@node Introduction
@chapter Introduction
-This chapter introduces readers to LilyPond and the
-documentation.
+This chapter gives a basic introduction to working with LilyPond.
@menu
-* Background::
-* About the documentation::
+* Compiling a file::
+* How to write input files::
+* How to read the manuals::
@end menu
+@node Compiling a file
+@section Compiling a file
-@node Background
-@section Background
-
-This section covers the overall goals and architecture of
-LilyPond.
+FIXME: insert text
@menu
-* Engraving::
-* Automated engraving::
-* What symbols to engrave?::
-* Music representation::
-* Example applications::
+* Entering input::
+* MacOS X::
+* Windows::
+* Command-line::
@end menu
+@node Entering input
+@subsection Entering input
-@node Engraving
-@unnumberedsubsec Engraving
-
-@cindex engraving
-@cindex typography, music
-@cindex music typography
-@cindex plate engraving
-@cindex music engraving
-
-The art of music typography is called @emph{(plate) engraving}.
-The term derives from the traditional process of music printing.
-Just a few decades ago, sheet music was made by cutting and
-stamping the music into a zinc or pewter plate in mirror image.
-The plate would be inked, and the depressions caused by the cutting
-and stamping would hold ink. An image was formed by pressing
-paper to the plate. The stamping and cutting was done completely
-by hand. Making a correction was cumbersome, if possible at all,
-so the engraving had to be perfect in one go. Engraving was a
-highly specialized skill; a craftsman had to complete around five
-years of training before earning the title of master engraver, and
-another five years of experience were necessary to become truly
-skilled.
-
-Nowadays, all newly printed music is produced with computers.
-This has obvious advantages: prints are cheaper to make, and
-editorial work can be delivered by email. Unfortunately, the
-pervasive use of computers has also decreased the graphical
-quality of scores. Computer printouts have a bland, mechanical
-look, which makes them unpleasant to play from.
-
-
-@c introduce illustrating aspects of engraving, font...
-The images below illustrate the difference between traditional
-engraving and typical computer output, and the third picture shows
-how LilyPond mimics the traditional look. The left picture shows
-a scan of a flat symbol from an edition published in 2000. The
-center depicts a symbol from a hand-engraved Bärenreiter edition
-of the same music. The left scan illustrates typical flaws of
-computer print: the staff lines are thin, the weight of the flat
-symbol matches the light lines and it has a straight layout with
-sharp corners. By contrast, the Bärenreiter flat has a bold,
-almost voluptuous rounded look. Our flat symbol is designed
-after this one, among others. It is rounded, and its weight
-harmonizes with the thickness of our staff lines, which are also
-much thicker than lines in the computer edition.
-
-@multitable @columnfractions .125 .25 .25 .25 .125
-@item @tab
-@ifnotinfo
-@iftex
-@image{henle-flat-gray,,4cm}
-@end iftex
-@ifnottex
-@image{henle-flat-gray,,,png}
-@end ifnottex
-
-@tab
-@iftex
-@image{baer-flat-gray,,4cm}
-@end iftex
-@ifnottex
-@image{baer-flat-gray,,,png}
-@end ifnottex
-
-@tab
-@iftex
-@image{lily-flat-bw,,4cm}
-@end iftex
-@ifnottex
-@image{lily-flat-bw,,,png}
-@end ifnottex
-@end ifnotinfo
-@ifinfo
-@image{lilypond/henle-flat-bw,,,,png} @image{lilypond/baer-flat-bw,,,,png}
-@image{lilypond/lily-flat-bw,,,,png}
-@end ifinfo
-
-@item @tab
-Henle (2000)
-@tab
-Bärenreiter (1950)
-@tab
-LilyPond Feta font (2003)
-
-@end multitable
-
-
-@cindex musical symbols
-@cindex font
-@cindex blackness
-@cindex balance
-
-@c introduce illustrating aspects of engraving, spacing...
-In spacing, the distribution of space should reflect the durations
-between notes. However, many modern scores adhere to the
-durations with mathematical precision, which leads to poor
-results. In the next example a motive is printed twice: once
-using exact mathematical spacing, and once with corrections. Can
-you spot which fragment is which?
-
-@cindex optical spacing
-@c file spacing-optical.
-@c need to include it here, because we want two images.
-@lilypond
-\paper {
- ragged-right = ##t
- indent = #0.0
-}
+@cindex compiling
+@cindex first example
+@cindex example, first
+@cindex case sensitive
-music = {
- c'4 e''4 e'4 b'4 |
- \stemDown
- b'8[ e'' a' e'']
- \stemNeutral
- e'8[ e'8 e'8 e'8]
-}
+@qq{Compiling} is the term used for processing an input file
+in LilyPond format to produce a file which can be printed and
+(optionally) a MIDI file which can be played. LilyPond input
+files are simple text files. The first example
+shows what a simple input file looks like.
-\score
-{
- \music
- \layout {
- \context {
- \Staff
- \override NoteSpacing #'stem-spacing-correction = #0.6
- }
- }
-}
-@end lilypond
+To create sheet music, we write an input file that specifies the
+notation. For example, if we write:
-@lilypond
-\paper {
- ragged-right = ##t
- indent = #0.0
-}
+@example
+@{
+ c' e' g' e'
+@}
+@end example
-music = {
- c'4 e''4 e'4 b'4 |
- \stemDown
- b'8[ e'' a' e'']
- \stemNeutral
- e'8[ e'8 e'8 e'8]
-}
-\score
+@noindent
+the result looks like this:
+
+@c in this case we don't want verbatim
+@lilypond[quote]
{
- \music
- \layout {
- \context {
- \Staff
- \override NoteSpacing #'stem-spacing-correction = #0.0
- \override NoteSpacing #'same-direction-correction = #0.0
- \override StaffSpacing #'stem-spacing-correction = #0.0
- }
- }
+ c' e' g' e'
}
@end lilypond
-@cindex regular rhythms
-@cindex regular spacing
-@cindex spacing, regular
-
-Each bar in the fragment only uses notes that are played in a
-constant rhythm. The spacing should reflect that. Unfortunately,
-the eye deceives us a little; not only does it notice the distance
-between note heads, it also takes into account the distance
-between consecutive stems. As a result, the notes of an
-up-stem/@/down-stem combination should be put farther apart, and
-the notes of a down-stem/@/up-stem combination should be put
-closer together, all depending on the combined vertical positions
-of the notes. The upper two measures are printed with this
-correction, the lower two measures, however, form
-down-stem/@/up-stem clumps of notes.
-
-
-Musicians are usually more absorbed with performing than with
-studying the looks of a piece of music, so nitpicking
-typographical details may seem academic. But it is not. In
-larger pieces with monotonous rhythms, spacing corrections lead to
-subtle variations in the layout of every line, giving each one a
-distinct visual signature. Without this signature all lines would
-look the same, and they become like a labyrinth. A distinct visual
-signature helps to keep musicians from losing their place on the
-page when they look away or have a lapse in concentration.
-
-Similarly, the strong visual look of bold symbols on heavy staff
-lines stands out better when the music is far away from the
-reader: for example, if it is on a music stand. A careful
-distribution of white space allows music to be set very tightly
-without crowding symbols together. The result minimizes the
-number of page turns, which is a great advantage.
-
-This is a common characteristic of typography. Layout should be
-pretty, not only for its own sake, but especially because it helps
-the reader in her task. For performance material like sheet
-music, this is of double importance: musicians have a limited
-amount of attention. The less attention they need for reading,
-the more they can focus on playing the music. In other words,
-better typography translates to better performances.
-
-These examples demonstrate that music typography is an art that is
-subtle and complex, and that producing it requires considerable
-expertise, which musicians usually do not have. LilyPond is our
-effort to bring the graphical excellence of hand-engraved music to
-the computer age, and make it available to normal musicians. We
-have tuned our algorithms, font-designs, and program settings to
-produce prints that match the quality of the old editions we love
-to see and love to play from.
-
-
-@node Automated engraving
-@unnumberedsubsec Automated engraving
-
-@cindex engraving, automated
-@cindex automated engraving
-
-How do we go about implementing typography? If craftsmen need
-over ten years to become true masters, how could we simple hackers
-ever write a program to take over their jobs?
-
-The answer is: we cannot. Typography relies on human judgment of
-appearance, so people cannot be replaced completely. However,
-much of the dull work can be automated. If LilyPond solves most
-of the common situations correctly, this will be a huge
-improvement over existing software. The remaining cases can be
-tuned by hand. Over the course of years, the software can be
-refined to do more and more things automatically, so manual
-overrides are less and less necessary.
-
-When we started, we wrote the LilyPond program entirely in the C++
-programming language; the program's functionality was set in stone
-by the developers. That proved to be unsatisfactory for a number
-of reasons:
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @w{@strong{@{ curly braces @}}}. The braces
+should also be surrounded by a space unless they are at the
+beginning or end of a line to avoid ambiguities. The braces may
+be omitted in some examples in this manual, but don't forget them
+in your own music! For more information about the display of
+examples in the manual, see @ref{How to read the manuals}.}
-@itemize
+In addition, LilyPond input is @strong{case sensitive}.
+@w{@code{@{ c d e @}}} is valid input; @w{@code{@{ C D E @}}} will
+produce an error message.
-@item When LilyPond makes mistakes, users need to override
-formatting decisions. Therefore, the user must have access to the
-formatting engine. Hence, rules and settings cannot be fixed by
-us at compile-time but must be accessible for users at run-time.
-@item Engraving is a matter of visual judgment, and therefore a
-matter of taste. As knowledgeable as we are, users can disagree
-with our personal decisions. Therefore, the definitions of
-typographical style must also be accessible to the user.
+@smallspace
-@item Finally, we continually refine the formatting algorithms, so
-we need a flexible approach to rules. The C++ language forces a
-certain method of grouping rules that cannot readily be applied to
-formatting music notation.
+@subheading Viewing output
-@end itemize
+@c TODO: move index entries
+@cindex PDF file
+@cindex viewing music
+@cindex text editors
+@cindex running LilyPond under MacOS X
+@cindex MacOS X, running LilyPond
+@cindex running LilyPond under Windows
+@cindex Windows, running LilyPond
+@cindex running LilyPond under Unix
+@cindex Unix, running LilyPond
-@cindex Scheme programming language
-
-These problems have been addressed by integrating an interpreter
-for the Scheme programming language and rewriting parts of
-LilyPond in Scheme. The current formatting architecture is built
-around the notion of graphical objects, described by Scheme
-variables and functions. This architecture encompasses formatting
-rules, typographical style and individual formatting decisions.
-The user has direct access to most of these controls.
-
-Scheme variables control layout decisions. For example, many
-graphical objects have a direction variable that encodes the
-choice between up and down (or left and right). Here you see two
-chords, with accents and arpeggios. In the first chord, the
-graphical objects have all directions down (or left). The second
-chord has all directions up (right).
-
-@lilypond[quote,ragged-right]
-\new Score \with {
- \override SpacingSpanner #'spacing-increment = #3
- \override TimeSignature #'transparent = ##t
-} \relative c' {
- \stemDown <e g b>4_>-\arpeggio
- \override Arpeggio #'direction = #RIGHT
- \stemUp <e g b>4^>-\arpeggio
-}
-@end lilypond
+Producing output depends on your operating system and the
+program(s) you use.
-@cindex score formatting
-@cindex formatting a score
-@cindex formatting rules
+@itemize
-@noindent
-The process of formatting a score consists of reading and writing
-the variables of graphical objects. Some variables have a preset
-value. For example, the thickness of many lines -- a
-characteristic of typographical style -- is a variable with a
-preset value. You are free to alter this value, giving your score
-a different typographical impression.
-
-@lilypond[quote,ragged-right]
-fragment = {
- \clef bass f8 as8
- c'4-~ c'16 as g f e16 g bes c' des'4
-}
-<<
- \new Staff \fragment
- \new Staff \with {
- \override Beam #'thickness = #0.3
- \override Stem #'thickness = #0.5
- \override Bar #'thickness = #3.6
- \override Tie #'thickness = #2.2
- \override StaffSymbol #'thickness = #3.0
- \override Tie #'extra-offset = #'(0 . 0.3)
- }
- \fragment
->>
-@end lilypond
+@item
+@ref{MacOS X, @sourceimage{logo-macosx,,,}}
+@ref{MacOS X, MacOS X} (graphical)
+
+@item
+@ref{Windows, @sourceimage{logo-windows,,,}}
+@ref{Windows, Microsoft Windows} (graphical)
-Formatting rules are also preset variables: each object has
-variables containing procedures. These procedures perform the
-actual formatting, and by substituting different ones, we can
-change the appearance of objects. In the following example, the
-rule governing which note head objects are used to produce the
-note head symbol is changed during the music fragment.
-
-@lilypond[quote,ragged-right]
-#(set-global-staff-size 30)
-
-#(define (mc-squared grob orig current)
- (let* ((interfaces (ly:grob-interfaces grob))
- (pos (ly:grob-property grob 'staff-position)))
- (if (memq 'note-head-interface interfaces)
- (begin
- (ly:grob-set-property! grob 'stencil
- (grob-interpret-markup grob
- (make-lower-markup 0.5
- (case pos
- ((-5) "m")
- ((-3) "c ")
- ((-2) (make-smaller-markup (make-bold-markup "2")))
- (else "bla")))))))))
-
-\new Voice \relative c' {
- \stemUp
- \set autoBeaming = ##f
- \time 2/4
- <d f g>4
- \once \override NoteHead #'stencil = #ly:note-head::brew-ez-stencil
- \once \override NoteHead #'font-size = #-7
- \once \override NoteHead #'font-family = #'sans
- \once \override NoteHead #'font-series = #'bold
- <d f g>4
- \once \override NoteHead #'style = #'cross
- <d f g>4
- \applyOutput #'Voice #mc-squared
- <d f g>4
- <<
- { d8[ es-( fis^^ g] fis2-) }
- \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
- >>
+@item
+@ref{Command-line, @sourceimage{logo-linux,,,}
+@sourceimage{logo-freebsd,,,}
+@sourceimage{logo-macosx,,,}
+@sourceimage{logo-windows,,,}
}
-@end lilypond
+@ref{Command-line, All operating systems} (command-line)
+@end itemize
-@node What symbols to engrave?
-@unnumberedsubsec What symbols to engrave?
-
-@cindex engraving
-@cindex typography
-@cindex engraver
-@cindex plug-in
-
-The formatting process decides where to place symbols. However,
-this can only be done once it is decided @emph{what} symbols
-should be printed -- in other words, what notation to use.
-
-Common music notation is a system of recording music that has
-evolved over the past 1000 years. The form that is now in common
-use dates from the early Renaissance. Although the basic form
-(i.e., note heads on a 5-line staff) has not changed, the details
-still evolve to express the innovations of contemporary notation.
-Hence, common music notation encompasses some 500 years of music.
-Its applications range from monophonic melodies to monstrous
-counterpoints for a large orchestra.
-
-How can we get a grip on such a seven-headed beast, and force it
-into the confines of a computer program? Our solution is to break
-up the problem of notation (as opposed to engraving, i.e.,
-typography) into digestible and programmable chunks: every type of
-symbol is handled by a separate module, a so-called plug-in. Each
-plug-in is completely modular and independent, so each can be
-developed and improved separately. Such plug-ins are called
-@code{engraver}s, by analogy with craftsmen who translate musical
-ideas to graphic symbols.
-
-In the following example, we start out with a plug-in for note
-heads, the @code{Note_heads_engraver}.
-
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-
-\score {
- \topVoice
- \layout {
- \context {
- \Voice
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context {
- \Staff
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Clef_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- \remove "Staff_symbol_engraver"
- \consists "Pitch_squash_engraver"
- }
- }
-}
-@end lilypond
+There are several other text editors available with better support
+for LilyPond. For more information, see
+@rgeneral{Alternate input}.
-@noindent
-Then a @code{Staff_symbol_engraver} adds the staff,
-
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-
-\score {
- \topVoice
- \layout {
- \context {
- \Voice
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context {
- \Staff
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Clef_engraver"
- \remove "Bar_engraver"
- \consists "Pitch_squash_engraver"
- \remove "Time_signature_engraver"
- }
- }
-}
-@end lilypond
+@warning{The first time you ever run LilyPond, it may take a
+minute or two because all of the system fonts have to be analyzed
+first. After this, LilyPond will be much faster!}
-@noindent
-the @code{Clef_engraver} defines a reference point for the staff,
-
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-
-\score {
- \topVoice
- \layout {
- \context {
- \Voice
- \remove "Stem_engraver"
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context {
- \Staff
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- }
- }
-}
-@end lilypond
-@noindent
-and the @code{Stem_engraver} adds stems.
-
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-
-\score {
- \topVoice
- \layout {
- \context {
- \Voice
- \remove "Phrasing_slur_engraver"
- \remove "Slur_engraver"
- \remove "Script_engraver"
- \remove "Beam_engraver"
- \remove "Auto_beam_engraver"
- }
- \context {
- \Staff
- \remove "Accidental_engraver"
- \remove "Key_engraver"
- \remove "Bar_engraver"
- \remove "Time_signature_engraver"
- }
- }
-}
-@end lilypond
+@node MacOS X
+@subsection MacOS X
-@noindent
-The @code{Stem_engraver} is notified of any note head coming
-along. Every time one (or more, for a chord) note head is seen, a
-stem object is created and connected to the note head. By adding
-engravers for beams, slurs, accents, accidentals, bar lines, time
-signature, and key signature, we get a complete piece of notation.
-
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-\score { \topVoice }
-@end lilypond
+@warning{These instructions assume that you are using the built-in
+LilyPad editor. If you are using any of the programs described in
+@rgeneral{Alternate input}, please consult the documentation for
+those programs if you have any problems compiling a file.}
-@cindex polyphony
-@cindex engraving multiple voices
-@cindex contexts
-This system works well for monophonic music, but what about
-polyphony? In polyphonic notation, many voices can share a staff.
+If you double click @command{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
+@w{@code{Compile > Typeset File}}. The resulting PDF file will be
+displayed on your screen.
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-\new Staff << \topVoice \\ \botVoice >>
-@end lilypond
+For future use of LilyPond, you should begin by selecting @q{New}
+or @q{Open}. You must save your file before typesetting it. If
+any errors occur in processing, please see the log window.
-In this situation, the accidentals and staff are shared, but the
-stems, slurs, beams, etc., are private to each voice. Hence,
-engravers should be grouped. The engravers for note heads, stems,
-slurs, etc., go into a group called @q{Voice context,} while the
-engravers for key, accidental, bar, etc., go into a group called
-@q{Staff context.} In the case of polyphony, a single Staff
-context contains more than one Voice context. Similarly, multiple
-Staff contexts can be put into a single Score context. The Score
-context is the top level notation context.
+@c FIXME: add screenshots
+@node Windows
+@subsection Windows
-@seealso
-Internals Reference: @rinternals{Contexts}.
+@warning{These instructions assume that you are using the built-in
+LilyPad editor. If you are using any of the programs described in
+@rgeneral{Alternate input}, please consult the documentation for
+those programs if you have any problems compiling a file.}
+On Windows, if you double-click in the LilyPond icon on the
+Desktop, it will open a simple text editor with an example file.
+Save it, for example, to @file{test.ly} on your Desktop and then
+double-click on the file to process it (the file icon looks like a
+note). After some seconds, you will get a file @file{test.pdf} on
+your desktop. Double-click on this PDF file to view the typeset
+score. An alternative method to process the @file{test.ly} file
+is to drag and drop it onto the LilyPond icon using your mouse
+pointer.
-@lilypond[quote,ragged-right]
-\include "engraver-example.ily"
-\score {
- <<
- \new Staff << \topVoice \\ \botVoice >>
- \new Staff << \pah \\ \hoom >>
- >>
-}
-@end lilypond
+To edit an existing @file{.ly} file, right-click on it and
+select @qq{Edit source}. To get an empty file to start from, run
+the editor as described above and use @qq{New} in
+the @qq{File} menu, or right-click on the desktop and select
+@qq{New..Text Document}, change its name to a name of your choice
+and change the file extension to @code{.ly}. Double-click the
+icon to type in your LilyPond source code as before.
+
+Double-clicking the file does not only result in a PDF file, but
+also produces a @file{.log} file that contains some information on
+what LilyPond has done to the file. If any errors occur, please
+examine this file.
+@c FIXME: add screenshots
-@node Music representation
-@unnumberedsubsec Music representation
-@cindex syntax
-@cindex recursive structures
+@node Command-line
+@subsection Command-line
-Ideally, the input format for any high-level formatting system is
-an abstract description of the content. In this case, that would
-be the music itself. This poses a formidable problem: how can we
-define what music really is? Instead of trying to find an answer,
-we have reversed the question. We write a program capable of
-producing sheet music, and adjust the format to be as lean as
-possible. When the format can no longer be trimmed down, by
-definition we are left with content itself. Our program serves as
-a formal definition of a music document.
+@warning{These instructions assume that you are using commond unix
+command-line programs. If you are using any of the programs
+described in @rgeneral{Alternate input}, please consult the
+documentation for those programs if you have any problems
+compiling a file.}
-The syntax is also the user-interface for LilyPond, hence it is
-easy to type:
+
+Create a text file called @file{test.ly} and enter:
@example
@{
- c'4 d'8
+ c' e' g' e'
@}
@end example
-@noindent
-to create a quarter note on middle C (C1) and an eighth note on
-the D above middle C (D1).
-
-@lilypond[quote]
-{
- c'4 d'8
-}
-@end lilypond
-
-On a microscopic scale, such syntax is easy to use. On a larger
-scale, syntax also needs structure. How else can you enter
-complex pieces like symphonies and operas? The structure is
-formed by the concept of music expressions: by combining small
-fragments of music into larger ones, more complex music can be
-expressed. For example
-
-@lilypond[quote,verbatim,fragment,relative=1]
-f4
-@end lilypond
-
-@noindent
-Simultaneous notes can be constructed by enclosing them with
-@code{<<} and @code{>>}:
+To process @file{test.ly}, proceed as follows:
@example
-<<c4 d4 e4>>
+lilypond test.ly
@end example
-@lilypond[quote,fragment,relative=1]
-\new Voice { <<c4 d4 e>> }
-@end lilypond
-
@noindent
-This expression is put in sequence by enclosing it in curly braces
-@code{@{@tie{}@dots{}@tie{}@}}:
+You will see something resembling:
@example
-@{ f4 <<c4 d4 e4>> @}
+lilypond test.ly
+GNU LilyPond @version{}
+Processing `test.ly'
+Parsing...
+Interpreting music...
+Preprocessing graphical objects...
+Finding the ideal number of pages...
+Fitting music on 1 page...
+Drawing systems...
+Layout output to `test.ps'...
+Converting to `test.pdf'...
@end example
-@lilypond[quote,relative=1,fragment]
-{ f4 <<c d e4>> }
-@end lilypond
-
-@noindent
-The above is also an expression, and so it may be combined again
-with another simultaneous expression (a half note) using
-@code{<<}, @code{\\}, and @code{>>}:
+You may view or print the resulting @file{text.pdf}.
-@example
-<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
-@end example
-@lilypond[quote,fragment,relative=2]
-\new Voice { << g2 \\ { f4 <<c d e>> } >> }
-@end lilypond
+@node How to write input files
+@section How to write input files
-Such recursive structures can be specified neatly and formally in
-a context-free grammar. The parsing code is also generated from
-this grammar. In other words, the syntax of LilyPond is clearly
-and unambiguously defined.
+FIXME: insert text
-User-interfaces and syntax are what people see and deal with most.
-They are partly a matter of taste, and also the subject of much
-discussion. Although discussions on taste do have their merit,
-they are not very productive. In the larger picture of LilyPond,
-the importance of input syntax is small: inventing neat syntax is
-easy, while writing decent formatting code is much harder. This
-is also illustrated by the line-counts for the respective
-components: parsing and representation take up less than 10% of
-the source code.
+@menu
+* Simple notation::
+* Working on input files::
+@end menu
-@node Example applications
-@unnumberedsubsec Example applications
+@node Simple notation
+@subsection Simple notation
-@cindex simple examples
-@cindex examples, simple
+@cindex simple notation
+@cindex notation, simple
-We have written LilyPond as an experiment of how to condense the
-art of music engraving into a computer program. Thanks to all
-that hard work, the program can now be used to perform useful
-tasks. The simplest application is printing notes.
+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[quote,relative=1]
+@lilypond[verbatim,quote]
{
- \time 2/4
- c4 c g'4 g a4 a g2
+ c' e' g' e'
}
@end lilypond
@noindent
-By adding chord names and lyrics we obtain a lead sheet.
-
-@lilypond[quote,ragged-right]
-<<
- \chords { c2 c f2 c }
- \new Staff
- \relative c' {
- \time 2/4
- c4 c g' g a a g2
- }
- \addlyrics { twin -- kle twin -- kle lit -- tle star }
->>
+This behavior may be altered, but in most cases these automatic
+values are useful.
+
+
+@subheading Pitches
+
+@cindex pitches
+@cindex relative mode
+@cindex quote, single
+@cindex comma
+@cindex accidentals and relative mode
+@cindex relative mode, and accidentals
+
+@funindex \relative
+@funindex relative
+@funindex '
+@funindex ,
+
+Music Glossary: @rglos{pitch}, @rglos{interval},
+@rglos{scale}, @rglos{middle C}, @rglos{octave},
+@rglos{accidental}.
+
+The easiest way to enter notes is by using @code{\relative} mode.
+In this mode, the octave is chosen automatically by assuming the
+following note is always to be placed closest to the previous
+note, i.e., it is to be placed in the octave which is within three
+staff spaces of the previous note. We begin by entering the most
+elementary piece of music, a @notation{scale}, in which every note
+is within just one staff space of the previous note.
+
+@lilypond[verbatim,quote]
+% set the starting point to middle C
+\relative c' {
+ c d e f
+ g a b c
+}
@end lilypond
-Polyphonic notation and piano music can also be printed. The
-following example combines some more exotic constructs.
+The initial note is @notation{middle C}. Each successive note is
+placed closest to the previous note -- in other words, the first
+@code{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, still using only @code{\relative} mode:
-@lilypond[quote]
-\header {
- title = "Screech and boink"
- subtitle = "Random complex notation"
- composer = "Han-Wen Nienhuys"
+@lilypond[verbatim,quote]
+\relative c' {
+ d f a g
+ c b f d
}
+@end lilypond
-\score {
- \context PianoStaff <<
- \new Staff = "up" {
- \time 4/8
- \key c \minor
- << {
- \revert Stem #'direction
- \change Staff = down
- \set subdivideBeams = ##t
- g16.[
- \change Staff = up
- c'''32
- \change Staff = down
- g32
- \change Staff = up
- c'''32
- \change Staff = down
- g16]
- \change Staff = up
- \stemUp
- \set followVoice = ##t
- c'''32([ b''16 a''16 gis''16 g''32)]
- } \\ {
- s4 \times 2/3 { d'16[ f' g'] } as'32[ b''32 e'' d'']
- } \\ {
- s4 \autoBeamOff d''8.. f''32
- } \\ {
- s4 es''4
- } >>
- }
-
- \new Staff = "down" {
- \clef bass
- \key c \minor
- \set subdivideBeams = ##f
- \override Stem #'french-beaming = ##t
- \override Beam #'thickness = #0.3
- \override Stem #'thickness = #4.0
- g'16[ b16 fis16 g16]
- << \makeClusters {
- as16 <as b>
- <g b>
- <g cis>
- } \\ {
- \override Staff.Arpeggio #'arpeggio-direction =#down
- <cis, e, gis, b, cis>4\arpeggio
- }
- >> }
- >>
- \midi {
- \context {
- \Score
- tempoWholesPerMinute = #(ly:make-moment 60 8)
- }
- }
- \layout {
- \context {
- \Staff
- \consists Horizontal_bracket_engraver
- }
- }
+@noindent
+It is not necessary for the first note of the melody to start on
+the note which specifies the starting pitch. In the previous
+example, the first note -- the @code{d} -- is the closest D to
+middle C.
+
+By adding (or removing) quotes @code{'} or commas @code{,} from
+the @code{@w{\relative c' @{}} command, we can change the starting
+octave:
+
+@lilypond[verbatim,quote]
+% one octave above middle C
+\relative c'' {
+ e c a c
}
@end lilypond
-The fragments shown above have all been written by hand, but that
-is not a requirement. Since the formatting engine is mostly
-automatic, it can serve as an output means for other programs that
-manipulate music. For example, it can also be used to convert
-databases of musical fragments to images for use on websites and
-multimedia presentations.
-
-This manual also shows an application: the input format is text,
-and can therefore be easily embedded in other text-based formats
-such as @LaTeX{}, HTML, or in the case of this manual, Texinfo.
-By means of a special program, the input fragments can be replaced
-by music images in the resulting PDF or HTML output files. This
-makes it easy to mix music and text in documents.
+Relative mode can be confusing initially, but is the easiest way
+to enter most melodies. Let us see how this relative calculation
+works in practice. Starting from a B, which is on the middle line
+in a treble clef, you can reach a C, D and E within 3 staff spaces
+going up, and an A, G and F within 3 staff spaces going down. So
+if the note following a B is a C, D or E it will be assumed to be
+above the B, and an A, G or F will be assumed to be below.
+
+@lilypond[verbatim,quote]
+\relative c'' {
+ b c % c is 1 staff space up, so is the c above
+ b d % d is 2 up or 5 down, so is the d above
+ b e % e is 3 up or 4 down, so is the e above
+ b a % a is 6 up or 1 down, so is the a below
+ b g % g is 5 up or 2 down, so is the g below
+ b f % f is 4 up or 3 down, so is the f below
+}
+@end lilypond
+Exactly the same happens even when any of these notes are
+sharpened or flattened. @notation{Accidentals} are
+@strong{totally ignored} in the calculation of relative position.
+Precisely the same staff space counting is done from a note at any
+other position on the staff.
+
+To add intervals that are larger than three staff spaces, we can
+raise the @notation{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[verbatim,quote]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
+@end lilypond
-@node About the documentation
-@section About the documentation
+@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{@w{\relative c'}} may also be modified like
+this.
+@c " - keeps quotes in order for context-sensitive editor -td
+
+@subheading Durations (rhythms)
+
+@cindex note durations
+@cindex durations
+@cindex rhythms
+@cindex whole note
+@cindex half note
+@cindex quarter note
+@cindex dotted note
+@cindex notating durations
+
+Music Glossary: @rglos{beam}, @rglos{duration},
+@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
+@rglos{dotted note}.
+
+The @notation{duration} of a note is specified by a number after
+the note name: @code{1} for a @notation{whole note}, @code{2} for
+a @notation{half note}, @code{4} for a @notation{quarter note} and
+so on. @notation{Beams} are added automatically.
+
+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.
+
+@lilypond[verbatim,quote]
+\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
-This section explains the different portions of the documentation.
+To create @notation{dotted notes}, add a dot @code{.} to the
+duration number. The duration of a dotted note must be stated
+explicitly (i.e., with a number).
-@cindex Learning Manual
-@cindex Music Glossary
-@cindex Notation Reference
-@cindex Application Usage
-@cindex Snippet List
-@cindex Internals Reference
+@lilypond[verbatim,quote]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
+@end lilypond
-@c leave these lines wrapping around. It's some texinfo 4.12 thing. -gp
-@c This is actually a limitation of texi2html. -jm
-@menu
-* About the Learning Manual:: this manual introduces LilyPond, giving in-depth explanations of how to create notation.
-* About the Music Glossary:: this manual explains musical terms and gives translations of terms in other languages.
-* About the Notation Reference:: this manual is the main portion of the documentation. It provides detailed information about creating notation. This book assumes that the reader knows basic material covered in the Learning Manual and is familiar with the English musical terms presented in the Musical Glossary.
-* About the Application Usage:: this discusses the actual programs and operating system-specific issues.
-* About the Snippet List:: this is a collection of short LilyPond examples.
-* About the Internals Reference:: this document gives reference information about LilyPond's internal structures, which is required for constructing tweaks.
-* Other documentation:: there are a few other portions of the documentation, such as News items and the mailist archives.
-@end menu
+@subheading Rests
-@node About the Learning Manual
-@unnumberedsubsec About the Learning Manual
+@cindex rest
+@cindex notating rests
-@cindex Learning Manual
+Music Glossary: @rglos{rest}.
-This book explains how to begin learning LilyPond, as well as
-explaining some key concepts in easy terms. You should read these
-chapters in a linear fashion.
+A @notation{rest} is entered just like a note with the name
+@code{r}@tie{}:
-There is a paragraph @strong{See also} at the end of each section,
-which contains cross-references to other sections: you should not
-follow these cross-references at first reading; when you have read all
-of the Learning Manual, you may want to read some sections again and
-follow cross-references for further reading.
+@lilypond[verbatim,quote]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
+@end lilypond
-@itemize
-@item
-@ref{Introduction}: explains the background and overall goal of
-LilyPond.
+@subheading Time signature
-@item
-@ref{Tutorial}: gives a gentle introduction to typesetting music.
-First time users should start here.
+@cindex time signature
-@item
-@ref{Fundamental concepts}: explains some general concepts about
-the LilyPond file format. If you are not certain where to place a
-command, read this chapter!
+@funindex \time
+@funindex time
-@item
-@ref{Tweaking output}: shows how to change the default engraving
-that LilyPond produces.
+Music Glossary: @rglos{time signature}.
-@item
-@ref{Working on LilyPond projects}: discusses practical uses of
-LilyPond and how to avoid some common problems. Read this before
-undertaking large projects!
+The @notation{time signature} can be set with the @code{\time}
+command:
-@end itemize
+@lilypond[verbatim,quote]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
+@end lilypond
-The Learning Manual also contains appendices which are not part of the
-recommended linear reading. They may be useful for later
-viewing:
-@itemize
+@subheading Clef
-@item
-@ref{Templates}: shows ready-made templates of LilyPond pieces.
-Just cut and paste a template into a file, add notes, and you're
-done!
+@cindex clef
+@cindex treble
+@cindex alto
+@cindex tenor
+@cindex bass
-@item
-@ref{Scheme tutorial}: presents a short introduction to Scheme,
-the programming language that music functions use. This is
-material for advanced tweaks; many users never touch Scheme at
-all.
+@funindex \clef
+@funindex clef
-@end itemize
+Music Glossary: @rglos{clef}.
+The @notation{clef} can be set using the @code{\clef} command:
-@node About the Music Glossary
-@unnumberedsubsec About the Music Glossary
+@lilypond[verbatim,quote]
+\relative c' {
+ \clef treble
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
+}
+@end lilypond
-@cindex Music Glossary
-@cindex idiom
-@cindex jargon
-@cindex terminology
-@cindex foreign languages
-@cindex language
-@rglosnamed{Top,Music glossary}
-this explains musical terms, and includes translations to various
-languages. If you are not familiar with music notation or music
-terminology (especially if you are a non-native English speaker),
-it is highly advisable to consult the glossary.
+@subheading All together
+Here is a small example showing all these elements together:
-@node About the Notation Reference
-@unnumberedsubsec About the Notation Reference
+@lilypond[verbatim,quote]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
+@end lilypond
-@cindex Notation Reference
-@cindex appendices
-@cindex reference charts
-@cindex charts, reference
-This book explains all the LilyPond commands which produce
-notation. It assumes that readers are familiar with the concepts
-in the Learning Manual.
+@seealso
+Notation Reference: @ruser{Writing pitches},
+@ruser{Writing rhythms}, @ruser{Writing rests},
+@ruser{Time signature}, @ruser{Clef}.
+
+
+@node Working on input files
+@subsection Working on input files
+
+@cindex curly braces
+@cindex braces, curly
+@cindex comments
+@cindex line comment
+@cindex comment, line
+@cindex block comment
+@cindex comment, line
+@cindex case sensitive
+@cindex whitespace insensitive
+@cindex expressions
+
+@funindex { ... }
+@funindex %
+@funindex %@{ ... %@}
+
+LilyPond input files are similar to source files in many common
+programming languages. They are case sensitive, and white-space
+is generally ignored. Expressions are formed with curly braces
+@{ @}, and comments are denoted with @code{%} or
+@w{@code{%@{ ... %@}}}.
+
+If the previous sentences sound like nonsense, don't worry! We'll
+explain what all these terms mean:
@itemize
@item
-@ruser{Musical notation}:
-discusses topics grouped by notation construct. This section
-gives details about basic notation that will be useful in almost
-any notation project.
+@strong{Case sensitive}:
+it matters whether you enter a letter in lower case (e.g.
+@w{@code{a, b, s, t}}) or upper case (e.g. @w{@code{A, B, S, T}}).
+Notes are lower case: @w{@code{@{ c d e @}}} is valid input;
+@w{@code{@{ C D E @}}} will produce an error message.
@item
-@ruser{Specialist notation}:
-discusses topics grouped by notation construct. This section
-gives details about special notation that will only be useful for
-particular instrument (or vocal) groups.
+@strong{Whitespace insensitive}:
+it does not matter how many spaces (or tabs or new lines) you add.
+@w{@code{@{ c d e @}}} means the same thing as
+@w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} and:
-@item
-@ruser{General input and output}:
-discusses general information about LilyPond input files and
-controlling output.
+@example
+@{ c d
+ e @}
+@end example
-@item
-@ruser{Spacing issues}:
-discusses issues which affect the global output, such as selecting
-paper size or specifying page breaks.
+@noindent
+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:
-@item
-@ruser{Changing defaults}:
-explains how to tweak LilyPond to produce exactly the notation you
-want.
+@example
+@{
+ c d e
+@}
+@end example
+However, whitespace @emph{is} required to separate many syntactical
+elements from others. In other words, whitespace can always be
+@emph{added}, but it cannot be @emph{eliminated}. As missing
+whitespace can give rise to strange errors it is advisable to
+always insert whitespace before and after every syntactic element,
+for example, before and after every curly brace.
+
+@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 parentheses
+@code{()} in mathematics. The braces should be surrounded by a
+space unless they are at the beginning or end of a line to avoid
+ambiguities.
+
+A LilyPond command followed by a simple expression in braces (such
+as @w{@code{\relative @{ @}}}) also counts as a single music
+expression.
+
+@cindex comments
+@cindex line comment
+@cindex block comment
@item
-@ruser{Interfaces for programmers}:
-explains how to create music functions with scheme.
+@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
+@code{%} introduces a line comment; anything after @code{%} on
+that line is ignored. By convention, a line comment is placed
+@emph{above} the code it refers to.
-@end itemize
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
-The Notation Reference also contains appendices with useful
-reference charts.
+A block comment marks a whole section of music input as a comment.
+Anything that is enclosed in @code{%@{} and @code{%@}} is ignored.
+However, block comments do not @q{nest}. This means that you
+cannot place a block comment inside another block comment. If you
+try, the first @code{%@}} will terminate @emph{both} block
+comments. The following fragment shows possible uses for
+comments:
-@itemize
+@example
+% notes for twinkle twinkle follow
+ c4 c g' g a a g2
-@item
-@ruser{Literature list}:
-contains a set of useful reference books for those who wish to
-know more on notation and engraving.
+%@{
+ This line, and the notes below are ignored,
+ since they are in a block comment.
-@item
-@ruser{Notation manual tables}:
-are a set of tables showing the chord names, MIDI instruments, a
-list of color names, and the Feta font.
+ f f e e d d c2
+%@}
+@end example
-@item
-@ruser{Cheat sheet}:
-is a handy reference of the most common LilyPond commands.
+@end itemize
-@item
-@ruser{LilyPond command index}:
-an index of all LilyPond @code{\commands}.
-@item
-@ruser{LilyPond index}:
-a complete index.
+@node How to read the manuals
+@section How to read the manuals
-@end itemize
+FIXME: fluff here
+@menu
+* Omitting braces::
+* Clickable examples::
+* Keyboard navigation::
+* Overview of manuals::
+@end menu
-@node About the Application Usage
-@unnumberedsubsec About the Application Usage
-@cindex Application Usage
-@cindex integrating LilyPond with other programs
+@node Omitting braces
+@subsection Omitting braces
-This book explains how to execute the programs and how to integrate
-LilyPond notation with other programs.
-@itemize
+@cindex how to read the manual
+@cindex manual, reading
+@cindex reading the manual
+@cindex examples, clickable
+@cindex clickable examples
+@cindex tips for constructing files
+@cindex templates
+@cindex constructing files, tips
+@cindex files, tips for constructing
-@item
-@rprogram{Install}:
-explains how to install LilyPond, including compilation if
-desired.
+LilyPond input must be surrounded by @{ @} marks or a
+@code{@w{\relative c'' @{ ... @}}}, as we saw in @ref{Working on
+input files}. For the rest of this manual, most examples will
+omit this. To replicate the examples, you may copy and paste the
+displayed input, but you @strong{must} add the
+@code{@w{\relative c'' @{ @}}} like this:
-@item
-@rprogram{Setup}:
-describes how to configure your computer for optimum LilyPond
-usage, such as using special environments for certain text
-editors.
+@example
+\relative c'' @{
+ ... example goes here...
+@}
+@end example
-@item
-@rprogram{Running LilyPond}:
-shows how to run LilyPond and its helper programs. In addition,
-this section explains how to upgrade input files from previous
-versions of LilyPond.
+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{@w{\relative c'' @{ @}}} --
+you should not place a @code{\relative} inside another
+@code{\relative}! If we included @code{@w{\relative c'' @{ @}}}
+around every example, you would not be able to copy a small
+documentation example and paste it inside a longer piece of your
+own. Most people want to add material to an existing piece, so we
+format the manual this way.
-@item
-@rprogram{LilyPond-book}:
-explains the details behind creating documents with in-line music
-examples, like this manual.
-@item
-@rprogram{Converting from other formats}:
-explains how to run the conversion programs. These programs are
-supplied with the LilyPond package, and convert a variety of music
-formats to the @code{.ly} format.
+@node Clickable examples
+@subsection Clickable examples
-@end itemize
+@warning{This features is only available in the HTML manuals.}
+Many people learn programs by trying and fiddling around with the
+program. This is also possible with LilyPond. If you click on a
+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:
-@node About the Snippet List
-@unnumberedsubsec About the Snippet List
+@c no verbatim here
+@lilypond[quote]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
+}
+@end lilypond
-@cindex snippets
-@cindex LSR
-@cindex Snippet List
-@cindex LilyPond Snippet Repository
+By cutting and pasting everything in the @qq{ly snippet} section,
+you have a starting template for experiments. To see exactly the
+same output (line-width and all), copy everything from @qq{Start
+cut-&-pastable section} to the bottom of the file.
-@rlsrnamed{Top,LilyPond Snippet List}: this shows a
-selected set of LilyPond snippets from the
-@uref{http://lsr@/.dsi@/.unimi@/.it,LilyPond Snippet Repository}
-(LSR). All the snippets are in the public domain.
-Please note that this document is not an exact subset of LSR. LSR
-is running a stable LilyPond version, so any snippet which
-demonstrates new features of a development version must be added
-separately. These are stored in @file{input/new/} in the LilyPond
-source tree.
+@node Keyboard navigation
+@subsection Keyboard navigation
-The list of snippets for each subsection of the Notation Reference are
-also linked from the @strong{See also} portion.
+@warning{This features is only available in the HTML manuals.}
+@c TODO: once this is figured out, insert it here.
-@node About the Internals Reference
-@unnumberedsubsec About the Internals Reference
+We are currently working on this feature.
-@cindex Internals Reference
-@rinternalsnamed{Top,Internals Reference}: this is a set
-of heavily cross linked HTML pages which document the nitty-gritty
-details of each and every LilyPond class, object, and function.
-It is produced directly from the formatting definitions in the
-source code.
+@node Overview of manuals
+@subsection Overview of manuals
-Almost all formatting functionality that is used internally is
-available directly to the user. For example, most variables that
-control thickness values, distances, etc., can be changed in input
-files. There are a huge number of formatting options, and all of
-them are described in this document. Each section of the Notation
-Reference has a @b{See also} subsection, which refers to the
-generated documentation. In the HTML document, these subsections
-have clickable links.
+There is a lot of documentation for LilyPond. New users are
+sometimes confused about what part(s) they should read, and
+occasionally skip over reading vital portions.
+@warning{Please do not skip over important parts of the
+documentation. You will find it much harder to understand later
+sections.}
-@node Other documentation
-@unnumberedsubsec Other documentation
+@itemize
-There are a number of other sources of information which may be
-very valuable.
+@item
+@strong{Before trying to do @emph{anything}}: read the Learning
+manual's @ref{Introduction}, and @ref{Common notation}. If you
+encounter musical terms which you do not recognize, please look
+them up in the @rglosnamed{Top, Glossary}.
-@itemize
+@item
+@strong{Before trying to write a complete piece of music}: read
+the Learning manual's @ref{Fundamental concepts}. After that, you
+may want to look in relevant sections of the
+@rusernamed{Top, Notation reference}.
@item
-@ifhtml
-@ifset bigpage
-@uref{../topdocs/NEWS.html,News}:
-@end ifset
-@ifclear bigpage
-@uref{../../topdocs/NEWS.html,News}:
-@end ifclear
-@end ifhtml
-@ifnothtml
-News:
-@end ifnothtml
-this is a summary of important changes
-and new features in LilyPond since the previous version.
-
-@item @uref{http://lists.gnu.org/archive/html/lilypond-user/, The
-lilypond-user mailist archives}: this is a collection of previous
-emails sent to the user list. Many questions have been asked
-multiple times; there is a very good chance that if you have a
-question, the answer might be found in these archives.
-
-@item @uref{http://lists.gnu.org/archive/html/lilypond-devel/, The
-lilypond-devel mailist archives}: this is a collection of previous
-emails sent to the developer's list. The discussion here is more
-technical; if you have an advanced question about lilypond
-internals, the answer might be in these archives.
-
-@item Embedded music fragments: in all HTML documents that have
-music fragments embedded, the exact LilyPond input that was used
-to produce that image can be viewed by clicking the image.
-
-@item Init files: the location of the documentation files that are
-mentioned here can vary from system to system. On occasion, this
-manual refers to initialization and example files. Throughout this
-manual, we refer to input files relative to the top-directory of the
-source archive. For example, @file{input/@/lsr/@/dirname/@/bla@/.ly}
-may refer to the file
-@file{lilypond@/2.x.y/@/input/@/lsr/@/dirname/@/bla@/.ly}. On binary
-packages for the UNIX platform, the documentation and examples can
-typically be found somewhere below
-@file{/usr/@/share/@/doc/@/lilypond/}. Initialization files, for
-example @file{scm/@/lily@/.scm}, or @file{ly/@/engraver@/-init@/.ly},
-are usually found in the directory @file{/usr/@/share/@/lilypond/}.
-For more details, see @ref{Other sources of information}.
+@strong{Before trying to change the default output}: read the
+Learning manual's @ref{Tweaking output}.
+
+@item
+@strong{Before undertaking a large project}: read Usage document's
+@rprogram{Suggestions for writing files}.
@end itemize
+
+
projects / lilypond.git / blobdiff