Left: | ||
Right: |
LEFT | RIGHT |
---|---|
1 @c -*- coding: utf-8; mode: texinfo; -*- | 1 @c -*- coding: utf-8; mode: texinfo; -*- |
2 | 2 |
3 @ignore | 3 @ignore |
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH | 4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH |
5 | 5 |
6 When revising a translation, copy the HEAD committish of the | 6 When revising a translation, copy the HEAD committish of the |
7 version that you are working on. For details, see the Contributors' | 7 version that you are working on. For details, see the Contributors' |
8 Guide, node Updating translation committishes.. | 8 Guide, node Updating translation committishes.. |
9 @end ignore | 9 @end ignore |
10 | 10 |
(...skipping 37 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
48 @qq{Compiling} is the term used for processing an input file in | 48 @qq{Compiling} is the term used for processing an input file in |
49 LilyPond format to produce output file(s). Output files are | 49 LilyPond format to produce output file(s). Output files are |
50 generally PDF (for printing or viewing), MIDI (for playing), and | 50 generally PDF (for printing or viewing), MIDI (for playing), and |
51 PNG (for online use). LilyPond input files are simple text files. | 51 PNG (for online use). LilyPond input files are simple text files. |
52 | 52 |
53 This example shows a simple input file: | 53 This example shows a simple input file: |
54 | 54 |
55 @example | 55 @example |
56 \version "@w{@version{}}" | 56 \version "@w{@version{}}" |
57 @{ | 57 @{ |
58 c'4 e' g' e' | 58 c' e' g' e' |
59 @} | 59 @} |
60 @end example | 60 @end example |
61 | 61 |
62 The graphical output is: | 62 The graphical output is: |
63 | 63 |
64 @c in this case we don't want verbatim | 64 @c in this case we don't want verbatim |
65 @lilypond[quote] | 65 @lilypond[quote] |
66 { | 66 { |
67 c'4 e' g' e' | 67 c' e' g' e' |
68 } | 68 } |
69 @end lilypond | 69 @end lilypond |
70 | 70 |
71 @warning{Notes and lyrics in LilyPond input must always be | 71 @warning{Notes and lyrics in LilyPond input must always be |
72 surrounded by @w{@strong{@{ curly braces @}}}. The braces | 72 surrounded by @w{@strong{@{ curly braces @}}}. The braces |
73 should also be surrounded by a space unless they are at the | 73 should also be surrounded by a space unless they are at the |
74 beginning or end of a line to avoid ambiguities. They may | 74 beginning or end of a line to avoid ambiguities. They may |
75 be omitted in some examples in this manual, but don't forget them | 75 be omitted in some examples in this manual, but don't forget them |
76 in your own music! For more information about the display of | 76 in your own music! For more information about the display of |
77 examples in the manual, see @ref{How to read the manuals}.} | 77 examples in the manual, see @ref{How to read the manuals}.} |
78 | 78 |
79 In addition, LilyPond input is @strong{case sensitive}. | 79 In addition, LilyPond input is @strong{case sensitive}. |
80 @w{@samp{@{ c4 d e @}}} is valid input; @w{@samp{@{ C4 D E @}}} | 80 @w{@samp{@{ c d e @}}} is valid input; @w{@samp{@{ C D E @}}} will |
81 will produce an error message. | 81 produce an error message. |
Graham Percival (old account)
2010/05/02 16:01:33
Please don't confuse the issue here; leave these c
Mark Polesky
2010/05/02 20:13:05
I just don't like seeing the statement:
`{ c d e
| |
82 | 82 |
83 | 83 |
84 @smallspace | 84 @smallspace |
85 | 85 |
86 @subheading Producing output | 86 @subheading Producing output |
87 | 87 |
88 @cindex PDF file | 88 @cindex PDF file |
89 @cindex viewing music | 89 @cindex viewing music |
90 @cindex text editors | 90 @cindex text editors |
91 | 91 |
(...skipping 72 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
164 | 164 |
165 @cindex simple notation | 165 @cindex simple notation |
166 @cindex notation, simple | 166 @cindex notation, simple |
167 | 167 |
168 LilyPond will add some notation elements automatically. In the | 168 LilyPond will add some notation elements automatically. In the |
169 next example, we have only specified four pitches, but LilyPond | 169 next example, we have only specified four pitches, but LilyPond |
170 has added a clef, time signature, and rhythms. | 170 has added a clef, time signature, and rhythms. |
171 | 171 |
172 @lilypond[verbatim,quote] | 172 @lilypond[verbatim,quote] |
173 { | 173 { |
174 c'4 e' g' e' | 174 c' e' g' e' |
Graham Percival (old account)
2010/05/02 16:01:33
Please don't add the 4 to this example.
| |
175 } | 175 } |
176 @end lilypond | 176 @end lilypond |
177 | 177 |
178 @noindent | 178 @noindent |
179 This behavior may be altered, but in most cases these automatic | 179 This behavior may be altered, but in most cases these automatic |
180 values are useful. | 180 values are useful. |
181 | 181 |
182 | 182 |
183 @subheading Pitches | 183 @subheading Pitches |
184 | 184 |
(...skipping 17 matching lines...) Expand all Loading... | |
202 In this mode, the octave is chosen automatically by assuming the | 202 In this mode, the octave is chosen automatically by assuming the |
203 following note is always to be placed closest to the previous | 203 following note is always to be placed closest to the previous |
204 note, i.e., it is to be placed in the octave which is within three | 204 note, i.e., it is to be placed in the octave which is within three |
205 staff spaces of the previous note. We begin by entering the most | 205 staff spaces of the previous note. We begin by entering the most |
206 elementary piece of music, a @notation{scale}, in which every note | 206 elementary piece of music, a @notation{scale}, in which every note |
207 is within just one staff space of the previous note. | 207 is within just one staff space of the previous note. |
208 | 208 |
209 @lilypond[verbatim,quote] | 209 @lilypond[verbatim,quote] |
210 % set the starting point to middle C | 210 % set the starting point to middle C |
211 \relative c' { | 211 \relative c' { |
212 c4 d e f | 212 c d e f |
Graham Percival (old account)
2010/05/02 16:01:33
Again, no durations yet; they haven't been introdu
Mark Polesky
2010/05/02 20:13:05
Percent-sign comments and octave quotes haven't be
| |
213 g4 a b c | 213 g a b c |
214 } | 214 } |
215 @end lilypond | 215 @end lilypond |
216 | 216 |
217 The initial note is @notation{middle C}. Each successive note is | 217 The initial note is @notation{middle C}. Each successive note is |
218 placed closest to the previous note -- in other words, the first | 218 placed closest to the previous note -- in other words, the first |
219 @code{c} is the closest C to middle C. This is followed by the | 219 @code{c} is the closest C to middle C. This is followed by the |
220 closest D to the previous note. We can create melodies which have | 220 closest D to the previous note. We can create melodies which have |
221 larger intervals, still using only @code{\relative} mode: | 221 larger intervals, still using only @code{\relative} mode: |
222 | 222 |
223 @lilypond[verbatim,quote] | 223 @lilypond[verbatim,quote] |
224 \relative c' { | 224 \relative c' { |
225 d4 f a g | 225 d f a g |
Graham Percival (old account)
2010/05/02 16:01:33
Durations not introduced yet.
| |
226 c4 b f d | 226 c b f d |
227 } | 227 } |
228 @end lilypond | 228 @end lilypond |
229 | 229 |
230 @noindent | 230 @noindent |
231 It is not necessary for the first note of the melody to start on | 231 It is not necessary for the first note of the melody to start on |
232 the note which specifies the starting pitch. In the previous | 232 the note which specifies the starting pitch. In the previous |
233 example, the first note -- the @code{d} -- is the closest D to | 233 example, the first note -- the @code{d} -- is the closest D to |
234 middle C. | 234 middle C. |
235 | 235 |
236 By adding (or removing) quotes @code{'} or commas @code{,} from | 236 By adding (or removing) quotes @code{'} or commas @code{,} from |
237 the @q{@w{@code{@bs{}relative c'}}} command, we can change the | 237 the @q{@w{@code{@bs{}relative c'}}} command, we can change the |
238 starting octave: | 238 starting octave: |
239 | 239 |
240 @lilypond[verbatim,quote] | 240 @lilypond[verbatim,quote] |
241 % one octave above middle C | 241 % one octave above middle C |
242 \relative c'' { | 242 \relative c'' { |
243 e4 c a c | 243 e c a c |
Graham Percival (old account)
2010/05/02 16:01:33
No durs yet.
| |
244 } | 244 } |
245 @end lilypond | 245 @end lilypond |
246 | 246 |
247 Relative mode can be confusing initially, but is the easiest way | 247 Relative mode can be confusing initially, but is the easiest way |
248 to enter most melodies. Let us see how this relative calculation | 248 to enter most melodies. Let us see how this relative calculation |
249 works in practice. Starting from a B, which is on the middle line | 249 works in practice. Starting from a B, which is on the middle line |
250 in a treble clef, you can reach a C, D and E within 3 staff spaces | 250 in a treble clef, you can reach a C, D and E within 3 staff spaces |
251 going up, and an A, G and F within 3 staff spaces going down. So | 251 going up, and an A, G and F within 3 staff spaces going down. So |
252 if the note following a B is a C, D or E it will be assumed to be | 252 if the note following a B is a C, D or E it will be assumed to be |
253 above the B, and an A, G or F will be assumed to be below. | 253 above the B, and an A, G or F will be assumed to be below. |
254 | 254 |
255 @lilypond[verbatim,quote] | 255 @lilypond[verbatim,quote] |
256 \relative c'' { | 256 \relative c'' { |
257 b4 c % c is 1 staff space up, so is the c above | 257 b c % c is 1 staff space up, so is the c above |
Graham Percival (old account)
2010/05/02 16:01:33
No durs yet.
| |
258 b4 d % d is 2 up or 5 down, so is the d above | 258 b d % d is 2 up or 5 down, so is the d above |
259 b4 e % e is 3 up or 4 down, so is the e above | 259 b e % e is 3 up or 4 down, so is the e above |
260 b4 a % a is 6 up or 1 down, so is the a below | 260 b a % a is 6 up or 1 down, so is the a below |
261 b4 g % g is 5 up or 2 down, so is the g below | 261 b g % g is 5 up or 2 down, so is the g below |
262 b4 f % f is 4 up or 3 down, so is the f below | 262 b f % f is 4 up or 3 down, so is the f below |
263 } | 263 } |
264 @end lilypond | 264 @end lilypond |
265 | 265 |
266 Exactly the same happens even when any of these notes are | 266 Exactly the same happens even when any of these notes are |
267 sharpened or flattened. @notation{Accidentals} are | 267 sharpened or flattened. @notation{Accidentals} are |
268 @strong{totally ignored} in the calculation of relative position. | 268 @strong{totally ignored} in the calculation of relative position. |
269 Precisely the same staff space counting is done from a note at any | 269 Precisely the same staff space counting is done from a note at any |
270 other position on the staff. | 270 other position on the staff. |
271 | 271 |
272 To add intervals that are larger than three staff spaces, we can | 272 To add intervals that are larger than three staff spaces, we can |
273 raise the @notation{octave} by adding a single quote @code{'} (or | 273 raise the @notation{octave} by adding a single quote @code{'} (or |
274 apostrophe) to the note name. We can lower the octave by adding a | 274 apostrophe) to the note name. We can lower the octave by adding a |
275 comma @code{,} to the note name. | 275 comma @code{,} to the note name. |
276 | 276 |
277 @lilypond[verbatim,quote] | 277 @lilypond[verbatim,quote] |
278 \relative c'' { | 278 \relative c'' { |
279 a4 a, c' f, | 279 a a, c' f, |
Graham Percival (old account)
2010/05/02 16:01:33
No durs yet.
| |
280 g4 g'' a,, f' | 280 g g'' a,, f' |
281 } | 281 } |
282 @end lilypond | 282 @end lilypond |
283 | 283 |
284 @noindent | 284 @noindent |
285 To change a note by two (or more!) octaves, we use multiple | 285 To change a note by two (or more!) octaves, we use multiple |
286 @code{''} or @code{,,} -- but be careful that you use two single | 286 @code{''} or @code{,,} -- but be careful that you use two single |
287 quotes @code{''} and not one double quote @code{"}@tie{}! | 287 quotes @code{''} and not one double quote @code{"}@tie{}! |
288 @c " - keeps quotes in order for context-sensitive editor -td | 288 @c " - keeps quotes in order for context-sensitive editor -td |
289 | 289 |
290 @subheading Durations (rhythms) | 290 @subheading Durations (rhythms) |
(...skipping 10 matching lines...) Expand all Loading... | |
301 Music Glossary: @rglos{beam}, @rglos{duration}, | 301 Music Glossary: @rglos{beam}, @rglos{duration}, |
302 @rglos{whole note}, @rglos{half note}, @rglos{quarter note}, | 302 @rglos{whole note}, @rglos{half note}, @rglos{quarter note}, |
303 @rglos{dotted note}. | 303 @rglos{dotted note}. |
304 | 304 |
305 The @notation{duration} of a note is specified by a number after | 305 The @notation{duration} of a note is specified by a number after |
306 the note name: @code{1} for a @notation{whole note}, @code{2} for | 306 the note name: @code{1} for a @notation{whole note}, @code{2} for |
307 a @notation{half note}, @code{4} for a @notation{quarter note} and | 307 a @notation{half note}, @code{4} for a @notation{quarter note} and |
308 so on. @notation{Beams} are added automatically. | 308 so on. @notation{Beams} are added automatically. |
309 | 309 |
310 If you do not specify a duration, the previous duration is used | 310 If you do not specify a duration, the previous duration is used |
311 for the next note. The duration of the first note in every | 311 for the next note. The duration of the first note defaults to a |
312 @code{@{ @var{music} @}} block should always be specified | 312 quarter note. |
313 explicitly. | |
314 | 313 |
Graham Percival (old account)
2010/05/02 16:01:33
We should still state the default.
Mark Polesky
2010/05/02 20:13:05
Oops! I meant to change that back but I forgot.
| |
315 @lilypond[verbatim,quote] | 314 @lilypond[verbatim,quote] |
316 \relative c'' { | 315 \relative c'' { |
317 a1 | 316 a1 |
318 a2 a4 a8 a | 317 a2 a4 a8 a |
319 a16 a a a a32 a a a a64 a a a a a a a a2 | 318 a16 a a a a32 a a a a64 a a a a a a a a2 |
320 } | 319 } |
321 @end lilypond | 320 @end lilypond |
322 | 321 |
323 To create @notation{dotted notes}, add a dot @code{.} to the | 322 To create @notation{dotted notes}, add a dot @code{.} to the |
324 duration number. The duration of a dotted note must be stated | 323 duration number. The duration of a dotted note must be stated |
(...skipping 151 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
476 changes. Second, it describes the version of LilyPond needed to | 475 changes. Second, it describes the version of LilyPond needed to |
477 compile the file. | 476 compile the file. |
478 | 477 |
479 If the version statement is omitted from an input file, LilyPond will print | 478 If the version statement is omitted from an input file, LilyPond will print |
480 a warning during the compilation of the file. | 479 a warning during the compilation of the file. |
481 | 480 |
482 @item | 481 @item |
483 @strong{Case sensitive}: | 482 @strong{Case sensitive}: |
484 it matters whether you enter a letter in lower case (e.g. | 483 it matters whether you enter a letter in lower case (e.g. |
485 @w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}). | 484 @w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}). |
486 Notes are lower case: @w{@samp{@{ c4 d e @}}} is valid input; | 485 Notes are lower case: @w{@samp{@{ c d e @}}} is valid input; |
487 @w{@samp{@{ C4 D E @}}} will produce an error message. | 486 @w{@samp{@{ C D E @}}} will produce an error message. |
Graham Percival (old account)
2010/05/02 16:01:33
Please don't add a 4 here; don't confuse the issue
| |
488 | 487 |
489 @item | 488 @item |
490 @strong{Whitespace insensitive}: | 489 @strong{Whitespace insensitive}: |
491 it does not matter how many spaces (or tabs or new lines) you add. | 490 it does not matter how many spaces (or tabs or new lines) you add. |
492 @w{@samp{@{ c4 d e @}}} means the same thing as | 491 @w{@samp{@{ c4 d e @}}} means the same thing as |
493 @w{@samp{@{ c4 @tie{} @tie{} @tie{} d e @}}} and: | 492 @w{@samp{@{ c4 @tie{} @tie{} @tie{} d e @}}} and: |
494 | 493 |
495 @example | 494 @example |
496 @{ c4 d | 495 @{ c4 d |
497 e @} | 496 e @} |
498 @end example | 497 @end example |
499 | 498 |
500 @noindent | 499 @noindent |
501 Of course, the previous example is hard to read. A good rule of | 500 Of course, the previous example is hard to read. A good rule of |
502 thumb is to indent code blocks with either a tab or two spaces: | 501 thumb is to indent code blocks with two spaces: |
503 | 502 |
504 @example | 503 @example |
505 @{ | 504 @{ |
506 c4 d e | 505 c4 d e |
Graham Percival (old account)
2010/05/02 16:01:33
This 4 is ok.
| |
507 @} | 506 @} |
508 @end example | 507 @end example |
509 | 508 |
510 However, whitespace @emph{is} required to separate many | 509 However, whitespace @emph{is} required to separate many |
511 syntactical elements from others. In other words, whitespace can | 510 syntactical elements from others. In other words, whitespace can |
512 always be @emph{added}, but not always @emph{eliminated}. Since | 511 always be @emph{added}, but not always @emph{eliminated}. Since |
513 missing whitespace can give rise to strange errors, it is | 512 missing whitespace can give rise to strange errors, it is |
514 advisable to always insert whitespace before and after every | 513 advisable to always insert whitespace before and after every |
515 syntactic element, for example, before and after every curly | 514 syntactic element, for example, before and after every curly |
516 brace. | 515 brace. |
(...skipping 153 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
670 | 669 |
671 Many people learn programs by trying and fiddling around with the | 670 Many people learn programs by trying and fiddling around with the |
672 program. This is also possible with LilyPond. If you click on a | 671 program. This is also possible with LilyPond. If you click on a |
673 picture in the HTML version of this manual, you will see the exact | 672 picture in the HTML version of this manual, you will see the exact |
674 LilyPond input that was used to generate that image. Try it on | 673 LilyPond input that was used to generate that image. Try it on |
675 this image: | 674 this image: |
676 | 675 |
677 @c no verbatim here | 676 @c no verbatim here |
678 @lilypond[quote] | 677 @lilypond[quote] |
679 \relative c'' { | 678 \relative c'' { |
680 c4-\markup { | 679 c4-\markup { \bold \huge { Click here. } } |
Graham Percival (old account)
2010/05/02 16:01:33
This isn't a verbatim example, so why change it?
Mark Polesky
2010/05/02 20:13:05
On principle.
| |
681 \bold \huge { Click here. } | |
682 } | |
683 } | 680 } |
684 @end lilypond | 681 @end lilypond |
685 | 682 |
686 By cutting and pasting everything in the @qq{ly snippet} section, | 683 By cutting and pasting everything in the @qq{ly snippet} section, |
687 you have a starting template for experiments. To see exactly the | 684 you have a starting template for experiments. To see exactly the |
688 same output (line-width and all), copy everything from @qq{Start | 685 same output (line-width and all), copy everything from @qq{Start |
689 cut-&-pastable section} to the bottom of the file. | 686 cut-&-pastable section} to the bottom of the file. |
690 | 687 |
691 | 688 |
692 @ignore | 689 @ignore |
(...skipping 39 matching lines...) Expand 10 before | Expand all | Expand 10 after Loading... | |
732 Learning manual's @ref{Tweaking output}. | 729 Learning manual's @ref{Tweaking output}. |
733 | 730 |
734 @item | 731 @item |
735 @strong{Before undertaking a large project}: read the Usage | 732 @strong{Before undertaking a large project}: read the Usage |
736 document's @rprogram{Suggestions for writing files}. | 733 document's @rprogram{Suggestions for writing files}. |
737 | 734 |
738 @end itemize | 735 @end itemize |
739 | 736 |
740 | 737 |
741 | 738 |
LEFT | RIGHT |