Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.19.2"
@ignore
Tutorial guidelines: (different from policy.txt!)
on one staff.
@menu
-* Bar checks::
+* Bar lines and bar checks::
* Accidentals and key signatures::
* Ties and slurs::
* Articulation and dynamics::
* Advanced rhythmic commands::
@end menu
+@node Bar lines and bar checks
+@subsection Bar lines and bar checks
+
+@menu
+* Bar lines::
+* Bar checks::
+@end menu
+
+@node Bar lines
+@unnumberedsubsubsec Bar lines
+
+
+Single bar lines are automatically placed in the music so
+there is no need to add them manually. Other types of bar
+lines are added using @code{\bar}, for example
+@code{\bar "||"} for a double bar line, or @code{\bar "|."}
+for an ending bar line. For a full list of bar lines see
+the @ruser{Bar lines}.
+
+@lilypond[verbatim,quote,relative=2]
+g1 e1 \bar "||" c2. c'4 \bar "|."
+@end lilypond
@node Bar checks
-@subsection Bar checks
+@unnumberedsubsubsec Bar checks
+
Though not strictly necessary, @emph{bar checks} should be
used in the input code to show where bar lines are expected
@node Accidentals and key signatures
@subsection Accidentals and key signatures
+@menu
+* Accidentals::
+* Key signatures::
+* Warning key signatures and pitches::
+@end menu
+
@warning{New users are often confused by these -- please read the
warning at the bottom of this page, especially if you are not
familiar with music theory!}
-@subheading Accidentals
+@node Accidentals
+@unnumberedsubsubsec Accidentals
+
@cindex accidentals
@cindex accidentals and key signatures
@end lilypond
@cindex key signature, setting
-@subheading Key signatures
+
+@node Key signatures
+@unnumberedsubsubsec Key signatures
+
@cindex key signature
@cindex major
@smallspace
-@subheading Warning: key signatures and pitches
+@node Warning key signatures and pitches
+@unnumberedsubsubsec Warning: key signatures and pitches
+
Music Glossary: @rglos{accidental}, @rglos{key signature},
@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
-@rglos{transposition}.
+@rglos{transposition}, @rglos{Pitch names}.
To determine whether to print an @notation{accidental}, LilyPond
examines the pitches and the @notation{key signature}. The key
note's @notation{pitch}! This is a feature that often causes
confusion to newcomers, so let us explain it in more detail.
-LilyPond makes a sharp distinction between musical content and
+LilyPond makes a clear distinction between musical content and
layout. The alteration (@notation{flat}, @notation{natural sign} or
@notation{sharp}) of a note is part of the pitch, and is therefore
musical content. Whether an accidental (a @emph{printed} flat,
If the above seems confusing, consider this: if you were playing a
piano, which key would you hit? If you would press a black key,
-then you @emph{must} add @code{-is} or @code{-es} to the note
+then you @emph{must} add @w{@code{-is}} or @w{@code{-es}} to the note
name!
Adding all alterations explicitly might require a little more
@ruser{Automatic accidentals},
@ruser{Key signature}.
-Music Glossary:
-@rglos{Pitch names}.
-
@node Ties and slurs
@subsection Ties and slurs
@funindex ( ... )
@funindex \( ... \)
-@subheading Ties
+@menu
+* Ties::
+* Slurs::
+* Phrasing slurs::
+* Warnings slurs vs. ties::
+@end menu
+
+@node Ties
+@unnumberedsubsubsec Ties
Music Glossary: @rglos{tie}.
first note being tied.
@lilypond[verbatim,quote,relative=2]
-g4~ g c2~ | c4~ c8 a~ a2 |
+g4~ 4 c2~ | 4~ 8 a~ 2 |
@end lilypond
-@subheading Slurs
+@node Slurs
+@unnumberedsubsubsec Slurs
Music Glossary: @rglos{slur}.
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@subheading Phrasing slurs
+@node Phrasing slurs
+@unnumberedsubsubsec Phrasing slurs
+
Music Glossary: @rglos{slur}, @rglos{phrasing}.
@smallspace
@cindex slurs versus ties
-@subheading Warnings: slurs vs. ties
+
+@node Warnings slurs vs. ties
+@unnumberedsubsubsec Warnings: slurs vs. ties
+
Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
larger groups of notes. Slurs and ties can be nested.
@lilypond[verbatim,quote,relative=2]
-c4~( c8 d~ d4 e)
+c4~( c8 d~ 4 e)
@end lilypond
@node Articulation and dynamics
@subsection Articulation and dynamics
+@menu
+* Articulations::
+* Fingerings::
+* Dynamics::
+@end menu
+
+@node Articulations
+@unnumberedsubsubsec Articulations
-@subheading Articulations
@cindex articulation
@cindex accent
dash @code{-} and a single character:
@lilypond[verbatim,quote,relative=2]
-c4-^ c-+ c-- c-|
+c4-^ c-+ c-- c-!
c4-> c-. c2-_
@end lilypond
-@subheading Fingerings
+@node Fingerings
+@unnumberedsubsubsec Fingerings
+
@cindex fingering
c4_-^1 d^. f^4_2-> e^-_+
@end lilypond
-@subheading Dynamics
+@node Dynamics
+@unnumberedsubsubsec Dynamics
+
@cindex dynamics
@cindex decrescendo
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
-@subheading Partial measure
+@menu
+* Partial measure::
+* Tuplets::
+* Grace notes::
+@end menu
+
+@node Partial measure
+@unnumberedsubsubsec Partial measure
+
@cindex pickup
@cindex anacrusis
c2 d |
@end lilypond
-@subheading Tuplets
+@node Tuplets
+@unnumberedsubsubsec Tuplets
+
@cindex tuplets
@cindex triplets
-@funindex \times
-@funindex times
+@funindex \tuplet
+@funindex tuplet
Music Glossary: @rglos{note value}, @rglos{triplet}.
-@notation{Tuplets} are made with the @code{\times} keyword. It
+@notation{Tuplets} are made with the @code{\tuplet} keyword. It
takes two arguments: a fraction and a piece of music. The
-duration of the piece of music is multiplied by the fraction.
-Triplets make notes occupy 2/3 of their notated duration, so a
-@notation{triplet} has 2/3 as its fraction
+fraction is the number of tuplet notes over the number
+of notes normally filling the same duration.
+For triplets, there are three notes instead of two, so
+@notation{triplets} have 3/2 as their fraction.
@lilypond[verbatim,quote,relative=2]
-\times 2/3 { f8 g a }
-\times 2/3 { c8 r c }
-\times 2/3 { f,8 g16[ a g a] }
-\times 2/3 { d4 a8 }
+\tuplet 3/2 { f8 g a }
+\tuplet 3/2 { c8 r c }
+\tuplet 3/2 { f,8 g16[ a g a] }
+\tuplet 3/2 { d4 a8 }
@end lilypond
-@subheading Grace notes
+@node Grace notes
+@unnumberedsubsubsec Grace notes
+
@cindex grace notes
@cindex acciaccatura
with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
@lilypond[verbatim,quote,relative=2]
-c2 \grace { a32[ b] } c2 |
+c2 \grace { a32 b } c2 |
c2 \appoggiatura b16 c2 |
c2 \acciaccatura b16 c2 |
@end lilypond
@cindex compound music expression
@cindex music expression, compound
+@menu
+* Analogy mathematical expressions::
+* Simultaneous music expressions multiple staves::
+* Simultaneous music expressions single staff::
+@end menu
+
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression:
{ { a4 g } f4 g }
@end lilypond
-@subheading Analogy: mathematical expressions
+@node Analogy mathematical expressions
+@unnumberedsubsubsec Analogy: mathematical expressions
+
This mechanism is similar to mathematical formulas: a big formula
is created by composing small formulas. Such formulas are called
polyphonic scores.
-@subheading Simultaneous music expressions: multiple staves
+@node Simultaneous music expressions multiple staves
+@unnumberedsubsubsec Simultaneous music expressions: multiple staves
+
@cindex multiple staves
@cindex staves, multiple
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
-@warning{each note is relative to the previous note in
-the input, not relative to the @code{c''} in the initial
+@warning{each note is relative to the previous note in the input,
+only the first is relative to the @code{c''} in the initial
@code{@bs{}relative} command.}
-@subheading Simultaneous music expressions: single staff
+@node Simultaneous music expressions single staff
+@unnumberedsubsubsec Simultaneous music expressions: single staff
+
To determine the number of staves in a piece, LilyPond looks at
the beginning of the first expression. If there is a single note,
}
@end lilypond
-
-
-
@node Staff groups
@subsection Staff groups
@funindex GrandStaff
@funindex ChoirStaff
-Music Glossary: @rglos{brace}.
+Music Glossary:
+@rglos{brace},
+@rglos{staff},
+@rglos{system}.
Piano music is typeset in two staves connected by a
@notation{brace}.
@node Combining notes into chords
@subsection Combining notes into chords
+Music Glossary: @rglos{chord}
+
@cindex chords
@cindex note durations in chords
@funindex >
@funindex < ... >
-Music Glossary: @rglos{chord}.
-
We saw earlier how notes can be combined into @notation{chords} by
indicating they are simultaneous by enclosing them in double angle
brackets. However, the normal way of indicating a chord is to
ties with chords. They must be placed outside the angle brackets.
@lilypond[verbatim,quote,relative=2]
-r4 <c e g>8[ <c f a>]~ <c f a>2 |
-r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!) |
+r4 <c e g>~ <c f a>2 |
+<c e g>8[ <c f a> <c e g> <c f a>]
+ <c e g>8\>[ <c f a> <c f a> <c e g>]\! |
+r4 <c e g>8.\p <c f a>16( <c e g>4-. <c f a>) |
@end lilypond
+@seealso
+Notation Reference:
+@ruser{Chorded notes}.
+
@node Single staff polyphony
@subsection Single staff polyphony
Polyphonic music in lilypond, while not difficult, uses concepts
that we haven't discussed yet, so we're not going to introduce
-them here. Instead, the following sections introduce these concepts
+them here. Instead, the following sections introduce these concepts
and explain them thoroughly.
@seealso
>>
@end lilypond
-Note the curly brackets delimiting both the music and the lyrics.
-It is essential that the final syllable is separated from the
-terminating curly bracket by a space or a newline, or it will be
-assumed to be part of the syllable, giving rise to an obscure
-error, see @rprogram{Apparent error in ../ly/init.ly}.
-
-Note also the double angle brackets @w{@code{<< ... >>}} around the
+Note the double angle brackets @w{@code{<<@dots{}>>}} around the
whole piece to show that the music and lyrics are to occur at the
same time.
>>
@end lilypond
-We see the extra lyrics do not align properly with the notes. The
-word @notation{shine} should be sung on two notes, not one. This
-is called a @notation{melisma}, a single syllable sung to more
-than one note. There are several ways to spread a syllable over
-multiple notes, the simplest being to add a slur across them, for
-details, see @ref{Ties and slurs}:
+If you compile the code in the example above, you should see some
+warnings in the console output:
+
+@example
+song.ly:12:29: warning: barcheck failed at: 5/8
+ The | moon doth shine as
+ | bright as day; |
+song.ly:12:46: warning: barcheck failed at: 3/8
+ The | moon doth shine as | bright as day;
+ |
+@end example
+
+This is a good example of the usefulness of bar checks. Now,
+looking at the music, we see that the extra lyrics do not align
+properly with the notes. The word @notation{shine} should be sung
+on two notes, not one. This is called a @notation{melisma}, a
+single syllable sung to more than one note. There are several
+ways to spread a syllable over multiple notes, the simplest being
+to add a slur across them, for details, see @ref{Ties and slurs}:
@lilypond[verbatim,quote]
<<
\clef "bass"
\key c \major
\time 6/8
- c4.~ c8 d b | c8([ d]) b c d b | c8
+ c4.~ 8 d b | c8([ d]) b c d b | c8
}
\addlyrics {
Lar -- go_al fac -- | to -- tum del -- la cit -- | tà
\key f \major
\time 6/8
\partial 8
- c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ c4
+ c8 | c8([ bes]) a a([ g]) f | f'4. b, | c4.~ 4
}
\addlyrics {
Let | flee -- cy flocks the | hills a -- | dorn, __
section of music is repeated many times.
@lilypond[verbatim,quote]
-tripletA = \times 2/3 { c,8 e g }
+tripletA = \tuplet 3/2 { c,8 e g }
barA = { \tripletA \tripletA \tripletA \tripletA }
\relative c'' {
When the file is processed, the title and composer are printed
above the music. More information on titling can be found in
-@ruser{Creating titles}.
+@ruser{Creating titles headers and footers}.
@node Absolute note names
@cindex absolute note names
So far we have always used @code{\relative} to define pitches.
-This is the easiest way to enter most music, but another way of
-defining pitches exists: absolute mode.
+This is usually the fastest way to enter most music. Without
+@code{\relative}, pitches are interpreted in absolute mode.
-If you omit the @code{\relative}, LilyPond treats all pitches as
-absolute values. A @code{c'} will always mean middle C, a
-@code{b} will always mean the note one step below middle C, and a
-@code{g,} will always mean the note on the bottom staff of the
-bass clef.
+In this mode, LilyPond treats all pitches as absolute values. A
+@code{c'} will always mean middle C, a @code{b} will always mean
+the note one step below middle C, and a @code{g,} will always mean
+the note on the bottom staff of the bass clef.
@lilypond[verbatim,quote]
{
However, absolute mode is useful for music which has large
intervals, and is extremely useful for computer-generated LilyPond
-files.
+files. When cutting and pasting melody fragments, absolute mode
+preserves the original octave.
+
+Sometimes music is arranged in more complex ways. If you are
+using @code{\relative} inside of @code{\relative}, the outer and
+inner relative sections are independent:
+
+@lilypond[verbatim,quote]
+\relative c { c'4 \relative c'' { f g } c }
+@end lilypond
+@funindex \absolute
+If you are using absolute music inside of relative, you'll need to
+mark the absolute music explicitly with @code{\absolute} to stop
+it from becoming part of the relative music:
+@lilypond[verbatim,quote]
+\relative c { c'4 \absolute { f'' g'' } c }
+@end lilypond
@node After the tutorial
@subsection After the tutorial
projects / lilypond.git / blobdiff