@c cheesy title to avoid clash with chapter name.
-@c FIXME: let's not be so casual about Emacs and VIM, but rather
-@c instruct (how) to use them; let advanced user figure-out what
-@c commands to type?
-
-@c
-@c We don't have enough space to explain either VIM
-@c or Emacs non-advanced users, and I fear that both editors will only
-@c confuse newbies. I vote for keeping the material in footnotes.
-@c
-@c --hwn
-
In the last section we explained what kind of things you could enter
in a LilyPond file. In this section we will explain what commands to
run and how to view or print the output. If you have not used
down
To use relative mode, add @code{\relative} before the piece of
-music. The first note is taken relative to the middle C
+music. The first note is taken relative to the middle C
@c no , for this sentence
(i.e. @code{c'})
Note that this example only has one staff, whereas
the previous example had three seperate staves. That is because this
example begins with a single note. To determine the number of staves,
-LilyPond looks at the first element. If it's a single note, there's one
-staff; if there's a simultaneous expression, there's more than one staff.
+LilyPond looks at the first element. If it is a single note, there is one
+staff; if there is a simultaneous expression, there is more than one staff.
@lilypond[fragment,quote,verbatim,relative=2]
{
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. In most cases, it's
+also use multiple articulations on the same note. In most cases, it is
best to let LilyPond determine the articulation directions.
@lilypond[fragment,quote,verbatim,relative=2]
@end lilypond
@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
@end example
@lilypond[quote,relative=1,fragment]
\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>8\!)
+r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
@end lilypond
-
-
@node Advanced rhythmic commands
@section Advanced rhythmic commands
There are two types of comments. The percent symbol @samp{%}
introduces a line comment; after @code{%} the rest of the line is
ignored. A block comments marks a whole section of music
-input. Anything that is enclosed in @code{%@{} and @code{%@}} is
+input. Anything that is enclosed in @code{%@{} and @code{%@}} is
ignored. The following fragment shows possible uses for comments
@example
@c FIXME
@c This is good info, but I wouldn't call it a comment. IMO it should
@c be moved somewhere else. I don't know exactly where yet, but I'll
-@c resolve it soon. -GP
+@c resolve it soon. -gp
@cindex versioning
To mark a file for version 2.1.17, use
@example
-\version "2.1.17"
+\version "2.3.16"
@end example
@noindent
Such chords can be entered like notes,
@lilypond[quote,verbatim,raggedright]
-\chords { c2 f4. g8 }
+\chordmode { c2 f4. g8 }
@end lilypond
@noindent
Now each pitch is read as the root of a chord instead of a note.
-This mode is switched on with @code{\chords}
+This mode is switched on with @code{\chordmode}
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
@lilypond[quote,verbatim]
-\chords { c2 f4:m g4:maj7 gis1:dim7 }
+\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
For lead sheets, chords are not printed on staves, but as names on a
context
@lilypond[quote,verbatim]
-\new ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 }
+\chordmode { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@cindex lead sheet
@example
<<
- \new ChordNames \chords @{ @emph{chords} @}
+ \chordmode @{ @emph{chords} @}
@emph{the melody}
\addlyrics @{ @emph{the text} @}
>>
@lilypond[quote,raggedright]
<<
- \new ChordNames \chords { r2 c:sus4 f }
+ \chordmode { r2 c:sus4 f }
\relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
@node An orchestral part
@section An orchestral part
-In orchestral music, all notes are printed twice. Once in a part for
+In orchestral music, all notes are printed twice. Once in a part for
the musicians, and once in a full score for the conductor. Identifiers can
-be used to avoid double work. The music is entered once, and stored in
+be used to avoid double work. The music is entered once, and stored in
a variable. The contents of that variable is then used to generate
both the part and the score.
substitutes the contents of @file{horn-music.ly} at this position in
the file, so @code{hornNotes} is defined afterwards. The command
@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
+@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
@samp{f} is denoted by notated @code{c'}, which corresponds with
tuning of a normal French Horn in@tie{}F. The transposition can be seen
in the following output