version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.61"
+
@ignore
-Tutorial guidelines:
+Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
- @l ilypond[verbatim,quote,ragged-right]
+ @lilypond[verbatim,quote]
or
- @l ilypond[verbatim,quote,ragged-right,fragment,relative=2]
- (without spaces)
- Don't use any other relative=X commands (make it a non-fragment
- example), and don't use fragment without relative=2.
-- use "aes" and "ees" instead of "as" and "aes". I know it's not
- correct Dutch naming, but let's not confuse people with this
- until we get to the Basic notation chapter.
-@end ignore
+ @lilypond[verbatim,quote,relative=2]
+ Don't use any other relative=X commands.
+- use "aes" and "ees" instead of "as" and "es". I know it's not
+ correct Dutch naming, but let's not confuse people with this
+ until we get to the Basic notation chapter.
-@c old info that will probably be removed.
-@c TODO:
-@c * more details about running lilypond; error messages,
-@c compiling/viewing (emacs?)
-@c * where to go from First steps+More basics?
+- Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
+ portions of the tutorial.
-@c wherever possible, do not include index entries here; the
-@c index should point to stuff in the reference manual. -gp
+@end ignore
-@c Your first LilyPond score in 10 minutes?
@node Tutorial
@chapter Tutorial
This tutorial starts with an introduction to the LilyPond music
-language and how to produce printed music. After this first
-contact we will explain how to create common musical notation.
-
-@ifhtml
-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
-
-@c no verbatim here
-@lilypond[quote,ragged-right]
-\relative c'' {
- c-\markup { \bold \huge { Click here. } }
-}
-@end lilypond
-
-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 @ruser{Cheat sheet}, which is a table listing of the
-most common commands for quick reference.
-
-@end ifhtml
+language and explains how to produce printed music. After this first
+contact we will explain how to create beautiful printed music
+containing common musical notation.
@menu
* First steps::
@menu
* Compiling a file::
* Simple notation::
-* Working on text files::
-* How to read the tutorial::
+* Working on input files::
+* How to read the manual::
@end menu
@node Compiling a file
@subsection Compiling a file
-The first example demonstrates how to start working with LilyPond.
-To create sheet music, we write a text file that specifies the
-notation. For example, if we write
+@cindex compiling
+@cindex first example
+@cindex example, first
+@cindex case sensitive
+
+@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.
+
+To create sheet music, we write an input file that specifies the
+notation. For example, if we write:
@example
@{
@end example
@noindent
-the result looks like this
+the result looks like this:
@c in this case we don't want verbatim
-@lilypond[quote,ragged-right]
+@lilypond[quote]
{
c' e' g' e'
}
@end lilypond
-@strong{Warning:} Every piece of LilyPond input needs to have
-@strong{@{ curly braces @}} placed around the input. The braces
+@warning{Notes and lyrics in LilyPond input must always be
+surrounded by @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. These may be
-omitted in some examples in this manual, but don't forget them in
-your own music!
+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 manual}.}
-@cindex Case sensitive
-In addition, LilyPond input is @strong{case sensitive}. @code{
-@{c d e @}} is valid input; @code{@{ C D E @}} will produce an
-error message.
+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.
@smallspace
@subheading Entering music and viewing output
+@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
+
In this section we will explain what commands to run and how to
view or print the output.
+Note that there are several other text editors available with
+better support for LilyPond. For more information, see
+@rprogram{Text editor support}.
+
+@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!}
+
@subsubheading MacOS X
-If you double click @code{LilyPond.app}, it will open with an
+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 @samp{Compile >
-Typeset File}. The resulting PDF file will be displayed on your
-screen.
-
-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.
+Desktop, and then process it with the menu command
+@w{@code{Compile > Typeset File}}. The resulting PDF file will be
+displayed on your screen.
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
On Windows, if you double-click in the LilyPond icon on the
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.
+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.
-Note that there are several other text editors available, with
-better support for LilyPond, see @rprogram{Text editor support},
-for more information.
-
-@subsubheading Unix
+@subsubheading UNIX
-Begin by opening a terminal window and starting a text editor.
-For example, you could open an xterm and execute
-@code{joe}@footnote{There are macro files for VIM addicts, and
-there 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{Text editor support}, for more information.}. In your
-text editor, enter the following input and save the file as
-@file{test.ly}
+Create a text file called @file{test.ly} and enter:
-@verbatim
-{
+@example
+@{
c' e' g' e'
-}
-@end verbatim
+@}
+@end example
-@noindent
-To process @file{test.ly}, proceed as follows
+To process @file{test.ly}, proceed as follows:
@example
lilypond test.ly
@end example
@noindent
-You will see something resembling
+You will see something resembling:
@example
lilypond test.ly
-GNU LilyPond 2.10.0
+GNU LilyPond @version{}
Processing `test.ly'
Parsing...
-Interpreting music... [1]
+Interpreting music...
Preprocessing graphical objects...
-Calculating line breaks... [2]
+Finding the ideal number of pages...
+Fitting music on 1 page...
+Drawing systems...
Layout output to `test.ps'...
Converting to `test.pdf'...
@end example
-@cindex PDF file
-@cindex Viewing music
-
-@noindent
-The result is the file @file{test.pdf} which you can print or view
-with the standard facilities of your operating system.@footnote{If
-your system does not have any such tools installed, you can try
-@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a
-freely available package for viewing and printing PDF and
-PostScript files.}
-
@node Simple notation
@subsection Simple notation
+@cindex simple notation
+@cindex notation, simple
+
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[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
{
c' e' g' e'
}
@subheading Pitches
-The easiest way to enter notes is by using @code{\relative} mode.
-In this mode, the @rglos{interval} between the previous note and
-the current note is assumed to be within a @rglos{fourth}. We
-begin by entering the most elementary piece of music, a
-@rglos{scale}.
+@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 ,
-@lilypond[verbatim,quote,ragged-right]
+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
-The initial note is @rglos{middle C}. Each successive note is
-within a fourth of the previous note -- in other words, the first
-@samp{c} is the closest C to middle C. This is followed by the
+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:
+larger intervals, still using only @code{\relative} mode:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
d f a g
c b f d
@end lilypond
@noindent
-As you may notice, this example does not start on middle C. The
-first note -- the @samp{d} -- is the closest D to middle C.
+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
-To add intervals that are larger than a fourth, we can raise the
-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.
+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,ragged-right]
+@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'
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{\relative c'} may also be modified like
+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)
-The @rglos{duration} of a note is specified by a number after the
-note name. @samp{1} for a @rglos{whole note}, @samp{2} for a
-@rglos{half note}, @samp{4} for a @rglos{quarter note} and so on.
-Beams are added automatically.
+@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,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a1
a2 a4 a8 a
}
@end lilypond
-@noindent
-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.
-
-To create @rglos{dotted note}s, add a dot @samp{.} to the duration
-number.
+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).
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
a a a4. a8
a8. a16 a a8. a8 a4.
@subheading Rests
-A @rglos{rest} is entered just like a note with the name @samp{r}:
+@cindex rest
+@cindex notating rests
+
+Music Glossary: @rglos{rest}.
-@lilypond[verbatim,quote,ragged-right]
+A @notation{rest} is entered just like a note with the name
+@code{r}@tie{}:
+
+@lilypond[verbatim,quote]
\relative c'' {
a r r2
r8 a r4 r4. r8
@subheading Time signature
-The @rglos{time signature}) can be set with the @code{\time}
+@cindex time signature
+
+@funindex \time
+@funindex time
+
+Music Glossary: @rglos{time signature}.
+
+The @notation{time signature} can be set with the @code{\time}
command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\time 3/4
a4 a a
@subheading Clef
-The @rglos{clef} can be set using the @code{\clef} command:
+@cindex clef
+@cindex treble
+@cindex alto
+@cindex tenor
+@cindex bass
+
+@funindex \clef
+@funindex clef
+
+Music Glossary: @rglos{clef}.
+
+The @notation{clef} can be set using the @code{\clef} command:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
\clef treble
c1
Here is a small example showing all these elements together:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c, {
\time 3/4
\clef bass
}
@end lilypond
+
@seealso
-@quotation
-@table @asis
-@item Entering pitches and durations
-see @ruser{Pitches}, and @ruser{Durations}.
-@item Rests
-see @ruser{Rests}.
-@item Time signatures and other timing commands
-see @ruser{Time signature}.
-@item Clefs
-see @ruser{Clef}.
-@end table
-@end quotation
-
-
-@node Working on text files
-@subsection Working on text files
+
+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 equivalent. Expressions are formed with curly braces
-@{ @}, and comments are denoted with @code{%} or @code{%@{ ...
-%@}}.
+is generally ignored. Expressions are formed with curly braces
+@{ @}, and comments are denoted with @code{%} or
+@w{@code{%@{ ... %@}}}.
-If the previous sentence sounds like nonsense, don't worry! We'll
+If the previous sentences sound like nonsense, don't worry! We'll
explain what all these terms mean:
@itemize
-@cindex Case sensitive
-@item @strong{Case sensitive}:
-it matters whether you enter a letter in lower case (i.e. @code{a,
-b, s, t}) or upper case (i.e. @code{A, B, S, T}). Notes are
-lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
-will produce an error message.
+@item
+@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 @strong{Whitespace insensitive}:
+@item
+@strong{Whitespace insensitive}:
it does not matter how many spaces (or new lines) you add.
-@code{@{ c d e @}} means the same thing as @code{@{ c @tie{}
-@tie{} @tie{} d e @}} and @example @{ c d e
-@} @end example
+@w{@code{@{ c d e @}}} means the same thing as
+@w{@code{@{ c @tie{}} @tie{} @tie{} d e @}} and:
+
+@example
+@{ c d
+ e @}
+@end example
@noindent
Of course, the previous example is hard to read. A good rule of
@}
@end example
-@item @strong{Expressions:}
-Every piece of LilyPond input needs to have @strong{@{ curly
+@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 parenthesis
-@samp{()} in mathematics. The braces should be surrounded by a
+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 function (such as @code{\relative @{ @}}) also counts as a
-single music expression.
+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 @strong{Comments}:
-A comment is a remark for the human reader of the music input; it
+@item
+@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
-@samp{%} introduces a line comment; anything after @samp{%} on
-that line is ignored. A block comment marks a whole section of
-music input as a comment. Anything that is enclosed in @code{%@{}
-and @code{%@}} is ignored. (Comments do not nest.) The following
-fragment shows possible uses for comments
+@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.
+
+@example
+a4 a a a
+% this comment refers to the Bs
+b2 b
+@end example
+
+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:
@example
% notes for twinkle twinkle follow
c4 c g' g a a g2
%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+ This line, and the notes below are ignored,
+ since they are in a block comment.
- g g f f e e d d c2
+ f f e e d d c2
%@}
@end example
@end itemize
-There are more tips for constructing input files in
-@ruser{Suggestions for writing LilyPond files}.
+@node How to read the manual
+@subsection How to read the manual
-@node How to read the tutorial
-@subsection How to read the tutorial
-
-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.
-
-If you are reading the HTML documentation and wish to see the
-exact exact LilyPond code that was used to create the example,
-simply click on the picture. If you are not reading the HTML
-version, you could copy and paste the displayed input, but you
-@strong{must} add the @code{\relative c'' @{ @}} like this:
+@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
+
+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:
@example
\relative c'' @{
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{\relative c'' @{ @}} -- you
-should not place a @code{\relative} inside another
-@code{\relative}, so you would not be able to copy a small
+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.
+own. Most people want to add material to an existing piece, so we
+format the manual this way.
+
+
+@subheading Clickable examples
+
+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:
+
+@c no verbatim here
+@lilypond[quote]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
+}
+@end lilypond
+
+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.
+
+@seealso
+
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond input files}. But it might be
+best to read through the rest of the tutorial first.
+
@node Single staff notation
on one staff.
@menu
-* Relative note names::
* Accidentals and key signatures::
* Ties and slurs::
* Articulation and dynamics::
+* Adding text::
* Automatic and manual beams::
* Advanced rhythmic commands::
@end menu
-@node Relative note names
-@subsection Relative note names
-
-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, @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.
-
-LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} the same as a diminished
-fifth. If we begin at a C, then an F-sharp will be placed a
-higher than the C, while a G-flat will be placed lower than the C.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-c2 fis
-c2 ges
-@end lilypond
-
-@seealso
-@quotation
-@table @asis
-@item Relative octaves
-see @ruser{Relative octaves}.
-@item Octave check
-see @ruser{Octave check}.
-@end table
-@end quotation
-
-
-
@node Accidentals and key signatures
@subsection Accidentals and key signatures
@subheading Accidentals
-A @rglos{sharp} pitch is made by adding @samp{is} to the name, and
-a @rglos{flat} pitch by adding @samp{es}. As you might expect, a
-@rglos{double sharp} or @rglos{double flat} is 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 @ruser{Note
-names in other languages}.}
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@cindex accidentals
+@cindex accidentals and key signatures
+@cindex sharp
+@cindex double sharp
+@cindex sharp, double
+@cindex flat
+@cindex double flat
+@cindex flat, double
+
+@funindex es
+@funindex is
+@funindex eses
+@funindex isis
+
+Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
+@rglos{double flat}, @rglos{accidental}.
+
+A @notation{sharp} pitch is made by adding @code{is} to the name,
+and a @notation{flat} pitch by adding @code{es}. As you might
+expect, a @notation{double sharp} or @notation{double flat} is
+made by adding @code{isis} or @code{eses}. This syntax is derived
+from note naming conventions in Nordic and Germanic languages,
+like German and Dutch. To use other names for
+@notation{accidentals}, see @ruser{Note names in other languages}.
+
+@lilypond[verbatim,quote,relative=2]
cis1 ees fisis, aeses
@end lilypond
@cindex key signature, setting
@subheading Key signatures
-The key signature is set with the command @code{\key} followed by
-a pitch and @code{\major} or @code{\minor}.
+@cindex key signature
+@cindex major
+@cindex minor
+@cindex accidentals and key signature
+@cindex content vs. layout
+@cindex layout vs. content
+
+@funindex \key
+@funindex key
+@funindex \major
+@funindex major
+@funindex \minor
+@funindex minor
+
+Music Glossary: @rglos{key signature}, @rglos{major},
+@rglos{minor}.
+
+The @notation{key signature} is set with the command @code{\key}
+followed by a pitch and @code{\major} or @code{\minor}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key d \major
a1
\key c \minor
@subheading Warning: key signatures and pitches
-To determine whether to print an accidental, LilyPond examines the
-pitches and the key signature. The key signature only affects the
-@emph{printed} accidentals, not the actual pitches! This is a
-feature that often causes confusion to newcomers, so let us
-explain it in more detail.
+Music Glossary: @rglos{accidental}, @rglos{key signature},
+@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp},
+@rglos{transposition}.
+
+To determine whether to print an @notation{accidental}, LilyPond
+examines the pitches and the @notation{key signature}. The key
+signature only affects the @emph{printed} accidentals, not the
+note's @notation{pitch}! This is a feature that often causes
+confusion to newcomers, so let us explain it in more detail.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (flat, natural or sharp) of a note is part
-of the pitch, and is therefore musical content. Whether an
-accidental (a @emph{printed} flat, natural or sharp sign) is
-printed in front of the corresponding note is a question of
-layout. Layout is something that follows rules, so accidentals
-are printed automatically according to those rules. The pitches
-in your music are works of art, so they will not be added
-automatically, and you must enter what you want to hear.
-
-In this example
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+layout. The alteration (@notation{flat}, @notation{natural sign} or
+@notation{sharp}) of a note is part of the pitch, and is therefore
+musical content. Whether an accidental (a @emph{printed} flat,
+natural or sharp sign) is printed in front of the corresponding
+note is a question of layout. Layout is something that follows
+rules, so accidentals are printed automatically according to those
+rules. The pitches in your music are works of art, so they will
+not be added automatically, and you must enter what you want to
+hear.
+
+In this example:
+
+@lilypond[verbatim,quote,relative=2]
\key d \major
d cis fis
@end lilypond
@noindent
-No note has a printed accidental, but you must still add the
-@samp{is} to @code{cis} and @code{fis}.
+No note has a printed accidental, but you must still add
+@code{is} and type @code{cis} and @code{fis} in the input file.
-The code @samp{e} does not mean @qq{print a black dot just below
-the first line of the staff.} Rather, it means: @qq{there is a
+The code @code{e} does not mean @qq{print a black dot just on
+the first line of the staff.} Rather, it means @qq{there is a
note with pitch E-natural.} In the key of A-flat major, it
@emph{does} get an accidental:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key aes \major
e
@end lilypond
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 @ruser{Automatic accidentals}, for some examples
-how accidentals can be printed according to different rules.
+effort when typing, but the advantage is that
+@notation{transposing} is easier, and accidentals can be printed
+according to different conventions. For some examples how
+accidentals can be printed according to different rules, see
+@ruser{Automatic accidentals}.
@seealso
-@quotation
-@table @asis
-@item Accidentals
-see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
-@item Key signature
-see @ruser{Key signature}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Note names in other languages},
+@ruser{Accidentals}, @ruser{Automatic accidentals},
+@ruser{Key signature}.
+
+Music Glossary: @rglos{Pitch names}.
@node Ties and slurs
@subsection Ties and slurs
-@cindex ties
+@cindex tie
+@cindex slur
+@cindex slur, phrasing
+@cindex phrasing slur
+
+@funindex ~
+@funindex ( ... )
+@funindex \( ... \)
+
@subheading Ties
-A @rglos{tie} is created by appending a tilde @samp{~} to the
-first note being tied
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+
+Music Glossary: @rglos{tie}.
+
+A @notation{tie} is created by appending a tilde @code{~} to the
+first note being tied.
+
+@lilypond[verbatim,quote,relative=2]
g4~ g c2~
c4 ~ c8 a8 ~ a2
@end lilypond
-@cindex slurs
@subheading Slurs
-A @rglos{slur} is a curve drawn across many notes. The starting
-note and ending note are marked with @samp{(} and @samp{)}
-respectively.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+Music Glossary: @rglos{slur}.
+
+A @notation{slur} is a curve drawn across many notes. The
+starting note and ending note are marked with @code{(} and
+@code{)} respectively.
+
+@lilypond[verbatim,quote,relative=2]
d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@cindex slurs, phrasing
-@cindex phrasing slurs
@subheading Phrasing slurs
-Slurs to indicate longer phrasing can be entered with @code{\(}
-and @code{\)}. You can have both legato slurs and phrasing slurs
-at the same time, but you cannot have simultaneous slurs or
-simultaneous phrasing slurs.
+Music Glossary: @rglos{slur}, @rglos{phrasing}.
+
+Slurs to indicate longer @notation{phrasing} can be entered with
+@code{\(} and @code{\)}. You can have both @notation{slurs}
+and phrasing slurs at the same time, but you cannot have
+simultaneous slurs or simultaneous phrasing slurs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
@cindex slurs versus ties
@subheading Warnings: slurs vs. ties
-A slur looks like a @rglos{tie}, but it has a different meaning.
-A tie simply makes the first note longer, and can only be used on
-pairs of notes with the same pitch. Slurs indicate the
-articulations of notes, and can be used on larger groups of notes.
-Slurs and ties can be nested.
+Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+A @notation{slur} looks like a @notation{tie}, but it has a
+different meaning. A tie simply makes the first note longer, and
+can only be used on pairs of notes with the same pitch. Slurs
+indicate the @notation{articulation} of notes, and can be used on
+larger groups of notes. Slurs and ties can be nested.
+
+@lilypond[verbatim,quote,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
@seealso
-@quotation
-@table @asis
-@item Ties
-see @ruser{Ties}.
-@item Slurs
-see @ruser{Slurs}.
-@item Phrasing slurs
-see @ruser{Phrasing slurs}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Ties}, @ruser{Slurs},
+@ruser{Phrasing slurs}.
@node Articulation and dynamics
@subsection Articulation and dynamics
+
+@subheading Articulations
+
@cindex articulation
-@cindex accents
+@cindex accent
@cindex staccato
-@subheading Articulations
-Common @rglos{articulation}s can be added to a note using a dash
-@samp{-} and a single character:
+Music Glossary: @rglos{articulation}.
+
+Common @notation{articulations} can be added to a note using a
+dash @code{-} and a single character:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c-. c-- c-> c-^ c-+ c-_
@end lilypond
-@cindex fingering
@subheading Fingerings
-Similarly, fingering indications can be added to a note using a
-dash (@samp{-}) and the digit to be printed:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@cindex fingering
+
+@funindex ^
+@funindex _
+
+Music Glossary: @rglos{fingering}.
+
+Similarly, @notation{fingering} indications can be added to a note
+using a dash (@code{-}) and the digit to be printed:
+
+@lilypond[verbatim,quote,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
Articulations and fingerings are usually placed automatically, but
-you can specify a direction using @samp{^} (up) or @samp{_}
-(down). You can also use multiple articulations on the same note.
-However, in most cases it is best to let LilyPond determine the
-articulation directions.
+you can specify a direction by replacing the dash (@code{-}) with
+@code{^} (up) or @code{_} (down). You can also use multiple
+articulations on the same note. However, in most cases it is best
+to let LilyPond determine the articulation directions.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
@subheading Dynamics
-Dynamic signs are made by adding the markings (with a backslash)
-to the note
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-c\ff c\mf c\p c\pp
-@end lilypond
@cindex dynamics
@cindex decrescendo
@cindex crescendo
-Crescendi and decrescendi are started with the commands @code{\<}
-and @code{\>}. An ending dynamic, for example @code{\f}, will
-finish the (de)crescendo, or the command @code{\!} can be used
+@funindex \f
+@funindex \ff
+@funindex \mp
+@funindex \p
+@funindex \mf
+@funindex \pp
+@funindex \<
+@funindex <
+@funindex \>
+@funindex >
+@funindex \!
+@funindex !
+
+Music Glossary: @rglos{dynamics}, @rglos{crescendo},
+@rglos{decrescendo}.
+
+@notation{Dynamic} signs are made by adding the markings (with a
+backslash) to the note:
+
+@lilypond[verbatim,quote,relative=2]
+c\ff c\mf c\p c\pp
+@end lilypond
+
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@notation{Crescendi} and @notation{decrescendi} are started with
+the commands @code{\<} and @code{\>}. The next dynamics sign, for
+example @code{\f}, will end the (de)crescendo, or the command
+@code{\!} can be used:
+
+@lilypond[verbatim,quote,relative=2]
c2\< c2\ff\> c2 c2\!
@end lilypond
@seealso
-@quotation
-@table @asis
-@item Articulations
-see @ruser{Articulations}.
-@item Fingering
-see @ruser{Fingering instructions}.
-@item Dynamics
-see @ruser{Dynamics}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Articulations and ornamentations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.
+
+
+@node Adding text
+@subsection Adding text
+
+@cindex text, adding
+@cindex adding text
+@cindex markup
+
+@funindex \markup
+@funindex markup
+
+Text may be added to your scores:
+
+@lilypond[verbatim,quote,relative=2]
+c1^"espr" a_"legato"
+@end lilypond
+
+Extra formatting may be added with the @code{\markup} command:
+
+@lilypond[verbatim,quote,relative=2]
+c1^\markup{ \bold espr}
+a1_\markup{
+ \dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
+}
+@end lilypond
+
+
+@seealso
+
+Notation Reference: @ruser{Writing text}.
@node Automatic and manual beams
@subsection Automatic and manual beams
+@cindex beaming
+@cindex automatic beams
+@cindex manual beams
+@cindex beams, automatic
+@cindex beams, manual
@cindex beams, by hand
-All @rglos{beam}s are drawn automatically:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@funindex [ ... ]
+@funindex [
+@funindex ]
+@funindex \autoBeamOff
+@funindex autoBeamOff
+@funindex \autoBeamOn
+@funindex autoBeamOn
+
+Music Glossary: @rglos{beam}.
+
+All @notation{beams} are drawn automatically:
+
+@lilypond[verbatim,quote,relative=2]
a8 ais d ees r d c16 b a8
@end lilypond
-@noindent
If you do not like the automatic beams, they may be overridden
-manually. Mark the first note to be beamed with @samp{[} and the
-last one with @samp{]}.
+manually. To correct just an occasional beam mark the first note
+to be beamed with @code{[} and the last one with @code{]}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a8[ ais] d[ ees r d] a b
@end lilypond
+If you want to turn off automatic beaming entirely or for an
+extended section of music, use the command @code{\autoBeamOff}
+to turn off automatic beaming and @code{\autoBeamOn} to turn it
+on again.
+
+@lilypond[verbatim,quote,relative=2]
+\autoBeamOff
+a8 c b4 d8. c16 b4
+\autoBeamOn
+a8 c b4 d8. c16 b4
+@end lilypond
+
@seealso
-@quotation
-@table @asis
-@item Automatic beams
-see @ruser{Automatic beams}.
-@item Manual beams
-see @ruser{Manual beams}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@node Advanced rhythmic commands
@subsection Advanced rhythmic commands
+@subheading Partial measure
+
@cindex pickup
-@cindex anacruse
+@cindex anacrusis
@cindex partial measure
-@subheading Partial measure
-A pickup (or @rglos{anacrusis}) is entered with the keyword
+@funindex \partial
+@funindex partial
+
+Music Glossary: @rglos{anacrusis}.
+
+A pickup (or @notation{anacrusis}) is entered with the keyword
@code{\partial}. It is followed by a duration: @code{\partial 4}
is a quarter note pickup and @code{\partial 8} an eighth note.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\partial 8
f8 c2 d
@end lilypond
+@subheading Tuplets
+
@cindex tuplets
@cindex triplets
-@subheading Tuplets
-Tuplets are made with the @code{\times} keyword. It takes two
-arguments: a fraction and a piece of music. The duration of the
-piece of music is multiplied by the fraction. Triplets make notes
-occupy 2/3 of their notated duration, so a triplet has 2/3 as its
-fraction
+@funindex \times
+@funindex times
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+Music Glossary: @rglos{note value}, @rglos{triplet}.
+
+@notation{Tuplets} are made with the @code{\times} keyword. It
+takes two arguments: a fraction and a piece of music. The
+duration of the piece of music is multiplied by the fraction.
+Triplets make notes occupy 2/3 of their notated duration, so a
+@notation{triplet} has 2/3 as its fraction
+
+@lilypond[verbatim,quote,relative=2]
\times 2/3 { f8 g a }
\times 2/3 { c r c }
\times 2/3 { f,8 g16[ a g a] }
\times 2/3 { d4 a8 }
@end lilypond
+@subheading Grace notes
+
@cindex grace notes
@cindex acciaccatura
@cindex appoggiatura
-@subheading Grace notes
-Grace notes are created with the @code{\grace} command, although
-they can also be created by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
+@funindex \grace
+@funindex grace
+@funindex \acciaccatura
+@funindex acciaccatura
+@funindex \appoggiatura
+@funindex acciaccatura
+
+Music Glossary: @rglos{grace notes}, @rglos{acciaccatura},
+@rglos{appoggiatura}.
+
+@notation{Grace notes} are created with the @code{\grace} command,
+although they can also be created by prefixing a music expression
+with the keyword @code{\appoggiatura} or @code{\acciaccatura}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
c2 \grace { a32[ b] } c2
c2 \appoggiatura b16 c2
c2 \acciaccatura b16 c2
@end lilypond
@seealso
-@quotation
-@table @asis
-@item Grace notes
-see @ruser{Grace notes},
-@item Tuplets
-see @ruser{Tuplets},
-@item Pickups
-see @ruser{Partial measures}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
+@ruser{Upbeats}.
@node Multiple notes at once
than one voice on the same staff.
@menu
-* Music expressions explained::
-* Multiple staves::
-* Piano staves::
-* Combining notes into chords::
-* Single staff polyphony::
+* Music expressions explained::
+* Multiple staves::
+* Staff groups::
+* Combining notes into chords::
+* Single staff polyphony::
@end menu
@node Music expressions explained
@subsection Music expressions explained
+@cindex music expression
+@cindex expression, music
+@cindex compound music expression
+@cindex music expression, compound
+
In LilyPond input files, music is represented by @emph{music
-expressions}. A single note is a music expression, although it is
-not valid input all on its own.
+expressions}. A single note is a music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4
@end lilypond
-Enclosing a group of notes in braces creates a new music
-expression:
+Enclosing a note in braces creates a @emph{compound music
+expression}. Here we have created a compound music expression
+with two notes:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ a4 g4 }
@end lilypond
that they are in sequence (i.e. each one follows the previous
one). The result is another music expression:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
{ { a4 g } f g }
@end lilypond
+@subheading Analogy: mathematical expressions
+
+This mechanism is similar to mathematical formulas: a big formula
+is created by composing small formulas. Such formulas are called
+expressions, and they can contain other expressions, so you can
+make arbitrarily complex and large expressions. For example,
+
+@example
+1
+
+1 + 2
+
+(1 + 2) * 3
+
+((1 + 2) * 3) / (4 * 5)
+@end example
+
+This is a sequence of expressions, where each expression is
+contained in the next (larger) one. The simplest expressions are
+numbers, and larger ones are made by combining expressions with
+operators (like @code{+}, @code{*} and @code{/}) and parentheses.
+Like mathematical expressions, music expressions can be nested
+arbitrarily deep, which is necessary for complex music like
+polyphonic scores.
+
+
@subheading Simultaneous music expressions: multiple staves
-This technique is useful for polyphonic music. To enter music
-with more voices or more staves, we combine expressions in
-parallel. To indicate that two voices should play at the same
-time, simply enter a simultaneous combination of music
+@cindex multiple staves
+@cindex staves, multiple
+@cindex polyphony
+@cindex combining expressions in parallel
+@cindex parallel expressions
+@cindex expressions, parallel
+@cindex relative notes and simultaneous music
+@cindex relative notes and parallel expressions
+@cindex simultaneous music and relative notes
+@cindex parallel expressions and relative notes
+
+@funindex <<
+@funindex >>
+@funindex << ... >>
+
+Music Glossary: @rglos{polyphony}.
+
+This technique is useful for @notation{polyphonic} music. To
+enter music with more voices or more staves, we combine
+expressions in parallel. To indicate that two voices should play
+at the same time, simply enter a simultaneous combination of music
expressions. A @q{simultaneous} music expression is formed by
enclosing expressions inside @code{<<} and @code{>>}. In the
following example, three sequences (all containing two separate
notes) are combined simultaneously:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
{ a4 g }
little) space there is at the beginning of a line, but indenting
LilyPond code like this makes it much easier for humans to read.
-@strong{Warning}: each note is relative to the previous note in
+@warning{each note is relative to the previous note in
the input, not relative to the @code{c''} in the initial
-@code{\relative} command.
+@code{@bs{}relative} command.}
@subheading Simultaneous music expressions: single staff
To determine the number of staves in a piece, LilyPond looks at
-the first expression. If it is a single note, there is one staff;
-if there is a simultaneous expression, there is more than one
-staff.
+the beginning of the first expression. If is a single note, there
+is one staff; if there is a simultaneous expression, there is more
+than one staff.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 <<c e>>
<< { e f } { c <<b d>> } >>
}
@end lilypond
-@cindex expression
-@cindex music expression
-@subheading Analogy: mathematical expressions
-
-This mechanism is similar to mathematical formulas: a big formula
-is created by composing small formulas. Such formulas are called
-expressions, and their definition is recursive so you can make
-arbitrarily complex and large expressions. For example,
-
-@example
-1
-
-1 + 2
-
-(1 + 2) * 3
-
-((1 + 2) * 3) / (4 * 5)
-@end example
-
-This is a sequence of expressions, where each expression is
-contained in the next (larger) one. The simplest expressions are
-numbers, and larger ones are made by combining expressions with
-operators (like @samp{+}, @samp{*} and @samp{/}) and parentheses.
-Like mathematical expressions, music expressions can be nested
-arbitrarily deep, which is necessary for complex music like
-polyphonic scores.
-
-
@node Multiple staves
@subsection Multiple staves
-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.
+@cindex multiple staves
+@cindex staves, multiple
+@cindex context
+@cindex context, notation
+@cindex notation context
+
+@funindex \new Staff
+@funindex new Staff
+@funindex Staff
+@funindex \new
+@funindex new
+@funindex Score
+@funindex Voice
+@funindex Lyrics
+@funindex ChordNames
+
+LilyPond input files are constructed out of music expressions, as
+we saw in @ref{Music expressions explained}. 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.
To print more than one staff, each piece of music that makes up a
staff is marked by adding @code{\new Staff} before it. These
@code{Staff} elements are then combined in parallel with @code{<<}
and @code{>>}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
\new Staff { \clef treble c }
minus 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@footnote{This behavior may be changed if desired; see
-@ruser{Polymetric notation}, for details.}. On the other hand, the
-key signature of one staff does @emph{not} affect other staves.
+Time signatures entered in one staff affects all other staves by
+default. On the other hand, the key signature of one staff does
+@emph{not} affect other staves. This different default behavior
+is because scores with transposing instruments are more common
+than polyrhythmic scores.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
<<
- \new Staff { \clef treble \time 3/4 c }
- \new Staff { \clef bass \key d \major c,, }
+ \new Staff { \clef treble \key d \major \time 3/4 c }
+ \new Staff { \clef bass c,, }
>>
}
@end lilypond
-@node Piano staves
-@subsection Piano staves
+@node Staff groups
+@subsection Staff groups
+
+@cindex piano staff
+@cindex staff, piano
+@cindex choir staff
+@cindex staff, choir
+@cindex grand staff
+@cindex staff, grand
+@cindex staff group
+
+@funindex PianoStaff
+@funindex GrandStaff
+@funindex ChoirStaff
+
+Music Glossary: @rglos{brace}.
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace.
+Piano music is typeset in two staves connected by a
+@notation{brace}.
Printing such a staff is similar to the polyphonic example in
-@ruser{Multiple staves}, but now this entire expression is
+@ref{Multiple staves}. However, now this entire expression is
inserted inside a @code{PianoStaff}:
@example
>>
@end example
-Here is a small example
+Here is a small example:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\new PianoStaff <<
\new Staff { \time 2/4 c4 e g g, }
}
@end lilypond
+Other staff groupings are introduced with @code{\new GrandStaff},
+suitable for orchestral scores, and @w{@code{\new ChoirStaff}},
+suitable for vocal scores. These staff groups each form another
+type of context, one that generates the brace at the left end of
+every system and also controls the extent of bar lines.
+
@seealso
-@quotation
-See @ruser{Piano music}.
-@end quotation
+
+Notation Reference: @ruser{Keyboard and other multi-staff
+instruments},
+@ruser{Displaying staves}.
@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{>}.
+@cindex note durations in chords
+
+@funindex <
+@funindex >
+@funindex < ... >
+
+Music Glossary: @rglos{chord}.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+We saw earlier how notes can be combined into @notation{chords} by
+indicating they are simultaneous by enclosing them in double angle
+brackets. However, the normal way of indicating a chord is to
+surround the pitches with @emph{single} angle brackets. Note that
+all the notes in a chord must have the same duration, and that the
+duration is placed after the closing bracket.
+
+@lilypond[verbatim,quote,relative=2]
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
+Think of chords as almost equivalent to single notes:
+almost everything you can attach to a single note can be attached
+to a chord, and everything must go @emph{outside} the angle
+brackets. For example, 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]
+@lilypond[verbatim,quote,relative=2]
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>\!)
+r4 <c e g>8( <c e g>\> <c e g>4 <c f a>\!)
@end lilypond
@cindex polyphony
@cindex multiple voices
-@cindex voices, more -- on a staff
+@cindex voices, more on one staff
+@cindex single staff polyphony
+@cindex spacer rest
+@cindex rest, spacer
+
+@funindex << ... \\ ... >>
+@funindex <<
+@funindex \\
+@funindex >>
+
When different melodic lines are combined on a single staff they
are printed as polyphonic voices; each voice has its own stems,
slurs and beams, and the top voice has the stems up, while the
bottom voice has them down.
Entering such parts is done by entering each voice as a sequence
-(with @code{@{...@}}) and combining these simultaneously,
-separating the voices with @code{\\}
+(with @w{@code{@{...@}}}) and combining these simultaneously,
+separating the voices with @code{\\}:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ r4 g4 f2 f4 }
For polyphonic music typesetting, spacer rests can also be
convenient; these are rests that do not print. They are useful
for filling up voices that temporarily do not play. Here is the
-same example with a spacer rest (@samp{s}) instead of a normal
-rest (@samp{r}),
+same example with a spacer rest (@code{s}) instead of a normal
+rest (@code{r}),
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
<<
{ a4 g2 f4~ f4 } \\
{ s4 g4 f2 f4 }
@noindent
Again, these expressions can be nested arbitrarily.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
{ a4 g2 f4~ f4 } \\
@end lilypond
@seealso
-@quotation
-See @ruser{Basic polyphony}.
-@end quotation
+
+Notation Reference: @ruser{Simultaneous notes}.
@node Songs
This section introduces vocal music and simple song sheets.
@menu
-* Setting simple songs::
-* Aligning lyrics to a melody::
-* Lyrics to multiple staves::
+* Setting simple songs::
+* Aligning lyrics to a melody::
+* Lyrics to multiple staves::
@end menu
@node Setting simple songs
@subsection Setting simple songs
-@cindex Lyrics
-@cindex Songs
+@cindex lyrics
+@cindex songs
+
+@funindex \addlyrics
+@funindex addlyrics
+
+Music Glossary: @rglos{lyrics}.
+
Here is the start of the melody to a nursery
-rhyme, @qq{Girls and boys come out to play}:
+rhyme, @notation{Girls and boys come out to play}:
-@lilypond[verbatim,quote,ragged-right]
- \relative c'' {
+@lilypond[verbatim,quote]
+\relative c'' {
\key g \major
\time 6/8
d4 b8 c4 a8 d4 b8 g4
- }
+}
@end lilypond
-The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword. Lyrics are entered by separating each
-syllable with a space.
+The @notation{lyrics} can be set to these notes, combining both
+with the @code{\addlyrics} keyword. Lyrics are entered by
+separating each syllable with a space.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
- \relative c'' {
- \key g \major
- \time 6/8
- d4 b8 c4 a8 d4 b8 g4
- }
- \addlyrics {
- Girls and boys come out to play,
- }
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ }
>>
@end lilypond
Note the curly brackets delimiting both the music and the lyrics,
-and the angle brackets @code{<< ... >>} around the whole piece to
-show that the music and lyrics are to occur at the same time.
+and the double angle brackets @w{@code{<< ... >>}} around the
+whole piece to show that the music and lyrics are to occur at the
+same time.
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
@cindex extender line
@cindex hyphens
@cindex underscore
+@cindex lyrics, aligning
+@cindex aligning lyrics
+@cindex lyrics, multi-syllable words
+@cindex words with multiple syllables in lyrics
+
+Music Glossary: @rglos{melisma}, @rglos{extender line}.
-The next line in the nursery rhyme is @q{The moon doth shine as
-bright as day}. Let's extend it:
+The next line in the nursery rhyme is @notation{The moon doth
+shine as bright as day}. Let's extend it:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
- \relative c'' {
- \key g \major
- \time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c b a d4 b8 g4.
- }
- \addlyrics {
- Girls and boys come out to play,
- The moon doth shine as bright as day;
- }
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c b a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
>>
@end lilypond
We see the extra lyrics do not align properly with the notes. The
-word @q{shine} should be sung on two notes, not one. This is
-called a @rglos{melisma}, a single syllable sung to more than one
-note. There are several ways to spread a syllable over multiple
-notes, the simplest being to add a slur across them (see @ref{Ties
-and slurs}):
+word @notation{shine} should be sung on two notes, not one. This
+is called a @notation{melisma}, a single syllable sung to more
+than one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them, for
+details, see @ref{Ties and slurs}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
- \relative c'' {
- \key g \major
- \time 6/8
- d4 b8 c4 a8 d4 b8 g4
- g8 a4 b8 c([ b)] a d4 b8 g4.
- }
- \addlyrics {
- Girls and boys come out to play,
- The moon doth shine as bright as day;
- }
->>
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c( b) a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
@end lilypond
-Here we have also used manual beaming (the square brackets @code{[
-]} ) to generate the beaming which is customarily used with lyrics
-(see @ref{Automatic and manual beams}).
+The words now line up correctly with the notes, but the automatic
+beaming for the notes above @notation{shine as} does not look right.
+We can correct this by inserting manual beaming commands to override
+the automatic beaming here, for details, see @ref{Automatic and
+manual beams}.
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c([ b]) a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine as bright as day;
+ }
+>>
+@end lilypond
+
+As an alternative to using slurs, the melismata may be indicated
+in just the lyrics by using an underscore @code{_} for each note
+that should be included in the melisma:
+
+@lilypond[verbatim,quote]
+<<
+ \relative c'' {
+ \key g \major
+ \time 6/8
+ d4 b8 c4 a8 d4 b8 g4
+ g8 a4 b8 c[ b] a d4 b8 g4.
+ }
+ \addlyrics {
+ Girls and boys come out to play,
+ The moon doth shine _ as bright as day;
+ }
+>>
+@end lilypond
If a syllable extends over several notes or a single very long
-note an @emph{extender line} is usually drawn from the syllable
-extending under all the notes for that syllable. It is entered as
-two underscores @code{__}. Here is an example from the first
-three bars of Dido's Lament, from Purcell's Dido and Æneas:
-
-@lilypond[verbatim,quote,ragged-right]
+note an @notation{extender line} is usually drawn from the
+syllable extending under all the notes for that syllable. It is
+entered as two underscores @code{__}. Here is an example from the
+first three bars of @notation{Dido's Lament}, from Purcell's
+@notation{Dido and Æneas}:
+
+@lilypond[verbatim,quote]
<<
\relative c'' {
\key g \minor
\time 3/2
- g2 a bes bes( a)
+ g2 a bes bes( a)
b c4.( bes8 a4. g8 fis4.) g8 fis1
}
\addlyrics {
- When I am laid,
+ When I am laid,
am laid __ in earth,
}
>>
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[quote,verbatim]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\key g \major
\time 3/4
\partial 4
- d4 g4 g a8( b) g4 g4
+ d4 g4 g a8( b) g4 g4
b8( c) d4 d e4 c2
}
\addlyrics {
- A -- way in a __ man -- ger,
+ A -- way in a __ man -- ger,
no __ crib for a bed, __
}
>>
Some lyrics, especially those in Italian, require the opposite:
setting more than one syllable to a single note. This is
achieved by linking the syllables together with a single
-underscore @code{_} (with no spaces), or enclosing them in
-quotes. Here's an example from Rossini's Figaro, where
-@q{al} has to be sung on the same note as the @q{go} of
-@q{Largo} in Figaro's aria @q{Largo al factotum}:
+underscore @code{_} (with no spaces), or enclosing them in quotes.
+Here's an example from Rossini's @notation{Figaro}, where
+@notation{al} has to be sung on the same note as the @notation{go} of
+@notation{Largo} in Figaro's aria @notation{Largo al factotum}:
@c no ragged-right here because otherwise the hyphens get lost,
@c but the example is long enough to avoid looking strange.
-@lilypond[quote,verbatim]
+@lilypond[verbatim,quote,noragged-right]
<<
\relative c' {
\clef bass
\key c \major
\time 6/8
- c4.~ c8 d b c([ d)] b c d b c
+ c4.~ c8 d b c([ d]) b c d b c
}
\addlyrics {
Lar -- go_al fac -- to -- tum del -- la cit -- tà
@seealso
-@quotation
-More options, such as inserting explicit rhythms into lyrics,
-inserting lyric ties (e.g., between @q{go al}) above,
-alternative ways of handling melismata,
-and adding extra verses,
-are discussed in @ruser{Vocal music}.
-@end quotation
+
+Notation Reference: @ruser{Vocal music}.
+
@node Lyrics to multiple staves
@subsection Lyrics to multiple staves
+@cindex lyrics and multiple staves
+@cindex multiple staves and lyrics
+
The simple approach using @code{\addlyrics} can be used for
placing lyrics under more than one staff. Here is an
-example from Handel's Judas Maccabæus:
+example from Handel's @notation{Judas Maccabæus}:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
<<
- {
+ \relative c'' {
+ \key f \major
\time 6/8
\partial 8
- }
- \relative c'' { \key f \major
- c8 c([ bes)] a a([ g)] f f'4. b, c4.~ c4
+ c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn, __
}
- \relative c' { \key f \major
- r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
+ \relative c' {
+ \key f \major
+ \time 6/8
+ \partial 8
+ r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
Let flee -- cy flocks the hills a -- dorn,
>>
@end lilypond
-but scores any more complex than this simple example are
-better produced by separating out the staff structure
-from the notes and lyrics with identifiers. These are
-discussed later (see @ref{Organizing pieces with identifiers}).
+Scores any more complex than this simple example are better
+produced by separating out the score structure from the notes and
+lyrics with variables. These are discussed in @ref{Organizing
+pieces with variables}.
@seealso
-@quotation
-More options, such as putting multiple stanzas below the score,
-setting choral music, and lyrics to divided voices,
-are discussed in @ruser{Vocal music}.
-@end quotation
+
+Notation Reference: @ruser{Vocal music}.
+
@node Final touches
introduction to the rest of the manual.
@menu
-* Version number::
-* Adding titles::
-* Absolute note names::
-* Organizing pieces with identifiers::
-* After the tutorial::
-* How to read the manual::
+* Organizing pieces with variables::
+* Version number::
+* Adding titles::
+* Absolute note names::
+* After the tutorial::
@end menu
+@node Organizing pieces with variables
+@subsection Organizing pieces with variables
+
+@cindex variables
+@cindex variables, defining
+@cindex identifiers
+@cindex macros
+@cindex assigning variables
+@cindex using variables
+@cindex variables, using
+@cindex variables, characters allowed in
+@cindex characters allowed in variables
+
+When all of the elements discussed earlier are combined to produce
+larger files, the music expressions get a lot bigger. In
+polyphonic music with many staves, the input files can become very
+confusing. We can reduce this confusion by using
+@emph{variables}.
+
+With variables (also known as identifiers or macros), we can break
+up complex music expressions. A variable is assigned as
+follows:
+
+@example
+namedMusic = @{ @dots{} @}
+@end example
+
+The contents of the music expression @code{namedMusic} can be used
+later by placing a backslash in front of the name
+(@code{\namedMusic}, just like a normal LilyPond command).
+
+@lilypond[verbatim,quote]
+violin = \new Staff {
+ \relative c'' {
+ a4 b c b
+ }
+}
+cello = \new Staff {
+ \relative c {
+ \clef bass
+ e2 d
+ }
+}
+{
+ <<
+ \violin
+ \cello
+ >>
+}
+@end lilypond
+
+@noindent
+The name of a variable must have alphabetic characters only, no
+numbers, underscores, or dashes.
+
+Variables must be defined @emph{before} the main music
+expression, but may be used as many times as required anywhere after
+they have been defined. They may even be used in a later definition
+of another variable, giving a way of shortening the input if a
+section of music is repeated many times.
+
+@lilypond[verbatim,quote]
+tripletA = \times 2/3 { c,8 e g }
+barA = { \tripletA \tripletA \tripletA \tripletA }
+
+\relative c'' {
+ \barA \barA
+}
+@end lilypond
+
+Variables may be used for many other types of objects in
+the input. For example,
+
+@example
+width = 4.5\cm
+name = "Wendy"
+aFivePaper = \paper @{ paperheight = 21.0 \cm @}
+@end example
+
+Depending on its contents, the variable can be used in different
+places. The following example uses the above variables:
+
+@example
+\paper @{
+ \aFivePaper
+ line-width = \width
+@}
+@{
+ c4^\name
+@}
+@end example
+
+
@node Version number
@subsection Version number
@cindex versioning
+@cindex version
+@cindex version number
+@cindex upgrades
+@cindex future upgrades
+@cindex updating files
+@cindex files, updating
+
+@funindex \version
+@funindex version
+@funindex convert-ly
+
The @code{\version} statement records the version of LilyPond that
was used to write the file:
@example
-\version "2.11.23"
+\version @w{"@version{}"}
@end example
@noindent
-by convention, this is placed 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.
+program, @command{convert-ly}, and it uses @code{\version} to
+determine what rules to apply. For details, see
+@rprogram{Updating files with convert-ly}.
@node Adding titles
@subsection Adding titles
+@cindex title
+@cindex headers
+@cindex header block
+
+@funindex \header
+@funindex header
+
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 @ruser{Version number}.
+underneath the version number.
@example
-\version "2.11.23"
+\version @w{"@version{}"}
\header @{
title = "Symphony"
composer = "Me"
@node Absolute note names
@subsection Absolute note names
+@cindex note names
+@cindex note names, absolute
+@cindex absolute mode
+@cindex absolute values for pitches
+@cindex pitches, absolute values
+@cindex absolute note names
+
So far we have always used @code{\relative} to define pitches.
This is the easiest way to enter most music, but another way of
defining pitches exists: absolute mode.
@code{g,} will always mean the note on the bottom staff of the
bass clef.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c' b g, g,
Here is a four-octave scale:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote]
{
\clef bass
c, d, e, f,
As you can see, writing a melody in the treble clef involves a lot
of quote @code{'} marks. Consider this fragment from Mozart:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote]
{
\key a \major
\time 6/8
}
@end lilypond
-All these quotes makes the input less readable and it is a source
+All these quotes makes the input less readable and they are a source
of errors. With @code{\relative}, the previous example is much
-easier to read:
+easier to read and type:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
\key a \major
\time 6/8
files.
-@node Organizing pieces with identifiers
-@subsection Organizing pieces with identifiers
-
-When all of the elements discussed earlier are combined to produce
-larger files, the music expressions get a lot bigger. In
-polyphonic music with many staves, the input files can become very
-confusing. We can reduce this confusion by using
-@emph{identifiers}.
-
-With identifiers (also known as variables or macros), we can break
-up complex music expressions. An identifier is assigned as
-follows
-
-@example
-namedMusic = @{ @dots{} @}
-@end example
-
-The contents of the music expression @code{namedMusic} can be used
-later by placing a backslash in front of the name
-(@code{\namedMusic}, just like a normal LilyPond command).
-Identifiers must be defined @emph{before} the main music
-expression.
-
-@lilypond[quote,verbatim,ragged-right]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
-{
- <<
- \violin
- \cello
- >>
-}
-@end lilypond
-
-@noindent
-The name of an identifier must have alphabetic characters only: no
-numbers, underscores, or dashes.
-
-It is possible to use variables for many other types of objects in
-the input. For example,
-
-@example
-width = 4.5\cm
-name = "Wendy"
-aFivePaper = \paper @{ paperheight = 21.0 \cm @}
-@end example
-
-Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables:
-
-@example
-\paper @{
- \aFivePaper
- line-width = \width
-@}
-@{ c4^\name @}
-@end example
-
@node After the tutorial
@subsection After the tutorial
After finishing the tutorial, you should probably try writing a
-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
-@ruser{Basic notation}. If you want to write for an instrument
+piece or two. Start by adding notes to one of the
+@ref{Templates}. If you need any notation that was not covered in
+the tutorial, look at the Notation Reference, starting with
+@ruser{Musical notation}. If you want to write for an instrument
ensemble that is not covered in the templates, take a look at
-@ruser{Extending the templates}.
+@ref{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 with
wish to skim these chapters right now, and come back to them after
you have more experience.
-
-@node How to read the manual
-@subsection How to read the manual
-
-As we saw in @ruser{How to read the tutorial}, many examples in
-the tutorial omitted a @code{\relative c'' @{ ... @}} around the
-printed example.
-
-In the rest of the manual, we are much more lax about the printed
-examples: sometimes they may have omitted a @code{\relative c'' @{
-... @}}, but other times a different initial pitch may be used
-(such as @code{c'} or @code{c,,}), and in some cases the whole
-example is in absolute note mode! However, ambiguities like this
-only exist where the pitches are not important. In any example
-where the pitch matters, we have explicitly stated
-@code{\relative} or absolute-mode @code{@{ @}}.
-
-If you are still confused about the exact LilyPond input that was
-used in an example, read the HTML version (if you are not already
-doing 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}.
+In this tutorial and in the rest of the Learning Manual, 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.
+
+If you have not done so already, @emph{please} read @ref{About the
+documentation}. There is a lot of information about LilyPond, so
+newcomers often do not know where they should look for help. If
+you spend five minutes reading that section carefully, you might
+save yourself hours of frustration looking in the wrong places!
projects / lilypond.git / blobdiff