Merge branch 'master' of git+ssh://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 6064d2517c2beb5c6ac461c624b821215f564b1d..c0f622f7897c50bce49b446a8009d6a06b470c21 100644 (file)
--- a/Documentation/user/tutorial.itely
+++ b/Documentation/user/tutorial.itely
@@ -1,6 +1,29 @@
-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-

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

+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore
+
+@ignore
+Tutorial guidelines:
+- unless you have a really good reason, use either
+    @l ilypond[quote,ragged-right,verbatim]
+  or
+    @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
+  (without spaces)
+  Don't use any other relative=X commands (make it a non-fragment
+  example), and don't use fragment without relative=2.
+- use "aes" and "ees" instead of "as" and "aes".  I know it's not
+  correct Dutch naming, but let's not confuse people with this until
+  we get to the Basic notation chapter.
+@end ignore
+
+

 
 

+@c   old info that will probably be removed.

 @c TODO:
 @c   * more details about running lilypond; error messages,
 @c     compiling/viewing (emacs?)
 @c TODO:
 @c   * more details about running lilypond; error messages,
 @c     compiling/viewing (emacs?)


@@ -14,10 +37,9 @@
 @node Tutorial
 @chapter Tutorial
 
 @node Tutorial
 @chapter Tutorial
 

-This tutorial starts with a short introduction to the LilyPond music
-language.  After this first contact we will show you how to produce
-printed output.  Then you will be able to create and print your own
-sheets of music.
+This tutorial starts with an introduction to the LilyPond music
+language and how to produce printed music.  After this first contact we
+will explain how to create common musical notation.

 
 @ifhtml
 Many people learn programs by trying and fiddling around with the
 
 @ifhtml
 Many people learn programs by trying and fiddling around with the


@@ -26,199 +48,130 @@ 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]
-c-\markup { \bold \huge { Click here.  } }
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+  c-\markup { \bold \huge { Click here.  } }
+}

 @end lilypond
 @end lilypond

-@end ifhtml

 
 

-By cutting and pasting the full input into a test file, you have a
+By cutting and pasting everything in the @qq{ly snippet} section, you have a

 starting template for experiments.  If you like learning in this way,
 starting template for experiments.  If you like learning in this way,

-you will probably want to print out or bookmark
-@ifhtml
-the
+you will probably want to print out or bookmark the
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.

 @end ifhtml
 @end ifhtml

-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.

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

-* Running LilyPond for the first time::  
-* More about pitches::          
-* Entering ties::               
-* Automatic and manual beams::  
-* Octave entry::                
-* Music expressions explained::  
-* More staves::                 
-* Adding articulation marks to notes::  
-* Combining notes into chords::  
-* Advanced rhythmic commands::   
-* Commenting input files::      
-* Printing lyrics::             
-* A lead sheet::                
-* Adding titles::               
-* Single staff polyphony::      
-* Piano staves::                
-* Organizing larger pieces::    
-* An orchestral part::          
+* Single staff notation::       
+* Multiple notes at once::      
+* Songs::                       
+* Final touches::               

 @end menu
 
 
 @node First steps
 @section First steps
 
 @end menu
 
 
 @node First steps
 @section First steps
 

-The first example demonstrates how to enter the most elementary piece
-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
-c d e f g a b
-@end example
-
-@noindent
-the result looks like this
-
-@lilypond[fragment,quote,notime,relative=1]
-c d e f g a b
-@end lilypond
-
-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
-
-@example
-a1 a2 a4 a16 a32
-@end example
-
-@lilypond[fragment,quote,notime,relative=2]
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
+This section gives a basic introduction to working with LilyPond.

 
 

-If you do not specify a duration, the duration last entered is used
-for the next notes.  The duration of the first note in input defaults
-to a quarter
-
-@example
-a a8 a a2 a
-@end example
+@menu
+* Compiling a file::            
+* Simple notation::             
+* Working on text files::       
+* How to read the tutorial::    
+@end menu

 
 

-@lilypond[fragment,quote,notime,relative=2]
-{ a a8 a a2 a s16_" " }
-@end lilypond

 
 

+@node Compiling a file
+@subsection Compiling a file

 
 

-A @rglos{rest} is entered just like a note, but with the name @samp{r}
+The first example demonstrates how to start working with LilyPond.  To
+create sheet music, we write a text file that specifies the
+notation.  For example, if we write

 
 @example
 
 @example

-r2 r4 r8 r16
+@{
+  c' e' g' e'
+@}

 @end example
 
 @end example
 

-@lilypond[fragment,quote,notime]
-r2 r4 r8 r16 s16_" "
-@end lilypond
-
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
-
-@example
-a2. a4 a8. a16
-@end example
+@noindent
+the result looks like this

 
 

-@lilypond[fragment,quote,notime,relative=1]
-{ a2. a4 a8. a16 s16_" " }
+@c  in this case we don't want verbatim
+@lilypond[quote,ragged-right]
+{
+  c' e' g' e'
+}

 @end lilypond
 
 @end lilypond
 

-The (or @rglos{time signature}) can be set with the @code{\time}
-command
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input.  The braces should also be
+surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities.  These may be omitted in some examples in this
+manual, but don't forget them in your own music!

 
 

-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
+@cindex Case sensitive
+In addition, LilyPond input is @strong{case sensitive}.  @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.

 
 

-@c A clef here may lead to confusion, remove it.
-@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t 
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
-@end lilypond
+@sp 1

 
 

-The @rglos{clef} can be set using the @code{\clef} command
+@subheading Entering music and viewing output

 
 

-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
+In this section we will explain what commands to run
+and how to view or print the output.

 
 

-@lilypond[fragment,quote,notime]
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
-@end lilypond
+@subsubheading MacOS X

 
 

+If you double click LilyPond.app, it will open with an example
+file. Save it, for example, to @file{test.ly} on your Desktop, and
+then process it with the menu command @samp{Compile > Typeset File}.
+The resulting PDF file will be displayed on your screen.

 
 

-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
+Be warned that the first time you ever run lilypond will take a minute
+or two because all of the system fonts have to be analyzed first.

 
 

-@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
-\time 3/4
-\clef bass
-c2 e4 g2.
-f4 e d c2 r4
-@end lilypond
+For future use of LilyPond, you should begin by selecting "New"
+or "Open".

 
 

-For more elaborate information on
+@subsubheading Windows

 
 

-@quotation
-@table @asis
-@item Entering pitches and durations
-see 
-@ref{Pitches}, and @ref{Durations}.
-@item Clefs
-see @ref{Clef}.
-@item Rests
-see @ref{Rests}.  
-@item Time signatures and other timing commands
-see @ref{Time signature}.
-@end table
-@end quotation
+On Windows, start up a text-editor@footnote{Any simple or
+programmer-oriented editor with UTF-8 support will do, for example
+Notepad.  Do not use a word processor, since these insert formatting
+codes that will confuse LilyPond.} and enter

 
 

+@verbatim
+{
+  c' e' g' e'
+}
+@end verbatim

 
 

-@node Running LilyPond for the first time
-@section Running LilyPond for the first time
+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
+the file and show the resulting PDF file.

 
 

-@c cheesy title to avoid clash with chapter name.

 
 

-In the last section we explained what kind of things you can enter
-in a LilyPond file.  In this section we will explain what commands to
-run and how to view or print the output.  If you have not used
-LilyPond before, want to test your setup, or want to run an example
-file yourself, read this section.  The instructions that follow are
-for Unix-like systems.  Some additional instructions for Microsoft
-Windows are given at the end of this section.
+@subsubheading Unix

 
 Begin by opening a terminal window and starting a text editor.  For
 example, you could open an xterm and execute
 
 Begin by opening a terminal window and starting a text editor.  For
 example, you could open an xterm and execute

-@code{joe}.@footnote{There are macro files for VIM addicts, and there
+@code{joe}@footnote{There are macro files for VIM addicts, and there

 is a @code{LilyPond-mode} for Emacs addicts.  If they have not been
 is a @code{LilyPond-mode} for Emacs addicts.  If they have not been

-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}
+installed already, refer to the file @file{INSTALL.txt}.  These
+easiest editing environment is @file{LilyPondTool}.  See
+@ref{Editor support} for more information.}.  In your
+text editor, enter the following input and save the file as
+@file{test.ly}

 
 

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

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


@@ -232,496 +185,544 @@ You will see something resembling
 
 @example
 lilypond test.ly
 
 @example
 lilypond test.ly

-GNU LilyPond 2.6.0
+GNU LilyPond 2.10.0

 Processing `test.ly'
 Parsing...
 Interpreting music... [1]
 Processing `test.ly'
 Parsing...
 Interpreting music... [1]

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

 Calculating line breaks... [2]
 Calculating line breaks... [2]

-Layout output to `test.tex'...
-Converting to `test.dvi'...
-Converting to `test.ps'...
+Layout output to `test.ps'...

 Converting to `test.pdf'...
 @end example
 
 Converting to `test.pdf'...
 @end example
 

-@cindex DVI file
+@cindex PDF file

 @cindex Viewing music
 @cindex Viewing music

-@cindex xdvi
+

 @noindent
 @noindent

-The result is the file @file{test.pdf}@footnote{For @TeX{}
-aficionados: there is also a @file{test.dvi} file.  It can be viewed
-with @code{xdvi}.  The DVI uses a lot of PostScript specials, which do
-not show up in the magnifying glass.  The specials also mean that the
-DVI file cannot be processed with @code{dvilj}.  Use @code{dvips} for
-printing.
-@cindex dvips
-@cindex dvilj
-@cindex DVI driver
-} which you can print or view with the standard facilities of your
-operating system.@footnote{If your system does not have any tools
-installed, you can try
+The result is the file @file{test.pdf} which you can print or view
+with the standard facilities of your operating system.@footnote{If
+your system does not have any such tools installed, you can try

 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
 available package for viewing and printing PDF and PostScript files.}
 
 @uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
 available package for viewing and printing PDF and PostScript files.}
 

-On Windows, start up a text-editor@footnote{Any simple or
-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
-
-@example
-@{ c'4 e' g' @}
-@end example
-
-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
-the file and show the resulting PDF file.
-
-
-@node 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
-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,
-like German and Dutch.}
-
-@example
-cis1 ees fisis aeses
-@end example
-
-@lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
-@end lilypond

 
 

-@cindex key signature, setting
-The key signature is set with the command @code{\key}, followed by
-a pitch and @code{\major} or @code{\minor}
+@node Simple notation
+@subsection Simple notation

 
 

-@example
-\key d \major
-g1
-\key c \minor
-g
-@end example
+LilyPond will add some notation elements automatically.  In the next
+example, we have only specified four pitches, but LilyPond has
+added a clef, time signature, and rhythms.

 
 

-@lilypond[fragment,quote,notime,fragment]
-\key d \major
-g'1
-\key c \minor
-g'
+@lilypond[quote,ragged-right,verbatim]
+{
+  c' e' g' e'
+}

 @end lilypond
 
 @noindent
 @end lilypond
 
 @noindent

-Key signatures together with the pitches (including alterations) are
-used to determine when to print accidentals.  This is a
-feature that often causes confusion to newcomers, so let us explain it
-in more detail.
+This behavior may be altered, but in most cases these automatic values
+are useful.

 
 
 
 

-LilyPond makes a sharp distinction between musical content and
-layout.  The alteration (flat, natural or sharp) of a note is part of
-the pitch, and is therefore musical content.  Whether an accidental (a
-flat, natural or sharp @emph{sign}) is printed in front of the
-corresponding note is a question of layout.  Layout is something that
-follows rules, so accidentals are printed automatically according to
-those rules.  The pitches in your music are works of art, so they will
-not be added automatically, and you must enter what you want to hear.
+@subheading Pitches

 
 

-In this example
+The easiest way to enter notes is by using @code{\relative} mode.  In
+this mode, the @rglos{interval} between the previous note and the
+current note is assumed to be within a @rglos{fourth}.  We begin by
+entering the most elementary piece of music, a @rglos{scale}.

 
 

-@lilypond[quote,notime,fragment]
-\key d \major
-d' cis' fis'
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+  c d e f
+  g a b c
+}

 @end lilypond
 
 @end lilypond
 

-@noindent
-no note has an explicit accidental, but you still must enter
+The initial note is @rglos{middle C}.  Each successive note
+is within a fourth of the previous note -- in other words, the first
+@samp{c} is the closest C to middle C.  This is followed by the closest
+D to the previous note.  We can create melodies which have larger intervals:

 
 

-@example
-\key d \major
-d cis fis
-@end example
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+  d f a g
+  c b f d
+}
+@end lilypond

 
 @noindent
 
 @noindent

-The code @samp{d} does not mean `print a black dot just below the
-staff.'  Rather, it means: `a note with pitch D-natural.'  In the key
-of A-flat major, it does get an accidental
+As you may notice, this example does not start on middle C.  The first
+note -- the @samp{d} -- is the closest D to middle C.

 
 

-@lilypond[quote,notime,fragment,relative=1,verbatim]
-\key as \major
-d
+To add intervals that are larger than a fourth, we can raise the octave
+by adding a single quote @code{'} (or apostrophe) to the note name.  We can
+lower the octave by adding a comma @code{,} to the note name.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  a a, c' f,
+  g g'' a,, f'
+}

 @end lilypond
 
 @end lilypond
 

-Adding all alterations explicitly might require a little more effort
-when typing, but the advantage is that transposing is easier, and
-accidentals can be printed according to different conventions.  See
-@ref{Automatic accidentals}, for some examples how accidentals can be printed
-according to different rules.
+@noindent
+To change a note by two (or more!) octaves, we use multiple @code{''} or
+@code{,,} -- but be careful that you use two single quotes @code{''} and
+not one double quote @code{"}@tie{}!  The initial value in
+@code{\relative c'} may also be modified like this.

 
 
 
 

-For more information on
+@subheading Durations (rhythms)

 
 

-@quotation
-@table @asis
-@item Accidentals
-see @ref{Automatic accidentals}.
+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.  Beams are added
+automatically.

 
 

-@item Key signature
-see @ref{Key signature}.
-@end table
-@end quotation
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  a1
+  a2 a4 a8 a
+  a16 a a a a32 a a a a64 a a a a a a a a2
+}
+@end lilypond

 
 

-@node Entering ties
-@section Entering ties
+@noindent
+If you do not specify a duration, the previous duration is used
+for the next note.  The duration of the first note defaults to a quarter.

 
 

-@cindex tie
-A @rglos{tie} is created by appending a tilde @samp{~} to the first
-note being tied
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.

 
 

-@lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  a a a4. a8
+  a8. a16 a a8. a8 a4.
+}

 @end lilypond
 
 @end lilypond
 

-For more information on Ties see @ref{Ties}.

 
 

+@subheading Rests

 
 

+A @rglos{rest} is entered just like a note with the name @samp{r}:

 
 

-@node Automatic and manual beams
-@section Automatic and manual beams
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  a r r2
+  r8 a r4 r4. r8
+}
+@end lilypond

 
 

-@cindex beams, by hand 
-All @rglos{beam}s are drawn automatically

 
 

-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
-@end lilypond
+@subheading Time signature

 
 

-@noindent
-If you do not like where beams are put, they can be entered by
-hand.  Mark the first note to be beamed with @samp{[} and the last one
-with @samp{]}.
+The @rglos{time signature}) can be set with the @code{\time} command:

 
 

-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  \time 3/4
+  a4 a a
+  \time 6/8
+  a4. a
+  \time 4/4
+  a4 a a a
+}

 @end lilypond
 
 @end lilypond
 

-For more information on beams, see @ref{Manual beams}.

 
 

+@subheading Clef

 
 

-Here are key signatures, accidentals and ties in action
+The @rglos{clef} can be set using the @code{\clef} command:

 
 

-@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
-\relative c'' {
-  \time 4/4
-  \key g \minor
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {

   \clef treble
   \clef treble

-  r4 r8 a8 gis4 b
-  a8 d4.~ d e,8
-  fis4 fis8 fis8 eis4 a8 gis~
-  gis2 r2
+  c1
+  \clef alto
+       c1
+  \clef tenor
+  c1
+  \clef bass
+  c1

 }
 @end lilypond
 
 }
 @end lilypond
 

-@cindex accidentals

 
 

+@subheading All together

 
 

-@noindent
-There are some interesting points to note in this example.  Bar lines
-and beams are drawn automatically.  Line breaks are calculated
-automatically; it does not matter where the line breaks are in the
-source file.  Finally, the order in which time, key, and clef changes
-are entered is not relevant: in the printout, these are ordered
-according to standard notation conventions.
+Here is a small example showing all these elements together:

 
 

+@lilypond[quote,ragged-right,verbatim]
+\relative c, {
+  \time 3/4
+  \clef bass
+  c2 e8 c' g'2.
+  f4 e d c4 c, r4
+}
+@end lilypond

 
 

+@moreinfo
+@quotation
+@table @asis
+@item Entering pitches and durations
+see @ref{Pitches} and @ref{Durations}.
+@item Rests
+see @ref{Rests}.
+@item Time signatures and other timing commands
+see @ref{Time signature}.
+@item Clefs
+see @ref{Clef}.
+@end table
+@end quotation

 
 

-@node Octave entry
-@section Octave entry

 
 

+@node Working on text files
+@subsection Working on text files

 
 

-@c Tim wants to move this quotes example just before the: quotes-do not-work
-@c score, but we'd need to remove quotes from the other two (key and
-@c tie) examples...
+LilyPond input files are treated like files in most programming languages:
+they are case sensitive, white-space insensitive, expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ .. %@}}.

 
 

-@c better to have this just before the `octaves are bad' snipped
-@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'}
+If the previous sentence sounds like nonsense, don't worry!  We'll explain
+what all these terms mean:

 
 

-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
-@end lilypond
+@itemize

 
 

-An example of the use of quotes is in the following Mozart fragment
+@cindex Case sensitive
+@item @strong{Case sensitive}:
+it matters whether you enter a letter
+in lower case (i.e. @code{a, b, s, t}) or upper case (i.e.
+@code{A, B, S, T}).  Notes are lower case: @code{ @{ c d e @} }
+is valid input; @code{ @{ C D E @} } will produce an error message.

 
 

-@lilypond[quote,raggedright,fragment,verbatim]
-\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 
-@end lilypond
+@item @strong{Whitespace insensitive}:
+it does not matter how many
+spaces (or new lines) you add.  @code{ @{ c d e @}} means the same thing
+as @code{ @{ c @ @ @ @ @  d e @} } and
+@example
+          @{
+c                        d
+  e @}
+@end example

 
 @noindent
 
 @noindent

-This example shows that music in a high register needs lots of quotes.
-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.
+Of course, the previous example is hard to read.  A good rule of thumb
+is to indent code blocks with either a tab or two spaces:
+@example
+@{
+  c d e
+@}
+@end example

 
 

-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.
+@item @strong{Expressions:}
+Every piece of LilyPond input needs to have
+@strong{@{ curly braces @}} placed around the input.  These braces tell
+LilyPond that the input is a single music expression, just like
+parenthesis @samp{()} in mathematics.  The braces should
+be surrounded by a space unless they are at the beginning or end of a
+line to avoid ambiguities.

 
 

-To use relative mode, add @code{\relative} before the piece of
-music.  The first note is taken relative to the middle C
-@c no , for this sentence
-(i.e., @code{c'})
+A function (such as @code{\relative @{ @}} ) also counts as a single
+music expression.

 
 

+@cindex comments
+@cindex line comment
+@cindex block comment
+@item @strong{Comments}:
+A comment is a remark for the human reader of the music input; it is
+ignored while parsing, so it has no effect on the printed output.
+There are two types of comments.  The percent symbol @samp{%}
+introduces a line comment; anything after @samp{%} on that line is
+ignored.  A block comment marks a whole section of music
+input as a comment.  Anything that is enclosed in @code{%@{} and @code{%@}} is
+ignored.  The following fragment shows possible uses for comments

 
 

+@example
+% notes for twinkle twinkle follow
+  c4 c g' g a a g2

 
 

-@lilypond[quote,notime,fragment,verbatim]
-\relative {
-  c' f c g c
-}
-@end lilypond
+%@{
+    This line, and the notes below
+    are ignored, since they are in a
+    block comment.

 
 

+    g g f f e e d d c2
+%@}
+@end example

 
 

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

 
 

-@lilypond[quote,raggedright,verbatim]
-\relative {
-  \key a \major
-  \time 6/8
-  cis'8. d16 cis8 e4 e8
-  b8. cis16 b8 d4 d8
-}
-@end lilypond
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.

 
 

-@c needed better, maybe even redundant explanation
-@c   added another example below.
-@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
-@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
-Larger intervals are made by adding octavation quotes.

 
 

-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
-  c'' f, f c' c g' c,
-}
-@end lilypond
+@node How to read the tutorial
+@subsection How to read the tutorial

 
 

-In summary, quotes or commas no longer determine the absolute height
-of a note in @code{\relative} mode.  Rather, the height of a note is
-relative to the previous one, and changing the octave of a single note
-shifts all following notes an octave up or down.
+As we saw in @ref{Working on text files}, LilyPond input must be
+surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}.  For the
+rest of this manual, most examples will omit this.

 
 

-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+If you are reading the HTML documentation and wish to see the exact
+exact LilyPond code that was used to create the example, simply click
+on the picture.  If you are not reading the HTML version, you could
+copy and paste the displayed input, but you @strong{must} add the
+@code{\relative c'' @{ @}} like this:

 
 

+@example
+\relative c'' @{
+  ... example goes here...
+@}
+@end example

 
 

-@node Music expressions explained
-@section Music expressions explained
+Why omit the braces?  Most examples
+in this manual can be inserted into the middle of a longer piece of
+music.  For these examples, it does not make sense to add
+@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
+inside another @code{\relative}, so you would not be able to copy
+a small documentation example and paste it inside a longer piece
+of your own.

 
 
 
 

-In input files, music is represent by so-called @emph{music
-expression}s.  We have already seen some in the previous examples; 
-a single note is a music expression
+@node Single staff notation
+@section Single staff notation

 
 

-@lilypond[fragment,quote,verbatim,relative=3]
-a4
-@end lilypond
+This section introduces common notation that is used for one voice
+on one staff.

 
 

-Enclosing a group of notes in braces creates a new music
-expression
+@menu
+* Relative note names::         
+* Accidentals and key signatures::  
+* Ties and slurs::              
+* Articulation and dynamics::   
+* Automatic and manual beams::  
+* Advanced rhythmic commands::  
+@end menu

 
 

-@lilypond[fragment,quote,verbatim,relative=3]
-{ a4 g4 }
-@end lilypond

 
 

-Putting a bunch of music expressions (e.g., notes) in braces, means that
-they should be played in sequence.  The result again is a music
-expression, which can be grouped with other expressions sequentially.
-Here, the expression from the previous example is combined with two
-notes
+@node Relative note names
+@subsection Relative note names

 
 

-@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g } 
-@end lilypond
+As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+each note relative to the previous one@footnote{There is another mode of
+entering pitches, @ref{Absolute note names}, but in practice relative
+mode is much easier and safer to use.}.  If no extra octave marks
+(@code{'} and @code{,}) are added, it assumes that each pitch is within
+a fourth of the previous note.

 
 

-This technique is useful for non-monophonic music.  To enter music
-with more voices or more staves, we also combine expressions in
-parallel.  Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences.  A `simultaneous'
-music expression is formed by enclosing expressions in @code{<<} and
-@code{>>}.  In the following example, three sequences (all containing
-two separate notes) are combined simultaneously
+LilyPond examines pitches based on the note names -- in other words,
+an augmented fourth is @emph{not} the same as a diminished fifth.  If we
+begin at a C, then an F-sharp will be placed a higher than the C, while
+a G-flat will be placed lower than the C.

 
 

-@lilypond[fragment,quote,verbatim,relative=3]
-<<
-  { a4 g }
-  { f e }
-  { d b }
->>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 fis
+c2 ges

 @end lilypond
 
 @end lilypond
 

-This mechanism is similar to mathematical
-formulas: a big formula is created by composing small formulas.  Such
-formulas are called expressions, and their definition is recursive, so
-you can make arbitrarily complex and large expressions.  For example,
-
-@example
-1
+@moreinfo
+@quotation
+@table @asis
+@item Relative octaves
+see @ref{Relative octaves}.
+@item Octave check
+see @ref{Octave check}.
+@end table
+@end quotation

 
 

-1 + 2

 
 

-(1 + 2) * 3

 
 

-((1 + 2) * 3) / (4 * 5)
-@end example
+@node Accidentals and key signatures
+@subsection Accidentals and key signatures

 
 

-@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
-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
-for complex music like polyphonic scores.
+@subheading Accidentals

 
 

-Note that this example only has one staff, whereas
-the previous example had three separate staves.  That is because this
-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.
+A @rglos{sharp} pitch is made by adding @samp{is} to
+the name, and 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,
+like German and Dutch.  To use other names for accidentals, see
+@ref{Note names in other languages}.}

 
 

-@lilypond[fragment,quote,verbatim,relative=2] 
-{
-  c <<c e>>
-  << { e f } { c <<b d>> } >>
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+cis1 ees fisis, aeses

 @end lilypond
 
 @end lilypond
 

-Music files with deep nesting can be confusing to enter and
-maintain.  One convention that helps against this confusion is
-indenting.  When entering a file with deep nesting of braces and
-angles, it is customary to use an indent that indicates the nesting
-level.  Formatting music like this eases reading and helps you insert
-the right number of closing braces at the end of an expression.  For
-example,
+@cindex key signature, setting
+@subheading Key signatures

 
 

-@example
-<<
-  @{
-    @dots{}
-  @}
-  @{
-    @dots{}
-  @}
->>
-@end example
+The key signature is set with the command @code{\key} followed by
+a pitch and @code{\major} or @code{\minor}.

 
 

-Some editors have special support for entering LilyPond, and can help
-indenting source files.  See @ref{Editor support} for more information.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+a1
+\key c \minor
+a
+@end lilypond

 
 

-@node More staves
-@section More staves
+@sp 1

 
 

-To print more than one staff, each piece of music that makes up a
-staff is marked by adding @code{\new Staff} before it.  These
-@code{Staff} elements are then combined in parallel with @code{<<} and
-@code{>>}, as demonstrated here
+@subheading Warning: key signatures and pitches

 
 

-@lilypond[quote,fragment,verbatim]
-<<
-  \new Staff { \clef treble c'' }
-  \new Staff { \clef bass c }
->>
+To determine whether to print an accidental, LilyPond examines the
+pitches and the key signature.  The key signature only effects
+the @emph{printed} accidentals, not the actual pitches!  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
+layout.  The alteration (flat, natural or 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 note is a question of layout.  Layout is something that
+follows rules, so accidentals are printed automatically according to
+those rules.  The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to hear.
+
+In this example
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key d \major
+d cis fis

 @end lilypond
 
 @end lilypond
 

+@noindent
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.

 
 

-The command @code{\new} introduces a `notation context.'  A notation
-context is an environment in which musical events (like notes or
-@code{\clef} commands) are interpreted.  For simple pieces, such
-notation contexts are created automatically.  For more complex pieces, it
-is best to mark contexts explicitly.  This ensures that each fragment
-gets its own stave.
+The code @samp{e} does not mean @qq{print a black dot just below the
+first line of the staff.}  Rather, it means: @qq{there is a note with
+pitch E-natural.}  In the key of A-flat major, it @emph{does} get an
+accidental:

 
 

-There are several types of contexts.  @code{Staff}, @code{Voice} and
-@code{Score} handle melodic notation, while @code{Lyrics} sets lyric
-texts and @code{ChordNames} prints chord names.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
+@end lilypond

 
 

-In terms of syntax, prepending @code{\new} to a music expression
-creates a bigger music expression.  In this way it resembles the minus
-sign in mathematics.  The formula @math{(4+5)} is an expression, so
-@math{-(4+5)} is a bigger expression.
+Adding all alterations explicitly might require a little more effort
+when typing, but the advantage is that transposing is easier, and
+accidentals can be printed according to different conventions.  See
+@ref{Automatic accidentals} for some examples how accidentals can be printed
+according to different rules.

 
 

-We can now typeset a melody with two staves
+@moreinfo
+@quotation
+@table @asis
+@item Accidentals
+see @ref{Accidentals} and @ref{Automatic accidentals}.
+@item Key signature
+see @ref{Key signature}.
+@end table
+@end quotation

 
 

-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)

 
 

-@lilypond[fragment,quote,verbatim,raggedright]
-\relative <<
-  \new Staff {
-    \time 3/4
-    \clef treble 
-    
-    e'2 d4 c2 b4 a8[ a]
-    b[ b] g[ g] a2. 
-  }
-  \new Staff {
-     \clef bass
-     c,,2 e4 g2.
-     f4 e d c2.
-  }
->>
+@node Ties and slurs
+@subsection Ties and slurs
+
+@cindex ties
+@subheading Ties
+A @rglos{tie} is created by appending a tilde @samp{~} to the first
+note being tied
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
+@end lilypond
+
+@cindex slurs
+@subheading Slurs
+
+A @rglos{slur} is a curve drawn across many notes.  The starting note
+and ending note are marked with @samp{(} and @samp{)} respectively.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
+@end lilypond
+
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
+
+@cindex phrasing slurs
+Slurs to indicate longer phrasing can be entered with @code{\(} and
+@code{\)}.  You can have both legato slurs and phrasing slurs at the
+same time, but you cannot have simultaneous slurs or simultaneous
+phrasing slurs.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)

 @end lilypond
 
 @end lilypond
 

-For more information on contexts see the description in
-@ref{Interpretation contexts}.
+@sp 1

 
 

+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties

 
 

+A slur looks like a @rglos{tie}, but it has a different meaning.  A
+tie simply makes the first note longer, and can only be used on
+pairs of notes with the same pitch.  Slurs indicate the articulations
+of notes, and can be used on larger groups of notes.  Slurs and ties
+can be nested.

 
 

-@node Adding articulation marks to notes
-@section Adding articulation marks to notes
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Ties
+see @ref{Ties}.
+@item Slurs
+see @ref{Slurs}.
+@item Phrasing slurs
+see @ref{Phrasing slurs}.
+@end table
+@end quotation
+
+
+@node Articulation and dynamics
+@subsection Articulation and dynamics

 
 @cindex articulation
 @cindex accents
 @cindex staccato
 
 @cindex articulation
 @cindex accents
 @cindex staccato

+@subheading Articulations

 
 

-Common accents can be added to a note using a dash (@samp{-}) and a
-single character
+Common @rglos{articulations} can be added to a note using a dash @samp{-}
+and a single character:

 
 

-@lilypond[fragment,quote,verbatim,relative=2]
-c-.  c-- c-> c-^ c-+ c-_
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_

 @end lilypond
 
 @cindex fingering
 @end lilypond
 
 @cindex fingering

+@subheading Fingerings

 Similarly, fingering indications can be added to a note using a dash
 Similarly, fingering indications can be added to a note using a dash

-(@samp{-}) and the digit to be printed
+(@samp{-}) and the digit to be printed:

 
 

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

 c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but you
 can specify a direction using @samp{^} (up) or @samp{_} (down).  You can
 c-3 e-5 b-2 a-1
 @end lilypond
 
 Articulations and fingerings are usually placed automatically, but you
 can specify a direction using @samp{^} (up) or @samp{_} (down).  You can

-also use multiple articulations on the same note.  In most cases, however,
+also use multiple articulations on the same note.  However, in most cases

 it is best to let LilyPond determine the articulation directions.
 
 it is best to let LilyPond determine the articulation directions.
 

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

 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 
 c_-^1 d^. f^4_2-> e^-_+
 @end lilypond
 

+@subheading Dynamics

 Dynamic signs are made by adding the markings (with a backslash) to
 the note
 
 Dynamic signs are made by adding the markings (with a backslash) to
 the note
 

-@lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\ff c\mf c\p c\pp

 @end lilypond
 
 @cindex dynamics
 @end lilypond
 
 @cindex dynamics


@@ -732,134 +733,102 @@ Crescendi and decrescendi are started with the commands @code{\<} and
 @code{\>}.  An ending dynamic, for example @code{\f}, will finish the
 (de)crescendo, or the command @code{\!} can be used
 
 @code{\>}.  An ending dynamic, for example @code{\f}, will finish the
 (de)crescendo, or the command @code{\!} can be used
 

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

 c2\< c2\ff\> c2 c2\!
 @end lilypond
 
 c2\< c2\ff\> c2 c2\!
 @end lilypond
 

-
-
-@cindex slur
-
-A @rglos{slur} is a curve drawn across many notes, and indicates
-legato articulation.  The starting note and ending note are marked
-with @samp{(} and @samp{)}, respectively
-
-@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
-@end lilypond
-
-@cindex slurs versus ties
-A slur looks like a @rglos{tie}, but it has a different meaning.  A
-tie simply makes the first note sound longer, and can only be used on
-pairs of notes with the same pitch.  Slurs indicate the articulations
-of notes, and can be used on larger groups of notes.  Slurs and ties
-can be nested
-
-@lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
-@end lilypond
-
-@cindex phrasing slurs
-Slurs to indicate phrasing can be entered with @code{\(} and
-@code{\)}, so you can have both legato slurs and phrasing slurs at the
-same time.  You cannot have simultaneous slurs or simultaneous
-phrasing slurs.
-
-@lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
-@end lilypond
-
-
-For more information on
-
+@moreinfo

 @quotation
 @table @asis
 @quotation
 @table @asis

-@item Fingering
-see @ref{Fingering instructions}.

 @item Articulations
 see @ref{Articulations}.
 @item Articulations
 see @ref{Articulations}.

-@item Slurs
-see @ref{Slurs}.
-@item Phrasing slurs
-see @ref{Phrasing slurs}.
+@item Fingering
+see @ref{Fingering instructions}.

 @item Dynamics
 see @ref{Dynamics}.
 @end table
 @end quotation
 
 
 @item Dynamics
 see @ref{Dynamics}.
 @end table
 @end quotation
 
 

-@node Combining notes into chords
-@section Combining notes into chords
+@node Automatic and manual beams
+@subsection Automatic and manual beams

 
 

-@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:

 
 

-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8

 @end lilypond
 
 @end lilypond
 

+@noindent
+If you do not like the automatic beams, they may be overridden
+manually.  Mark the first note to be beamed with @samp{[} and the last one
+with @samp{]}.

 
 

-You can combine markings like beams and ties with chords.  They must
-be placed outside the angled brackets
-
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b

 @end lilypond
 
 @end lilypond
 

-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end example
-
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end lilypond
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation

 
 
 @node Advanced rhythmic commands
 
 
 @node Advanced rhythmic commands

-@section Advanced rhythmic commands
+@subsection Advanced rhythmic commands

 
 @cindex pickup
 @cindex anacruse
 @cindex partial measure
 
 @cindex pickup
 @cindex anacruse
 @cindex partial measure

-A pickup 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
+@subheading Partial measure
+
+A pickup (or @rglos{anacrusis}) is entered with the keyword
+@code{\partial}.  It is followed by a duration: @code{\partial 4} is
+a quarter note pickup and @code{\partial 8} an eighth note.

 
 

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

 \partial 8
 \partial 8

-f8 c2 d e
+f8 c2 d

 @end lilypond
 
 @cindex tuplets
 @cindex triplets
 @end lilypond
 
 @cindex tuplets
 @cindex triplets

+@subheading Tuplets
+

 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
 
 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
 

-@lilypond[quote,relative=1,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]

 \times 2/3 { f8 g a }
 \times 2/3 { c r c }
 \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 }

 @end lilypond
 
 @cindex grace notes
 @cindex acciaccatura
 @end lilypond
 
 @cindex grace notes
 @cindex acciaccatura

-Grace notes are also made by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}

 @cindex appoggiatura
 @cindex appoggiatura

-@cindex acciaccatura
-
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
-@end lilypond
+@subheading Grace notes

 
 

-@noindent
+Grace notes are created with the @code{\grace} command, although they
+can also be created by prefixing a music expression with the
+keyword @code{\appoggiatura} or @code{\acciaccatura}

 
 

-For more information on
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32 b} c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond

 
 

+@moreinfo

 @quotation
 @table @asis
 @item Grace notes
 @quotation
 @table @asis
 @item Grace notes


@@ -872,145 +841,373 @@ see @ref{Partial measures}.
 @end quotation
 
 
 @end quotation
 
 

-@node Commenting input files
-@section Commenting input files
+@node Multiple notes at once
+@section Multiple notes at once

 
 

-@cindex comments
-@cindex line comment
-@cindex block comment
-A comment is a remark for the human reader of the music input; it is
-ignored while parsing, so it has no effect on the printed output.
-There are two types of comments.  The percent symbol @samp{%}
-introduces a line comment; after @code{%} the rest of the line is
-ignored.  A block comment marks a whole section of music
-input.  Anything that is enclosed in @code{%@{} and @code{%@}} is
-ignored.  The following fragment shows possible uses for comments
+This section introduces having more than one note at the same time:
+multiple instruments, multiple staves for a single instrument (i.e. piano),
+and chords.
+
+Polyphony in music refers to having more than one voice occurring in
+a piece of music.  Polyphony in LilyPond refers to having more than
+one voice on the same staff.
+
+@menu
+* Music expressions explained::  
+* Multiple staves::             
+* Piano staves::                
+* Single staff polyphony::      
+* Combining notes into chords::  
+@end menu
+
+
+@node Music expressions explained
+@subsection Music expressions explained
+
+In LilyPond input files, music is represented by @emph{music
+expressions}.  A single note is a music expression, although it is not
+valid input all on its own.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a4
+@end lilypond
+
+Enclosing a group of notes in braces creates a new music expression:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ a4 g4 }
+@end lilypond
+
+Putting a group of music expressions (e.g. notes) in braces means that
+are in sequence (i.e. each one follows the previous one).  The result
+is another music expression:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
+@end lilypond
+
+@subheading Simultaneous music expressions: multiple staves
+
+This technique is useful for polyphonic music.  To enter music
+with more voices or more staves, we combine expressions in
+parallel.  To indicate that two voices should play at the same time
+simple enter a simultaneous combination of music expressions.  A
+@q{simultaneous} music expression is formed by enclosing expressions inside
+@code{<<} and @code{>>}.  In the following example, three sequences (all
+containing two separate notes) are combined simultaneously:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  <<
+    { a4 g }
+    { f e }
+    { d b }
+  >>
+}
+@end lilypond
+
+Note that we have indented each level of the input with a 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.
+
+@subheading Simultaneous music expressions: single staff
+
+To determine the number of staves in a piece, LilyPond looks at the first
+exression.  If it is a single note, there is one staff; if there is a
+simultaneous expression, there is more than one staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  c2 <<c e>>
+  << { e f } { c <<b d>> } >>
+}
+@end lilypond
+
+@cindex expression
+@cindex music expression
+@subheading Analogy: mathematical expressions
+
+This mechanism is similar to mathematical
+formulas: a big formula is created by composing small formulas.  Such
+formulas are called expressions, and their definition is recursive so
+you can make arbitrarily complex and large expressions.  For example,

 
 @example
 
 @example

-% notes for twinkle twinkle follow
-  c4 c g' g a a g2
+1

 
 

-%@{
-    This line, and the notes below
-    are ignored, since they are in a
-    block comment.
+1 + 2

 
 

-    g g f f e e d d c2 
-%@}
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)

 @end example
 
 @end example
 

-@c  TODO   post-2.6 reorg
-@c   This is good info, but I wouldn't call it a comment.  IMO it should
-@c   be moved somewhere else.
+This is a sequence of expressions, where each expression is contained
+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
+for complex music like polyphonic scores.

 
 

-@cindex versioning

 
 

-There is a special statement that is a kind of comment.  The @code{\version}
-statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.6.0, use
+@node Multiple staves
+@subsection Multiple staves
+
+As we saw in @ref{Music expressions explained}, LilyPond input files
+are constructed out of music expressions.  If the score begins with
+simultaneous music expressions, LilyPond creates multiples staves.  However,
+it is easier to see what happens if we create each staff explicitly.
+
+To print more than one staff, each piece of music that makes up a
+staff is marked by adding @code{\new Staff} before it.  These
+@code{Staff} elements are then combined in parallel with @code{<<} and
+@code{>>}:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  <<
+    \new Staff { \clef treble c }
+    \new Staff { \clef bass c,, }
+  >>
+}
+@end lilypond
+
+The command @code{\new} introduces a @q{notation context.}  A notation
+context is an environment in which musical events (like notes or
+@code{\clef} commands) are interpreted.  For simple pieces, such
+notation contexts are created automatically.  For more complex pieces, it
+is best to mark contexts explicitly.
+
+There are several types of contexts.  @code{Score}, @code{Staff},
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
+texts and @code{ChordNames} prints chord names.
+
+In terms of syntax, prepending @code{\new} to a music expression
+creates a bigger music expression.  In this way it resembles the minus
+sign in mathematics.  The formula @math{(4+5)} is an expression, so
+@math{-(4+5)} is a bigger expression.
+
+Time signatures entered in one staff affects all other staves, but
+the key signature of one staff does @emph{not} affect other
+staves@footnote{This behavior may be changed if desired; see
+@ref{Changing defaults} for details.}.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  <<
+    \new Staff { \clef treble \time 3/4 c }
+    \new Staff { \clef bass \key d \major c,, }
+  >>
+}
+@end lilypond
+
+
+
+
+@node Piano staves
+@subsection Piano staves
+
+@cindex staff switch, manual
+@cindex cross staff voice, manual
+Piano music is typeset in two staves connected by a brace.  Printing
+such a staff is similar to the polyphonic example in @ref{Multiple staves},
+but now this entire expression is inserted inside a @code{PianoStaff}:

 
 @example
 
 @example

-\version "2.6.0"
+\new PianoStaff <<
+  \new Staff @dots{}
+  \new Staff @dots{}
+>>

 @end example
 
 @end example
 

+Here is a small example
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  \new PianoStaff <<
+    \new Staff { \time 2/4 c4 e g g, }
+    \new Staff { \clef bass c,, c' e c }
+  >>
+}
+@end lilypond
+
+@moreinfo
+@quotation
+See @ref{Piano music}.
+@end quotation
+
+
+@node Single staff polyphony
+@subsection Single staff polyphony
+
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+When different melodic lines are combined on a single staff they are
+printed as polyphonic voices; each voice has its own stems, slurs and
+beams, and the top voice has the stems up, while the bottom voice has
+them down.
+
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+  { a4 g2 f4~ f4 } \\
+  { r4 g4 f2 f4 }
+>>
+@end lilypond
+
+For polyphonic music typesetting, spacer rests can also be convenient;
+these are rests that do not print.  They are useful for filling up
+voices that temporarily do not play.  Here is the same example with a
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+  { a4 g2 f4~ f4 } \\
+  { s4 g4 f2 f4 }
+>>
+@end lilypond
+

 @noindent
 @noindent

-These annotations make future upgrades of LilyPond go more
-smoothly.  Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+Again, these expressions can be nested arbitrarily.

 
 

+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+<<
+  \new Staff <<
+    { a4 g2 f4~ f4 } \\
+    { s4 g4 f2 f4 }
+  >>
+  \new Staff <<
+    \clef bass
+    { <c g>1 ~ <c g>4 } \\
+    { e,,4 d e2 ~ e4}
+  >>
+>>
+@end lilypond

 
 

-@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
+@moreinfo
+@quotation
+See @ref{Basic polyphony}.
+@end quotation

 
 

-@c TODO: (c) status of the Queen fragment.

 
 

-@cindex Lyrics
-@cindex Songs
-Lyrics are entered by separating each syllable with a space
+@node Combining notes into chords
+@subsection Combining notes into chords

 
 

-@example
-I want to break free
-@end example
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets.  Angle
+brackets are the symbols @samp{<} and @samp{>}.
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
+
+You can combine markings like beams and ties with chords.  They must
+be placed outside the angled brackets
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
+
+
+@node Songs
+@section Songs
+
+This section introduces vocal music and simple song sheets.
+
+@menu
+* Printing lyrics::             
+* A lead sheet::                
+@end menu

 
 

-Consider the melody

 
 

-@lilypond[quote,verbatim,fragment,raggedright]
-\relative {
-  r4 c \times 2/3 { f g g }
-  \times 2/3 { g4( a2) }
+@node Printing lyrics
+@subsection Printing lyrics
+
+@cindex Lyrics
+@cindex Songs
+Consider a simple melody:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+  a4 e c r4
+       b2 c4( d)

 }
 @end lilypond
 
 The lyrics can be set to these notes, combining both with the
 }
 @end lilypond
 
 The lyrics can be set to these notes, combining both with the

-@code{\addlyrics} keyword
+@code{\addlyrics} keyword.  Lyrics are entered by separating each
+syllable with a space.

 
 

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

 <<
 <<

-  \relative {
-    r4 c \times 2/3 { f g g }
-    \times 2/3 { g4( a2) }
+  \relative c'' {
+    a4 e c r4
+         b2 c4( d)

   }
   }

-  \addlyrics { I want to break free }
+  \addlyrics { One day this shall be free }

 >>
 @end lilypond
 
 @cindex melisma
 @cindex extender line
 >>
 @end lilypond
 
 @cindex melisma
 @cindex extender line

-@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+This melody ends on a @rglos{melisma}, a single syllable (@q{free})

 sung to more than one note.  This is indicated with an @emph{extender
 sung to more than one note.  This is indicated with an @emph{extender

-line}.  It is entered as two underscores, i.e.,
+line}.  It is entered as two underscores @code{__}:

 
 

-@example
-@{ I want to break free __ @}
-@end example 
-
-@lilypond[fragment,quote,raggedright]
+@lilypond[quote,ragged-right,verbatim]

 <<
 <<

-  \relative {
-    r4 c \times 2/3 { f g g }
-    \times 2/3 { g4( a2) }
+  \relative c'' {
+    a4 e c r4
+         b2 c4( d)

   }
   }

-  \addlyrics { I want to break free __ }
+  \addlyrics { One day this shall be free __ }

 >>
 @end lilypond
 
 Similarly, hyphens between words can be entered as two dashes,
 resulting in a centered hyphen between two syllables
 
 >>
 @end lilypond
 
 Similarly, hyphens between words can be entered as two dashes,
 resulting in a centered hyphen between two syllables
 

-@example
-Twin -- kle twin -- kle
-@end example
-
-@lilypond[fragment,quote,raggedright]
+@c no ragged-right here because otherwise the hypens get lost.
+@lilypond[quote,verbatim]

 <<
 <<

-  \relative {
+  \relative c' {

     \time 2/4
     \time 2/4

-    f4 f c' c
+    f4 f c c

   }
   }

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

 >>
 @end lilypond
 
 >>
 @end lilypond
 

-More options, like putting multiple lines of lyrics below a melody are
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are

 discussed in @ref{Vocal music}.
 discussed in @ref{Vocal music}.

+@end quotation

 
 
 @node A lead sheet
 
 
 @node A lead sheet

-@section A lead sheet
+@subsection A lead sheet

 
 @cindex Lead sheets
 @cindex chords
 @cindex chord names
 
 @c TODO: revise this, \chords { } is shorter and more intuitive.
 
 @cindex Lead sheets
 @cindex chords
 @cindex chord names
 
 @c TODO: revise this, \chords { } is shorter and more intuitive.

+@c  I need help for this.  -gp

 
 

-In popular music, it is common to denote accompaniment with chord names.
+In popular music it is common to denote accompaniment with chord names.

 Such chords can be entered like notes,
 
 Such chords can be entered like notes,
 

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

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


@@ -1021,7 +1218,7 @@ 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
 


@@ -1030,8 +1227,8 @@ 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
 


@@ -1039,18 +1236,10 @@ following result.
 When put together, chord names, lyrics and a melody form
 a lead sheet, for example,
 
 When put together, chord names, lyrics and a melody form
 a lead sheet, for example,
 

-@example
-<<
-  \chords @{ @emph{chords} @}
-  @emph{the melody}
-  \addlyrics @{ @emph{the text} @}
->>
-@}
-@end example
-
-@lilypond[quote,raggedright]
+@lilypond[quote,verbatim,ragged-right]
+%  this melody needs to be changed.  See my new example in 2.4.1. -gp

 <<
 <<

-  \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) }


@@ -1063,145 +1252,179 @@ A complete list of modifiers and other options for layout can be found
 in @ref{Chords}.
 
 
 in @ref{Chords}.
 
 

+@node Final touches
+@section Final touches
+
+This is the final section of the tutorial; it demonstrates how to add the
+final touches to simple pieces, and provides an introduction to the rest
+of the manual.
+
+@menu
+* Version number::              
+* Adding titles::               
+* Absolute note names::         
+* Organizing pieces with identifiers::  
+* After the tutorial::          
+* How to read the manual::      
+@end menu
+
+
+@node Version number
+@subsection Version number
+
+@cindex versioning
+The @code{\version} statement marks for which version of LilyPond the file
+was written.  To mark a file for version 2.10.1, place
+
+@example
+\version "2.10.1"
+@end example
+
+@noindent
+at the top of your LilyPond file.
+
+These annotations make future upgrades of LilyPond go more
+smoothly.  Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
+@code{\version} to determine what rules to apply.
+
+

 @node Adding titles
 @node Adding titles

-@section Adding titles
+@subsection Adding titles

 
 

-Bibliographic information is entered in a separate block, the
-@code{\header} block.  The name of the piece, its composer, etc., are
-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,
+The title, composer, opus number, and similar information are entered
+in the @code{\header} block.  This exists outside of the main
+music expression; the @code{\header} block is usually placed underneath
+the @ref{Version number}.

 
 

-@example 
+@example
+\version "2.10.1"

 \header @{
 \header @{

-  title = "Miniature" 
-  composer = "Igor Stravinsky"
+  title = "Symphony"
+  composer = "Me"
+  opus = "Op. 9"

 @}
 
 @}
 

-@{ @dots{} @}
+@{
+  @dots{} music @dots{}
+@}

 @end example
 
 @end example
 

-

 When the file is processed, the title and composer are printed above
 the music.  More information on titling can be found in @ref{Creating
 titles}.
 
 
 When the file is processed, the title and composer are printed above
 the music.  More information on titling can be found in @ref{Creating
 titles}.
 
 

-@node Single staff polyphony
-@section Single staff polyphony
+@node Absolute note names
+@subsection Absolute note names

 
 

-@cindex polyphony
-@cindex multiple voices
-@cindex voices, more -- on a staff
-When different melodic lines are combined on a single staff they are
-printed as polyphonic voices; each voice has its own stems, slurs and
-beams, and the top voice has the stems up, while the bottom voice has
-them down.
+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.

 
 

-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining these simultaneously, separating the
-voices with @code{\\}
+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.

 
 

-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
-   { r4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+  \clef bass
+  c' b g, g,
+  g, f, f c'
+}

 @end lilypond
 
 @end lilypond
 

-For polyphonic music typesetting, spacer rests can also be convenient;
-these are rests that do not print.  They are useful for filling up
-voices that temporarily do not play.  Here is the same example with a
-spacer rest (@code{s}) instead of a normal rest (@code{r}),
+Here is a four-octave scale:

 
 

-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
-   { s4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+  \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
+}

 @end lilypond
 
 @end lilypond
 

-@noindent
-Again, these expressions can be nested arbitrarily
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks.  Consider this fragment from Mozart:

 
 

-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-<<
-  \new Staff <<
-    { a4 g2 f4~ f4 } \\
-    { s4 g4 f2 f4 }
-  >>
-  \new Staff <<
-    \clef bass
-    { <c, g>1 ~ <c g>4 } \\
-    { e,4 d e2 ~ e4}
-  >>
->>
+@lilypond[quote,verbatim,ragged-right]
+{
+  \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
+}

 @end lilypond
 
 @end lilypond
 

-More features of polyphonic typesetting are described in this manual
-in section @ref{Polyphony}.
-
+All these quotes makes the input less readable and it is a source of
+errors.  With @code{\relative}, the previous example is much easier
+to read:

 
 

-@node Piano staves
-@section Piano staves
-
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace.  Printing
-such a staff is similar to the polyphonic example in @ref{More staves},
-
-@example
-<< \new Staff @{ @dots{} @}
-   \new Staff @{ @dots{} @} >>
-@end example
-
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
-
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-
-Here is a small example
-
-@lilypond[quote,verbatim,relative=1,fragment]
-\new PianoStaff <<
-  \new Staff { \time 2/4 c4 c g' g }
-  \new Staff { \clef bass c,, c' e c }
->>
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+  \key a \major
+  \time 6/8
+  cis8. d16 cis8 e4 e8
+  b8. cis16 b8 d4 d8
+}

 @end lilypond
 
 @end lilypond
 

-More information on formatting piano music is given in @ref{Piano music}.  
+If you make a mistake with an octave mark (@code{'} or @code{,}) while
+working in @code{\relative} mode, it is very obvious -- many notes will
+be in the wrong octave.  When working in absolute mode, a single mistake
+will not be as visible, and will not be as easy to find.

 
 

+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.

 
 

-@node Organizing larger pieces
-@section Organizing larger pieces
+
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers

 
 When all of the elements discussed earlier are combined to produce
 
 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,
-more deeply nested.  Such large expressions can become unwieldy.
+larger files, the music expressions get a lot bigger.  In polyphonic
+music with many staves, the input files can become very confusing.  We can
+reduce this confusion by using @emph{identifiers}.

 
 

-By using variables, also known as identifiers, it is possible to break
-up complex music expressions.  An identifier is assigned as follows
+Identifiers (also known as variables or macros), we can break up
+complex music expressions.  An identifier is assigned as follows

 
 @example
 namedMusic = @{ @dots{} @}
 @end example
 
 
 @example
 namedMusic = @{ @dots{} @}
 @end example
 

-@noindent
-The contents of the music expression @code{namedMusic}, can be used
-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
-
-@lilypond[quote,raggedright,verbatim,nofragment]
-seufzer = {
-  e'4( dis'4)
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command).  Identifiers
+must be defined @emph{before} the main music expression.
+
+@lilypond[quote,verbatim,ragged-right]
+violin = \new Staff { \relative c'' {
+  a4 b c b
+}}
+cello = \new Staff { \relative c {
+  \clef bass
+  e2 d
+}}
+{
+  <<
+    \violin
+    \cello
+  >>

 }
 }

-{ \seufzer \seufzer }

 @end lilypond
 
 @end lilypond
 

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

 
 It is possible to use variables for many other types of objects in the
 input.  For example,
 
 It is possible to use variables for many other types of objects in the
 input.  For example,


@@ -1213,156 +1436,54 @@ aFivePaper = \paper @{ paperheight = 21.0 \cm @}
 @end example
 
 Depending on its contents, the identifier can be used in different
 @end example
 
 Depending on its contents, the identifier can be used in different

-places.  The following example uses the above variables
+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
 

-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
-

 
 

-@node An orchestral part
-@section An orchestral part
+@node After the tutorial
+@subsection After the tutorial

 
 

-In orchestral music, all notes are printed twice.  Once in a part for
-the musicians, and once in a full score for the conductor.  Identifiers can
-be used to avoid double work.  The music is entered once, and stored in
-a variable.  The contents of that variable is then used to generate
-both the part and the full score.
+After finishing the tutorial, you should probably try writing a
+piece or two.  Start with one of the @ref{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 templates,
+take a look at @ref{Extending the templates}.

 
 

-It is convenient to define the notes in a special file.  For example,
-suppose that the file @file{horn-music.ly} contains the following part
-of a horn/@/bassoon duo
+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.

 
 

-@example
-hornNotes = \relative c @{
-  \time 2/4
-  r4 f8 a cis4 f e d
-@}
-@end example

 
 

-@noindent
-Then, an individual part is made by putting the following in a file
+@node How to read the manual
+@subsection How to read the manual

 
 

-@example
-\include "horn-music.ly"
-\header @{
-  instrument = "Horn in F"
-@}
+As we saw in @ref{How to read the tutorial}, many examples in the
+tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
+example.

 
 

-@{
- \transpose f c' \hornNotes
-@}
-@end example
+In the rest of the manual, we are much more lax about the
+printed examples: sometimes they may have omitted a
+@code{\relative c'' @{ ... @}}, but in other times a different initial
+pitch may be used (such as @code{c'} or @code{c,,}), and in some cases
+the whole example is in absolute note mode!  However, ambiguities like
+this only exist where the pitches are not important.  In any example
+where the pitch matters, we have explicitly stated our @code{\relative}
+our our absolute-mode @code{@{ @}}.

 
 

-The line
-
-@example
-\include "horn-music.ly"
-@end example
-
-@noindent
-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
-@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]
-\transpose f c' \relative c {
-  \time 2/4
-  r4 f8 a cis4 f e d
-}
-@end lilypond
-
-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
-duration, longer rests can be constructed.  For example, this rest
-takes 3@tie{}measures in 2/4 time
-
-@example
-R2*3
-@end example
-
-When printing the part, multi-rests
-must be condensed.  This is done by setting a run-time variable
-
-@example
-\set Score.skipBars = ##t
-@end example
+If you are still confused about the exact LilyPond input that was
+used in an example, read the HTML version (if you are not already doing
+so) and click on the picture of the music.  This will display the exact
+input that LilyPond used to generate this manual.

 
 

-@noindent
-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
-
-@lilypond[quote,raggedright]
-\transpose f c' \relative c {
-  \time 2/4
-  \set Score.skipBars = ##t 
-  R2*3
-  r4 f8 a cis4 f e d
-}
-@end lilypond
-
-
-The score is made by combining all of the music together.  Assuming
-that the other voice is in @code{bassoonNotes} in the file
-@file{bassoon-music.ly}, a score is made with
-
-@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
-
-<<
-  \new Staff \hornNotes
-  \new Staff \bassoonNotes
->>
-@end example
-
-@noindent
-leading to 
-
-@lilypond[quote,raggedright]
-\relative c <<
-  \new Staff {
-    \time 2/4 R2*3
-    r4 f8 a cis4 f e d
-  }
-  \new Staff {
-    \clef bass
-    r4 d,8 f | gis4 c | b bes |
-    a8 e f4 | g d | gis f
-  }
->>
-@end lilypond
-
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
-
-Setting run-time variables (`properties') is discussed in
-@ref{Changing context properties on the fly}.
-
-
-@ignore
-
-* longer example
-
-* discuss expectations (?)
-
-* conclude tutorial
-
-* overview of chapters?
-
-@end ignore