]
+<<
+ \relative {
+ r4 c \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \addlyrics { I want to break free __ }
+>>
[EMAIL PROTECTED] lilypond
+
+Similarly, hyphens between words can be entered as two dashes,
+resulting in a centered hyphen between two syllables
+
[EMAIL PROTECTED]
+Twin -- kle twin -- kle
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],quote,raggedright]
+<<
+ \relative {
+ \time 2/4
+ f4 f c' c
+ }
+ \addlyrics { Twin -- kle twin -- kle }
+>>
[EMAIL PROTECTED] lilypond
+
+More options, like putting multiple lines of lyrics below a melody are
+discussed in @ref{Vocal music}.
+
+
[EMAIL PROTECTED] A lead sheet
[EMAIL PROTECTED] A lead sheet
+
[EMAIL PROTECTED] Lead sheets
[EMAIL PROTECTED] chords
[EMAIL PROTECTED] chord names
+
[EMAIL PROTECTED] TODO: revise this, \chords { } is shorter and more intuitive.
+
+In popular music, it is common to denote accompaniment with chord names.
+Such chords can be entered like notes,
+
[EMAIL PROTECTED],verbatim,raggedright]
+\chordmode { c2 f4. g8 }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+Now each pitch is read as the root of a chord instead of a note.
+This mode is switched on with @code{\chordmode}
+
+Other chords can be created by adding modifiers after a colon. The
+following example shows a few common modifiers
+
[EMAIL PROTECTED],verbatim,raggedright]
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
[EMAIL PROTECTED] lilypond
+
+For lead sheets, chords are not printed on staves, but as names on a
+line for themselves. This is achieved by using @code{\chords} instead
+of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
+but renders the notes in a @code{ChordNames} context, with the
+following result.
+
[EMAIL PROTECTED],verbatim,raggedright]
+\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED] lead sheet
+When put together, chord names, lyrics and a melody form
+a lead sheet, for example,
+
[EMAIL PROTECTED]
+<<
+ \chords @{ @emph{chords} @}
+ @emph{the melody}
+ \addlyrics @{ @emph{the text} @}
+>>
[EMAIL PROTECTED]
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED],raggedright]
+<<
+ \chords { r2 c:sus4 f }
+ \relative {
+ r4 c' \times 2/3 { f g g }
+ \times 2/3 { g4( a2) }
+ }
+ \addlyrics { I want to break free __ }
+>>
[EMAIL PROTECTED] lilypond
+
+A complete list of modifiers and other options for layout can be found
+in @ref{Chords}.
+
+
[EMAIL PROTECTED] Adding titles
[EMAIL PROTECTED] Adding titles
+
+Bibliographic information is entered in a separate block, the
[EMAIL PROTECTED] block. The name of the piece, its composer, etc., are
+entered as an assignment, within @code{\header
[EMAIL PROTECTED]@[EMAIL PROTECTED]@[EMAIL PROTECTED] The @code{\header} block
is usually put at
+the top of the file. For example,
+
[EMAIL PROTECTED]
+\header @{
+ title = "Miniature"
+ composer = "Igor Stravinsky"
[EMAIL PROTECTED]
+
[EMAIL PROTECTED] @dots{} @}
[EMAIL PROTECTED] example
+
+
+When the file is processed, the title and composer are printed above
+the music. More information on titling can be found in @ref{Creating
+titles}.
+
+
[EMAIL PROTECTED] Single staff polyphony
[EMAIL PROTECTED] Single staff polyphony
+
[EMAIL PROTECTED] polyphony
[EMAIL PROTECTED] multiple voices
[EMAIL PROTECTED] voices, more -- on a staff
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices; each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
+
+Entering such parts is done by entering each voice as a sequence (with
[EMAIL PROTECTED]@[EMAIL PROTECTED]), and combining these simultaneously,
separating the
+voices with @code{\\}
+
[EMAIL PROTECTED],verbatim,relative=2,fragment]
+<< { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 } >>
[EMAIL PROTECTED] lilypond
+
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print. They are useful for filling up
+voices that temporarily do not play. Here is the same example with a
+spacer rest (@code{s}) instead of a normal rest (@code{r}),
+
[EMAIL PROTECTED],verbatim,relative=2,fragment]
+<< { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 } >>
[EMAIL PROTECTED] lilypond
+
[EMAIL PROTECTED]
+Again, these expressions can be nested arbitrarily
+
[EMAIL PROTECTED],fragment,verbatim,relative=2,fragment]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c, g>1 ~ <c g>4 } \\
+ { e,4 d e2 ~ e4}
+ >>
+>>
[EMAIL PROTECTED] lilypond
+
+More features of polyphonic typesetting are described in this manual
+in section @ref{Polyphony}.
+
+
[EMAIL PROTECTED] Piano staves
[EMAIL PROTECTED] Piano staves
+
[EMAIL PROTECTED] staff switch, manual
[EMAIL PROTECTED] cross staff voice, manual
+Piano music is typeset in two staves connected by a brace. Printing
+such a staff is similar to the polyphonic example in @ref{More staves},
+
[EMAIL PROTECTED]
+<< \new Staff @{ @dots{} @}
+ \new Staff @{ @dots{} @} >>
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+but now this entire expression must be interpreted as a
[EMAIL PROTECTED]
+
[EMAIL PROTECTED]
+\new PianoStaff << \new Staff @dots{} >>
[EMAIL PROTECTED] example
+
+Here is a small example
+
[EMAIL PROTECTED],verbatim,relative=1,fragment]
+\new PianoStaff <<
+ \new Staff { \time 2/4 c4 c g' g }
+ \new Staff { \clef bass c,, c' e c }
+>>
[EMAIL PROTECTED] lilypond
+
+More information on formatting piano music is given in @ref{Piano music}.
+
+
[EMAIL PROTECTED] Organizing larger pieces
[EMAIL PROTECTED] Organizing larger pieces
+
+When all of the elements discussed earlier are combined to produce
+larger files, the @code{\score} blocks get a lot bigger, because the
+music expressions are longer, and, in the case of polyphonic pieces,
+more deeply nested. Such large expressions can become unwieldy.
+
+By using variables, also known as identifiers, it is possible to break
+up complex music expressions. An identifier is assigned as follows
+
[EMAIL PROTECTED]
+namedMusic = @{ @dots{} @}
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+The contents of the music expression @code{namedMusic}, can be used
+later by preceding the name with a backslash, i.e., @code{\namedMusic}.
+In the next example, a two-note motive is repeated two times by using
+variable substitution
+
[EMAIL PROTECTED],raggedright,verbatim,nofragment]
+seufzer = {
+ e'4( dis'4)
+}
+{ \seufzer \seufzer }
[EMAIL PROTECTED] lilypond
+
+The name of an identifier should have alphabetic characters only; no
+numbers, underscores or dashes. The assignment should be outside of
+running music.
+
+It is possible to use variables for many other types of objects in the
+input. For example,
+
[EMAIL PROTECTED]
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
[EMAIL PROTECTED] example
+
+Depending on its contents, the identifier can be used in different
+places. The following example uses the above variables
+
[EMAIL PROTECTED]
+\paper @{
+ \aFivePaper
+ linewidth = \width
[EMAIL PROTECTED]
[EMAIL PROTECTED] c4^\name @}
[EMAIL PROTECTED] example
+
+More information on the possible uses of identifiers is given in the
+technical manual, in @ref{Input variables and Scheme}.
[EMAIL PROTECTED] fixme: the ref is too technical.
+
+
[EMAIL PROTECTED] An orchestral part
[EMAIL PROTECTED] An orchestral part
+
+In orchestral music, all notes are printed twice. Once in a part for
+the musicians, and once in a full score for the conductor. Identifiers 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
+
[EMAIL PROTECTED]
+hornNotes = \relative c @{
+ \time 2/4
+ r4 f8 a cis4 f e d
[EMAIL PROTECTED]
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+Then, an individual part is made by putting the following in a file
+
[EMAIL PROTECTED]
+\include "horn-music.ly"
+\header @{
+ instrument = "Horn in F"
[EMAIL PROTECTED]
+
[EMAIL PROTECTED]
+ \transpose f c' \hornNotes
[EMAIL PROTECTED]
[EMAIL PROTECTED] example
+
+The line
+
[EMAIL PROTECTED]
+\include "horn-music.ly"
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+substitutes the contents of @file{horn-music.ly} at this position in
+the file, so @code{hornNotes} is defined afterwards. The command
[EMAIL PROTECTED] [EMAIL PROTECTED]'} indicates that the argument, being
[EMAIL PROTECTED], should be transposed by a fifth downwards. Sounding
[EMAIL PROTECTED] is denoted by notated @code{c'}, which corresponds with the
+tuning of a normal French Horn [EMAIL PROTECTED] The transposition can be seen
+in the following output
+
[EMAIL PROTECTED],raggedright]
+\transpose f c' \relative c {
+ \time 2/4
+ r4 f8 a cis4 f e d
+}
[EMAIL PROTECTED] 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 @samp{R} followed by a duration
+([EMAIL PROTECTED] a whole note, [EMAIL PROTECTED] a half note, etc.). By
multiplying the
+duration, longer rests can be constructed. For example, this rest
+takes [EMAIL PROTECTED] in 2/4 time
+
[EMAIL PROTECTED]
+R2*3
[EMAIL PROTECTED] example
+
+When printing the part, multi-rests
+must be condensed. This is done by setting a run-time variable
+
[EMAIL PROTECTED]
+\set Score.skipBars = ##t
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+This command sets the property @code{skipBars} in the
[EMAIL PROTECTED] context to true (@code{##t}). Prepending the rest and
+this option to the music above, leads to the following result
+
[EMAIL PROTECTED],raggedright]
+\transpose f c' \relative c {
+ \time 2/4
+ \set Score.skipBars = ##t
+ R2*3
+ r4 f8 a cis4 f e d
+}
[EMAIL PROTECTED] lilypond
+
+
+The score is made by combining all of the music together. Assuming
+that the other voice is in @code{bassoonNotes} in the file
[EMAIL PROTECTED], a score is made with
+
[EMAIL PROTECTED]
+\include "bassoon-music.ly"
+\include "horn-music.ly"
+
+<<
+ \new Staff \hornNotes
+ \new Staff \bassoonNotes
+>>
[EMAIL PROTECTED] example
+
[EMAIL PROTECTED]
+leading to
+
[EMAIL PROTECTED],raggedright]
+\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
+ }
+>>
[EMAIL PROTECTED] lilypond
+
+More in-depth information on preparing parts and scores can be found
+in the notation manual; see @ref{Orchestral music}.
+
+Setting run-time variables (`properties') is discussed in
[EMAIL PROTECTED] context properties on the fly}.
+
+
[EMAIL PROTECTED]
+
+* longer example
+
+* discuss expectations (?)
+
+* conclude tutorial
+
+* overview of chapters?
+
[EMAIL PROTECTED] ignore
_______________________________________________
Lilypond-cvs mailing list
[email protected]
http://lists.gnu.org/mailman/listinfo/lilypond-cvs
