From 68124707f427a121f5127ec33a81bd0fc2086f0e Mon Sep 17 00:00:00 2001 From: Francisco Vila Date: Mon, 8 Apr 2013 20:36:35 +0200 Subject: [PATCH] =?utf8?q?Actualizaci=C3=B3n=20grande=20en=20Salvia.?= MIME-Version: 1.0 Content-Type: text/plain; charset=utf8 Content-Transfer-Encoding: 8bit --- Makefile | 4 +- a.ly | 4 + ay-linda-amiga-1-voz.ly | 67 ++++++ bengtsson-funcion-tresillos.ly | 27 +++ bwv-988-aria.ly | 6 + collection/mozart-sonates/Makefile | 24 +++ collection/otraprueba.tex | 26 +++ collection/prueba-centrar.tex | 14 ++ collections.tex | 1 + emperador2.ly | 78 +++++++ frerejacques.ly | 84 ++++++++ holst-fagot-violines.ly | 139 ++++++++++++ holst-marte-timbales.ly | 89 ++++++++ holst-marte.ly | 397 +++++++++++++++++++++++++++++++++++ index.html | 52 +++++ introduccion2.tex | 23 ++ learning-with-Bach/BACH.ly | 6 + learning-with-Bach/bach-torvalds.tex | 172 +++++++++++++++ libro.tex | 1 + libro.tex => libro2.tex | 62 +++--- lilypond-by-example/lpe.tex | 58 ++--- lilypond-por-ejemplo.tex | 16 ++ lista | 15 ++ mover-matices.ly | 59 ++++++ notas | 45 ++++ partitura8.ly | 34 +++ prueba.ly | 16 ++ pruebalibro.ly | 137 ++++++++++++ Makefile => qrcodes/Makefile | 22 +- libro.tex => qrcodes/QRTest.tex | 41 +--- qrcodes/pruebaQR.tex | 11 + qrcodes/qrcode.png | Bin 0 -> 279 bytes qrcodes/qrcode.txt | 1 + quitaespacios.sh | 3 + subir-pdf.sh | 1 + trucha/estr-viola.ly | 3 + trucha/estructura.ly | 32 +++ trucha/viola.ly | 13 ++ 38 files changed, 1670 insertions(+), 113 deletions(-) create mode 100644 a.ly create mode 100644 ay-linda-amiga-1-voz.ly create mode 100644 bengtsson-funcion-tresillos.ly create mode 100644 bwv-988-aria.ly create mode 100644 collection/mozart-sonates/Makefile create mode 100644 collection/otraprueba.tex create mode 100644 collection/prueba-centrar.tex create mode 100644 emperador2.ly create mode 100644 frerejacques.ly create mode 100644 holst-fagot-violines.ly create mode 100644 holst-marte-timbales.ly create mode 100644 holst-marte.ly create mode 100644 index.html create mode 100644 introduccion2.tex create mode 100644 learning-with-Bach/BACH.ly create mode 100644 learning-with-Bach/bach-torvalds.tex copy libro.tex => libro2.tex (66%) create mode 100644 lilypond-por-ejemplo.tex create mode 100644 lista create mode 100644 mover-matices.ly create mode 100644 notas create mode 100644 partitura8.ly create mode 100644 prueba.ly create mode 100644 pruebalibro.ly copy Makefile => qrcodes/Makefile (86%) copy libro.tex => qrcodes/QRTest.tex (67%) create mode 100644 qrcodes/pruebaQR.tex create mode 100644 qrcodes/qrcode.png create mode 100644 qrcodes/qrcode.txt create mode 100755 quitaespacios.sh create mode 100644 subir-pdf.sh create mode 100644 trucha/estr-viola.ly create mode 100644 trucha/estructura.ly create mode 100755 trucha/viola.ly diff --git a/Makefile b/Makefile index 3819cd8..25c1604 100644 --- a/Makefile +++ b/Makefile @@ -13,7 +13,7 @@ RUNEVINCE=evince $(OUT)/$(NOMBRE).pdf & SPLITPDFS=outA1.pdf outA2.pdf outB1.pdf outB2.pdf IMAGENES=lily-logo.png $(SPLITPDFS) frerejacques.pdf holst-marte.pdf \ bach-cbt1.pdf mozart-sonates.pdf chopin-op10.pdf \ -chopin-op25-posth.pdf +chopin-op25-posth.pdf lpe.pdf #/home/fravd/software/latex/biblatex/doc/resources/latin1.csf $(NOMBRE) INCLUDESTEX=introduccion.tex apuntes-01-instalacion.tex \ apuntes-02-cumple.tex apuntes-03-mozart.tex \ @@ -34,7 +34,7 @@ INCLUDESTEX=introduccion.tex apuntes-01-instalacion.tex \ apuntes-25-mendelssohn.tex apuntes-26-margenes.tex \ apuntes-27-holst-1.tex apuntes-28-holst-2.tex \ apuntes-29-espanol.tex apuntes-30-antigua.tex \ - collections.tex + collections.tex lilypond-por-ejemplo.tex RUNPDF=cd $(OUT) && echo && pwd && echo && pdflatex $(NOMBRE).tex LPBOOK=lilypond-book --pdf --output=$(OUT) --include=$(OUT) --format=latex diff --git a/a.ly b/a.ly new file mode 100644 index 0000000..f53fce1 --- /dev/null +++ b/a.ly @@ -0,0 +1,4 @@ +\relative c { +\clef bass +\grace { a32[( c e] } a8) a a a +} diff --git a/ay-linda-amiga-1-voz.ly b/ay-linda-amiga-1-voz.ly new file mode 100644 index 0000000..7b539d1 --- /dev/null +++ b/ay-linda-amiga-1-voz.ly @@ -0,0 +1,67 @@ +\version "2.13.0" + +\header { title = "¡Ay! linda amiga" + composer = "E. Martínez Torner (s.XX)" +} + +#( set-global-staff-size 17) + +global = { \key b \minor \time 2/4 } + +sopranos = \relative c'' { \global \set Staff.instrumentName = "Sopranos" + \new Voice = "estribilloSopranos" { + \tempo 4=50 + % \autoBeamOff \stemUp + b4 b8 d + cis4 cis8 a + b4 a8 g + fis4 fis + b4 b8 d + cis8 cis cis a + b4 a8 g + fis4 fis + \override Score.RehearsalMark #'self-alignment-X = #RIGHT + \mark "FIN" + \bar "||" \break + } + \new Voice ="coplaSopranos" { + % \autoBeamOff + d'8 d cis a + b4 b + d8 d cis a + b4. fis8 + b8 b a a + fis4 e + g8 b a g + fis4. fis8 + b8 b a a + fis4 e + g8 b b ais + b2 + \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible + \override Score.RehearsalMark #'self-alignment-X = #RIGHT + \mark "D.C. al FIN" \bar "||" +} +} + +letraEstribillo = \lyricmode { ¡Ay!, lin -- da~a -- mi -- ga, que no vuel -- vo~a ver -- te. + Cuer -- po ga -- rri -- do que me lle -- va~a -- la muer -- te. } +letraCoplaUno = \lyricmode { \set stanza = "1." No~hay a -- mor sin pe -- na, pe -- na sin do -- lor, + ni do -- lor tan a -- gu -- do co -- mo~el del a -- mor, + ni do -- lor tan a -- gu -- do co -- mo~el del a -- mor. } +letraCoplaDos = \lyricmode { \set stanza = "2." Le -- van -- té -- me, ma -- dre, al sa -- lir el sol, + fui por los cam -- pos ver -- des a bus -- car mi~a -- mor, + fui por los cam -- pos ver -- des a bus -- car mi~a -- mor. } + +\score { + + << \new Staff { \sopranos } + \new Lyrics \lyricsto "estribilloSopranos" { \letraEstribillo } + \new Lyrics \lyricsto "coplaSopranos" { \letraCoplaUno } + \new Lyrics \lyricsto "coplaSopranos" { \letraCoplaDos } + >> + +} + + + diff --git a/bengtsson-funcion-tresillos.ly b/bengtsson-funcion-tresillos.ly new file mode 100644 index 0000000..93858ab --- /dev/null +++ b/bengtsson-funcion-tresillos.ly @@ -0,0 +1,27 @@ +% Many many thanks to Mats for this useful snippet! + + +% First version, with a single argument, i.e. the +% syntax is \triplet{ c d e } +triplet = #(define-music-function (parser location music) (ly:music?) + #{ \times 2/3 $music #}) + + +% Second version, with three arguments, i.e. the +% syntax is \trip c d e +trip = #(define-music-function (parser location m1 m2 m3) + (ly:music? ly:music? ly:music?) + #{ \times 2/3 { $m1 $m2 $m3 } #}) + +\score{ + \relative c'{ + % Using \triplet + c4 \triplet{ d8 e f } g4 \triplet{ f8 e d16 e } | + % Using \trip. Note the last beat, where you have to + % add curly braces to get exactly three arguments to \trip + c4 \trip d8 e f g4 \trip f8 e { d16 e } | + } +} + + + diff --git a/bwv-988-aria.ly b/bwv-988-aria.ly new file mode 100644 index 0000000..9ea861b --- /dev/null +++ b/bwv-988-aria.ly @@ -0,0 +1,6 @@ +\relative c''' { + a2\prallmordent + g\downprall + f1\turn + } + diff --git a/collection/mozart-sonates/Makefile b/collection/mozart-sonates/Makefile new file mode 100644 index 0000000..49724ba --- /dev/null +++ b/collection/mozart-sonates/Makefile @@ -0,0 +1,24 @@ +IN=fragmentos +OUT=out + +sheets = mozart-sonates.pdf + +scores = $(wildcard $(IN)/*.ly) +outfiles = $(scores:$(IN)/%.ly=$(OUT)/%.pdf) + +all: $(OUT) $(outfiles) $(sheets) + +clean: + rm -rf $(outfiles) $(outfiles:%.pdf=%.eps) $(outfiles:%.pdf=%.preview.pdf) $(outfiles:%.pdf=%.preview.eps) $(outfiles:%.pdf=%.preview.png) + rmdir --ignore-fail-on-non-empty $(OUT) + + +$(OUT): + mkdir -p $@ + + +$(outfiles): $(OUT)/%.pdf: $(IN)/%.ly + LILYPOND_LOGLEVEL=BASIC lilypond -drelative-includes -dbackend=eps -dpreview -dno-aux-files --pdf -o $(basename $@) $< + +$(sheets): %.pdf: %.tex $(outfiles) + pdflatex $< diff --git a/collection/otraprueba.tex b/collection/otraprueba.tex new file mode 100644 index 0000000..f7b1994 --- /dev/null +++ b/collection/otraprueba.tex @@ -0,0 +1,26 @@ +\documentclass[10pt,a4paper]{scrreprt} +%\usepackage{classicthesis-ldpkg} +\usepackage{array} +\usepackage{multicol} +\usepackage{multirow} +\usepackage{rotating} + +\newcolumntype{P}[1]{>{\centering\arraybackslash}p{#1}} +\newcolumntype{M}[1]{>{\centering\arraybackslash}m{#1}} + +\begin{document} + + \centering + \renewcommand\multirowsetup{\centering} + \begin{tabular}{|M{20mm}|P{18mm}|P{20mm}|P{18mm}|P{20mm}|P{20mm}|M{15mm}|M{20mm}|M{15mm}|M{20mm}|} \hline + \multirow{3}{20mm}{Head Model} & \multirow{3}{20mm}{\# SG computed} + & \multirow{3}{20mm}{\# Computed directly} & \multirow{3}{20mm}{\# SG Corrected} + & \multirow{3}{20mm}{\# SG Approximated} & \multirow{3}{20mm}{SMAS triangle count} + & \multicolumn{2}{P{35mm}|}{Machine~1} + & \multicolumn{2}{P{35mm}|}{Machine~2} \\ \cline{7-10} + & & & & & & Runtime & \% spent calc geodesics & Runtime & \% spent calc geodesics \\ \hline + African & 1102 & 994 & 102 & 56 & -- & 499~sec. (8.3~min.) & 77\% & -- & -- \\ \hline + \end{tabular} + +\end{document} + diff --git a/collection/prueba-centrar.tex b/collection/prueba-centrar.tex new file mode 100644 index 0000000..1c02363 --- /dev/null +++ b/collection/prueba-centrar.tex @@ -0,0 +1,14 @@ +\documentclass{article} +%\usepackage[a4paper,vmargin=2cm,hmargin=1cm,showframe]{geometry} +%\usepackage[demo]{graphicx} +\usepackage[table]{xcolor} +\usepackage{array} + +\begin{document} +\begin{tabular}{m{3cm}|m{3cm}} +a & \rule{2cm}{2cm} \\ +a & b +\end{tabular} + +\end{document} + diff --git a/collections.tex b/collections.tex index f6f756c..2d8018d 100644 --- a/collections.tex +++ b/collections.tex @@ -1,3 +1,4 @@ +\appendix \section{Colecciones. Material adicional.} Los siguientes ejemplos son colecciones de pequeños fragmentos de diff --git a/emperador2.ly b/emperador2.ly new file mode 100644 index 0000000..40d4215 --- /dev/null +++ b/emperador2.ly @@ -0,0 +1,78 @@ +% canción del emperador. Narváez +\header { title = "CANCIÓN DEL EMPERADOR" + composer= \markup "Luys de Narváez" + arranger = \markup {\small "(1530-1550)"} +} +\version "2.12.0" + +cantus = \relative c'{ + 1 + + + + \break %5 + d2 c4 b + a2 g + a1 + r2 2 + g' \break %10 + fis fis4 g + e2 e + r4 g8_( fis) e d e fis + 2 \break + fis'8( g) fis g fis e d c + b2 e ~ + e4 e4 dis cis + 2 + } + + +altus = \relative c'' { + s1 + s1 + g4 a8 b c d c b + a,8 b c d e4 a, + b8 cis d e fis4 b, % \break %5 + b4 d a g + c4\rest dis e2 ^~ + e4 dis e dis + \stemUp g2 s2 + s2 \voiceThree b4 cis %10 + \shiftOff d1 + c1 +} + +tenor = \relative c { \voiceTwo + s1 + s1 + s1 + s1 + s1 %5 + s1 + fis2 r4 e + fis1 + 1 + e2 e' + d2 b + c2 a8 b c d + 1 + e2 e + 1 + 1 + 1 + b2 b +} + +{ + \new Staff \relative c' { \set Staff.instrumentName = "Guitarra" + \time 4/4 + \key g \major + + << + \new Voice { \voiceOne \cantus } + \new Voice { \voiceFour \altus } + \new Voice { \voiceTwo \tenor } + >> + } + +} diff --git a/frerejacques.ly b/frerejacques.ly new file mode 100644 index 0000000..e9cbafa --- /dev/null +++ b/frerejacques.ly @@ -0,0 +1,84 @@ +\version "2.15.25" +#(set-global-staff-size 26) + +\header{ + title = "Frère Jacques / Fray Santiago" + composer = "Trad. francesa" + tagline = "" +} + +frerejacques = \relative c' { \clef treble + \key f \major + \time 4/4 \repeat volta 2 { + f4^\markup{\bold 1.} g a f + f4 g a f + a4^\markup{\bold 2.} bes c2 + a4 bes c2 + c8^\markup{\bold 3.} d c bes a4 f + c'8 d c bes a4 f + f4^\markup{\bold 4.} c f2 + f4 c f2 } +} + +textF = \lyricmode { + \set stanza = "(Fr.) " + Frè -- re Jac -- ques, frè -- re Jac -- ques, + dor -- mez vous, dor -- mez vous? + Son -- nez les Ma -- ti -- nes, son -- nez les Ma -- ti -- nes: + Ding dong ding, ding dong ding! +} + +textD = \lyricmode { + \set stanza = "(de) " + Bru -- der Ja -- kob, Bru -- der Ja -- kob, + schläfst du noch, schläfst du noch? + Hörst du nicht die Glo -- cken, hörst du nicht die Glo -- cken: + Ding dang dong, ding dang dong! +} + +textE = \lyricmode { + \set stanza = "(en) " + Are you slee -- ping, are you slee -- ping, + bro -- ther John, bro -- ther John? + Mor -- ning bells are ring -- ing, mor -- ning bells are ring -- ing: + Ding ding dong, ding ding dong! +} + +textI = \lyricmode { + \set stanza = "(it) " + San Mar -- ti -- no, San Mar -- ti -- no, + dor -- mi tu, dor -- mi tu? + Sen -- ti le cam -- pa -- ne, sen -- ti le cam -- pa -- ne: + Ding ding dong, ding ding dong! +} + +textES = \lyricmode { + \set stanza = "(Esp.) " + Fray San -- tia -- go, Fray San -- tia -- go, + ¿duer -- me~us ted? ¿duer -- me~us ted? + To -- can a mai -- ti -- nes, to -- can a mai -- ti -- nes: + ¡Din dan don, din dan don! +} + +\score { + \new Staff { \frerejacques } + \addlyrics { \textF } + %\addlyrics { \textD } + %\addlyrics { \textE } + %\addlyrics { \textI } + \addlyrics { \textES } + \layout { + \context { \Score \remove "Bar_number_engraver" } + } +} + +\paper { indent = 0 + left-margin=3\cm + right-margin=3\cm + %linewidth = 123\mm + bottom-margin=10\cm + top-margin=4\cm + system-count=4 + ragged-last-bottom=##f +} + diff --git a/holst-fagot-violines.ly b/holst-fagot-violines.ly new file mode 100644 index 0000000..0bf7d37 --- /dev/null +++ b/holst-fagot-violines.ly @@ -0,0 +1,139 @@ +\version "2.13.0" + +juntaPentagrama = \with { \override VerticalAxisGroup #'next-staff-spacing = + #'((space . 6) (padding . 0)) + } + + + bassoonsI = \relative g, { + \clef bass + \oneVoice R1*5/4 R1*5/4 + \voiceOne g2. ^"I II a2" ~ ( \p g2 ~ + g2. ^\< d'2 ) \! des2. ^\> ~ des2 \! \laissezVibrer % ~ des + } + + bassoonsIII = \relative d, { + \clef bass + s1*5/4 s1*5/4 R1*5/4*2 + % \once \override Voice.DynamicText #'extra-offset = #'(-2.9 . 2.9 ) + \override TextScript #'whiteout = ##t + \override DynamicText #'whiteout = ##t + \once \override DynamicText #'X-offset = #-4.5 + \once \override DynamicText #'extra-offset = #'(-0.1 . 2.3 ) + \once \override TextScript #'outside-staff-priority = ##f + \once \override TextScript #'X-offset = #-4 + des2. + -"III" + \mp + \> ~ des2 \! \laissezVibrer % ~ des + } + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + doble = \relative g, { \key c \major + \clef bass + R1*5/4 R1*5/4 + g2.\p ~ ( g2 ~ g2. \< d'2 \! ) des2. \> ~ des2 \! \laissezVibrer % ~ des + } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + side = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + cymbals = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + drum = { R1*5/4*5 } + + + violinI = \relative g { + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8\p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + violinII = \relative g { + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8 \p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + + + #(set-global-staff-size 10.5) % antes 15.5 para a3 + #(set-default-paper-size "a4") % antes a3 + +\header { + title = \markup { \fontsize #6 { \smallCaps { "I. Mars, " } "the Bringer of War" } } + tagline=##f +} + + +\score { + + % main + \new StaffGroup << \tempo "Allegro" + \time 5/4 + + %bassoons + \new PianoStaff << + \new Staff \with { instrumentName = "3 Bassoons" } { << \bassoonsI \\ \bassoonsIII >> } + \new Staff \with { instrumentName = "Double Bassoon" } { \doble } >> + + %side drum + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Side Drum" } + { \side } + + % cymbals + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Cymbals" } + { \cymbals } + + %bass drum + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Bass Drum" } + { \drum } + + + %violins + \new PianoStaff << + \new Staff \with { instrumentName = "1st Violins" } + { \violinI } + \new Staff \with { instrumentName = "2nd Violins" } + { \violinII } >> + +>> %main + + \layout { indent=2.5\cm %era 4 para a3 + + \context { \Score + \override StaffSymbol #'thickness = #(magstep -3) + + } + } + + +} %score + + +\paper { ragged-right=##f + page-count=1 + system-count=1 +} diff --git a/holst-marte-timbales.ly b/holst-marte-timbales.ly new file mode 100644 index 0000000..7f6072f --- /dev/null +++ b/holst-marte-timbales.ly @@ -0,0 +1,89 @@ +\version "2.13.18" + + timpaniI = \relative g, { \clef bass + \key c \major + \times 2/3 { g8\p ^\markup { "wooden sticks" } g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + + timpaniII = { \clef bass + \key c \major + R1*5/4 R1*5/4 R1*5/4 R1*5/4 R1*5/4 } + + gong = { g2.:32 \pp g2:32 g2.:32 g2:32 g2.:32 g2:32 g2.\< :32 g2\!:32 g2.\>:32 g2:32 \! } + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +incipitTimpaniGroup = \markup { + \score{ + \new PianoStaff << \set PianoStaff.instrumentName= \markup { + \center-column {"6 Timpani" "(two players)"} + } + \new Staff { \set Staff.instrumentName = "I" + \clef bass + \time 3/2 + \cadenzaOn g,2 d2 bes,2 + } + \new Staff { \set Staff.instrumentName = "II" + \clef bass + \time 3/2 + \cadenzaOn c2 es2 a,2 + } + >> + + \layout { + \context { + \Staff \remove "Time_signature_engraver" + } + line-width=2.5\cm indent=1\cm + margin-left=0\cm + } %layout + } %score +} %markup + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + #(set-global-staff-size 15.5) + % #(set-default-paper-size "a3") + + \paper { % ragged-right=##f + % ragged-last-bottom=##f + % page-count=2 + system-count=1 + } + + \layout { indent=4\cm + \context { \Staff +% \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) +% \override instrumentName #'font-size = #8.0 + } + } + +\header { + title = \markup { \fontsize #6 { \smallCaps { "I. Mars, " } "the Bringer of War" } } + % copyright = "Francisco Vila, sobre un trabajo de Guadalupe Cuevas Piñero" +} + + +\score { + \new StaffGroup << \tempo "Allegro" % main + \time 5/4 + + \new PianoStaff << %timpani + \set PianoStaff.instrumentName = + \markup { + \incipitTimpaniGroup + } + \new Staff { \timpaniI } + \new Staff { \timpaniII } >> + + \new RhythmicStaff %gong +% \with { \override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)} + { \set Staff.instrumentName = "Gong" + \gong } + +>> %main +} %score diff --git a/holst-marte.ly b/holst-marte.ly new file mode 100644 index 0000000..600f901 --- /dev/null +++ b/holst-marte.ly @@ -0,0 +1,397 @@ +\version "2.15.20" + +juntaPentagrama = \with { \override VerticalAxisGroup #'staff-staff-spacing = + #'((basic-distance . 6) (padding . 0)) + } + + + piccolo = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + flute = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + oboe = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + horn = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + bassoboe = { \time 5/4 + \key c \major + R1*5/4*4 + des'2.~ \mp \> des'2 \! \laissezVibrer % antes ~ \break + % des' + } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + clarinetes = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + bassclarinet = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + bassoonsI = \relative g, { + \clef bass + \oneVoice R1*5/4 R1*5/4 + \voiceOne g2. ^"I II a2" ~ ( \p g2 ~ + g2. ^\< d'2 ) \! des2. ^\> ~ des2 \! \laissezVibrer % ~ des + } + + bassoonsIII = \relative d, { + \clef bass + s1*5/4 s1*5/4 R1*5/4*2 + % \once \override Voice.DynamicText #'extra-offset = #'(-2.9 . 2.9 ) + \override TextScript #'whiteout = ##t + \override DynamicText #'whiteout = ##t + \once \override DynamicText #'X-offset = #-4.5 + \once \override DynamicText #'extra-offset = #'(-0.1 . 2.3 ) + \once \override TextScript #'outside-staff-priority = ##f + \once \override TextScript #'X-offset = #-4 + des2. + -"III" + \mp + \> ~ des2 \! \laissezVibrer % ~ des + } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + doble = \relative g, { \key c \major + \clef bass + R1*5/4 R1*5/4 + g2.\p ~ ( g2 ~ g2. \< d'2 \! ) des2. \> ~ des2 \! \laissezVibrer % ~ des + } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + hornsI = { R1*5/4*5 } + + hornsIV = \relative d { \key c \major + R1*5/4 R1*5/4 + \clef bass d2. \p ^"V VI a2" ~ ( d2 ~ d2. \< a'2 \! ) aes2. \> ~ aes2 \! \laissezVibrer % ~ aes + } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + trompetaI = { R1*5/4*5 } + + trompetaIII = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + tenor = { \clef tenor + R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + bass = { \clef bass + R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + tuba = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + basstuba = { \clef bass + R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + timpaniI = \relative g, { \clef bass + \key c \major + \times 2/3 { g8\p ^\markup { "wooden sticks" } g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + + timpaniII = { \clef bass + \key c \major + R1*5/4 R1*5/4 R1*5/4 R1*5/4 R1*5/4 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + side = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + cymbals = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + drum = { R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + gong = { g2.:32 \pp g2:32 g2.:32 g2:32 g2.:32 g2:32 g2.\< :32 g2\!:32 g2.\>:32 g2:32 \! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + arpa = { R1*5/4*5 } + arpaI = \relative g, { \clef bass + \times 2/3 { g8 g, g' } g,4 g' g,8 g' g,4 + \times 2/3 { g'8 g, g' } g,4 g' g,8 g' g,4 + \times 2/3 { g'8 g, g' } g,4 g' g,8 g' g,4 + \times 2/3 { g'8^\< g, g' } g,4 g' g,8 g' g,4 \! + \times 2/3 { g'8^\> g, g' } g,4 g' g,8 g' g,4 \! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + arpaII = { R1*5/4*5 } + arpaIII = \relative g, { \clef bass + \times 2/3 { g,8 g' g, } g'4 g, g'8 g, g'4 + \times 2/3 { g,8 g' g, } g'4 g, g'8 g, g'4 + \times 2/3 { g,8 g' g, } g'4 g, g'8 g, g'4 + \times 2/3 { g,8^\< g' g, } g'4 g, g'8 g, g'4 \! + \times 2/3 { g,8^\> g' g, } g'4 g, g'8 g, g'4 \! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + organ = { R1*5/4*5 } + organII = { \clef bass R1*5/4*5 } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + violinI = \relative g { + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8\p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + violinII = \relative g { + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8 \p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + viola = \relative g { \clef alto + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8\p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + violonchelo = \relative g, { \clef bass + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + \times 2/3 { g8\p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + base = \relative g, { \clef bass + \times 2/3 { g8\p ^"col legno" g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 g g } g4 g g8 g g4 + \times 2/3 { g8 \< g g } g4 g g8 g g4\! + \times 2/3 { g8 \> g g } g4 g g8 g g4\! } + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +incipitTimpaniGroup = \markup { + \score{ + \new PianoStaff << \set PianoStaff.instrumentName= \markup { + \center-column {"6 Timpani" "(two players)"} + } + \new Staff { \set Staff.instrumentName = "I" + \clef bass + \time 3/2 + \cadenzaOn s4 g,2 d2 bes,2 + } + \new Staff { \set Staff.instrumentName = "II" + \clef bass + \time 3/2 + \cadenzaOn s4 c2 es2 a,2 + } + >> + + \layout { + \context { \Staff + \remove "Time_signature_engraver" + \remove "Clef_engraver" + } + line-width=2.5\cm indent=1\cm + margin-left=0\cm + } %layout + } %score +} %markup + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + #(set-global-staff-size 10.5) % antes 15.5 para a3 + #(set-default-paper-size "a4") % antes a3 + +\header { + title = \markup { \fontsize #6 { \smallCaps { "I. Mars, " } "the Bringer of War" } } + % copyright = "Francisco Vila, sobre un trabajo de Guadalupe Cuevas Piñero" + tagline=##f +} + + +\score { + + % main + \new StaffGroup << + + + % piccolos, flutes + \new PianoStaff << + \new Staff \with { instrumentName = "2 Piccolos" \juntaPentagrama } { \time 5/4 \tempo "Allegro" \piccolo } % ugly hack + \new Staff \with { instrumentName = "2 Flutes" \juntaPentagrama } { \flute } >> + + % oboes + \new PianoStaff << + \new Staff \with { instrumentName = "2 Oboes" \juntaPentagrama } { \oboe } + \new Staff \with { instrumentName = "English Horn" \juntaPentagrama } { \horn } + \new Staff \with { instrumentName = "Bass Oboe" } { \bassoboe } >> + + %clarinets + \new PianoStaff << + \new Staff \with { instrumentName = \markup { \line { "3 Clarinets in B" \smaller \flat } } + \juntaPentagrama } + { \clarinetes } + \new Staff \with { instrumentName = \markup { \line { "Bass Clarinet in B" \small \flat } } } + { \bassclarinet } >> + + %bassoons + \new PianoStaff << + \new Staff \with { instrumentName = "3 Bassoons" } { << \bassoonsI \\ \bassoonsIII >> } + \new Staff \with { instrumentName = "Double Bassoon" } { \doble } >> + + %horns + \new PianoStaff \with { instrumentName = "6 Horns in F" } << + \new Staff \with { instrumentName = "I II III" } { \hornsI } + \new Staff \with { instrumentName = "IV V VI" } { \hornsIV } >> + + %trumpets + \new PianoStaff \with { instrumentName = "4 Trumpets in C" } << + \new Staff \with { instrumentName = "I II" } { \trompetaI } + \new Staff \with { instrumentName = "III IV" } { \trompetaIII } >> + + %trombones + \new PianoStaff << + \new Staff \with { instrumentName = "2 Tenor Trombones" } { \tenor } + \new Staff \with { instrumentName = "Bass Trombone" } { \bass } >> + + %tubas + \new PianoStaff << + \new Staff \with { instrumentName = \markup { \line { "Tenor Tuba in B" \smaller \flat } } } + { \tuba } + \new Staff \with { instrumentName = "Bass Tuba" } + { \basstuba } >> + + %timpani + \new PianoStaff \with { systemStartDelimiter=#'SystemStartBar + instrumentName = \markup { \incipitTimpaniGroup } } << + \new Staff { \timpaniI } + \new Staff \with { \juntaPentagrama } + { \timpaniII } >> + + %side drum + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Side Drum" } + { \side } + + % cymbals + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Cymbals" } + { \cymbals } + + %bass drum + \new RhythmicStaff + \with { \juntaPentagrama + instrumentName = "Bass Drum" } + { \drum } + + %gong + \new RhythmicStaff \with { \juntaPentagrama + instrumentName = "Gong" } + { \gong } + + %harp 1 + \new PianoStaff \with { instrumentName = "Harp I" } + << + \new Staff { \arpa } + \new Staff { \arpaI } >> + + %harp 2 + \new PianoStaff \with { instrumentName = "Harp II" } << + \new Staff { \arpaII } + \new Staff { \arpaIII } >> + + %organ + \new PianoStaff \with { instrumentName = "Organ" } << + \new Staff { \organ } + \new Staff { \organII } >> + + %violins + \new PianoStaff << + \new Staff \with { instrumentName = "1st Violins" } + { \violinI } + \new Staff \with { instrumentName = "2nd Violins" } + { \violinII } >> + + %violas + \new Staff \with { instrumentName = "Violas" } + { \viola } + + %cellos&basses + \new PianoStaff << + \new Staff \with { instrumentName = "Violoncellos" } + { \violonchelo } + \new Staff \with { instrumentName = "Doublebasses" } + { \base } >> +>> %main + + \layout { indent=2.5\cm %era 4 para a3 + \context { \Staff +% \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) % obsoleto +% \override instrumentName #'font-size = #8.0 + % \override InstrumentName #'padding = #-4 + } + \context { \Score +% \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) % obsoleto +% \override instrumentName #'font-size = #8.0 + \override InstrumentName #'padding = #-2 %-2 para a3 + \override StaffSymbol #'thickness = #(magstep -3) + + } + } + + +} %score + + +\paper { ragged-right=##f +% ragged-last-bottom=##f + page-count=1 + system-count=1 +} diff --git a/index.html b/index.html new file mode 100644 index 0000000..1676cd6 --- /dev/null +++ b/index.html @@ -0,0 +1,52 @@ + + + + + Ejercicios de LilyPond. Francisco Vila. Conservatorio de Badajoz + + + +

30 ejercicios de LilyPond semanales
30 weekly LilyPond excersises
Francisco Vila
Conservatorio de Badajoz

+ + +

Esto es una pequeña colección de ejercicios semanales de LilyPond +que estoy elaborando para mis alumnos del Conservatorio Superior de +Badajoz (csmbadajoz.es). Pretende llegar a 30 semanas. Utilizo +LaTeX, LilyPond y lilypond-book para producir un documento que integra +música y texto.

+ +

Se agradecen los comentarios en paconet punto org arroba gmail +punto com.

+ +

===

+ +

This is a small collection of LilyPond weekly exercises I'm doing +for my students at CSM Badajoz, Spain (csmbadajoz.es). It is intended +to reach 30 weeks. It uses LaTeX, LilyPond and lilypond-book to +generate a mixed music + text document.

+ +

Comments welcome, paconet dot org at gmail dot com.

+ + +

===

+ +

Repositorio Git en http://repo.or.cz/w/lilypond-ejercicios.git

+ + +

Para crear el último PDF, haga:

+ +
+git clone git://repo.or.cz/lilypond-ejercicios.git
+cd lilypond-ejercicios
+make
+
+ +

Último PDF: libro.pdf

+ +

Home + + + diff --git a/introduccion2.tex b/introduccion2.tex new file mode 100644 index 0000000..6119996 --- /dev/null +++ b/introduccion2.tex @@ -0,0 +1,23 @@ +\section*{Introducción} + +Esta recopilación de ejercicios semanales ha nacido de la necesidad de +tener un material de trabajo para mis clases de Edición de partituras +en el Conservatorio Superior de Badajoz. + +Este documento está publicado bajo la licencia (cc)(by)(sa) Creative +Commons Atribución - Compartir igual 3.0 España. + +Usted es libre de copiar, distribuir y comunicar públicamente la obra. +Puede hacer obras derivadas, siempre que añada el siguiente texto: + +\begin{quote} +\emph{Basado en un trabajo anterior de Francisco Vila, + \texttt{http://www.paconet.org} } +\end{quote} + +visible en una de las dos primeras páginas, o una de las dos últimas. + +La obra derivada debe distribuirse bajo la misma licencia. + +El texto completo de esta licencia está en +http://creativecommons.org/licenses/by-sa/2.0/es/legalcode.es diff --git a/learning-with-Bach/BACH.ly b/learning-with-Bach/BACH.ly new file mode 100644 index 0000000..890c95c --- /dev/null +++ b/learning-with-Bach/BACH.ly @@ -0,0 +1,6 @@ +\header{ title = "The title" % (1) + composer = "J. S. Bach" } +\language "deutsch" % (2) +music = \relative f { b'1 a c h! } % (3) +\new Staff { \music } % (4) +\addlyrics { B A C H } % (5) \ No newline at end of file diff --git a/learning-with-Bach/bach-torvalds.tex b/learning-with-Bach/bach-torvalds.tex new file mode 100644 index 0000000..3eb386f --- /dev/null +++ b/learning-with-Bach/bach-torvalds.tex @@ -0,0 +1,172 @@ +\documentclass[a4paper,10pt,oneside,headinclude,titlepage]{article} % la clase article estándar +\usepackage{setspace} +\usepackage{pdfpages} +\usepackage[spanish]{babel} +\usepackage[utf8]{inputenc} +\usepackage[T1]{fontenc} %posiblemente sirva para eliminar el problema del enguionado de palabras acentuadas. Lo quitamos provisionalmente para evitar un error +\usepackage{textcomp} % recomendación de Javier Bezos para completar la fuente + +\usepackage[margin=2cm]{geometry} +\usepackage{graphicx} +\usepackage[utopia]{mathdesign} +\parskip=0pt\clubpenalty=10000\widowpenalty=10000 +\parindent=6mm +\newcommand{\preLilyPondExample}{\vspace{0pt}} +\newcommand{\postLilyPondExample}{\vspace{6pt}} + +\newcommand{\lpversion}{2.15.30} +\newcommand{\defsep}{\textbf{$\|$}} +\newcommand{\software}{\emph{software}} +\newcommand{\negspace}{\vspace{-10pt}} +\newcommand{\seppar}{ +\bigskip + +} +\title{LilyPond} +\author{Francisco Vila} +\date{\today} + +\begin{document} + +\section{Introducción} + +El alemán Johann Sebastian Bach es a la música clásica lo que el +finlandés Linus Torvalds es al software libre. + +Torvalds no inventó el software libre, no es el único desarrollador, y +para unos es un genio mientras que otros lo ven como un oportuno +producto de su época. Con su singular trayectoria dentro del mundo de +la computación, no hay duda de que es una referencia, alguien que está +``en el inicio de muchas cosas'', honor que comparte con otros gurús y +que inspira a legiones de amantes del código y las aplicaciones +libres. + +Bach es un icono en su campo: su poderosa mente del siglo XVII produjo +una cantidad enciclopédica de música de una misteriosa perfección +formal, verdaderos teoremas del arte de los sonidos. Para muchos el +mejor compositor de todos los tiempos, Bach nos servirá de hilo +conductor para presentar un veterano programa de tipografía musical +libre: GNU LilyPond. + +LilyPond produce partituras musicales completas, listas para imprimir, +a partir de documentos de texto plano. Es una aplicación de consola y +funciona en servidores como servicio\footnote{lilybin} o para +tipografiar bases de datos musicales\footnote{mutopia}, pero lo más +frecuente para un uso personal es utilizarlo a través de un entorno de +desarrollo como Frescobaldi. + +\section{Lo instalamos y lo probamos} + +Frescobaldi y LilyPond están en los repositorios oficiales de Debian y +Ubuntu. En el caso de Frescobaldi recomendamos la distribución wheezy +de Debian; en Ubuntu se puede encontrar a partir de la versión +12.04. Los podemos instalar mediante + +\begin{quote} +\verb+# apt-get install frescobaldi lilypond+ +\end{quote} + +Lanzamos Frescobaldi desde nuestro menú principal, o bien + +\begin{quote} +\verb+$ frescobaldi+ +\end{quote} + +Ahora comprobaremos si el tinglado completo funciona. Tecleamos en el +panel izquierdo del editor la partitura musical más minimalista que +existe, + +\begin{quote} +\verb+{ b }+ +\end{quote} + +y al pulsar Control+M, Frescobaldi debería llamar a LilyPond y +presentar en el panel derecho la vista previa del PDF. + +LilyPond presenta la música dentro de una serie de contextos +(pentagrama, partitura) predeterminados y listos para usar: traza la +pauta, la clave, el compás y lo coloca todo en una hoja A4. Pasemos a +un ejemplo más completo que incluye un título, el nombre del autor, un +valor para las figuras, una alteración forzada y hasta un texto bajo +las notas. + +\section{Un ejemplo completo} + +\begin{verbatim} +\header{ title = "The title" % (1) + composer = "J. S. Bach" } +\language "deutsch" % (2) +music = \relative f { b'1 a c h! } % (3) +\new Staff { \music } % (4) +\addlyrics { B A C H } % (5) +\end{verbatim} + +Creemos que el bloque \verb+\header+ (1) es autoexplicativo. La +instrucción (2) declara el idioma para el nombre de las notas, en este +caso el alemán, aunque nosotros podemos poner +\verb+\language{espanol}+ o dejar el idioma por defecto, el holandés, +que es perfecto para la mayoría de las partituras. Es igual que el +alemán excepto porque \verb+b+ es \emph{si} natural. + +En la instrucción (3) creamos una variable musical que contiene unas +cuantas notas. Esto nos permite utilizar la música más de una vez; de +la forma en que están codificadas estas notas, podemos hablar más +tarde. + + +\section{Expresiones} + +La instrucción (4) introduce la expresión principal de la +partitura. En una partitura completa de LilyPond, debe haber una sola +expresión encerrada entre llaves, o con una o más funciones prefijas o +postfijas que no hacen sino aumentar la expresión. Matemáticamente, +es como si tenemos un símbolo tal que ``a'' y lo aumentamos +multiplicándolo por un factor, ``3a'', le añadimos una cantidad ``3a + +5'' y le cambiamos el signo a todo el conjunto: ``-(3a + 5)''. Lo que +tenemos al final sigue siendo una única expresión. + +En nuestro documento, las instrucciones (4) y (5) son el núcleo de la +partitura. En (4) creamos un pentagrama; cuando declaramos un contexto +\verb+Staff+ de forma explícita para incluir la música dentro de él, +estamos esctructurando nuestro contenido y preparando el documento +para que crezca sin perder legibilidad, manteniendo todo perfectamente +ordenado. En cuanto a su contenido, nos limitamos a usar la variable +que definimos previamente, precediendo su nombre por una barra +invertida. + +En (5) añadimos un texto: cada sílaba o carácter suelto se coloca +automáticamente debajo de una nota de la música precedente. Es +perfecto para la letra de las canciones, y de hecho está pensado para +ello. + +\section{El modo notas} + +La sintaxis de introducción de notas es sencilla. Las siete notas son +\quad\verb+c d e f g a h+\quad en alemán, +\quad\verb+c d e f g a b+\quad en holandés y +\quad\verb+do re mi fa sol la si+\quad en español. Para explicar +nuestro ejemplo completamente, nos basta saber por ahora que un +apóstrofo coloca las notas una octava más aguda, los números a la +derecha como 1, 2, 4, 8, 16 son las duraciones de las figuras, y si no +damos ninguna duración se toma por defecto la de la nota anterior. El +conveniente modo relativo, dado por \verb+\relative +, establece +que las notas cercanas no requieren ninguna corrección de octava, sólo +los saltos de quinta o mayores lo necesitan. + +Finalmente, hemos forzado en \verb+h!+ la alteración natural o +becuadro con el símbolo de admiración. El resultado final, bellamente +tipografiado por LilyPond en la tradición de las mejores ediciones +impresas, puede verse a continuación. + +\includegraphics{BACH} + +\section{Conclusión} +Lo crea o no, orquestas de todo el mundo interpretan sinfonías y +óperas que se han compuesto tipográficamente con LilyPond. Es muy +rápido para las pequeñas partituras de cada día y muy potente para +grandes proyectos. Pero sólo hemos acariciado la superficie. LilyPond +es a la música lo que \LaTeX\ es a los textos: un motor de tipografía +que compila textos de alta calidad, y que a cambio exige del usuario +que estructure su contenido en una serie de construcciones formales. + +\end{document} diff --git a/libro.tex b/libro.tex index 19b611a..eef23c6 100644 --- a/libro.tex +++ b/libro.tex @@ -121,6 +121,7 @@ \include{apuntes-29-espanol} \include{apuntes-30-antigua} \include{collections} + \include{lilypond-por-ejemplo} \end{document} diff --git a/libro.tex b/libro2.tex similarity index 66% copy from libro.tex copy to libro2.tex index 19b611a..851eacf 100644 --- a/libro.tex +++ b/libro2.tex @@ -1,9 +1,7 @@ %\documentclass[12pt,a4paper,oneside]{scrbook} % la clase book del Koma-script bundle -%\documentclass[10pt,a4paper,oneside,headinclude,titlepage]{scrbook} % la clase book del Koma-script bundle \documentclass[a4paper,10pt,oneside,headinclude,titlepage]{article} % la clase article estándar %\linespread{1.25} \usepackage{setspace} -\usepackage{pdfpages} %\usepackage{tikz} %\usetikzlibrary{fit,shapes} \usepackage[spanish]{babel} @@ -34,11 +32,11 @@ %\setkomafont{disposition}{\normalcolor\mdseries} %no negrita \parskip=0pt\clubpenalty=10000\widowpenalty=10000 -\parindent=6mm + \newcommand{\preLilyPondExample}{\vspace{0pt}} \newcommand{\postLilyPondExample}{\vspace{6pt}} -\newcommand{\lpversion}{2.15.30} +\newcommand{\lpversion}{2.13.4} \newcommand{\defsep}{\textbf{$\|$}} \newcommand{\software}{\emph{software}} \newcommand{\negspace}{\vspace{-10pt}} %{\vspace{-20pt}} @@ -50,7 +48,7 @@ %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% TÍTULOS -\title{LilyPond\\30 Ejercicios semanales} +\title{LilyPond\\Ejercicios semanales} %\subtitle{} % necesita Koma-script 2.98 2007/12/24 \author{Francisco Vila} @@ -58,7 +56,7 @@ %\date{} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% FIN TÍTULOS -% \includeonly{apuntes-29-espanol} +% \includeonly{apuntes-21-midi-include} \begin{document} @@ -90,37 +88,27 @@ \end{singlespace} \include{introduccion} - \include{apuntes-01-instalacion} - \include{apuntes-02-cumple} - \include{apuntes-03-mozart} - \include{apuntes-04-alteraciones-titulos-ofrenda} - \include{apuntes-05-barras-beethoven5th} - \include{apuntes-06-ligaduras-bach-suite1-cello} - \include{apuntes-07-repeticiones-beethoven-9thsym} - \include{apuntes-08-contextos-simultanea} - \include{apuntes-09-polifonia} - \include{apuntes-10-piano-tresillos} - \include{apuntes-11-canciones} - \include{apuntes-12-acordes} - \include{apuntes-13-variables} - \include{apuntes-14-articulaciones-digitaciones} - \include{apuntes-15-reguladores-markup} - \include{apuntes-16-adornos} - \include{apuntes-17-set} - \include{apuntes-18-emperador} - \include{apuntes-19-bajocifrado} - \include{apuntes-20-machaut} - \include{apuntes-21-midi} - \include{apuntes-22-trucha} - \include{apuntes-23-despertad} - \include{apuntes-24-book} - \include{apuntes-25-mendelssohn} - \include{apuntes-26-margenes} - \include{apuntes-27-holst-1} - \include{apuntes-28-holst-2} - \include{apuntes-29-espanol} - \include{apuntes-30-antigua} - \include{collections} + \include{apuntes-01-instalacion-include} + \include{apuntes-02-cumple-include} + \include{apuntes-03-mozart-include} + \include{apuntes-04-alteraciones-titulos-ofrenda-include} + \include{apuntes-05-barras-beethoven5th-include} + \include{apuntes-06-ligaduras-bach-suite1-cello-include} + \include{apuntes-07-repeticiones-beethoven-9thsym-include} + \include{apuntes-08-contextos-simultanea-include} + \include{apuntes-09-polifonia-include} + \include{apuntes-10-piano-tresillos-include} + \include{apuntes-11-canciones-include} + \include{apuntes-12-acordes-include} + \include{apuntes-13-variables-include} + \include{apuntes-14-articulaciones-digitaciones-include} + \include{apuntes-15-reguladores-markup-include} + \include{apuntes-16-adornos-include} + \include{apuntes-17-set-include} + \include{apuntes-18-emperador-include} + \include{apuntes-19-bajocifrado-include} + \include{apuntes-20-machaut-include} + \include{apuntes-21-midi-include} \end{document} diff --git a/lilypond-by-example/lpe.tex b/lilypond-by-example/lpe.tex index 0f6dcec..6fb779c 100644 --- a/lilypond-by-example/lpe.tex +++ b/lilypond-by-example/lpe.tex @@ -84,7 +84,7 @@ r \end{lilypond} \end{tabular} -\section*{*Silencio de compás completo: 4/4} +\section*{Silencio de compás completo: 4/4} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} R1 @@ -95,7 +95,7 @@ R1 \end{lilypond} \end{tabular} -\section*{*Silencio de compás completo: 3/4} +\section*{Silencio de compás completo: 3/4} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} R2. @@ -139,7 +139,7 @@ a, \end{lilypond} \end{tabular} -\section*{*Una escala de Do a Si} +\section*{Una escala de Do a Si} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} c d e f g a b @@ -150,7 +150,7 @@ c d e f g a b \end{lilypond} \end{tabular} -\section*{*Alturas en modo absoluto: una escala de cuatro octavas} +\section*{Alturas en modo absoluto: una escala de cuatro octavas} \begin{tabular}{m{3cm}m{2cm}} \begin{verbatim} { @@ -229,7 +229,7 @@ aes \end{lilypond} \end{tabular} -\section*{*Alteración forzada: becuadro} +\section*{Alteración forzada: becuadro} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} a! @@ -240,7 +240,7 @@ a! \end{lilypond} \end{tabular} -\section*{*Alteración de cortesía} +\section*{Alteración de cortesía} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} aes? @@ -251,7 +251,7 @@ aes? \end{lilypond} \end{tabular} -\section*{*Becuadro de cortesía} +\section*{Becuadro de cortesía} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} a? @@ -273,7 +273,7 @@ aes a \end{lilypond} \end{tabular} -\section*{*Escala cromática ascendente con sostenidos} +\section*{Escala cromática ascendente con sostenidos} \begin{tabular}{m{6cm}m{2cm}} \begin{verbatim} c cis d dis e f fis g gis a ais b @@ -284,7 +284,7 @@ c cis d dis e f fis g gis a ais b \end{lilypond} \end{tabular} -\section*{*Escala cromática descendente con bemoles} +\section*{Escala cromática descendente con bemoles} \begin{tabular}{m{6cm}m{2cm}} \begin{verbatim} c b bes a aes g ges f e es d des @@ -317,7 +317,7 @@ a8 a a a \end{lilypond} \end{tabular} -\section*{*Todos los valores, de redonda a semifusa} +\section*{Todos los valores, de redonda a semifusa} \begin{tabular}{m{6cm}m{2cm}} \begin{verbatim} a1 a2 a4 a8 a16 a32 a64 @@ -339,7 +339,7 @@ a4. \end{lilypond} \end{tabular} -\section*{*Doble puntillo} +\section*{Doble puntillo} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} a4.. @@ -394,7 +394,7 @@ a( b) \end{lilypond} \end{tabular} -\section*{*Ligadura de expresión: varias notas} +\section*{Ligadura de expresión: varias notas} \begin{tabular}{m{2cm}m{2cm}} \begin{verbatim} c( d e f g a) @@ -522,7 +522,7 @@ a-. \end{lilypond} \end{tabular} -\section*{*Otras articulaciones} +\section*{Otras articulaciones} \begin{tabular}{m{6cm}m{2cm}} \begin{verbatim} c4-^ c-+ c-- c-| c4-> c2-_ @@ -599,7 +599,7 @@ s1\pp \end{lilypond} \end{tabular} -\section*{*Otros matices} +\section*{Otros matices} \begin{tabular}{m{3cm}m{2cm}} \begin{verbatim} \p \mf \f \ff @@ -826,10 +826,10 @@ parteDos = { e' } \section*{Dos voces explícitas dentro de un pentagrama} \begin{tabular}{m{7cm}m{2cm}} \begin{verbatim} - \new Staff << - \new Voice { a b c' } - \new Voice { d e f } - >> +\new Staff << + \new Voice { a b c' } + \new Voice { d e f } +>> \end{verbatim} & \begin{lilypond} @@ -843,11 +843,11 @@ parteDos = { e' } \section*{Tres voces explícitas dentro de un pentagrama, con control de las plicas} \begin{tabular}{m{7cm}m{2cm}} \begin{verbatim} - \new Staff << - \new Voice { \voiceOne c' d' e' } - \new Voice { \voiceThree a b c' } - \new Voice { \voiceTwo f g a } - >> +\new Staff << + \new Voice { \voiceOne c' d' e' } + \new Voice { \voiceThree a b c' } + \new Voice { \voiceTwo f g a } +>> \end{verbatim} & \begin{lilypond} @@ -862,8 +862,8 @@ parteDos = { e' } \section*{Dos pentagramas simultáneos} \begin{tabular}{m{7cm}m{2cm}} \begin{verbatim} - << \new Staff { \parteUno } - \new Staff { \parteDos } >> +<< \new Staff { \parteUno } + \new Staff { \parteDos } >> \end{verbatim} & \begin{lilypond} @@ -919,11 +919,11 @@ bajo = { s1 } \section*{Una breve canción} \begin{tabular}{m{7cm}m{2cm}} \begin{verbatim} -{ a } \addlyrics{ Aaaah } +{ a } \addlyrics { Aaaah } \end{verbatim} & \begin{lilypond} -{ a } \addlyrics{ Aaaah } +{ a } \addlyrics { Aaaah } \end{lilypond} \end{tabular} @@ -979,12 +979,12 @@ letraTenor = \lyricmode { Aaaah } \begin{tabular}{m{7cm}m{2cm}} \begin{verbatim} { a b c' } - \addlyrics{ Ky -- ri -- e } + \addlyrics { Ky -- ri -- e } \end{verbatim} & \begin{lilypond} { a b c' } - \addlyrics{ Ky -- ri -- e } + \addlyrics { Ky -- ri -- e } \end{lilypond} \end{tabular} diff --git a/lilypond-por-ejemplo.tex b/lilypond-por-ejemplo.tex new file mode 100644 index 0000000..ecd47b3 --- /dev/null +++ b/lilypond-por-ejemplo.tex @@ -0,0 +1,16 @@ +%\appendix +\section{LilyPond por ejemplo: la guía visual.} + +La guía visual que aparece a continuación como apéndice es una breve +guía de referencia para los casos más básicos. Puede servir para +recordar la manera de conseguir determinadas construcciones entre las +más usuales. + +Algunos ejemplos están realizados en modo relativo para las alturas de +nota, sin previo aviso. Lo hemos hecho así en ocasiones para evitar +demasiadas indicaciones de octava y para mayor claridad. + +No debemos cerrar el presente volumen sin dirigir al lector interesado +a la documentación oficial del programa LilyPond: \texttt{lilypond.org } + +\includepdf[pages=2-13]{lpe.pdf} diff --git a/lista b/lista new file mode 100644 index 0000000..7123b2f --- /dev/null +++ b/lista @@ -0,0 +1,15 @@ +lista de ejercicios + +21 midi +22 include: trucha. tamaño de un pentagrama +23 ejercicios para voz y pulso, para niños +24 score, bookpart, book. libro, marcado de alto nivel +25 Instrumentos transpositores, Mendelssohn +26 márgenes. Frere Jacques + +27 overrides, once, ligaduras de fraseo +28 llamadas, visibilidad, color, tamaño +29 colocación, interiores, exteriores, mover objetos +30 gran ejemplo orquestal + +adición de letra a voces sobrevenidas. stanzas. \ No newline at end of file diff --git a/mover-matices.ly b/mover-matices.ly new file mode 100644 index 0000000..47e2b84 --- /dev/null +++ b/mover-matices.ly @@ -0,0 +1,59 @@ +%#(set-global-staff-size 13) +\new PianoStaff <<\new Staff +\with { + % \override VerticalAxisGroup #'next-staff-spacing = #'((space . 0) (padding . -4)) +} + { + \voiceTwo c'1 + \override TextScript #'whiteout = ##t + \override DynamicText #'whiteout = ##t + + \once \override TextScript #'outside-staff-priority = ##f + \once \override TextScript #'X-offset = #-4 + + \once \override DynamicText #'X-offset = #-4.5 + \once \override DynamicText #'extra-offset = #'(0 . 1.4 ) + c'2 + \mf + + -"III" + \> + c'2 + c' + % -"III" + c' c' \! +} + +\new Staff { c'1 c' c' c' } +>> + + +<< \new Staff +\with { + \override VerticalAxisGroup #'next-staff-spacing = #'((padding . -2)) +} { + \once \override DynamicText #'extra-offset = #'(-2.8 . 1.8 ) + g1 + ^"col legno. Moviendo el siguiente pentagrama" + \p +} + \new Staff { c'1 + ^"col legno" + } +>> + + +<< \new Staff +\with { + %\override VerticalAxisGroup #'next-staff-spacing = #'((padding . -2)) +} { + \once \override DynamicText #'extra-offset = #'(-0.8 . 1 ) + \once \override DynamicText #'X-offset = #-2.5 + g1 + ^"col legno. Sin mover el siguiente pentagrama" + \p +} + \new Staff { c'1 + ^"col legno" + } +>> diff --git a/notas b/notas new file mode 100644 index 0000000..f32ea53 --- /dev/null +++ b/notas @@ -0,0 +1,45 @@ +lilypond-ejercicios + +gitn5lishk (n5lishk?) + +The push URL for the project is +ssh://repo.or.cz/srv/git/lilypond-ejercicios.git. + +The read-only URL for the project is +git://repo.or.cz/lilypond-ejercicios.git, +http://repo.or.cz/r/lilypond-ejercicios.git. + +You can assign users now - don't forget to assign yourself as a user +as well if you want to push! Everyone who wants to push must register +himself as a user first. (One user can have push access to multiple +projects and multiple users can have push access to one project.) + +Note that you cannot clone an empty repository since it contains no +branches; you need to make the first push from an existing +repository. To import a new project, the procedure is roughly as +follows: + + $ git init + $ git add + $ git commit + $ git remote add origin ssh://repo.or.cz/srv/git/lilypond-ejercicios.git + $ git push --all origin + +You may experience permission problems if you try to push right now. If so, that should get fixed automagically in few minutes, please be patient. + +Enjoy yourself, and have a lot of fun! + + + + + + +http://repo.or.cz/w/lilypond-ejercicios.git +description A booklet of LilyPond exercises for students. Cuaderno de ejercicios de LilyPond para alumnos. +homepage URL http://www.paconet.org/lilypond +owner paconet.org@gmail.com +URL git://repo.or.cz/lilypond-ejercicios.git + http://repo.or.cz/r/lilypond-ejercicios.git +Push URL ssh://repo.or.cz/srv/git/lilypond-ejercicios.git + +http://repo.or.cz/editproj.cgi?name=lilypond-ejercicios \ No newline at end of file diff --git a/partitura8.ly b/partitura8.ly new file mode 100644 index 0000000..49b6703 --- /dev/null +++ b/partitura8.ly @@ -0,0 +1,34 @@ +%partitura8 + +% #(set-global-staff-size 17) + +musica = \relative c'' { \time 2/4 + g4 g e2 + g4 g e2 + g4 g e e + g4 g e e + + e4 e c2 + e4 e c2 + e4 e c c + e4 e c2 \bar "|." +} + +letra = \lyricmode { Des -- per -- tad a mi voz, +me re -- pi -- ten las cam -- pa -- nas. +Din din don. +Din din don. +¡La ma -- ña -- na ya lle -- gó! +} + +\header { title = "DESPERTAD" } + +\score { << \new Staff { \set Staff.instrumentName="Voz" \musica } + \addlyrics { \letra } + \new RhythmicStaff \with { \consists "Clef_engraver" } + + { \set Staff.instrumentName="Pulso" \clef percussion + \improvisationOn \stemDown + \repeat unfold 32 { c4 } } +>> +} diff --git a/prueba.ly b/prueba.ly new file mode 100644 index 0000000..8b01b37 --- /dev/null +++ b/prueba.ly @@ -0,0 +1,16 @@ +\header { title = "Creating the list of all supported midi instruments" } + +% We need to load the scheme file containing the definitions +#(ly:load "midi.scm") + +% We apply a lambda function to the list (instrument-names-alist) of instrument definitions +% That function simply creates a markup containing the name as a simple string (the first +% entry of the instrument definition is the name, thus the (car instr). +% Since we return a list of markups, we have to define that function as a markup-list command + +#(define-markup-list-command (midi-instruments-markup-list layout props) () + (interpret-markup-list layout props + (map (lambda (instr) (markup (car instr))) instrument-names-alist))) + +% simply display the list of markups generated by the function above +\markuplines \midi-instruments-markup-list \ No newline at end of file diff --git a/pruebalibro.ly b/pruebalibro.ly new file mode 100644 index 0000000..cb1d558 --- /dev/null +++ b/pruebalibro.ly @@ -0,0 +1,137 @@ +musica = \relative c'' { \time 2/4 + g4 g e2 + g4 g e2 + g4 g e e + g4 g e e + + e4 e c2 + e4 e c2 + e4 e c c + e4 e c2 \bar "|." +} + +letra = \lyricmode { Des -- per -- tad a mi voz, +me re -- pi -- ten las cam -- pa -- nas. +Din din don. +Din din don. +¡La ma -- ña -- na ya lle -- gó! +} + +cumple= \new Staff \relative c''{ \time 3/4 \partial 4 + g8. g16 a4 g c b2 + g8. g16 a4 g d' c2 \bar "" \break + g8. g16 g'4 e c b a\fermata + f'8. f16 e4 c d c2. \bar "|." } + + +despertad = << \new Staff { \set Staff.instrumentName="Voz" \musica } + \addlyrics { \letra } + \new RhythmicStaff \with { \consists "Clef_engraver" } + + { \set Staff.instrumentName="Pulso" \clef percussion + \improvisationOn \stemDown + \repeat unfold 32 { c4 } } + >> +mozart = \relative c'' { \key g \major \tempo "Allegro" +4 \f r8 d' g4 r8 d +g8 d g b d4 r +c4 r8 a c4 r8 a + c8 a fis a d,4 r4 \bar "||" } +ofrenda= \relative c'' { +\key c \minor +\time 2/2 +c2 es g as b, r4 +g' fis2 f e es~ es4 d des c b a8 g c4 f es2 d c4 } + +quinta= \relative c''{ + \key c \minor + \time 2/4 + r8 g8[ g g] + ees2 \fermata + r8 f8[ f f] + d2 ~ + d \fermata +} + +novena= \relative c' { \key c \major + +\repeat volta 2 { e2 f4 g g f e d c c d e } \alternative { { e2 d2 } { d2 c2 } } } + + +bachVUno= \relative c''' { +\time 12/8 \key f\major + c4. ~ c8 b a g4. ~ g8 f e | + d b c f4. ~ f8 e g c4 es,8 + +} + +bachVDos= \relative c'' { +\time 12/8 \key f\major + e16( d )e c g c f( e )f d b d g( f )g e c e a( g )a f g a | + b,8 g' c, ~ c a b!-\trill c16( b )c g e g f( g a bes )c a } + +bachDosViolinesA = { << \new Staff { \bachVUno } \new Staff { \bachVDos } >> } +bachDosViolinesB = { \new Staff << { \bachVUno } \\ { \bachVDos } >> } + + + +\book{ + \bookpart { \header { title="LIBRO PRIMERO" + subtitle="(PRIMERA PARTE)" + composer="Heinrich Ignaz Franz Von Biler" } + \markup { \vspace #5 } + \score { \cumple + \header { piece="Cumpleaños feliz" } + } + \markup { \vspace #5 } + + \score { \despertad + \header { piece="Despertad" } + } + } %bookpart + \bookpart { \header { subtitle="(SEGUNDA PARTE)" } + \markup { \vspace #5 } + \score { \mozart + \header { piece="Serenata nocturna, de Mozart" } + } + \markup { \vspace #5 } + + \score { \ofrenda + \header { piece="Ofrenda musical, de Bach" } + } + } %bookpart + \paper { % print-all-headers=##t + % bookTitleMarkup = \markup { "booktitlemarkup" } + % ragged-last-bottom=##f + } + + +} %book + +\book{ %book2 + \bookpart { \header { title="LIBRO SEGUNDO" + subtitle="(PRIMERA PARTE)" + composer="Engelbert Humperdinck" } + \markup { \vspace #5 } + \score { \quinta + \header { piece="Quinta sinfonía, de Beethoven" } + } + \markup { \vspace #5 } + + \score { \novena + \header { piece="Novena sinfonía" } + } + } %bookpart + \bookpart { \header { subtitle="(SEGUNDA PARTE)" } + \markup { \vspace #5 } + \score { \bachDosViolinesA + \header { piece="Concierto para dos violines, de Bach (1)" } + } + \markup { \vspace #5 } + + \score { \bachDosViolinesB + \header { piece="Concierto para dos violines, de Bach (2)" } + } + } %bookpart + +} %book2 \ No newline at end of file diff --git a/Makefile b/qrcodes/Makefile similarity index 86% copy from Makefile copy to qrcodes/Makefile index 3819cd8..c8d8757 100644 --- a/Makefile +++ b/qrcodes/Makefile @@ -1,6 +1,6 @@ # de Slave Songs A. Simpson 1867, Marcus Brinkmann 2007 -NOMBRE=libro +NOMBRE=QRTest OUT=out #LYNOMBRES=faenas incarnatus #fuentes lilypond #LYARCHIVOS=$(addsuffix .ly, $(LYNOMBRES)) @@ -11,20 +11,20 @@ RUNEVINCE=evince $(OUT)/$(NOMBRE).pdf & #para Oregano #RUNBIB=cd $(OUT) && bibtex8 -W --csfile /home/fravd/trabajos-doctorado/biblatex/biblatex/doc/resources/latin1.csf $(NOMBRE) SPLITPDFS=outA1.pdf outA2.pdf outB1.pdf outB2.pdf -IMAGENES=lily-logo.png $(SPLITPDFS) frerejacques.pdf holst-marte.pdf \ -bach-cbt1.pdf mozart-sonates.pdf chopin-op10.pdf \ -chopin-op25-posth.pdf +IMAGENES=qrcode.png #lily-logo.png $(SPLITPDFS) frerejacques.pdf holst-marte.pdf #/home/fravd/software/latex/biblatex/doc/resources/latin1.csf $(NOMBRE) -INCLUDESTEX=introduccion.tex apuntes-01-instalacion.tex \ +INCLUDESTEX=pruebaQR.tex \ + #introduccion.tex apuntes-01-instalacion.tex \ apuntes-02-cumple.tex apuntes-03-mozart.tex \ apuntes-03-mozart.tex \ apuntes-04-alteraciones-titulos-ofrenda.tex \ apuntes-05-barras-beethoven5th.tex \ apuntes-06-ligaduras-bach-suite1-cello.tex \ apuntes-07-repeticiones-beethoven-9thsym.tex \ - apuntes-08-contextos-simultanea.tex apuntes-09-polifonia.tex \ - apuntes-10-piano-tresillos.tex apuntes-11-canciones.tex \ - apuntes-12-acordes.tex apuntes-13-variables.tex \ + apuntes-08-contextos-simultanea.tex \ + apuntes-09-polifonia.tex apuntes-10-piano-tresillos.tex \ + apuntes-11-canciones.tex apuntes-12-acordes.tex \ + apuntes-13-variables.tex \ apuntes-14-articulaciones-digitaciones.tex \ apuntes-15-reguladores-markup.tex apuntes-16-adornos.tex \ apuntes-17-set.tex apuntes-18-emperador.tex \ @@ -33,8 +33,7 @@ INCLUDESTEX=introduccion.tex apuntes-01-instalacion.tex \ apuntes-23-despertad.tex apuntes-24-book.tex \ apuntes-25-mendelssohn.tex apuntes-26-margenes.tex \ apuntes-27-holst-1.tex apuntes-28-holst-2.tex \ - apuntes-29-espanol.tex apuntes-30-antigua.tex \ - collections.tex + apuntes-29-espanol.tex apuntes-30-antigua.tex RUNPDF=cd $(OUT) && echo && pwd && echo && pdflatex $(NOMBRE).tex LPBOOK=lilypond-book --pdf --output=$(OUT) --include=$(OUT) --format=latex @@ -67,6 +66,9 @@ $(SPLITPDFS): pruebalibro.ly lilypond pruebalibro.ly . ./scriptPDFTK.sh +qrcode.png: qrcode.txt + cat qrcode.txt | qrencode -m0 -s2 -lM -o qrcode.png + frerejacques.pdf: frerejacques.ly lilypond frerejacques.ly diff --git a/libro.tex b/qrcodes/QRTest.tex similarity index 67% copy from libro.tex copy to qrcodes/QRTest.tex index 19b611a..0774c68 100644 --- a/libro.tex +++ b/qrcodes/QRTest.tex @@ -1,9 +1,10 @@ %\documentclass[12pt,a4paper,oneside]{scrbook} % la clase book del Koma-script bundle -%\documentclass[10pt,a4paper,oneside,headinclude,titlepage]{scrbook} % la clase book del Koma-script bundle \documentclass[a4paper,10pt,oneside,headinclude,titlepage]{article} % la clase article estándar %\linespread{1.25} \usepackage{setspace} \usepackage{pdfpages} +\usepackage{hyperref} +\hypersetup{colorlinks,citecolor=red,linkcolor=red,urlcolor=blue,linktocpage} %\usepackage{tikz} %\usetikzlibrary{fit,shapes} \usepackage[spanish]{babel} @@ -50,7 +51,7 @@ %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% TÍTULOS -\title{LilyPond\\30 Ejercicios semanales} +\title{QRTest\\QR Code Test Document} %\subtitle{} % necesita Koma-script 2.98 2007/12/24 \author{Francisco Vila} @@ -69,7 +70,7 @@ \begin{center} %\textbf{\Large Universidad de Extremadura}\par \vfill - \includegraphics[width=60mm]{lily-logo.png}\par + % \includegraphics[width=60mm]{lily-logo.png}\par \vfill \textbf{\huge\@title}\par % \textbf{\large\@subtitle}\par @@ -89,38 +90,8 @@ % \listoftables \end{singlespace} - \include{introduccion} - \include{apuntes-01-instalacion} - \include{apuntes-02-cumple} - \include{apuntes-03-mozart} - \include{apuntes-04-alteraciones-titulos-ofrenda} - \include{apuntes-05-barras-beethoven5th} - \include{apuntes-06-ligaduras-bach-suite1-cello} - \include{apuntes-07-repeticiones-beethoven-9thsym} - \include{apuntes-08-contextos-simultanea} - \include{apuntes-09-polifonia} - \include{apuntes-10-piano-tresillos} - \include{apuntes-11-canciones} - \include{apuntes-12-acordes} - \include{apuntes-13-variables} - \include{apuntes-14-articulaciones-digitaciones} - \include{apuntes-15-reguladores-markup} - \include{apuntes-16-adornos} - \include{apuntes-17-set} - \include{apuntes-18-emperador} - \include{apuntes-19-bajocifrado} - \include{apuntes-20-machaut} - \include{apuntes-21-midi} - \include{apuntes-22-trucha} - \include{apuntes-23-despertad} - \include{apuntes-24-book} - \include{apuntes-25-mendelssohn} - \include{apuntes-26-margenes} - \include{apuntes-27-holst-1} - \include{apuntes-28-holst-2} - \include{apuntes-29-espanol} - \include{apuntes-30-antigua} - \include{collections} + % \include{introduccion} + \include{pruebaQR} \end{document} diff --git a/qrcodes/pruebaQR.tex b/qrcodes/pruebaQR.tex new file mode 100644 index 0000000..3b6aa35 --- /dev/null +++ b/qrcodes/pruebaQR.tex @@ -0,0 +1,11 @@ +\section{Meta} +\vfill +\begin{centering} +Download this document in PDF format: +\\[2mm] +\includegraphics{qrcode} +\\[2mm] +\href{http://paconet.org/wiki/index.php?title=QRTest}{Link to metadata, source code and more!} + +\end{centering} + diff --git a/qrcodes/qrcode.png b/qrcodes/qrcode.png new file mode 100644 index 0000000000000000000000000000000000000000..d2620d94de33983623356b9388788944d8145248 GIT binary patch literal 279 zcwPY)0qFjTP)3b`!>RMn;(XTsj_3|T*v(5F|>Q>$p1$h;&MbbDY9{JcZj*Tkaf=60^iDV$MRPBX|ZA29gMHR%V zBU^~OR{`}P74)Uv&6Ztw`O dyXaN*)(1;u4-&+>Q5FCI002ovPDHLkV1f+tcZUD~ literal 0 HcwPel00001 diff --git a/qrcodes/qrcode.txt b/qrcodes/qrcode.txt new file mode 100644 index 0000000..0070214 --- /dev/null +++ b/qrcodes/qrcode.txt @@ -0,0 +1 @@ +http://paconet.org/wiki/images/b/b0/QRTest.pdf diff --git a/quitaespacios.sh b/quitaespacios.sh new file mode 100755 index 0000000..8e980d1 --- /dev/null +++ b/quitaespacios.sh @@ -0,0 +1,3 @@ +#!/bin/sh +# sed -i 's/\ $//g' editorial.itely +sed -i -e 's/[ \t]*$//' $1 \ No newline at end of file diff --git a/subir-pdf.sh b/subir-pdf.sh new file mode 100644 index 0000000..9577c72 --- /dev/null +++ b/subir-pdf.sh @@ -0,0 +1 @@ +rsync -avrz libro.pdf u51173497@csmex.es:lilypond/libro.pdf diff --git a/trucha/estr-viola.ly b/trucha/estr-viola.ly new file mode 100644 index 0000000..cb3f606 --- /dev/null +++ b/trucha/estr-viola.ly @@ -0,0 +1,3 @@ +\include "viola.ly" + +{ \viola } diff --git a/trucha/estructura.ly b/trucha/estructura.ly new file mode 100644 index 0000000..f8fd96d --- /dev/null +++ b/trucha/estructura.ly @@ -0,0 +1,32 @@ +violin = { c' } +viola = { c' } +cello = { c' } +contrabajo = { c' } +pianoManoDerecha = { c' } +pianoManoIzquierda = { c' } + + +\include "violin.ly" +\include "viola.ly" +\include "cello.ly" +\include "contrabajo.ly" +\include "piano.ly" + +<< + \new Staff \with { + fontSize = #-3 + \override StaffSymbol #'staff-space = #(magstep -3) +} { \violin } + \new Staff \with { + fontSize = #-3 + \override StaffSymbol #'staff-space = #(magstep -3) +}{ \viola } + \new Staff \with { + fontSize = #-3 + \override StaffSymbol #'staff-space = #(magstep -3) +}{ << \cello \\ \contrabajo >> } + \new PianoStaff << + \new Staff { \pianoManoDerecha } + \new Staff { \pianoManoIzquierda } + >> +>> diff --git a/trucha/viola.ly b/trucha/viola.ly new file mode 100755 index 0000000..1673f60 --- /dev/null +++ b/trucha/viola.ly @@ -0,0 +1,13 @@ +\version "2.12.2" +viola = \relative c'{ + \clef alto \time 2/4 \key d \major + \partial 8 r8 + 4-.( 8-. 8-.) + fis'2 + 4-.( 8-. 8-.) + 8-. e8( fis g) + 4-.( 8-. 8-.) + fis'4. fis8 + e4. e8 +e-. g( fis e) } +%\include "viola.ly" -- 2.11.4.GIT