+@c -*- coding: utf-8; mode: texinfo; -*-
+@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
@node Introduction
@chapter Introduction
-@section
+@menu
+* Engraving::
+* Automated engraving::
+* What symbols to engrave?::
+* Music representation::
+* Example applications::
+* About this manual::
+@end menu
+
+
+@node Engraving
+@section 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, 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 completely done 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 B@"{a}renreiter 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 B@"{a}renreiter flat has a bold, almost voluptuous
+rounded look. Our flat symbol is designed after, among others, this
+one. 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
+@c workaround for makeinfo-4.6: line breaks and multi-column cookies
+@image{henle-flat-bw,,,png} @image{baer-flat-bw,,,png}
+@image{lily-flat-bw,,,png}
+@end ifinfo
+
+@item @tab
+Henle (2000)
+@tab
+B@"{a}renreiter (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
+}
+
+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
+{
+ \music
+ \layout {
+ \context {
+ \Staff
+ \override NoteSpacing #'stem-spacing-correction = #0.6
+ }
+ }
+}
+@end lilypond
+
+@lilypond
+\paper {
+ ragged-right = ##t
+ indent = #0.0
+}
+
+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
+{
+ \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
+ }
+ }
+}
+@end lilypond
+
+@cindex regular rhythms
+@cindex regular spacing
+
+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
+without, forming down-stem/@/up-stem clumps of notes.
+
+@cindex typography
+
+Musicians are usually more absorbed with performing than with studying
+the looks of a piece of music, so nitpicking about typographical
+details may seem academical. 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. If a musician looks away once or has a lapse in
+concentration, the lines might lose their place on the page.
+
+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 cluttering 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
+@section 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:
+
+@itemize @bullet
+@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.
+
+@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 do not match well with how music
+notation works.
+@end itemize
+
+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 {
+ \stemDown <e g b>4_>-\arpeggio
+ \override Arpeggio #'direction = #RIGHT
+ \stemUp <e g b>4^>-\arpeggio
+}
+@end lilypond
+
+@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
+
+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 which note
+head objects are used to produce their 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 ly:text-interface::print)
+ (ly:grob-set-property! grob 'font-family 'roman)
+ (ly:grob-set-property! grob 'text
+ (make-raise-markup -0.5
+ (case pos
+ ((-5) (make-simple-markup "m"))
+ ((-3) (make-simple-markup "c "))
+ ((-2) (make-smaller-markup (make-bold-markup "2")))
+ (else (make-simple-markup "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>
+ \once \override NoteHead #'style = #'cross
+ <d f g>
+ \applyOutput #'Voice #mc-squared
+ <d f g>
+ <<
+ { d8[ es-( fis^^ g] fis2-) }
+ \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
+ >>
+}
+@end lilypond
+
+
+
+@node What symbols to engrave?
+@section What symbols to engrave?
+
+@cindex engraving
+@cindex typography
+
+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, it
+encompasses some 500 years of music. Its applications range from
+monophonic melodies to monstrous counterpoints for large orchestras.
+
+How can we get a grip on such a many-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 see how 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
+
+@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
+
+@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
+
+@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
+
+This system works well for monophonic music, but what about
+polyphony? In polyphonic notation, many voices can share a staff.
+
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
+\new Staff << \topVoice \\ \botVoice >>
+@end lilypond
+
+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.
+
+@seealso
+
+Program reference: @internalsref{Contexts}.
+
+@lilypond[quote,ragged-right]
+\include "engraver-example.ily"
+\score {
+ <<
+ \new Staff << \topVoice \\ \botVoice >>
+ \new Staff << \pah \\ \hoom >>
+ >>
+}
+@end lilypond
+
+@node Music representation
+@section Music representation
+
+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.
+
+The syntax is also the user-interface for LilyPond, hence it is easy
+to type
+
+@example
+c'4 d'8
+@end example
+
+@noindent
+a quarter note C1 (middle C) and an eighth note D1 (D above middle C)
+
+@lilypond[quote,fragment]
+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]
+c4
+@end lilypond
+
+@noindent
+Chords can be constructed with @code{<<} and @code{>>} enclosing the notes
+
+@c < > is not a music expression,
+@c so we use <<>> iso. <> to drive home the point of
+@c expressions. Don't change this back --hwn.
+@example
+<<c4 d4 e4>>
+@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{}@}}
+
+@example
+@{ f4 <<c4 d4 e4>> @}
+@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{\\}, and >>
+
+@example
+<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
+@end example
+
+@lilypond[quote,fragment,relative=2]
+\new Voice { << g2 \\ { f4 <<c d e>> } >> }
+@end lilypond
+
+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.
+
+User-interfaces and syntax are what people see and deal with
+most. They are partly a matter of taste, and also 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.
+
+
+@node Example applications
+@section Example applications
+
+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[quote,relative=1,fragment]
+\time 2/4 c4 c g'4 g a4 a g2
+@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'4 g a4 a g2 }
+ \new Lyrics \lyricmode { twin4 kle twin kle lit tle star2 }
+>>
+@end lilypond
+
+Polyphonic notation and piano music can also be printed. The following
+example combines some more exotic constructs.
+
+@lilypondfile[quote,ragged-right]{screech-boink.ly}
+
+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.
+
+
+
+@node About this manual
+@section About this manual
+
+The manual is divided into the following chapters:
+@itemize @bullet
+
+@item
+@ifhtml
+The
+@end ifhtml
+@emph{@ref{Tutorial}}
+gives a gentle introduction to typesetting music. First time
+users should start here.
+
+@item
+@emph{@ref{Putting it all together}}
+explains some general concepts about the lilypond file format. If
+you are not certain where to place a command, read this chapter!
+
+@item
+@emph{@ref{Working on LilyPond projects}}
+discusses practical uses of LilyPond and how to avoid some common
+problems.
+
+@item
+@emph{@ref{Tweaking output}}
+shows how to change the default engraving that LilyPond
+produces.
+
+@item
+@emph{@ref{Basic notation}}
+discusses topics grouped by notation construct. This section gives
+details about basic notation that will be useful in almost any
+notation project.
+
+@item
+@emph{@ref{Instrument-specific 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.
+
+@item
+@emph{@ref{Advanced notation}}
+discusses topics grouped by notation construct. This section gives
+details about complicated or unusual notation.
+
+@item
+@emph{@ref{Changing defaults}}
+explains how to fine tune layout.
+
+@item
+@emph{@ref{Non-musical notation}}
+discusses non-musical output such as titles, multiple movements,
+and how to select which MIDI instruments to use.
+
+@item
+@emph{@ref{Spacing issues}}
+discusses issues which affect the global output, such as selecting
+paper size or specifying page breaks.
+
+@item
+@emph{@ref{Interfaces for programmers}}
+explains how to create music functions.
+
+@item
+@emph{@ref{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.
+
+@item
+@emph{@ref{LilyPond-book}} explains the details behind creating
+documents with in-line music examples, like this manual.
+
+@item
+@emph{@ref{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.
+
+@item
+@ifhtml
+The
+@end ifhtml
+@emph{@ref{Literature list}}
+contains a set of useful reference books for those who wish to know
+more on notation and engraving.
+
+@item
+The
+@emph{@ref{Scheme tutorial}}
+presents a short introduction to Scheme, the programming
+language that music functions use.
+
+@item
+@emph{@ref{Notation manual tables}}
+are a set of tables showing the chord names, MIDI instruments,
+a list of color names, and the Feta font.
+
+@item
+@emph{@ref{Example templates}}
+provides templates of LilyPond pieces. Just cut and paste a
+template into a file, add notes, and you're done!
+
+@item
+The
+@emph{@ref{Cheat sheet}}
+is a handy reference of the most common LilyPond commands.
+
+@item
+The
+@emph{@ref{LilyPond command index}}
+is an index of all LilyPond @code{\commands}.
+
+@item
+The
+@emph{@ref{LilyPond index}}
+is a complete index.
+
+@end itemize
+
+
+Once you are an experienced user, you can use the manual as reference:
+there is an extensive index@footnote{If you are looking for something,
+and you cannot find it in the manual, that is considered a bug. In
+that case, please file a bug report.}, but the document is also
+available in
+@iftex
+a big HTML page,
+@end iftex
+@ifhtml
+@uref{source/Documentation/user/lilypond.html, one big page},
+@end ifhtml
+which can be searched easily using the search facility of a web
+browser.
+@cindex search in manual
+@cindex using the manual
+
+@c FIXME:
+@c add/integrate glossary, put in list above
+If you are not familiar with music notation or music terminology
+(especially if you are a non-native English speaker), it is advisable
+to consult the glossary as well.
+@iftex
+The music glossary explains musical terms, and includes translations
+to various languages. It is a separate document, available in HTML
+and PDF.
+@end iftex
+@ifnottex
+The @ref{Top,Music glossary,,music-glossary}, explains musical terms and
+includes translations to various languages. It is also available in
+PDF.
+@end ifnottex
+@cindex idiom
+@cindex jargon
+@cindex terminology
+@cindex foreign languages
+@cindex language
+
+
+This manual is not complete without a number of other documents. They
+are not available in print, but should be included with the
+documentation package for your platform
+
+@itemize @bullet
+@item
+@iftex
+Program reference
+@end iftex
+@ifnottex
+@ref{Top,Program reference,,lilypond-internals}.
+@end ifnottex
+
+The program reference 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 used.
+
+Almost all formatting functionality that is used internally, is
+available directly to the user. For example, all 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 manual
+has a @b{See also} subsection, which refers to the generated
+documentation. In the HTML document, these subsections have clickable
+links.
+
+@cindex snippets
+@item
+@ifnothtml
+Various input examples.
+@end ifnothtml
+@ifhtml
+@c Works, but link name is not so nice; so write-out macro
+@c @inputfileref{input/test,Various input examples}.
+@uref{source/input/test/collated-files.html,Various input examples}.
+@end ifhtml
+
+This collection of files shows various tips and tricks, and is
+available as a big HTML document, with pictures and explanatory texts
+included.
+
+@item
+@ifnothtml
+The regression tests.
+@end ifnothtml
+@ifhtml
+@c Works, but link name is not so nice; so write-out macro
+@c @inputfileref{input/regression,The regression tests}.
+@uref{source/input/regression/collated-files.html,The regression tests}.
+@end ifhtml
+
+This collection of files tests each notation and engraving feature of
+LilyPond in one file. The collection is primarily there to help us
+debug problems, but it can be instructive to see how we exercise the
+program. The format is similar to the tips and tricks document.
+@end itemize
+
-@section Why LilyPond
+In all HTML documents that have music fragments embedded, the LilyPond
+input that was used to produce that image can be viewed by clicking
+the image.
-@section Music typography
+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/@/test/@/bla@/.ly} may refer to the file
+@file{lilypond@/2.x.y/@/input/@/test/@/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/}.
+@cindex adjusting output
+@cindex variables
+@cindex properties
+@cindex lilypond-internals
+@cindex internal documentation
+@cindex Scheme
+@cindex extending lilypond
+@cindex index
-@section Automatic music printing
+Finally, this and all other manuals, are available online both as PDF
+files and HTML from the web site, which can be found at
+@uref{http://@/www@/.lilypond@/.org/}.
projects / lilypond.git / blobdiff