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
@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.
@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
@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
@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
@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
@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
@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
@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
@moreinfo
@quotation
-See @ref{Piano music}.
+See @ruser{Piano music}.
@end quotation
@moreinfo
@quotation
-See @ref{Basic polyphony}.
+See @ruser{Basic polyphony}.
@end quotation
@moreinfo
@quotation
More options, such as putting multiple stanzas below a melody, are
-discussed in @ref{Vocal music}.
+discussed in @ruser{Vocal music}.
@end quotation
@moreinfo
@quotation
A complete list of modifiers and other options for layout can be found
-in @ref{Chords}.
+in @ruser{Chords}.
@end quotation
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.
input that LilyPond used to generate this manual.
For information about the structure of the rest of the manual, see
-@ref{About this manual}.
+@ruser{About this manual}.
projects / lilypond.git / blobdiff