picture in the HTML version of this manual, you will see the exact
LilyPond input that was used to generate that image.
@ifhtml
-For example, consider the following input
+For example, consider the following input:
@c TODO: intertext fixme
-@lilypond[relative 1,singleline,verbatim,intertext="with the following output"]
+@lilypond[relative 1,singleline,verbatim,intertext="with the following output:"]
c'^\markup { \bold \huge { Click on this image! } }
@end lilypond
@cindex dvips
@cindex dvilj
@cindex DVI driver
-} One the following commands should put the PDF on your
-screen.
+} One of the following commands should put the PDF on your
+screen:
@c eeek
@quotation
@example
@cindex tie
A tie is created by adding a tilde ``@code{~}'' to the first note
-being tied.
+being tied:
@quotation
@lilypond[fragment,verbatim,relative 2]
g4-~ g a2-~ a4
@end quotation
@separate
-This example shows the key signature, accidentals and ties in action.
+This example shows the key signature, accidentals and ties in action:
@quotation
@example
you just enter the pitch of the note, and an accidental is printed
only when necessary. The flip side of this mechanism, is that you have
to mark notes as sharp or flat, even when they do not get accidentals.
-For example, in this example,
+For example, in this example:
@lilypond[fragment]
\clef bass
\property Staff.TimeSignature = #'()
@end quotation
@separate
-An example of the use of quotes is in the following Mozart fragment.
+An example of the use of quotes is in the following Mozart fragment:
@lilypond[singleline,fragment,verbatim]
\key a \major
\time 6/8
from which relative starts, in this case @code{c''}. If you do not
use octavation quotes (i.e. do not add ' or , after a note), relative
mode chooses the note that is closest to the previous one.
-For example, @code{c f} goes up while @code{c g} goes down.
+For example, @code{c f} goes up while @code{c g} goes down:
@quotation
@example
@end lilypond
@end quotation
-The example shows how small chunks of music, for example the notes
+The example shows how small chunks of music, for example, the notes
@code{c2}, @code{e4}, etc. of the second staff, are combined to form a
larger chunk by enclosing it in braces. Again, a larger chunk is
formed by prefix @code{\context Staff} to it, and that chunk is
When spreading expressions over multiple lines, it is customary to use
an indent that indicates the nesting level. Formatting music like this
eases reading, and helps you insert the right amount of closing
-braces at the end of an expression. For example
+braces at the end of an expression. For example,
@example
\score @{
\notes <
@cindex fingering
Similarly, fingering indications can be added to a note using a dash
-(`@code{-}') and the digit to be printed.
+(`@code{-}') and the digit to be printed:
@c
@lilypond[verbatim,relative 1]
c-3 e-5 b-2 a-1
Crescendi and decrescendi are started with the commands @code{\<} and
@code{\>}. The command @code{\!} finishes a crescendo on the note it
-is attached to.
+is attached to:
@quotation
@lilypond[verbatim,relative 1]
c2-\< c2-\!-\ff c2-\> c2-\!
More information on fingering, articulation, slurs, phrasing slurs,
and dynamics can be found in @ref{Fingering instructions},
-@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs} @ref{Dynamics}
+@ref{Articulations}, @ref{Slurs}, @ref{Phrasing slurs}, and @ref{Dynamics},
respectively.
@node Combining notes into chords
@cindex partial measure
A pickup (or upstep) is entered with the keyword @code{\partial}. It
is followed by a duration: @code{\partial 4} is a quarter note upstep
-and @code{\partial 8} an eighth note.
+and @code{\partial 8} an eighth note:
@lilypond[relative 1,verbatim,fragment]
\partial 8
f8 c2 d e
Tuplets are made with the @code{\times} keyword. It takes two
arguments: a fraction and a piece of music. The duration of the piece
of music is multiplied by the fraction. Triplets make notes occupy
-2/3 of their notated duration, so a triplet has 2/3 as its fraction.
+2/3 of their notated duration, so a triplet has 2/3 as its fraction:
@c
@lilypond[relative 0,verbatim,fragment]
\times 2/3 { f8 g a }
@cindex grace notes
@cindex accacciatura
Grace notes are also made by prefixing a note, or a set of notes with
-a keyword. In this case, the keyword is @code{\grace}.
+a keyword. In this case, the keyword is @code{\grace}:
@lilypond[relative 1, verbatim,fragment]
c4 \grace b16-( c4-)
\grace { d16-( e } d4-)
that, the rest of that line is ignored. Block comments span larger
sections of input. Anything that is enclosed in @code{%@{} and
@code{%@}} is ignored too. The following fragment shows possible uses
-for comments.
+for comments:
@example
% notes for twinkle twinkle follow:
@cindex Lyrics
@cindex Songs
Lyrics are entered by separating each syllable with a space, and
-surrounding them with @code{\lyrics @{ @dots{} @}}, for example
+surrounding them with @code{\lyrics @{ @dots{} @}}, for example,
@example
\lyrics @{ I want to break free @}
@end example
@example
\context Lyrics \lyrics @{ I want to break free @}
@end example
-The melody for this song is as follows
+The melody for this song is as follows:
@lilypond[fragment,relative=1]
\partial 8
@c synonyms?
This melody ends on a @rglos{melisma}, a single syllable (``free'')
sung to more than one note. This is indicated with a @emph{extender
-line}. It is entered as two underscores, i.e.,
+line}. It is entered as two underscores, i.e.
@example
\lyrics @{ I want to break free __ @}
@end example
@end lilypond
Similarly, hyphens between words can be entered as two dashes,
-resulting in a centered hyphen between two syllables.
+resulting in a centered hyphen between two syllables:
@example
Twin -- kle twin -- kle
@end example
Chord names are entered by starting chords mode (with @code{\chords}).
In chords mode, you can enter chords with a letter (indicating the
-root of the chord), and a durations following that.
+root of the chord), and a durations following that:
@c
@lilypond[verbatim]
\chords { c2 f4. g8 }
to entering chords with @code{<<@dots{}>>}.
Other chords can be created by adding modifiers, after a colon. The
-following example shows a few common modifiers
+following example shows a few common modifiers:
@c
@lilypond[verbatim]
\chords { c2 f4:m g4:maj7 gis1:dim7 }
specified are printed above the music. The `tagline' is a short line
printed at bottom of the last page, which normally says ``Lily was
here, version @dots{}''. In the example above, it is replaced by the
-line ``small is beautiful.''
+line ``small is beautiful''.
Normally, the @code{\header} is put at the top of the file. However,
for a document that contains multiple pieces (e.g. a etude book, or
part with multiple movements), then the header can be put into the
-@code{\score} block as follows In this case, the name of each piece
-will be printed before each movement.
+@code{\score} block as follows; in this case, the name of each piece
+will be printed before each movement:
@cindex Lily was here
{ s4 g4 f2 f4 } >
@end lilypond
-Again, these expressions can be nested arbitrarily.
+Again, these expressions can be nested arbitrarily:
@lilypond[fragment]
<
expression in that language. The first hash-mark signals that a piece
of Scheme code follows. The second hash character is part of the
boolean value true (@code{#t}). Values of other types may be
-entered as follows
+entered as follows:
@itemize @bullet
-@item a string, enclosed in double quotes, for example
+@item a string, enclosed in double quotes, for example,
@example
\property Staff.instrument = #"French Horn"
@end example
\property Score.skipBars = ##t
@end example
-@item a number
+@item a number, such as
@example
\property Score.currentBarNumber = #20
@end example
-@item a symbol, which is introduced by a quote character,
+@item a symbol, which is introduced by a quote character, as in
@example
\property Staff.crescendoSpanner = #'dashed-line
@end example
-@item a pair, which is also introduced by a quote character.
-The following statements set properties to the pairs (-7.5, 6) and
-(3, 4) respectively.
+@item a pair, which is also introduced by a quote character, like in
+the following statements, which set properties to the pairs (-7.5, 6)
+and (3, 4) respectively:
@example
\property Staff.minimumVerticalExtent = #'(-7.5 . 6)
example, every clef and every note head is represented by a layout
object. These layout objects also carry variables, which we call
@emph{layout properties}. By changing these variables from their
-values, we can alter the look of a formatted score.
+values, we can alter the look of a formatted score:
@lilypond[verbatim,relative 0]
c4
In most cases of manual overrides, only a single object must be
changed. This can be achieved by prefixing @code{\once} to the
-@code{\property} statement, i.e.,
+@code{\property} statement, i.e.
@example
\once \property Voice.Stem \set #'thickness = #3.0
these offsets.
In the following example example, the second fingering is moved a
-little to the left, and 1.8 staff space downwards.
+little to the left, and 1.8 staff space downwards:
@cindex setting object properties
The following example demonstrates how to connect different voices
using ties. Normally ties only happen between notes of the same
voice. By introducing a tie in a different voice, and blanking a stem
-in that voice, the tie appears to cross voices.
+in that voice, the tie appears to cross voices:
@lilypond[fragment,relative 1,verbatim]
\context Staff < {
@code{side-position-interface} can be set to increase distance between
symbols that are printed above or below notes. We only give an
example; a more elaborate explanation is in @ref{Constructing a
-tweak}.
+tweak}:
@lilypond[relative 1]
c2-\fermata
By using variables, also known as identifiers, it is possible to break
up complex music expressions.
-An identifier is assigned as follows
+An identifier is assigned as follows:
@example
namedMusic = \notes @{ @dots{}
@end example
@}
@end example
-Then, an individual part is made by putting the following in a file
+Then, an individual part is made by putting the following in a file:
@example
\include "horn-music.ly"
\header @{
rest. It is entered with a capital R, and followed by a duration (1
for a whole note, 2 for a half note, etc.) By multiplying the
duration, longer rests can be constructed. For example, the next rest
-takes 3 measures in 2/4 time.
+takes 3 measures in 2/4 time:
@example
R2*3
@end example
When printing the part, the following @code{skipBars} property must be
set to false, to prevent the rest from being expanded in three one bar
-rests.
+rests:
@example
\property Score.skipBars = ##t
@end example
Prepending the rest and the property setting above, leads to the
-following result.
+following result:
@lilypond[singleline]
\score {\notes { \transpose c' f \relative c' { \time 2/4
@} @}
@end example
-This would lead to the simple score depicted below.
+This would lead to the simple score depicted below:
@lilypond[singleline]
\score {
@cindex Texinfo, music in
Sometimes you might want to use music examples in a text that you are
-writing (for example a musicological treatise, a songbook, or (like us)
+writing (for example, a musicological treatise, a songbook, or (like us)
the LilyPond manual). You can make such texts by hand, simply by
importing a PostScript figure into your word processor. However,
there is an automated procedure to reduce the amount of work.
code. A script called @code{lilypond-book} will extract the music
fragments, run LilyPond on them, and put back the resulting notation.
This program is fully described in @ref{lilypond-book manual}. Here
-we show a small example. Since the example also contains explanatory
-text, we will not comment it further.
+we show a small example; since the example contains also explanatory
+text, we will not comment it further:
@example
\documentclass[a4paper]@{article@}
\end@{document@}
@end example
-Under Unix, you can view the results as follows.
+Under Unix, you can view the results as follows:
@example
$ cd input/tutorial
$ mkdir -p out/
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