Merge remote-tracking branch 'origin/translation'

[lilypond.git] / Documentation / learning / common-notation.itely

diff --git a/Documentation/learning/common-notation.itely b/Documentation/learning/common-notation.itely
index afa7b5c0e02b44f4acd29a6fc77c3ea68321ab72..7b07c8e959fb6047acbfb238c1cf898e2236cafd 100644 (file)
--- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -8,7 +8,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
     Guide, node Updating translation committishes..
 @end ignore
 

-@c \version "2.12.0"
+@c \version "2.19.2"

 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)
 
 @ignore
 Tutorial guidelines:  (different from policy.txt!)


@@ -51,6 +51,7 @@ This section introduces common notation that is used for one voice
 on one staff.
 
 @menu
 on one staff.
 
 @menu

+* Bar lines and bar checks::

 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::
 * Accidentals and key signatures::
 * Ties and slurs::
 * Articulation and dynamics::


@@ -59,15 +60,66 @@ on one staff.
 * Advanced rhythmic commands::
 @end menu
 
 * Advanced rhythmic commands::
 @end menu
 

+@node Bar lines and bar checks
+@subsection Bar lines and bar checks
+
+@menu
+* Bar lines::
+* Bar checks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+
+Single bar lines are automatically placed in the music so
+there is no need to add them manually.  Other types of bar
+lines are added using @code{\bar}, for example
+@code{\bar "||"} for a double bar line, or @code{\bar "|."}
+for an ending bar line.  For a full list of bar lines see
+the @ruser{Bar lines}.
+
+@lilypond[verbatim,quote,relative=2]
+g1 e1 \bar "||" c2. c'4 \bar "|."
+@end lilypond
+
+@node Bar checks
+@unnumberedsubsubsec Bar checks
+
+
+Though not strictly necessary, @emph{bar checks} should be
+used in the input code to show where bar lines are expected
+to fall.  They are entered using the bar symbol, @code{|}.
+With bar checks, the program can verify that you've entered
+durations that make each measure add up to the correct
+length.  Bar checks also make your input code easier to
+read, since they help to keep things organized.
+
+@lilypond[verbatim,quote,relative=2]
+g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 |
+@end lilypond
+
+@seealso
+Notation Reference:
+@ruser{Bar and bar number checks}.
+

 
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 
 
 @node Accidentals and key signatures
 @subsection Accidentals and key signatures
 

+@menu
+* Accidentals::
+* Key signatures::
+* Warning key signatures and pitches::
+@end menu
+

 @warning{New users are often confused by these -- please read the
 warning at the bottom of this page, especially if you are not
 familiar with music theory!}
 
 @warning{New users are often confused by these -- please read the
 warning at the bottom of this page, especially if you are not
 familiar with music theory!}
 

-@subheading Accidentals
+@node Accidentals
+@unnumberedsubsubsec Accidentals
+

 
 @cindex accidentals
 @cindex accidentals and key signatures
 
 @cindex accidentals
 @cindex accidentals and key signatures


@@ -95,11 +147,14 @@ like German and Dutch.  To use other names for
 @notation{accidentals}, see @ruser{Note names in other languages}.
 
 @lilypond[verbatim,quote,relative=2]
 @notation{accidentals}, see @ruser{Note names in other languages}.
 
 @lilypond[verbatim,quote,relative=2]

-cis1 ees fisis, aeses
+cis4 ees fisis, aeses

 @end lilypond
 
 @cindex key signature, setting
 @end lilypond
 
 @cindex key signature, setting

-@subheading Key signatures
+
+@node Key signatures
+@unnumberedsubsubsec Key signatures
+

 
 @cindex key signature
 @cindex major
 
 @cindex key signature
 @cindex major


@@ -123,18 +178,20 @@ followed by a pitch and @code{\major} or @code{\minor}.
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major

-a1
+a1 |

 \key c \minor
 \key c \minor

-a
+a1 |

 @end lilypond
 
 @smallspace
 
 @end lilypond
 
 @smallspace
 

-@subheading Warning: key signatures and pitches
+@node Warning key signatures and pitches
+@unnumberedsubsubsec Warning: key signatures and pitches
+

 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
 
 Music Glossary: @rglos{accidental}, @rglos{key signature},
 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},

-@rglos{transposition}.
+@rglos{transposition}, @rglos{Pitch names}.

 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key
 
 To determine whether to print an @notation{accidental}, LilyPond
 examines the pitches and the @notation{key signature}.  The key


@@ -142,7 +199,7 @@ signature only affects the @emph{printed} accidentals, not the
 note's @notation{pitch}!  This is a feature that often causes
 confusion to newcomers, so let us explain it in more detail.
 
 note's @notation{pitch}!  This is a feature that often causes
 confusion to newcomers, so let us explain it in more detail.
 

-LilyPond makes a sharp distinction between musical content and
+LilyPond makes a clear distinction between musical content and

 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,
 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,


@@ -157,7 +214,7 @@ In this example:
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major
 
 @lilypond[verbatim,quote,relative=2]
 \key d \major

-d cis fis
+cis4 d e fis

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent


@@ -171,12 +228,12 @@ note with pitch B-natural.}  In the key of A-flat major, it
 
 @lilypond[verbatim,quote,relative=2]
 \key aes \major
 
 @lilypond[verbatim,quote,relative=2]
 \key aes \major

-b
+aes4 c b c

 @end lilypond
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,
 @end lilypond
 
 If the above seems confusing, consider this: if you were playing a
 piano, which key would you hit?  If you would press a black key,

-then you @emph{must} add @code{-is} or @code{-es} to the note
+then you @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note

 name!
 
 Adding all alterations explicitly might require a little more
 name!
 
 Adding all alterations explicitly might require a little more


@@ -194,9 +251,6 @@ Notation Reference:
 @ruser{Automatic accidentals},
 @ruser{Key signature}.
 
 @ruser{Automatic accidentals},
 @ruser{Key signature}.
 

-Music Glossary:
-@rglos{Pitch names}.
-

 
 @node Ties and slurs
 @subsection Ties and slurs
 
 @node Ties and slurs
 @subsection Ties and slurs


@@ -210,7 +264,15 @@ Music Glossary:
 @funindex ( ... )
 @funindex \( ... \)
 
 @funindex ( ... )
 @funindex \( ... \)
 

-@subheading Ties
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Warnings slurs vs. ties::
+@end menu
+
+@node Ties
+@unnumberedsubsubsec Ties

 
 
 Music Glossary: @rglos{tie}.
 
 
 Music Glossary: @rglos{tie}.


@@ -219,11 +281,11 @@ A @notation{tie} is created by appending a tilde @code{~} to the
 first note being tied.
 
 @lilypond[verbatim,quote,relative=2]
 first note being tied.
 
 @lilypond[verbatim,quote,relative=2]

-g4~ g c2~
-c4 ~ c8 a8 ~ a2
+g4~ 4 c2~ | 4~ 8 a~ 2 |

 @end lilypond
 
 @end lilypond
 

-@subheading Slurs
+@node Slurs
+@unnumberedsubsubsec Slurs

 
 
 Music Glossary: @rglos{slur}.
 
 
 Music Glossary: @rglos{slur}.


@@ -236,7 +298,9 @@ starting note and ending note are marked with @code{(} and
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 
 d4( c16) cis( d e c cis d) e( d4)
 @end lilypond
 

-@subheading Phrasing slurs
+@node Phrasing slurs
+@unnumberedsubsubsec Phrasing slurs
+

 
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 
 
 Music Glossary: @rglos{slur}, @rglos{phrasing}.
 


@@ -246,13 +310,16 @@ and phrasing slurs at the same time, but you cannot have
 simultaneous slurs or simultaneous phrasing slurs.
 
 @lilypond[verbatim,quote,relative=2]
 simultaneous slurs or simultaneous phrasing slurs.
 
 @lilypond[verbatim,quote,relative=2]

-a8(\( ais b c) cis2 b'2 a4 cis,\)
+g4\( g8( a) b( c) b4\)

 @end lilypond
 
 @smallspace
 
 @cindex slurs versus ties
 @end lilypond
 
 @smallspace
 
 @cindex slurs versus ties

-@subheading Warnings: slurs vs. ties
+
+@node Warnings slurs vs. ties
+@unnumberedsubsubsec Warnings: slurs vs. ties
+

 
 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
 
 
 Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
 


@@ -263,7 +330,7 @@ indicate the @notation{articulation} of notes, and can be used on
 larger groups of notes.  Slurs and ties can be nested.
 
 @lilypond[verbatim,quote,relative=2]
 larger groups of notes.  Slurs and ties can be nested.
 
 @lilypond[verbatim,quote,relative=2]

-c2~( c8 fis fis4 ~ fis2 g2)
+c4~( c8 d~ 4 e)

 @end lilypond
 
 
 @end lilypond
 
 


@@ -277,8 +344,15 @@ Notation Reference:
 @node Articulation and dynamics
 @subsection Articulation and dynamics
 
 @node Articulation and dynamics
 @subsection Articulation and dynamics
 

+@menu
+* Articulations::
+* Fingerings::
+* Dynamics::
+@end menu
+
+@node Articulations
+@unnumberedsubsubsec Articulations

 
 

-@subheading Articulations

 
 @cindex articulation
 @cindex accent
 
 @cindex articulation
 @cindex accent


@@ -290,10 +364,13 @@ Common @notation{articulations} can be added to a note using a
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]
 dash @code{-} and a single character:
 
 @lilypond[verbatim,quote,relative=2]

-c-. c-- c-> c-^ c-+ c-_
+c4-^ c-+ c-- c-!
+c4-> c-. c2-_

 @end lilypond
 
 @end lilypond
 

-@subheading Fingerings
+@node Fingerings
+@unnumberedsubsubsec Fingerings
+

 
 @cindex fingering
 
 
 @cindex fingering
 


@@ -306,7 +383,7 @@ Similarly, @notation{fingering} indications can be added to a note
 using a dash (@code{-}) and the digit to be printed:
 
 @lilypond[verbatim,quote,relative=2]
 using a dash (@code{-}) and the digit to be printed:
 
 @lilypond[verbatim,quote,relative=2]

-c-3 e-5 b-2 a-1
+c4-3 e-5 b-2 a-1

 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but


@@ -316,10 +393,12 @@ articulations on the same note.  However, in most cases it is best
 to let LilyPond determine the articulation directions.
 
 @lilypond[verbatim,quote,relative=2]
 to let LilyPond determine the articulation directions.
 
 @lilypond[verbatim,quote,relative=2]

-c_-^1 d^. f^4_2-> e^-_+
+c4_-^1 d^. f^4_2-> e^-_+

 @end lilypond
 
 @end lilypond
 

-@subheading Dynamics
+@node Dynamics
+@unnumberedsubsubsec Dynamics
+

 
 @cindex dynamics
 @cindex decrescendo
 
 @cindex dynamics
 @cindex decrescendo


@@ -345,7 +424,7 @@ Music Glossary: @rglos{dynamics}, @rglos{crescendo},
 backslash) to the note:
 
 @lilypond[verbatim,quote,relative=2]
 backslash) to the note:
 
 @lilypond[verbatim,quote,relative=2]

-c\ff c\mf c\p c\pp
+c4\ff c\mf c\p c\pp

 @end lilypond
 
 
 @end lilypond
 
 


@@ -355,7 +434,7 @@ example @code{\f}, will end the (de)crescendo, or the command
 @code{\!} can be used:
 
 @lilypond[verbatim,quote,relative=2]
 @code{\!} can be used:
 
 @lilypond[verbatim,quote,relative=2]

-c2\< c2\ff\> c2 c2\!
+c4\< c\ff\> c c\!

 @end lilypond
 
 
 @end lilypond
 
 


@@ -379,14 +458,14 @@ Notation Reference:
 Text may be added to your scores:
 
 @lilypond[verbatim,quote,relative=2]
 Text may be added to your scores:
 
 @lilypond[verbatim,quote,relative=2]

-c1^"espr" a_"legato"
+c2^"espr" a_"legato"

 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 @lilypond[verbatim,quote,relative=2]
 @end lilypond
 
 Extra formatting may be added with the @code{\markup} command:
 
 @lilypond[verbatim,quote,relative=2]

-c1^\markup{ \bold espr}
-a1_\markup{
+c2^\markup { \bold espr }
+a2_\markup {

   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
 @end lilypond
   \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
 }
 @end lilypond


@@ -428,7 +507,7 @@ manually.  To correct just an occasional beam mark the first note
 to be beamed with @code{[} and the last one with @code{]}.
 
 @lilypond[verbatim,quote,relative=2]
 to be beamed with @code{[} and the last one with @code{]}.
 
 @lilypond[verbatim,quote,relative=2]

-a8[ ais] d[ ees r d] a b
+a8[ ais] d[ ees r d] c16 b a8

 @end lilypond
 
 If you want to turn off automatic beaming entirely or for an
 @end lilypond
 
 If you want to turn off automatic beaming entirely or for an


@@ -438,9 +517,9 @@ on again.
 
 @lilypond[verbatim,quote,relative=2]
 \autoBeamOff
 
 @lilypond[verbatim,quote,relative=2]
 \autoBeamOff

-a8 c b4 d8. c16 b4
+a8 c b4 d8. c16 b4 |

 \autoBeamOn
 \autoBeamOn

-a8 c b4 d8. c16 b4
+a8 c b4 d8. c16 b4 |

 @end lilypond
 
 
 @end lilypond
 
 


@@ -453,7 +532,15 @@ Notation Reference:
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 
 @node Advanced rhythmic commands
 @subsection Advanced rhythmic commands
 

-@subheading Partial measure
+@menu
+* Partial measure::
+* Tuplets::
+* Grace notes::
+@end menu
+
+@node Partial measure
+@unnumberedsubsubsec Partial measure
+

 
 @cindex pickup
 @cindex anacrusis
 
 @cindex pickup
 @cindex anacrusis


@@ -469,34 +556,39 @@ A pickup (or @notation{anacrusis}) is entered with the keyword
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @lilypond[verbatim,quote,relative=2]
 is a quarter note pickup and @code{\partial 8} an eighth note.
 
 @lilypond[verbatim,quote,relative=2]

-\partial 8
-f8 c2 d
+\partial 8 f8 |
+c2 d |

 @end lilypond
 
 @end lilypond
 

-@subheading Tuplets
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+

 
 @cindex tuplets
 @cindex triplets
 
 
 @cindex tuplets
 @cindex triplets
 

-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet

 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 
 
 Music Glossary: @rglos{note value}, @rglos{triplet}.
 

-@notation{Tuplets} are made with the @code{\times} keyword.  It
+@notation{Tuplets} are made with the @code{\tuplet} keyword.  It

 takes two arguments: a fraction and a piece of music.  The
 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
-@notation{triplet} has 2/3 as its fraction
+fraction is the number of tuplet notes over the number 
+of notes normally filling the same duration.
+For triplets, there are three notes instead of two, so
+@notation{triplets} have 3/2 as their fraction.

 
 @lilypond[verbatim,quote,relative=2]
 
 @lilypond[verbatim,quote,relative=2]

-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
-\times 2/3 { f,8 g16[ a g a] }
-\times 2/3 { d4 a8 }
+\tuplet 3/2 { f8 g a }
+\tuplet 3/2 { c8 r c }
+\tuplet 3/2 { f,8 g16[ a g a] }
+\tuplet 3/2 { d4 a8 }

 @end lilypond
 
 @end lilypond
 

-@subheading Grace notes
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+

 
 @cindex grace notes
 @cindex acciaccatura
 
 @cindex grace notes
 @cindex acciaccatura


@@ -517,9 +609,9 @@ although they can also be created by prefixing a music expression
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]
 with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
 
 @lilypond[verbatim,quote,relative=2]

-c2 \grace { a32[ b] } c2
-c2 \appoggiatura b16 c2
-c2 \acciaccatura b16 c2
+c2 \grace { a32 b } c2 |
+c2 \appoggiatura b16 c2 |
+c2 \acciaccatura b16 c2 |

 @end lilypond
 
 
 @end lilypond
 
 


@@ -558,6 +650,12 @@ than one voice on the same staff.
 @cindex compound music expression
 @cindex music expression, compound
 
 @cindex compound music expression
 @cindex music expression, compound
 

+@menu
+* Analogy mathematical expressions::
+* Simultaneous music expressions multiple staves::
+* Simultaneous music expressions single staff::
+@end menu
+

 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 
 In LilyPond input files, music is represented by @emph{music
 expressions}.  A single note is a music expression:
 


@@ -578,10 +676,12 @@ that they are in sequence (i.e. each one follows the previous
 one).  The result is another music expression:
 
 @lilypond[verbatim,quote,relative=2]
 one).  The result is another music expression:
 
 @lilypond[verbatim,quote,relative=2]

-{ { a4 g } f g }
+{ { a4 g } f4 g }

 @end lilypond
 
 @end lilypond
 

-@subheading Analogy: mathematical expressions
+@node Analogy mathematical expressions
+@unnumberedsubsubsec Analogy: mathematical expressions
+

 
 This mechanism is similar to mathematical formulas: a big formula
 is created by composing small formulas.  Such formulas are called
 
 This mechanism is similar to mathematical formulas: a big formula
 is created by composing small formulas.  Such formulas are called


@@ -607,7 +707,9 @@ arbitrarily deep, which is necessary for complex music like
 polyphonic scores.
 
 
 polyphonic scores.
 
 

-@subheading Simultaneous music expressions: multiple staves
+@node Simultaneous music expressions multiple staves
+@unnumberedsubsubsec Simultaneous music expressions: multiple staves
+

 
 @cindex multiple staves
 @cindex staves, multiple
 
 @cindex multiple staves
 @cindex staves, multiple


@@ -638,9 +740,9 @@ notes) are combined simultaneously:
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    { a4 g }
-    { f e }
-    { d b }
+    { a2 g }
+    { f2 e }
+    { d2 b }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -650,12 +752,14 @@ different amount of space.  LilyPond does not care how much (or
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 
 little) space there is at the beginning of a line, but indenting
 LilyPond code like this makes it much easier for humans to read.
 

-@warning{each note is relative to the previous note in
-the input, not relative to the @code{c''} in the initial
+@warning{each note is relative to the previous note in the input,
+only the first is relative to the @code{c''} in the initial

 @code{@bs{}relative} command.}
 
 
 @code{@bs{}relative} command.}
 
 

-@subheading Simultaneous music expressions: single staff
+@node Simultaneous music expressions single staff
+@unnumberedsubsubsec Simultaneous music expressions: single staff
+

 
 To determine the number of staves in a piece, LilyPond looks at
 the beginning of the first expression.  If there is a single note,
 
 To determine the number of staves in a piece, LilyPond looks at
 the beginning of the first expression.  If there is a single note,


@@ -666,8 +770,8 @@ out on a single staff.
 
 @lilypond[verbatim,quote]
 \relative c'' {
 
 @lilypond[verbatim,quote]
 \relative c'' {

-  c2 <<c e>>
-  << { e f } { c <<b d>> } >>
+  c2 <<c e>> |
+  << { e2 f } { c2 <<b d>> } >> |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -704,8 +808,8 @@ and @code{>>}:
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    \new Staff { \clef treble c }
-    \new Staff { \clef bass c,, }
+    \new Staff { \clef "treble" c4 }
+    \new Staff { \clef "bass" c,,4 }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -734,15 +838,12 @@ than polyrhythmic scores.
 @lilypond[verbatim,quote]
 \relative c'' {
   <<
 @lilypond[verbatim,quote]
 \relative c'' {
   <<

-    \new Staff { \clef treble \key d \major \time 3/4 c }
-    \new Staff { \clef bass c,, }
+    \new Staff { \clef "treble" \key d \major \time 3/4 c4 }
+    \new Staff { \clef "bass" c,,4 }

   >>
 }
 @end lilypond
 
   >>
 }
 @end lilypond
 

-
-
-

 @node Staff groups
 @subsection Staff groups
 
 @node Staff groups
 @subsection Staff groups
 


@@ -758,7 +859,10 @@ than polyrhythmic scores.
 @funindex GrandStaff
 @funindex ChoirStaff
 
 @funindex GrandStaff
 @funindex ChoirStaff
 

-Music Glossary: @rglos{brace}.
+Music Glossary:
+@rglos{brace},
+@rglos{staff},
+@rglos{system}.

 
 Piano music is typeset in two staves connected by a
 @notation{brace}.
 
 Piano music is typeset in two staves connected by a
 @notation{brace}.


@@ -778,8 +882,8 @@ Here is a small example:
 @lilypond[verbatim,quote]
 \relative c'' {
   \new PianoStaff <<
 @lilypond[verbatim,quote]
 \relative c'' {
   \new PianoStaff <<

-    \new Staff { \time 2/4 c4 e g g, }
-    \new Staff { \clef bass c,, c' e c }
+    \new Staff { \time 2/4 c4 e | g g, | }
+    \new Staff { \clef "bass" c,,4 c' | e c | }

   >>
 }
 @end lilypond
   >>
 }
 @end lilypond


@@ -800,6 +904,8 @@ Notation Reference:
 @node Combining notes into chords
 @subsection Combining notes into chords
 
 @node Combining notes into chords
 @subsection Combining notes into chords
 

+Music Glossary: @rglos{chord}
+

 @cindex chords
 @cindex note durations in chords
 
 @cindex chords
 @cindex note durations in chords
 


@@ -807,8 +913,6 @@ Notation Reference:
 @funindex >
 @funindex < ... >
 
 @funindex >
 @funindex < ... >
 

-Music Glossary: @rglos{chord}.
-

 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
 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


@@ -817,7 +921,7 @@ all the notes in a chord must have the same duration, and that the
 duration is placed after the closing bracket.
 
 @lilypond[verbatim,quote,relative=2]
 duration is placed after the closing bracket.
 
 @lilypond[verbatim,quote,relative=2]

-r4 <c e g>4 <c f a>2
+r4 <c e g> <c f a>2

 @end lilypond
 
 Think of chords as almost equivalent to single notes:
 @end lilypond
 
 Think of chords as almost equivalent to single notes:


@@ -827,10 +931,16 @@ brackets.  For example, you can combine markings like beams and
 ties with chords.  They must be placed outside the angle brackets.
 
 @lilypond[verbatim,quote,relative=2]
 ties with chords.  They must be placed outside the angle brackets.
 
 @lilypond[verbatim,quote,relative=2]

-r4 <c e g>8[ <c f a>]~ <c f a>2
-r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
+r4 <c e g>~ <c f a>2 |
+<c e g>8[ <c f a> <c e g> <c f a>]
+  <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |

 @end lilypond
 
 @end lilypond
 

+@seealso
+Notation Reference:
+@ruser{Chorded notes}.
+

 
 @node Single staff polyphony
 @subsection Single staff polyphony
 
 @node Single staff polyphony
 @subsection Single staff polyphony


@@ -849,7 +959,7 @@ r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
 
 Polyphonic music in lilypond, while not difficult, uses concepts
 that we haven't discussed yet, so we're not going to introduce
 
 Polyphonic music in lilypond, while not difficult, uses concepts
 that we haven't discussed yet, so we're not going to introduce

-them here. Instead, the following sections introduce these concepts
+them here.  Instead, the following sections introduce these concepts

 and explain them thoroughly.
 
 @seealso
 and explain them thoroughly.
 
 @seealso


@@ -889,7 +999,7 @@ rhyme, @notation{Girls and boys come out to play}:
 \relative c'' {
   \key g \major
   \time 6/8
 \relative c'' {
   \key g \major
   \time 6/8

-  d4 b8 c4 a8 d4 b8 g4
+  d4 b8 c4 a8 | d4 b8 g4

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -902,21 +1012,15 @@ separating each syllable with a space.
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
+    d4 b8 c4 a8 | d4 b8 g4

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
+    Girls and boys come | out to play,

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-Note the curly brackets delimiting both the music and the lyrics.
-It is essential that the final syllable is separated from the
-terminating curly bracket by a space or a newline, or it will be
-assumed to be part of the syllable, giving rise to an obscure
-error, see @rprogram{Apparent error in ../ly/init.ly}.
-
-Note also the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<<@dots{}>>}} around the

 whole piece to show that the music and lyrics are to occur at the
 same time.
 
 whole piece to show that the music and lyrics are to occur at the
 same time.
 


@@ -942,34 +1046,47 @@ shine as bright as day}.  Let's extend it:
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c b a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c b a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-We see the extra lyrics do not align properly with the notes.  The
-word @notation{shine} should be sung on two notes, not one.  This
-is called a @notation{melisma}, a single syllable sung to more
-than one note.  There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them, for
-details, see @ref{Ties and slurs}:
+If you compile the code in the example above, you should see some
+warnings in the console output:
+
+@example
+song.ly:12:29: warning: barcheck failed at: 5/8
+    The | moon doth shine as
+                             | bright as day; |
+song.ly:12:46: warning: barcheck failed at: 3/8
+    The | moon doth shine as | bright as day;
+                                              |
+@end example
+
+This is a good example of the usefulness of bar checks.  Now,
+looking at the music, we see that the extra lyrics do not align
+properly with the notes.  The word @notation{shine} should be sung
+on two notes, not one.  This is called a @notation{melisma}, a
+single syllable sung to more than one note.  There are several
+ways to spread a syllable over multiple notes, the simplest being
+to add a slur across them, for details, see @ref{Ties and slurs}:

 
 @lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
     \time 6/8
 
 @lilypond[verbatim,quote]
 <<
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c( b) a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c( b) a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -985,12 +1102,12 @@ manual beams}.
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c([ b]) a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c([ b]) a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1004,12 +1121,12 @@ that should be included in the melisma:
   \relative c'' {
     \key g \major
     \time 6/8
   \relative c'' {
     \key g \major
     \time 6/8

-    d4 b8 c4 a8 d4 b8 g4
-    g8 a4 b8 c[ b] a d4 b8 g4.
+    d4 b8 c4 a8 | d4 b8 g4 g8 |
+    a4 b8 c[ b] a | d4 b8 g4. |

   }
   \addlyrics {
   }
   \addlyrics {

-    Girls and boys come out to play,
-    The moon doth shine _ as bright as day;
+    Girls and boys come | out to play,
+    The | moon doth shine _ as | bright as day; |

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1026,12 +1143,12 @@ first three bars of @notation{Dido's Lament}, from Purcell's
   \relative c'' {
     \key g \minor
     \time 3/2
   \relative c'' {
     \key g \minor
     \time 3/2

-    g2 a bes bes( a)
-    b c4.( bes8 a4. g8 fis4.) g8 fis1
+    g2 a bes | bes2( a) b2 |
+    c4.( bes8 a4. g8 fis4.) g8 | fis1

   }
   \addlyrics {
   }
   \addlyrics {

-    When I am laid,
-    am laid __ in earth,
+    When I am | laid,
+    am | laid __ in | earth,

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1051,12 +1168,12 @@ far about aligning lyrics to notes.
     \key g \major
     \time 3/4
     \partial 4
     \key g \major
     \time 3/4
     \partial 4

-    d4 g4 g a8( b) g4 g4
-    b8( c) d4 d e4 c2
+    d4 | g4 g a8( b) | g4 g b8( c) |
+    d4 d e | c2

   }
   \addlyrics {
   }
   \addlyrics {

-    A -- way in a __ man -- ger,
-    no __ crib for a bed, __
+    A -- | way in a __ | man -- ger,
+    no __ | crib for a | bed, __

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1074,13 +1191,13 @@ Here's an example from Rossini's @notation{Figaro}, where
 @lilypond[verbatim,quote,noragged-right]
 <<
   \relative c' {
 @lilypond[verbatim,quote,noragged-right]
 <<
   \relative c' {

-    \clef bass
+    \clef "bass"

     \key c \major
     \time 6/8
     \key c \major
     \time 6/8

-    c4.~ c8 d b c([ d]) b c d b c
+    c4.~ 8 d b | c8([ d]) b c d b | c8

   }
   \addlyrics {
   }
   \addlyrics {

-    Lar -- go_al fac -- to -- tum del -- la cit -- tà
+    Lar -- go_al fac -- | to -- tum del -- la cit -- | tà

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1107,19 +1224,19 @@ example from Handel's @notation{Judas Maccabæus}:
     \key f \major
     \time 6/8
     \partial 8
     \key f \major
     \time 6/8
     \partial 8

-    c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
+    c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4

   }
   \addlyrics {
   }
   \addlyrics {

-    Let flee -- cy flocks the hills a -- dorn, __
+    Let | flee -- cy flocks the | hills a -- | dorn, __

   }
   \relative c' {
     \key f \major
     \time 6/8
     \partial 8
   }
   \relative c' {
     \key f \major
     \time 6/8
     \partial 8

-    r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
+    r8 | r4. r4 c8 | a'8([ g]) f f([ e]) d | e8([ d]) c bes'4

   }
   \addlyrics {
   }
   \addlyrics {

-    Let flee -- cy flocks the hills a -- dorn,
+    Let | flee -- cy flocks the | hills a -- dorn,

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -1187,12 +1304,14 @@ violin = \new Staff {
     a4 b c b
   }
 }
     a4 b c b
   }
 }

+

 cello = \new Staff {
   \relative c {
 cello = \new Staff {
   \relative c {

-    \clef bass
+    \clef "bass"

     e2 d
   }
 }
     e2 d
   }
 }

+

 {
   <<
     \violin
 {
   <<
     \violin


@@ -1212,11 +1331,11 @@ of another variable, giving a way of shortening the input if a
 section of music is repeated many times.
 
 @lilypond[verbatim,quote]
 section of music is repeated many times.
 
 @lilypond[verbatim,quote]

-tripletA = \times 2/3 { c,8 e g }
+tripletA = \tuplet 3/2 { c,8 e g }

 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {
 barA = { \tripletA \tripletA \tripletA \tripletA }
 
 \relative c'' {

- \barA \barA
+  \barA \barA

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1237,6 +1356,7 @@ places.  The following example uses the above variables:
   \aFivePaper
   line-width = \width
 @}
   \aFivePaper
   line-width = \width
 @}

+

 @{
   c4^\name
 @}
 @{
   c4^\name
 @}


@@ -1260,6 +1380,7 @@ underneath the version number.
 
 @example
 \version @w{"@version{}"}
 
 @example
 \version @w{"@version{}"}

+

 \header @{
   title = "Symphony"
   composer = "Me"
 \header @{
   title = "Symphony"
   composer = "Me"


@@ -1273,7 +1394,7 @@ underneath the version number.
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in
 
 When the file is processed, the title and composer are printed
 above the music.  More information on titling can be found in

-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.

 
 
 @node Absolute note names
 
 
 @node Absolute note names


@@ -1287,20 +1408,19 @@ above the music.  More information on titling can be found in
 @cindex absolute note names
 
 So far we have always used @code{\relative} to define pitches.
 @cindex absolute note names
 
 So far we have always used @code{\relative} to define pitches.

-This is the easiest way to enter most music, but another way of
-defining pitches exists: absolute mode.
+This is usually the fastest way to enter most music.  Without
+@code{\relative}, pitches are interpreted in absolute mode.

 
 

-If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values.  A @code{c'} will always mean middle C, a
-@code{b} will always mean the note one step below middle C, and a
-@code{g,} will always mean the note on the bottom staff of the
-bass clef.
+In this mode, LilyPond treats all pitches as absolute values.  A
+@code{c'} will always mean middle C, a @code{b} will always mean
+the note one step below middle C, and a @code{g,} will always mean
+the note on the bottom staff of the bass clef.

 
 @lilypond[verbatim,quote]
 {
 
 @lilypond[verbatim,quote]
 {

-  \clef bass
-  c' b g, g,
-  g, f, f c'
+  \clef "bass"
+  c'4 b g, g, |
+  g,4 f, f c' |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1308,16 +1428,16 @@ Here is a four-octave scale:
 
 @lilypond[verbatim,quote]
 {
 
 @lilypond[verbatim,quote]
 {

-  \clef bass
-  c, d, e, f,
-  g, a, b, c
-  d e f g
-  a b c' d'
-  \clef treble
-  e' f' g' a'
-  b' c'' d'' e''
-  f'' g'' a'' b''
-  c'''1
+  \clef "bass"
+  c,4 d, e, f, |
+  g,4 a, b, c |
+  d4 e f g |
+  a4 b c' d' |
+  \clef "treble"
+  e'4 f' g' a' |
+  b'4 c'' d'' e'' |
+  f''4 g'' a'' b'' |
+  c'''1 |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1328,8 +1448,8 @@ of quote @code{'} marks.  Consider this fragment from Mozart:
 {
   \key a \major
   \time 6/8
 {
   \key a \major
   \time 6/8

-  cis''8. d''16 cis''8 e''4 e''8
-  b'8. cis''16 b'8 d''4 d''8
+  cis''8. d''16 cis''8 e''4 e''8 |
+  b'8. cis''16 b'8 d''4 d''8 |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1341,8 +1461,8 @@ easier to read and type:
 \relative c'' {
   \key a \major
   \time 6/8
 \relative c'' {
   \key a \major
   \time 6/8

-  cis8. d16 cis8 e4 e8
-  b8. cis16 b8 d4 d8
+  cis8. d16 cis8 e4 e8 |
+  b8. cis16 b8 d4 d8 |

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1354,9 +1474,25 @@ to find.
 
 However, absolute mode is useful for music which has large
 intervals, and is extremely useful for computer-generated LilyPond
 
 However, absolute mode is useful for music which has large
 intervals, and is extremely useful for computer-generated LilyPond

-files.
+files.  When cutting and pasting melody fragments, absolute mode
+preserves the original octave.

 
 

+Sometimes music is arranged in more complex ways.  If you are
+using @code{\relative} inside of @code{\relative}, the outer and
+inner relative sections are independent:

 
 

+@lilypond[verbatim,quote]
+\relative c { c'4 \relative c'' { f g } c }
+@end lilypond
+
+@funindex \absolute
+If you are using absolute music inside of relative, you'll need to
+mark the absolute music explicitly with @code{\absolute} to stop
+it from becoming part of the relative music:
+
+@lilypond[verbatim,quote]
+\relative c { c'4 \absolute { f'' g'' } c }
+@end lilypond

 
 @node After the tutorial
 @subsection After the tutorial
 
 @node After the tutorial
 @subsection After the tutorial