By cutting and pasting everything in the @qq{ly snippet} section, you have a
starting template for experiments. If you like learning in this way,
you will probably want to print out or bookmark the
-@ref{Cheat sheet}, which is a table listing of the most common
+@ruser{Cheat sheet}, which is a table listing of the most common
commands for quick reference.
@end ifhtml
Be warned that the first time you ever run LilyPond, it will take a minute
or two because all of the system fonts have to be analyzed first.
-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.
+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.
@subsubheading Windows
has done to the file. If any errors occur, please examine this file.
Note that there are several other text editors available, with better
-support for LilyPond, see @rprogram{Editor support}, for more information.
+support for LilyPond, see @rprogram{Text editor support}, for more information.
@subsubheading Unix
is a @code{LilyPond-mode} for Emacs addicts. If they have not been
installed already, refer to the file @file{INSTALL.txt}. The
easiest editing environment is @file{LilyPondTool}. See
-@rprogram{Editor support}, for more information.}. In your
+@rprogram{Text editor support}, for more information.}. In your
text editor, enter the following input and save the file as
@file{test.ly}
}
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Entering pitches and durations
-see @ref{Pitches}, and @ref{Durations}.
+see @ruser{Pitches}, and @ruser{Durations}.
@item Rests
-see @ref{Rests}.
+see @ruser{Rests}.
@item Time signatures and other timing commands
-see @ref{Time signature}.
+see @ruser{Time signature}.
@item Clefs
-see @ref{Clef}.
+see @ruser{Clef}.
@end table
@end quotation
@end itemize
There are more tips for constructing input files in
-@ref{Suggestions for writing LilyPond files}.
+@ruser{Suggestions for writing LilyPond files}.
@node How to read the tutorial
@subsection How to read the tutorial
-As we saw in @ref{Working on text files}, LilyPond input must be
+As we saw in @ruser{Working on text files}, LilyPond input must be
surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
rest of this manual, most examples will omit this.
@node Relative note names
@subsection Relative note names
-As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+As we saw in @ruser{Simple notation}, LilyPond calculates the pitch of
each note relative to the previous one@footnote{There is another mode of
-entering pitches, @ref{Absolute note names}, but in practice relative
+entering pitches, @ruser{Absolute note names}, but in practice relative
mode is much easier and safer to use.}. If no extra octave marks
(@code{'} and @code{,}) are added, it assumes that each pitch is within
a fourth of the previous note.
c2 ges
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Relative octaves
-see @ref{Relative octaves}.
+see @ruser{Relative octaves}.
@item Octave check
-see @ref{Octave check}.
+see @ruser{Octave check}.
@end table
@end quotation
made by adding @samp{isis} or @samp{eses}@footnote{This syntax
derived from note naming conventions in Nordic and Germanic languages,
like German and Dutch. To use other names for accidentals, see
-@ref{Note names in other languages}.}
+@ruser{Note names in other languages}.}
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
cis1 ees fisis, aeses
Adding all alterations explicitly might require a little more effort
when typing, but the advantage is that transposing is easier, and
accidentals can be printed according to different conventions. See
-@ref{Automatic accidentals}, for some examples how accidentals can be printed
+@ruser{Automatic accidentals}, for some examples how accidentals can be printed
according to different rules.
-@moreinfo
+@seealso
@quotation
@table @asis
@item Accidentals
-see @ref{Accidentals}, and @ref{Automatic accidentals}.
+see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
@item Key signature
-see @ref{Key signature}.
+see @ruser{Key signature}.
@end table
@end quotation
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Ties
-see @ref{Ties}.
+see @ruser{Ties}.
@item Slurs
-see @ref{Slurs}.
+see @ruser{Slurs}.
@item Phrasing slurs
-see @ref{Phrasing slurs}.
+see @ruser{Phrasing slurs}.
@end table
@end quotation
c2\< c2\ff\> c2 c2\!
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Articulations
-see @ref{Articulations}.
+see @ruser{Articulations}.
@item Fingering
-see @ref{Fingering instructions}.
+see @ruser{Fingering instructions}.
@item Dynamics
-see @ref{Dynamics}.
+see @ruser{Dynamics}.
@end table
@end quotation
a8[ ais] d[ ees r d] a b
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Automatic beams
-see @ref{Automatic beams}.
+see @ruser{Automatic beams}.
@item Manual beams
-see @ref{Manual beams}.
+see @ruser{Manual beams}.
@end table
@end quotation
c2 \acciaccatura b16 c2
@end lilypond
-@moreinfo
+@seealso
@quotation
@table @asis
@item Grace notes
-see @ref{Grace notes},
+see @ruser{Grace notes},
@item Tuplets
-see @ref{Tuplets},
+see @ruser{Tuplets},
@item Pickups
-see @ref{Partial measures}.
+see @ruser{Partial measures}.
@end table
@end quotation
* Music expressions explained::
* Multiple staves::
* Piano staves::
-* Single staff polyphony::
* Combining notes into chords::
+* Single staff polyphony::
@end menu
@node Multiple staves
@subsection Multiple staves
-As we saw in @ref{Music expressions explained}, LilyPond input files
+As we saw in @ruser{Music expressions explained}, LilyPond input files
are constructed out of music expressions. If the score begins with
simultaneous music expressions, LilyPond creates multiples staves. However,
it is easier to see what happens if we create each staff explicitly.
sign in mathematics. The formula @math{(4+5)} is an expression, so
@math{-(4+5)} is a bigger expression.
-Time signatures entered in one staff affects all other staves, but
-the key signature of one staff does @emph{not} affect other
+Time signatures entered in one staff affects all other
staves@footnote{This behavior may be changed if desired; see
-@ref{Changing defaults}, for details.}.
+@ruser{Polymetric notation}, for details.}. On the other hand,
+the key signature of one staff does @emph{not} affect other
+staves.
@lilypond[quote,ragged-right,verbatim]
\relative c'' {
@cindex staff switch, manual
@cindex cross staff voice, manual
Piano music is typeset in two staves connected by a brace. Printing
-such a staff is similar to the polyphonic example in @ref{Multiple staves},
+such a staff is similar to the polyphonic example in @ruser{Multiple staves},
but now this entire expression is inserted inside a @code{PianoStaff}:
@example
}
@end lilypond
-@moreinfo
+@seealso
@quotation
-See @ref{Piano music}.
+See @ruser{Piano music}.
@end quotation
+@node Combining notes into chords
+@subsection Combining notes into chords
+
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
+
+You can combine markings like beams and ties with chords. They must
+be placed outside the angle brackets
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
+
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
+
+
@node Single staff polyphony
@subsection Single staff polyphony
>>
@end lilypond
-@moreinfo
+@seealso
@quotation
-See @ref{Basic polyphony}.
+See @ruser{Basic polyphony}.
@end quotation
-@node Combining notes into chords
-@subsection Combining notes into chords
-
-@cindex chords
-Chords can be made by surrounding pitches with single angle brackets. Angle
-brackets are the symbols @samp{<} and @samp{>}.
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>4 <c f a>2
-@end lilypond
-
-You can combine markings like beams and ties with chords. They must
-be placed outside the angle brackets
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>8[ <c f a>]~ <c f a>2
-@end lilypond
-
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
-@end lilypond
-
-
@node Songs
@section Songs
>>
@end lilypond
-@moreinfo
+@seealso
@quotation
More options, such as putting multiple stanzas below a melody, are
-discussed in @ref{Vocal music}.
+discussed in @ruser{Vocal music}.
@end quotation
@end lilypond
-@moreinfo
+@seealso
@quotation
A complete list of modifiers and other options for layout can be found
-in @ref{Chords}.
+in @ruser{Chords}.
@end quotation
@subsection Version number
@cindex versioning
-The @code{\version} statement marks for which version of LilyPond the file
-was written. To mark a file for version 2.10.1, place
+The @code{\version} statement records the version of LilyPond that was
+used to write the file:
@example
\version "2.11.23"
@end example
@noindent
-at the top of your LilyPond file.
+by convention, this is placed at the top of your LilyPond file.
-These annotations make future upgrades of LilyPond go more
-smoothly. Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @rprogram{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+These annotations make future upgrades of LilyPond go more smoothly.
+Changes in the syntax are handled with a special program,
+@file{convert-ly} (see @rprogram{Updating files with convert-ly}), and
+it uses @code{\version} to determine what rules to apply.
@node Adding titles
The title, composer, opus number, and similar information are entered
in the @code{\header} block. This exists outside of the main
music expression; the @code{\header} block is usually placed underneath
-the @ref{Version number}.
+the @ruser{Version number}.
@example
\version "2.11.23"
@end example
When the file is processed, the title and composer are printed above
-the music. More information on titling can be found in @ref{Creating
+the music. More information on titling can be found in @ruser{Creating
titles}.
@subsection After the tutorial
After finishing the tutorial, you should probably try writing a
-piece or two. Start with one of the @ref{Templates}, and
+piece or two. Start with one of the @ruser{Templates}, and
add notes. If you need any notation that was not covered in the
tutorial, look at the Notation Reference, starting with
-@ref{Basic notation}. If you want to write for an instrument
+@ruser{Basic notation}. If you want to write for an instrument
ensemble that is not covered in the templates,
-take a look at @ref{Extending the templates}.
+take a look at @ruser{Extending the templates}.
Once you have written a few short pieces, read the rest of
the Learning Manual (chapters 3-5). There's nothing wrong
@node How to read the manual
@subsection How to read the manual
-As we saw in @ref{How to read the tutorial}, many examples in the
+As we saw in @ruser{How to read the tutorial}, many examples in the
tutorial omitted a @code{\relative c'' @{ ... @}} around the printed
example.
so) and click on the picture of the music. This will display the exact
input that LilyPond used to generate this manual.
+For information about the structure of the rest of the manual, see
+@ruser{About this manual}.
+
projects / lilypond.git / blobdiff