Issue 5043/1: Implement ly:stencil-outline separating ink/metrics

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

diff --git a/Documentation/learning/tutorial.itely b/Documentation/learning/tutorial.itely
index 850dc5b6166eb6c7ffacd712fc05e3c6752e656a..27084f32eab12e95ac29cef38e2cda32ea92edcc 100644 (file)
--- a/Documentation/learning/tutorial.itely
+++ b/Documentation/learning/tutorial.itely
@@ -206,7 +206,6 @@ values are useful.
 @cindex relative mode, and accidentals
 
 @funindex \relative
-@funindex relative
 @funindex '
 @funindex ,
 
@@ -214,6 +213,16 @@ Music Glossary: @rglos{pitch}, @rglos{interval},
 @rglos{scale}, @rglos{middle C}, @rglos{octave},
 @rglos{accidental}.
 
+LilyPond uses lower-case letters for pitches.  The letters
+@code{c} through@tie{}@code{b} denote pitches in the
+@q{small octave} below @notation{middle C}.  Added @code{'}
+or@tie{}@code{,} suffixes indicate higher or lower octaves.
+Here is a scale starting on @notation{middle C}, and an arpeggio:
+
+@lilypond[verbatim,quote]
+{ c' d' e' f' g' a' b' c'' g c' e' g' c'' e'' g'' c''' }
+@end lilypond
+
 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
@@ -223,14 +232,14 @@ 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' d e f
   g a b c
 }
 @end lilypond
 
-The initial note is @notation{middle C}.  Each successive note is
+The initial note is @notation{middle C}, denoted by @code{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
@@ -244,17 +253,14 @@ larger intervals, still using only @code{\relative} mode:
 @end lilypond
 
 @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.
+In the previous example, the first note -- the @code{d'} with one
+@code{'}-mark -- is the D in the octave starting from middle C
+and going up to B.
 
 By adding (or removing) quotes @code{'} or commas @code{,} from
-the @q{@w{@code{@bs{}relative c'}}} command, we can change the
-starting octave:
+the first note, we can change the starting octave:
 
 @lilypond[verbatim,quote]
-% one octave above middle C
 \relative {
   e'' c a c
 }
@@ -270,7 +276,7 @@ above the B, and an A, G or F will be assumed to be below.
 
 @lilypond[verbatim,quote]
 \relative {
-  b' c  % c is 1 staff space up, so is the c above
+  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
@@ -372,7 +378,6 @@ A @notation{rest} is entered just like a note with the name
 @cindex time signature
 
 @funindex \time
-@funindex time
 
 Music Glossary: @rglos{time signature}.
 
@@ -397,7 +402,6 @@ command:
 @cindex metronome marks
 
 @funindex \tempo
-@funindex tempo
 
 Music Glossary: @rglos{tempo indication}, @rglos{metronome}.
 
@@ -429,7 +433,6 @@ set with the @code{\tempo} command:
 @cindex bass
 
 @funindex \clef
-@funindex clef
 
 Music Glossary: @rglos{clef}.
 
@@ -573,7 +576,7 @@ 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 @q{@w{@code{@bs{}relative c' @{ @dots{} @}}}}) also counts as a
+as @q{@w{@code{@bs{}relative @{ @dots{} @}}}}) also counts as a
 single music expression.
 
 @cindex comments
@@ -683,29 +686,18 @@ online version.
 @cindex files, tips for constructing
 
 LilyPond input must be surrounded by @code{@{ @}} marks or a
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}}, 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
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} like this:
+@q{@w{@code{@bs{}relative @{ @dots{} @}}}}, as we saw in
+@ref{Working on input files}.  For the rest of this manual,
+some short examples will omit this.  To replicate these examples,
+you can copy displayed input, but paste it between @code{@{}
+and @code{@}} in your input file.
 
 @example
-\relative c'' @{
+@{
   @dots{}example goes here@dots{}
 @}
 @end example
 
-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
-@q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} -- you should not
-place a @code{\relative} inside another @code{\relative}!  If we
-included @q{@w{@code{@bs{}relative c'' @{ @dots{} @}}}} 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.
-
 Also, remember that every LilyPond file should have a
 @code{\version} statement.  Because the examples in the manuals
 are snippets, not files, the @code{\version} statement is omitted.