Notation Reference -- @ruser{Score layout} and
@ruser{Creating MIDI files}.
-The @code{\book} command allows
-several @code{\score} blocks to be combined into one output.
-If there are several @code{\book} blocks each one produces a
+You may code multiple @code{\score} blocks. Each will be
+treated as a separate score, but they will be all combined into
+a single output file. A @code{\book} command is not necessary
+-- one will be implicitly created. However, if you would like
+separate output files from one @code{.ly} file then the
+@code{\book} command should be used to separate the different
+sections: each @code{\book} block will produce a
separate output file. For details see @ruser{Multiple scores
in a book}.
@}
@end example
-We don't need two @code{\version} commands. We'll need the @code{melody}
-section. We don't want two @code{\score} sections -- if we had two
-@code{\score}s, we'd get the two parts separately. We want them together,
-as a duet. Within the @code{\score} section, we don't need two
-@code{\layout} or @code{\midi}.
-
-If we simply cut and paste the @code{melody} section, we would end up with
-two @code{melody} sections. So let's rename them. We'll call the section
-for the soprano @code{sopranoMusic} and the section for the cello
-@code{celloMusic}. While we're doing this, let's rename @code{text}
-to be @code{sopranoLyrics}. Remember to rename both instances of all
-these names -- both the initial definition (the
+We don't need two @code{\version} commands. We'll need the
+@code{melody} section. We don't want two @code{\score} sections
+-- if we had two @code{\score}s, we'd get the two parts separately.
+We want them together, as a duet. Within the @code{\score}
+section, we don't need two @code{\layout} or @code{\midi}.
+
+If we simply cut and paste the @code{melody} section, we would
+end up with two @code{melody} definitions. This would not generate
+an error, but the second one would be used for both melodies.
+So let's rename them to make them distinct. We'll call the
+section for the soprano @code{sopranoMusic} and the section for
+the cello @code{celloMusic}. While we're doing this, let's rename
+@code{text} to be @code{sopranoLyrics}. Remember to rename both
+instances of all these names -- both the initial definition (the
@code{melody = \relative c' @{ } part) and the name's use (in the
@code{\score} section).
-While we're doing this, let's change the cello part's staff -- celli
-normally use bass clef. We'll also give the cello some different
-notes.
+While we're doing this, let's change the cello part's staff --
+celli normally use bass clef. We'll also give the cello some
+different notes.
@example
\version "2.11.38"
+
(optionally) a MIDI file which can be played. The first example
shows what a simple input text file looks like.
+To create sheet music, we write a text file that specifies the
+notation. For example, if we write:
+
@example
@{
c' e' g' e'
}
@end lilypond
-@warning{Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input. The braces
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @strong{@{ curly braces @}}. The braces
should also be surrounded by a space unless they are at the
beginning or end of a line to avoid ambiguities. The braces may
be omitted in some examples in this manual, but don't forget them
confusion to newcomers, so let us explain it in more detail.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural} or
+layout. The alteration (@notation{flat}, @notation{natural sign} or
@notation{sharp}) of a note is part of the pitch, and is therefore
musical content. Whether an accidental (a @emph{printed} flat,
natural or sharp sign) is printed in front of the corresponding
@subheading Simultaneous music expressions: single staff
To determine the number of staves in a piece, LilyPond looks at
-the first expression. If it is a single note, there is one staff;
-if there is a simultaneous expression, there is more than one
-staff.
+the beginning of the first expression. If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
Music Glossary: @rglos{chord}.
-@notation{Chords} can be made by surrounding pitches with single
-angle brackets. Note that all the notes in a chord must have the
-same duration, and that duration is placed after the closing
-bracket.
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets. However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets. Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
r4 <c e g>4 <c f a>2
Think of chords as almost equivalent to single notes:
almost everything you can attach to a single note can be attached
-to a chord, and everything must go @emph{outside} the angle
-brackets. For example, you can combine markings like beams and
+to a chord, and everything must go @emph{outside} the angle
+brackets. For example, you can combine markings like beams and
ties with chords. They must be placed outside the angle brackets.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+
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