Merge branch 'master' of ssh+git://jneem@git.sv.gnu.org/srv/git/lilypond

[lilypond.git] / Documentation / user / tutorial.itely

diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely
index f5f30ec5930dc5a2305779417336d17582fc9563..796705ec5149f7e08b299d82c36f8a27ac9b2e1a 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -1,4 +1,4 @@
-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-

 @c This file is part of lilypond.tely
 
 @c TODO:
 @c This file is part of lilypond.tely
 
 @c TODO:


@@ -26,7 +26,7 @@ picture in the HTML version of this manual, you will see the exact
 LilyPond input that was used to generate that image.
 Try it on this image
 
 LilyPond input that was used to generate that image.
 Try it on this image
 

-@lilypond[fragment,quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2]

 c-\markup { \bold \huge { Click here.  } }
 @end lilypond
 @end ifhtml
 c-\markup { \bold \huge { Click here.  } }
 @end lilypond
 @end ifhtml


@@ -37,8 +37,8 @@ you will probably want to print out or bookmark
 @ifhtml
 the
 @end ifhtml
 @ifhtml
 the
 @end ifhtml

-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.

 
 @menu
 * First steps::                 
 
 @menu
 * First steps::                 


@@ -51,7 +51,7 @@ reference.
 * More staves::                 
 * Adding articulation marks to notes::  
 * Combining notes into chords::  
 * More staves::                 
 * Adding articulation marks to notes::  
 * Combining notes into chords::  

-* Advanced rhythmic commands::   
+* Advanced rhythmic commands::  

 * Commenting input files::      
 * Printing lyrics::             
 * A lead sheet::                
 * Commenting input files::      
 * Printing lyrics::             
 * A lead sheet::                


@@ -60,6 +60,7 @@ reference.
 * Piano staves::                
 * Organizing larger pieces::    
 * An orchestral part::          
 * Piano staves::                
 * Organizing larger pieces::    
 * An orchestral part::          

+* After the tutorial::          

 @end menu
 
 
 @end menu
 
 


@@ -71,7 +72,9 @@ of music, a @rglos{scale}.  A @rglos{note} can be entered by typing its
 name, from @samp{a} through @samp{g}.  So, if you enter
 
 @example
 name, from @samp{a} through @samp{g}.  So, if you enter
 
 @example

+@{

 c d e f g a b
 c d e f g a b

+@}

 @end example
 
 @noindent
 @end example
 
 @noindent


@@ -81,6 +84,20 @@ the result looks like this
 c d e f g a b
 @end lilypond
 
 c d e f g a b
 @end lilypond
 

+Every piece of LilyPond input needs to have @{curly braces@} placed
+around the input.  For the rest of this manual, most examples will
+omit these braces, but don't forget them in your own music!
+
+In addition, many examples use @code{relative} mode.  This is explained
+in @ref{Octave entry}; for now simply be aware that some examples
+should be placed inside @code{\relative @{ @emph{...music...} @}}.
+Many example have also been compressed horizontally to save
+space, using @code{\paper @{ ragged-right = ##t @}}.
+
+@cindex Case sensitive
+Finally, LilyPond input is case sensitive.  @code{ @{ c d e @} } is
+valid input; @code{ @{ C D E @} } will produce an error message.
+

 The @rglos{duration} of a note is specified by a number after the note
 name.  @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
 @samp{4} for a @rglos{quarter note} and so on
 The @rglos{duration} of a note is specified by a number after the note
 name.  @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note},
 @samp{4} for a @rglos{quarter note} and so on


@@ -138,7 +155,7 @@ command
 
 @c A clef here may lead to confusion, remove it.
 @lilypond[fragment,quote]
 
 @c A clef here may lead to confusion, remove it.
 @lilypond[fragment,quote]

-\override Staff.Clef #'transparent = ##t 
+\override Staff.Clef #'transparent = ##t

 \time 3/4
 s4_" "
 \time 6/8
 \time 3/4
 s4_" "
 \time 6/8


@@ -167,28 +184,28 @@ s4_" "
 s16_" "
 @end lilypond
 
 s16_" "
 @end lilypond
 

-

 Remember to enclose the notes and commands in curly braces
 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
 
 Remember to enclose the notes and commands in curly braces
 @code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
 

-@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
+@c @li lypond[fragment,quote,noindent,line-width=55\staff-space]
+@lilypond[fragment,quote,noindent,verbatim]

 \time 3/4
 \clef bass
 c2 e4 g2.
 f4 e d c2 r4
 @end lilypond
 
 \time 3/4
 \clef bass
 c2 e4 g2.
 f4 e d c2 r4
 @end lilypond
 

-For more elaborate information on
+For more information on

 
 @quotation
 @table @asis
 @item Entering pitches and durations
 
 @quotation
 @table @asis
 @item Entering pitches and durations

-see 
+see

 @ref{Pitches}, and @ref{Durations}.
 @item Clefs
 see @ref{Clef}.
 @item Rests
 @ref{Pitches}, and @ref{Durations}.
 @item Clefs
 see @ref{Clef}.
 @item Rests

-see @ref{Rests}.  
+see @ref{Rests}.

 @item Time signatures and other timing commands
 see @ref{Time signature}.
 @end table
 @item Time signatures and other timing commands
 see @ref{Time signature}.
 @end table


@@ -223,9 +240,9 @@ programmer-oriented editor will do, for example Notepad.  Do not use a
 word processor, since these insert formatting codes that will confuse
 LilyPond.} and enter
 
 word processor, since these insert formatting codes that will confuse
 LilyPond.} and enter
 

-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{ c'4 e' g' }
+@end verbatim

 
 Save it on the desktop as @file{test.ly} and make sure that it is not
 called @file{test.ly.TXT}.  Double clicking @file{test.ly} will process
 
 Save it on the desktop as @file{test.ly} and make sure that it is not
 called @file{test.ly.TXT}.  Double clicking @file{test.ly} will process


@@ -242,9 +259,9 @@ installed already, refer to the file @file{INSTALL.txt}.}  In your
 text editor, enter the following input and save the file as
 @file{test.ly}
 
 text editor, enter the following input and save the file as
 @file{test.ly}
 

-@example
-@{ c'4 e' g' @}
-@end example
+@verbatim
+{ c'4 e' g' }
+@end verbatim

 
 @noindent
 To process @file{test.ly}, proceed as follows
 
 @noindent
 To process @file{test.ly}, proceed as follows


@@ -262,7 +279,7 @@ GNU LilyPond 2.6.0
 Processing `test.ly'
 Parsing...
 Interpreting music... [1]
 Processing `test.ly'
 Parsing...
 Interpreting music... [1]

-Preprocessing graphical objects... 
+Preprocessing graphical objects...

 Calculating line breaks... [2]
 Layout output to `test.ps'...
 Converting to `test.pdf'...
 Calculating line breaks... [2]
 Layout output to `test.ps'...
 Converting to `test.pdf'...


@@ -279,10 +296,10 @@ your system does not have any tools installed, you can try
 available package for viewing and printing PDF and PostScript files.}
 
 @node More about pitches
 available package for viewing and printing PDF and PostScript files.}
 
 @node More about pitches

-@section More about pitches 
+@section More about pitches

 
 

-A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
-the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}.  As
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, a @rglos{flat} pitch by adding @samp{es}.  As

 you might expect, a @rglos{double sharp} or @rglos{double flat} is
 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
 derived from note naming conventions in Nordic and Germanic languages,
 you might expect, a @rglos{double sharp} or @rglos{double flat} is
 made by adding @samp{isis} or @samp{eses}@footnote{This syntax
 derived from note naming conventions in Nordic and Germanic languages,


@@ -393,7 +410,7 @@ For more information on Ties see @ref{Ties}.
 @node Automatic and manual beams
 @section Automatic and manual beams
 
 @node Automatic and manual beams
 @section Automatic and manual beams
 

-@cindex beams, by hand 
+@cindex beams, by hand

 All @rglos{beam}s are drawn automatically
 
 @lilypond[quote,fragment,relative=2,verbatim]
 All @rglos{beam}s are drawn automatically
 
 @lilypond[quote,fragment,relative=2,verbatim]


@@ -414,7 +431,7 @@ For more information on beams, see @ref{Manual beams}.
 
 Here are key signatures, accidentals and ties in action
 
 
 Here are key signatures, accidentals and ties in action
 

-@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
+@lilypond[fragment,quote,noindent,line-width=50\staff-space,verbatim]

 \relative c'' {
   \time 4/4
   \key g \minor
 \relative c'' {
   \time 4/4
   \key g \minor


@@ -448,7 +465,7 @@ according to standard notation conventions.
 @c tie) examples...
 
 @c better to have this just before the `octaves are bad' snipped
 @c tie) examples...
 
 @c better to have this just before the `octaves are bad' snipped

-@c but we'd need to remove the ', from \key and tie 
+@c but we'd need to remove the ', from \key and tie

 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
 the note name, to lower a note one octave, add a `low quote' @code{,}
 (comma).  Middle C is @code{c'}
 To raise a note by an octave, add a high quote @code{'} (apostrophe) to
 the note name, to lower a note one octave, add a `low quote' @code{,}
 (comma).  Middle C is @code{c'}


@@ -459,11 +476,11 @@ c'4 c'' c''' \clef bass c c,
 
 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[quote,raggedright,fragment,verbatim]
+@lilypond[quote,ragged-right,fragment,verbatim]

 \key a \major
 \time 6/8
 cis''8. d''16 cis''8 e''4 e''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 
+b'8. cis''16 b'8 d''4 d''8

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent


@@ -472,7 +489,7 @@ This makes the input less readable, and it is a source of errors.  The
 solution is to use `relative octave' mode.   This is the
 most convenient way to copy existing music.
 
 solution is to use `relative octave' mode.   This is the
 most convenient way to copy existing music.
 

-In relative mode, a note without octavation quotes (i.e. the @code{'}
+In relative mode, a note without octavation quotes (i.e., the @code{'}

 or @code{,} after a note) is chosen so that it is closest to the
 previous one.  For example, @samp{c f} goes up while @samp{c g} goes
 down.
 or @code{,} after a note) is chosen so that it is closest to the
 previous one.  For example, @samp{c f} goes up while @samp{c g} goes
 down.


@@ -495,7 +512,7 @@ Since most music has small intervals, pieces can be written almost
 without octavation quotes in relative mode.  The previous example is
 entered as
 
 without octavation quotes in relative mode.  The previous example is
 entered as
 

-@lilypond[quote,raggedright,verbatim]
+@lilypond[quote,ragged-right,verbatim]

 \relative {
   \key a \major
   \time 6/8
 \relative {
   \key a \major
   \time 6/8


@@ -530,7 +547,7 @@ and @ref{Octave check}.
 
 
 In input files, music is represent by so-called @emph{music
 
 
 In input files, music is represent by so-called @emph{music

-expression}s.  We have already seen some in the previous examples; 
+expression}s.  We have already seen some in the previous examples;

 a single note is a music expression
 
 @lilypond[fragment,quote,verbatim,relative=3]
 a single note is a music expression
 
 @lilypond[fragment,quote,verbatim,relative=3]


@@ -551,7 +568,7 @@ Here, the expression from the previous example is combined with two
 notes
 
 @lilypond[fragment,quote,verbatim,relative=3]
 notes
 
 @lilypond[fragment,quote,verbatim,relative=3]

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

 @end lilypond
 
 This technique is useful for non-monophonic music.  To enter music
 @end lilypond
 
 This technique is useful for non-monophonic music.  To enter music


@@ -588,7 +605,7 @@ you can make arbitrarily complex and large expressions.  For example,
 @cindex expression
 @cindex music expression
 This is a sequence of expressions, where each expression is contained
 @cindex expression
 @cindex music expression
 This is a sequence of expressions, where each expression is contained

-in the next one.  The simplest expressions are numbers, and larger
+in the next (larger) one.  The simplest expressions are numbers, and larger

 ones are made by combining expressions with operators (like @samp{+},
 @samp{*} and @samp{/}) and parentheses.  Like mathematical expressions,
 music expressions can be nested arbitrarily deep, which is necessary
 ones are made by combining expressions with operators (like @samp{+},
 @samp{*} and @samp{/}) and parentheses.  Like mathematical expressions,
 music expressions can be nested arbitrarily deep, which is necessary


@@ -600,7 +617,7 @@ example begins with a single note.  To determine the number of staves,
 LilyPond looks at the first element.  If it is a single note, there is one
 staff; if there is a simultaneous expression, there is more than one staff.
 
 LilyPond looks at the first element.  If it is a single note, there is one
 staff; if there is a simultaneous expression, there is more than one staff.
 

-@lilypond[fragment,quote,verbatim,relative=2] 
+@lilypond[fragment,quote,verbatim,relative=2]

 {
   c <<c e>>
   << { e f } { c <<b d>> } >>
 {
   c <<c e>>
   << { e f } { c <<b d>> } >>


@@ -665,14 +682,14 @@ We can now typeset a melody with two staves
 
 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
 
 
 @c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
 

-@lilypond[fragment,quote,verbatim,raggedright]
+@lilypond[fragment,quote,verbatim,ragged-right]

 \relative <<
   \new Staff {
     \time 3/4
 \relative <<
   \new Staff {
     \time 3/4

-    \clef treble 
-    
+    \clef treble
+

     e'2 d4 c2 b4 a8[ a]
     e'2 d4 c2 b4 a8[ a]

-    b[ b] g[ g] a2. 
+    b[ b] g[ g] a2.

   }
   \new Staff {
      \clef bass
   }
   \new Staff {
      \clef bass


@@ -896,7 +913,7 @@ ignored.  The following fragment shows possible uses for comments
     are ignored, since they are in a
     block comment.
 
     are ignored, since they are in a
     block comment.
 

-    g g f f e e d d c2 
+    g g f f e e d d c2

 %@}
 @end example
 
 %@}
 @end example
 


@@ -911,7 +928,7 @@ statement marks for which version of LilyPond the file was written.
 To mark a file for version 2.6.0, use
 
 @example
 To mark a file for version 2.6.0, use
 
 @example

-\version "2.6.0"
+\version "2.9.13"

 @end example
 
 @noindent
 @end example
 
 @noindent


@@ -937,7 +954,7 @@ I want to break free
 
 Consider the melody
 
 
 Consider the melody
 

-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]

 \relative {
   r4 c \times 2/3 { f g g }
   \times 2/3 { g4( a2) }
 \relative {
   r4 c \times 2/3 { f g g }
   \times 2/3 { g4( a2) }


@@ -947,7 +964,7 @@ Consider the melody
 The lyrics can be set to these notes, combining both with the
 @code{\addlyrics} keyword
 
 The lyrics can be set to these notes, combining both with the
 @code{\addlyrics} keyword
 

-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]

 <<
   \relative {
     r4 c \times 2/3 { f g g }
 <<
   \relative {
     r4 c \times 2/3 { f g g }


@@ -966,9 +983,9 @@ line}.  It is entered as two underscores, i.e.,
 
 @example
 @{ I want to break free __ @}
 
 @example
 @{ I want to break free __ @}

-@end example 
+@end example

 
 

-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]

 <<
   \relative {
     r4 c \times 2/3 { f g g }
 <<
   \relative {
     r4 c \times 2/3 { f g g }


@@ -982,16 +999,17 @@ Similarly, hyphens between words can be entered as two dashes,
 resulting in a centered hyphen between two syllables
 
 @example
 resulting in a centered hyphen between two syllables
 
 @example

-Twin -- kle twin -- kle
+A -- le gri -- a

 @end example
 
 @end example
 

-@lilypond[fragment,quote,raggedright]
+@c no ragged-right here, because otherwise the hypens get lost.
+@lilypond[fragment,quote]

 <<
   \relative {
     \time 2/4
     f4 f c' c
   }
 <<
   \relative {
     \time 2/4
     f4 f c' c
   }

-  \addlyrics { Twin -- kle twin -- kle }
+  \addlyrics { A -- le gri -- a }

 >>
 @end lilypond
 
 >>
 @end lilypond
 


@@ -1011,7 +1029,7 @@ discussed in @ref{Vocal music}.
 In popular music, it is common to denote accompaniment with chord names.
 Such chords can be entered like notes,
 
 In popular music, it is common to denote accompaniment with chord names.
 Such chords can be entered like notes,
 

-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]

 \chordmode { c2 f4. g8 }
 @end lilypond
 
 \chordmode { c2 f4. g8 }
 @end lilypond
 


@@ -1022,7 +1040,7 @@ This mode is switched on with @code{\chordmode}
 Other chords can be created by adding modifiers after a colon.  The
 following example shows a few common modifiers
 
 Other chords can be created by adding modifiers after a colon.  The
 following example shows a few common modifiers
 

-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]

 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 
 \chordmode { c2 f4:m g4:maj7 gis1:dim7 }
 @end lilypond
 


@@ -1031,8 +1049,8 @@ line for themselves.  This is achieved by using @code{\chords} instead
 of @code{\chordmode}.  This uses the same syntax as @code{\chordmode},
 but renders the notes in a @code{ChordNames} context, with the
 following result.
 of @code{\chordmode}.  This uses the same syntax as @code{\chordmode},
 but renders the notes in a @code{ChordNames} context, with the
 following result.

- 
-@lilypond[quote,verbatim,raggedright]
+
+@lilypond[quote,verbatim,ragged-right]

 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 
 \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
 @end lilypond
 


@@ -1049,9 +1067,9 @@ a lead sheet, for example,
 @}
 @end example
 
 @}
 @end example
 

-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]

 <<
 <<

-  \chords { r2 c:sus4 f } 
+  \chords { r2 c:sus4 f }

   \relative {
     r4 c' \times 2/3 { f g g }
     \times 2/3 { g4( a2) }
   \relative {
     r4 c' \times 2/3 { f g g }
     \times 2/3 { g4( a2) }


@@ -1073,9 +1091,9 @@ entered as an assignment, within @code{\header
 @{@tie{}@dots{}@tie{}@}}.  The @code{\header} block is usually put at
 the top of the file.  For example,
 
 @{@tie{}@dots{}@tie{}@}}.  The @code{\header} block is usually put at
 the top of the file.  For example,
 

-@example 
+@example

 \header @{
 \header @{

-  title = "Miniature" 
+  title = "Miniature"

   composer = "Igor Stravinsky"
 @}
 
   composer = "Igor Stravinsky"
 @}
 


@@ -1129,14 +1147,14 @@ Again, these expressions can be nested arbitrarily
   >>
   \new Staff <<
     \clef bass
   >>
   \new Staff <<
     \clef bass

-    { <c, g>1 ~ <c g>4 } \\
-    { e,4 d e2 ~ e4}
+    { <c g>1 ~ <c g>4 } \\
+    { e,,4 d e2 ~ e4}

   >>
 >>
 @end lilypond
 
 More features of polyphonic typesetting are described in this manual
   >>
 >>
 @end lilypond
 
 More features of polyphonic typesetting are described in this manual

-in section @ref{Polyphony}.
+in section @ref{Basic polyphony}.

 
 
 @node Piano staves
 
 
 @node Piano staves


@@ -1169,15 +1187,15 @@ Here is a small example
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-More information on formatting piano music is given in @ref{Piano music}.  
+More information on formatting piano music is given in @ref{Piano music}.

 
 
 @node Organizing larger pieces
 @section Organizing larger pieces
 
 When all of the elements discussed earlier are combined to produce
 
 
 @node Organizing larger pieces
 @section Organizing larger pieces
 
 When all of the elements discussed earlier are combined to produce

-larger files, the @code{\score} blocks get a lot bigger, because the
-music expressions are longer, and, in the case of polyphonic pieces,
+larger files, the @code{\score} blocks get a lot bigger because the
+music expressions are longer, and, in the case of polyphonic music,

 more deeply nested.  Such large expressions can become unwieldy.
 
 By using variables, also known as identifiers, it is possible to break
 more deeply nested.  Such large expressions can become unwieldy.
 
 By using variables, also known as identifiers, it is possible to break


@@ -1193,15 +1211,15 @@ later by preceding the name with a backslash, i.e., @code{\namedMusic}.
 In the next example, a two-note motive is repeated two times by using
 variable substitution
 
 In the next example, a two-note motive is repeated two times by using
 variable substitution
 

-@lilypond[quote,raggedright,verbatim,nofragment]
+@lilypond[quote,ragged-right,verbatim,nofragment]

 seufzer = {
   e'4( dis'4)
 }
 { \seufzer \seufzer }
 @end lilypond
 
 seufzer = {
   e'4( dis'4)
 }
 { \seufzer \seufzer }
 @end lilypond
 

-The name of an identifier should have alphabetic characters only; no
-numbers, underscores or dashes.  The assignment should be outside of
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes.  The assignment should be outside of

 running music.
 
 It is possible to use variables for many other types of objects in the
 running music.
 
 It is possible to use variables for many other types of objects in the


@@ -1219,7 +1237,7 @@ places.  The following example uses the above variables
 @example
 \paper @{
   \aFivePaper
 @example
 \paper @{
   \aFivePaper

-  linewidth = \width
+  line-width = \width

 @}
 @{ c4^\name @}
 @end example
 @}
 @{ c4^\name @}
 @end example


@@ -1273,12 +1291,12 @@ The line
 substitutes the contents of @file{horn-music.ly} at this position in
 the file, so @code{hornNotes} is defined afterwards.  The command
 @code{\transpose f@tie{}c'} indicates that the argument, being
 substitutes the contents of @file{horn-music.ly} at this position in
 the file, so @code{hornNotes} is defined afterwards.  The command
 @code{\transpose f@tie{}c'} indicates that the argument, being

-@code{\hornNotes}, should be transposed by a fifth downwards.  Sounding
+@code{\hornNotes}, should be transposed by a fifth upwards.  Sounding

 @samp{f} is denoted by notated @code{c'}, which corresponds with the
 tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 
 @samp{f} is denoted by notated @code{c'}, which corresponds with the
 tuning of a normal French Horn in@tie{}F.  The transposition can be seen
 in the following output
 

-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]

 \transpose f c' \relative c {
   \time 2/4
   r4 f8 a cis4 f e d
 \transpose f c' \relative c {
   \time 2/4
   r4 f8 a cis4 f e d


@@ -1288,7 +1306,8 @@ in the following output
 In ensemble pieces, one of the voices often does not play for many
 measures.  This is denoted by a special rest, the multi-measure
 rest.  It is entered with a capital @samp{R} followed by a duration
 In ensemble pieces, one of the voices often does not play for many
 measures.  This is denoted by a special rest, the multi-measure
 rest.  It is entered with a capital @samp{R} followed by a duration

-(1@tie{}for a whole note, 2@tie{}for a half note, etc.).  By multiplying the
+(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
+etc.).  By multiplying the

 duration, longer rests can be constructed.  For example, this rest
 takes 3@tie{}measures in 2/4 time
 
 duration, longer rests can be constructed.  For example, this rest
 takes 3@tie{}measures in 2/4 time
 


@@ -1308,10 +1327,10 @@ This command sets the property @code{skipBars} in the
 @code{Score} context to true (@code{##t}).  Prepending the rest and
 this option to the music above, leads to the following result
 
 @code{Score} context to true (@code{##t}).  Prepending the rest and
 this option to the music above, leads to the following result
 

-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]

 \transpose f c' \relative c {
   \time 2/4
 \transpose f c' \relative c {
   \time 2/4

-  \set Score.skipBars = ##t 
+  \set Score.skipBars = ##t

   R2*3
   r4 f8 a cis4 f e d
 }
   R2*3
   r4 f8 a cis4 f e d
 }


@@ -1333,9 +1352,9 @@ that the other voice is in @code{bassoonNotes} in the file
 @end example
 
 @noindent
 @end example
 
 @noindent

-leading to 
+leading to

 
 

-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]

 \relative c <<
   \new Staff {
     \time 2/4 R2*3
 \relative c <<
   \new Staff {
     \time 2/4 R2*3


@@ -1356,14 +1375,22 @@ Setting run-time variables (`properties') is discussed in
 @ref{Changing context properties on the fly}.
 
 
 @ref{Changing context properties on the fly}.
 
 

-@ignore
-
-* longer example
+@node After the tutorial
+@section After the tutorial

 
 

-* discuss expectations (?)
+After finishing the tutorial, you should probably try writing a
+piece or two.  Start with one of the @ref{Example templates} and
+add notes.  If you need any notation that was not covered in the
+tutorial, look at the Notation Reference, starting with
+@ref{Basic notation}.  If you want to write for an instrument
+ensemble which is not covered in the @ref{Example templates},
+take a look at @ref{Extending the templates}.

 
 

-* conclude tutorial
+Once you have written a few short pieces, read the rest of
+the Learning Manual (chapters 3-5).  There's nothing wrong
+with reading them now, of course!  However, the rest of the
+Learning Manual assumes that you are familiar with
+LilyPond input.  You may wish to skim these chapters right
+now, and come back to them after you have more experience.

 
 

-* overview of chapters?

 
 

-@end ignore