issue111:c_c
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Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue111:c_c [2016/08/19 23:44] – d52fr | issue111:c_c [2016/08/23 19:06] (Version actuelle) – andre_domenech | ||
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**As a guitarist who is also a geek at heart, I’m always looking for a way to organise my various tab books alongside my PDF tabs. In preparation for my summer, I’ve therefore started collecting some of the tabs I like in an electronic format. At first, it was via scanning, but the quality of that was often less than overwhelming. Instead, I’ve begun writing the musical notation and tabs using LilyPond.** | **As a guitarist who is also a geek at heart, I’m always looking for a way to organise my various tab books alongside my PDF tabs. In preparation for my summer, I’ve therefore started collecting some of the tabs I like in an electronic format. At first, it was via scanning, but the quality of that was often less than overwhelming. Instead, I’ve begun writing the musical notation and tabs using LilyPond.** | ||
- | Comme un guitariste qui est aussi un geek de cœur, j'ai toujours cherché une façon d' | + | Comme un guitariste qui est aussi un geek de cœur, j'ai toujours cherché une façon d' |
**What is LilyPond? | **What is LilyPond? | ||
Ligne 9: | Ligne 9: | ||
Qu' | Qu' | ||
- | Pour tous ceux qui savent ce qu'est LaTeX, LilyPond est (en termes très simples) un langage de composition pour la musique. Dans le monde de la musique, on ne parle pas de composition mais de gravure. LilyPond est un langage où vous décrivez la musique, puis il prend l' | + | Pour tous ceux qui savent ce qu'est LaTeX, LilyPond est (en termes très simples) un langage de composition pour la musique. Dans le monde de la musique, on ne parle pas de composition, mais de gravure. LilyPond est un langage où vous décrivez la musique, puis il prend l' |
**How does it Work? | **How does it Work? | ||
Ligne 17: | Ligne 17: | ||
Comment ça marche ? | Comment ça marche ? | ||
- | LilyPond utilise des fichiers .ly comme code source. Une dois que le code a été écrit, il est ensuite | + | LilyPond utilise des fichiers .ly comme code source. Une fois le code écrit, il est compilé |
**How can I get started? | **How can I get started? | ||
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Comment commencer ? | Comment commencer ? | ||
- | Le site Web est http:// | + | Le site Web est http:// |
**It seems complicated - why can’t I just drag and drop? | **It seems complicated - why can’t I just drag and drop? | ||
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If you want to edit visually, you’ll need to look for other software to work with. Instead, I recommend LilyPond for anyone who prefers having total control (and finds a keyboard to be faster and more efficient than a mouse). I also highly recommend this approach to anyone who wants to learn to read musical notation better (as you’ll learn the note names, and therefore the location on the staff), or for anyone who wants to learn the locations of the notes on their instrument (specifically, | If you want to edit visually, you’ll need to look for other software to work with. Instead, I recommend LilyPond for anyone who prefers having total control (and finds a keyboard to be faster and more efficient than a mouse). I also highly recommend this approach to anyone who wants to learn to read musical notation better (as you’ll learn the note names, and therefore the location on the staff), or for anyone who wants to learn the locations of the notes on their instrument (specifically, | ||
- | Ça parait | + | Ça paraît |
- | Si vous voulez juste éditer visuellement, | + | Si vous voulez juste éditer visuellement, |
**The Basics | **The Basics | ||
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• As you can see, you’re simply defining the notes that are to appear (and terminating with a closing bar). In LilyPond is stands for sharp (#), and es is flat (b). Keep in mind that a# is also bb (hence why no flats are present in the example above).** | • As you can see, you’re simply defining the notes that are to appear (and terminating with a closing bar). In LilyPond is stands for sharp (#), and es is flat (b). Keep in mind that a# is also bb (hence why no flats are present in the example above).** | ||
- | The Basics | + | Les bases |
Le modèle du fichier peut être trouvé ici : http:// | Le modèle du fichier peut être trouvé ici : http:// | ||
- | Une voix unique, sur une portée musicale normale (sans tablatures) : | + | Une seule voix, sur une portée musicale normale (sans tablatures) : |
- | • Ajouter | + | • Ajoutez |
scale= \relative c { | scale= \relative c { | ||
a ais b c cis d dis e f fis g gis | a ais b c cis d dis e f fis g gis | ||
Ligne 67: | Ligne 67: | ||
• The \new Staff should be self-explanatory. The “guitar” simply assigns a name (in case you have multiple instruments on one page, for example). The \with{} is used for settings, and I leave it in my template so that I can more easily change settings for a Staff. If you prefer to leave it out, you can do so (but leave the <<). The \time is the time signature. Then comes the important step - defining a Voice. I’ve defined it as “guitar”, | • The \new Staff should be self-explanatory. The “guitar” simply assigns a name (in case you have multiple instruments on one page, for example). The \with{} is used for settings, and I leave it in my template so that I can more easily change settings for a Staff. If you prefer to leave it out, you can do so (but leave the <<). The \time is the time signature. Then comes the important step - defining a Voice. I’ve defined it as “guitar”, | ||
- | Avant que vous puissiez | + | Avant de pouvoir |
\new Staff = " | \new Staff = " | ||
} << | } << | ||
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\context Voice = " | \context Voice = " | ||
>> | >> | ||
- | • Le \new Staff devait | + | • Le \new Staff devrait |
**• Compilation time! Be sure to replace FCM-example.ly with whatever you called your file. | **• Compilation time! Be sure to replace FCM-example.ly with whatever you called your file. | ||
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}** | }** | ||
- | Et maintenant, la compilation ! Pensez à remplacer FCM-example.ly par le nom de fichier choisi. | + | Et maintenant, la compilation ! Pensez à remplacer FCM-example.ly par le nom de fichier |
lilypond FCM-example.ly | lilypond FCM-example.ly | ||
- | • Le résultat de ceci devrait être un fichier PDF, montrant une portée | + | • Le résultat de ceci devrait être un fichier PDF, montrant une gamme de notes. Si c'est le cas, continuez. Sinon, vérifiez deux fois chaque étape et les messages d' |
- | • Que se passe-t-il si nous ajoutons une deuxième portée de notes ? Pour faire cela, vous pouvez utiliser ' et , pour hausser ou baisser l' | + | • Que se passe-t-il si nous ajoutons une autre octave |
scale= \relative c { | scale= \relative c { | ||
a ais b c cis d dis e f fis g gis | a ais b c cis d dis e f fis g gis | ||
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}** | }** | ||
- | Si vous regardez cet exemple, vous verrez que j'ai inséré une apostrophe. C'est parce que c'est une bascule, et non une modification pour une seule note. Ce qui signifie que si vous en utilisez deux, votre seconde note sera deux octaves plus haute. Ainsi, la plupart des gens noteront que ceci fait vraiment changer d' | + | Si vous regardez cet exemple, vous verrez que je n'ai inséré |
+ | scale= \relative c { | ||
+ | a ais b c cis d dis e f fis g gis | ||
+ | a ais b c cis d dis e f fis g gis | ||
+ | a ais b c cis d dis e f fis g gis | ||
+ | \bar " | ||
+ | } | ||
**• This should result in a single scale, covering three octaves. LilyPond does offer a \repeat unfold option, to avoid having to type the same line multiple times. However, it would not work in this case, as there is an implied difference between each line (their octave). The below will repeat the same scale 3 times, in the same octave. This is useful to keep in mind. | **• This should result in a single scale, covering three octaves. LilyPond does offer a \repeat unfold option, to avoid having to type the same line multiple times. However, it would not work in this case, as there is an implied difference between each line (their octave). The below will repeat the same scale 3 times, in the same octave. This is useful to keep in mind. | ||
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}** | }** | ||
- | Une portée | + | Une gamme unique |
scale= \relative c { | scale= \relative c { | ||
\repeat unfold 3 { | \repeat unfold 3 { | ||
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\bar " | \bar " | ||
}** | }** | ||
+ | |||
+ | Enjoliver le code source est utile, particulièrement si vous écrivez des chansons entières. Une barre de mesure est indiquée par « | » et LilyPond suivra le nombre de notes dans chaque mesure (pour s' | ||
+ | scale= \relative c { | ||
+ | a ais b c | | ||
+ | cis d dis2 | | ||
+ | e f | | ||
+ | fis | | ||
+ | g gis | ||
+ | \bar " | ||
+ | } | ||
**• This example will result in the warning “barcheck failed at 1/2”. This is because I changed the d# into a half note (2 beats), and this change is automatically carried through to all following notes. By placing the f# in a bar by itself (and therefore being only 2/4), it results in the warning. In the PDF, there is no noticeable issue, but this will cause problems if using multiple voices (or if the song were longer). Instead, we need either a rest, or to adjust the duration of the notes. Correct the bar to read: | **• This example will result in the warning “barcheck failed at 1/2”. This is because I changed the d# into a half note (2 beats), and this change is automatically carried through to all following notes. By placing the f# in a bar by itself (and therefore being only 2/4), it results in the warning. In the PDF, there is no noticeable issue, but this will cause problems if using multiple voices (or if the song were longer). Instead, we need either a rest, or to adjust the duration of the notes. Correct the bar to read: | ||
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>> | >> | ||
• As you can see, it’s a similar approach. We’re even reusing the same variable with the notes. Compiling at this time will yield a typical guitar tablature** | • As you can see, it’s a similar approach. We’re even reusing the same variable with the notes. Compiling at this time will yield a typical guitar tablature** | ||
+ | |||
+ | Cet exemple donnera l' | ||
+ | À la place, nous avons besoin d'un silence ou d' | ||
+ | fis r2 | | ||
+ | • Ceci ajoute un silence de 2 temps dans la mesure, et résout l' | ||
+ | • En dernier, ajoutons un Tabstaff, de façon à créer une vrai tablature. Pour cela, insérez ce qui suit après le premier >> (suivant la parenthèse fermante de \context Voice). | ||
+ | \new TabStaff = " | ||
+ | \time 4/4 | ||
+ | \context TabVoice = " | ||
+ | >> | ||
+ | • Comme vous pouvez le voir, c'est une approche similaire. Nous réutilisons même la même variable pour les notes. Une compilation lancée à cet instant donnera une tablature typique pour guitare. | ||
**There are many other things you can do - chords, multiple voices, arpeggios, repeats, etc. But for a basic example, this will have to do. If you want to see what my file looked like at the end of this tutorial, it can be found here: http:// | **There are many other things you can do - chords, multiple voices, arpeggios, repeats, etc. But for a basic example, this will have to do. If you want to see what my file looked like at the end of this tutorial, it can be found here: http:// | ||
If you have any issues, or questions, feel free to contact me. For some more examples, I highly recommend the snippets and documentation page. Or just simply creating a tab you already know. As always, I can be reached at lswest34+fcm@gmail.com.** | If you have any issues, or questions, feel free to contact me. For some more examples, I highly recommend the snippets and documentation page. Or just simply creating a tab you already know. As always, I can be reached at lswest34+fcm@gmail.com.** | ||
+ | |||
+ | Il y a beaucoup d' | ||
+ | |||
+ | Si vous avez des problèmes, ou des questions, n' |
issue111/c_c.1471643066.txt.gz · Dernière modification : 2016/08/19 23:44 de d52fr