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Chapter 1: Introduction 6 slurs, etc., go into a group called ‘Voice context,’ while the engravers for key, accidental, bar, etc., go into a group called ‘Staff context.’ In the case of polyphony, a single Staff context contains more than one Voice context. Similarly, multiple Staff contexts can be put into a single Score context. The Score context is the top level notation context. See also Internals Reference: Section “Contexts” in Internals Reference. � � �� Music representation �� Ideally, the input format for any high-level formatting system is an abstract description of the content. In this case, that would be the music itself. This poses a formidable problem: how can we define what music really is? Instead of trying to find an answer, we have reversed the question. We write a program capable of producing sheet music, and adjust the format to be as lean as possible. When the format can no longer be trimmed down, by definition we are left with content itself. Our program serves as a formal definition of a music document. The syntax is also the user-interface for LilyPond, hence it is easy to type: { c'4 d'8 } to create a quarter note C1 (middle C) and an eighth note D1 (D above middle C). � � � � � On a microscopic scale, such syntax is easy to use. On a larger scale, syntax also needs structure. How else can you enter complex pieces like symphonies and operas? The structure is formed by the concept of music expressions: by combining small fragments of music into larger ones, more complex music can be expressed. For example f4 � � � Simultaneous notes can be constructed by enclosing them with >: � � ��
Chapter 1: Introduction 7 This expression is put in sequence by enclosing it in curly braces { ... }: { f4 } � � � �� The above is also an expression, and so it may be combined again with another simultaneous expression (a half note) using : > � � �� Such recursive structures can be specified neatly and formally in a context-free grammar. The parsing code is also generated from this grammar. In other words, the syntax of LilyPond is clearly and unambiguously defined. User-interfaces and syntax are what people see and deal with most. They are partly a matter of taste, and also subject of much discussion. Although discussions on taste do have their merit, they are not very productive. In the larger picture of LilyPond, the importance of input syntax is small: inventing neat syntax is easy, while writing decent formatting code is much harder. This is also illustrated by the line-counts for the respective components: parsing and representation take up less than 10% of the source code. Example applications We have written LilyPond as an experiment of how to condense the art of music engraving into a computer program. Thanks to all that hard work, the program can now be used to perform useful tasks. The simplest application is printing notes. 4 2 � � � � � � By adding chord names and lyrics we obtain a lead sheet. � 4 2 C � twinkle C � � � twin kle � F � � little � C � star Polyphonic notation and piano music can also be printed. The following example combines some more exotic constructs. Screech and boink Random complex notation Han-Wen Nienhuys
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Appendix A: Templates 141 Appendix
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Appendix A: Templates 145 } \key c
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Appendix A: Templates 151 %{ Uncomm
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Appendix A: Templates 153 } \new St
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Appendix A: Templates 155 } \new Vo
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Appendix A: Templates 157 } \score
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Appendix A: Templates 165 global =
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Appendix A: Templates 167 \voiceOne
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Appendix A: Templates 169 } >> \lay
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Appendix B: Scheme tutorial 173 App
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Appendix C: GNU Free Documentation
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Appendix D: LilyPond index 183 \sto
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Appendix D: LilyPond index 187 rest
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mpdolce - LilyPond

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