- 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.
-
-
-TODO:
-- discuss subheading vs. unnumberedsubsection
-
@end ignore
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,ragged-right,relative=2]
-c-\markup { \bold \huge { Click here. } }
+@c no verbatim here
+@lilypond[quote,ragged-right]
+\relative c'' {
+ c-\markup { \bold \huge { Click here. } }
+}
@end lilypond
-By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
-to the end of the file, you have a
+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
@end ifhtml
@menu
-* First steps (compiling a file)::
+* First steps::
+* Single staff notation::
+* Multiple notes at once::
+* Songs::
+* Final touches::
+@end menu
+
+
+@node First steps
+@section First steps
+
+This section gives a basic introduction to working with LilyPond.
+
+@menu
+* Compiling a file::
* Simple notation::
* Working on text files::
* How to read the tutorial::
-* Accidentals and key signatures::
-* Ties and slurs::
-* Articulation and dynamics::
-* Automatic and manual beams::
-* Music expressions explained::
-* More staves::
-* Combining notes into chords::
-* Advanced rhythmic commands::
-* Commenting input files::
-* Printing lyrics::
-* A lead sheet::
-* Adding titles::
-* Single staff polyphony::
-* Piano staves::
-* Organizing larger pieces::
-* An orchestral part::
-* After the tutorial::
-* Octave entry::
@end menu
-@node First steps (compiling a file)
-@section First steps (compiling a file)
+@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
@noindent
the result looks like this
+@c in this case we don't want verbatim
@lilypond[quote,ragged-right]
{
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 should be also be
+braces @}} placed around the input. 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!
@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}. @code{ @{c d e @}}
+is valid input; @code{@{ C D E @}} will produce an error message.
@sp 1
-@unnumberedsubsec Entering music and viewing output
+@subheading Entering music and viewing output
In this section we will explain what commands to run
and how to view or print the output.
-@unnumberedsubsubsec MacOS X
+@subsubheading MacOS X
-If you double click LilyPond.app, it will open with an example
-file. Save it, for example, to @file{test.ly} on your Desktop, and
+If you double click @code{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 will take a minute
+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 "New"
-or "Open".
+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.
-@unnumberedsubsubsec Windows
+@subsubheading Windows
-On Windows, start up a text-editor@footnote{Any simple or
-programmer-oriented editor with UTF-8 support will do, for example
-Notepad. Do not use a word processor, since these insert formatting
-codes that will confuse LilyPond.} and enter
+On Windows, if you double-click in the LilyPond icon on the Desktop, it
+will open a simple text editor with an example file. Save it, for
+example, to @file{test.ly} on your Desktop and then double-click on the
+file to process it (the file icon looks like a note). After some
+seconds, you will get a file @file{test.pdf}
+on your desktop. Double-click on this PDF file to view the typeset
+score. An alternative method to process the @file{test.ly} file
+is to drag and drop it onto the LilyPond icon using your mouse pointer.
-@verbatim
-{
- c' e' g' e'
-}
-@end verbatim
+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.
-Save it on the desktop as @file{test.ly} and make sure that it is not
-called @file{test.ly.TXT}. Double clicking @file{test.ly} will process
-the file and show the resulting PDF file.
+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{Editor support}, for more information.
-@unnumberedsubsubsec 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}. These
+installed already, refer to the file @file{INSTALL.txt}. The
easiest editing environment is @file{LilyPondTool}. See
-@ref{Editor support} for more information.}. In your
+@rprogram{Editor support}, for more information.}. In your
text editor, enter the following input and save the file as
@file{test.ly}
@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 tools installed, you can try
+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
-@section Simple notation
+@subsection Simple notation
LilyPond will add some notation elements automatically. In the next
example, we have only specified four pitches, but LilyPond has
are useful.
-@unnumberedsubsec Pitches
+@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
@code{\relative c'} may also be modified like this.
-@unnumberedsubsec Durations (rhythms)
+@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},
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 notes}, add a dot @samp{.} to the duration number.
+To create @rglos{dotted note}s, add a dot @samp{.} to the duration number.
@lilypond[quote,ragged-right,verbatim]
\relative c'' {
@end lilypond
-@unnumberedsubsec Rests
+@subheading Rests
A @rglos{rest} is entered just like a note with the name @samp{r}:
@end lilypond
-@unnumberedsubsec Time signature
+@subheading Time signature
The @rglos{time signature}) can be set with the @code{\time} command:
@end lilypond
-@unnumberedsubsec Clef
+@subheading Clef
The @rglos{clef} can be set using the @code{\clef} command:
\clef treble
c1
\clef alto
- c1
+ c1
\clef tenor
c1
\clef bass
@end lilypond
-@unnumberedsubsec All together
+@subheading All together
Here is a small example showing all these elements together:
@quotation
@table @asis
@item Entering pitches and durations
-see @ref{Pitches} and @ref{Durations}.
+see @ref{Pitches}, and @ref{Durations}.
@item Rests
see @ref{Rests}.
@item Time signatures and other timing commands
@node Working on text files
-@section Working on text files
+@subsection Working on text files
-LilyPond input files are treated like files in most programming languages:
-they are case sensitive, white-space insensitive, and expressions are
-formed with curly braces @{ @}.
+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{%@{ ... %@}}.
If the previous sentence sounds like nonsense, don't worry! We'll explain
what all these terms mean:
@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.
+@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{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 @ @ @ @ @ d e @} } and
+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
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
+A function (such as @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 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
+
+@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.
+
+ g g f f e e d d c2
+%@}
+@end example
+
@end itemize
There are more tips for constructing input files in
@node How to read the tutorial
-@section How to read the tutorial
+@subsection How to read the tutorial
As we saw in @ref{Working on text files}, LilyPond input must be
surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
of your own.
+@node Single staff notation
+@section Single staff notation
+
+This section introduces common notation that is used for one voice
+on one staff.
+
+@menu
+* Relative note names::
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
+
+
+@node Relative note names
+@subsection Relative note names
+
+As we saw in @ref{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
+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[quote,ragged-right,verbatim,fragment,relative=2]
+c2 fis
+c2 ges
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Relative octaves
+see @ref{Relative octaves}.
+@item Octave check
+see @ref{Octave check}.
+@end table
+@end quotation
+
+
+
@node Accidentals and key signatures
-@section Accidentals and key signatures
+@subsection Accidentals and key signatures
-@unnumberedsubsec Accidentals
+@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
@end lilypond
@cindex key signature, setting
-@unnumberedsubsec Key signatures
+@subheading Key signatures
The key signature is set with the command @code{\key} followed by
a pitch and @code{\major} or @code{\minor}.
@sp 1
-@unnumberedsubsec Warning: key signatures and pitches
+@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 effects
+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.
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
+@ref{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 @ref{Accidentals}, and @ref{Automatic accidentals}.
@item Key signature
see @ref{Key signature}.
@end table
@node Ties and slurs
-@section Ties and slurs
+@subsection Ties and slurs
@cindex ties
-@unnumberedsubsec Ties
+@subheading Ties
A @rglos{tie} is created by appending a tilde @samp{~} to the first
note being tied
@end lilypond
@cindex slurs
-@unnumberedsubsec 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.
@cindex slurs, phrasing
@cindex phrasing slurs
-@unnumberedsubsec Phrasing slurs
+@subheading Phrasing slurs
-@cindex 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
@sp 1
@cindex slurs versus ties
-@unnumberedsubsec Warnings: slurs vs. 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
@node Articulation and dynamics
-@section Articulation and dynamics
+@subsection Articulation and dynamics
@cindex articulation
@cindex accents
@cindex staccato
+@subheading Articulations
-@c FIXME: change to @rglos once the term is added (articulations)
-Common articulations can be added to a note using a dash (@samp{-}) and a
-single character:
+Common @rglos{articulation}s can be added to a note using a dash @samp{-}
+and a single character:
@lilypond[quote,ragged-right,verbatim,fragment,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:
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
@node Automatic and manual beams
-@section Automatic and manual beams
+@subsection Automatic and manual beams
@cindex beams, by hand
All @rglos{beam}s are drawn automatically:
@end quotation
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
+
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+@subheading Partial measure
+
+A pickup (or @rglos{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[quote,ragged-right,verbatim,fragment,relative=2]
+\partial 8
+f8 c2 d
+@end lilypond
+
+@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
+
+@lilypond[quote,ragged-right,verbatim,fragment,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
+
+@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}
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2 \grace { a32[ b] } c2
+c2 \appoggiatura b16 c2
+c2 \acciaccatura b16 c2
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Grace notes
+see @ref{Grace notes},
+@item Tuplets
+see @ref{Tuplets},
+@item Pickups
+see @ref{Partial measures}.
+@end table
+@end quotation
+
+
+@node Multiple notes at once
+@section Multiple notes at once
+
+This section introduces having more than one note at the same time:
+multiple instruments, multiple staves for a single instrument (i.e. piano),
+and chords.
+
+Polyphony in music refers to having more than one voice occurring in
+a piece of music. Polyphony in LilyPond refers to having more than
+one voice on the same staff.
+
+@menu
+* Music expressions explained::
+* Multiple staves::
+* Piano staves::
+* Single staff polyphony::
+* Combining notes into chords::
+@end menu
+
@node Music expressions explained
-@section Music expressions explained
+@subsection Music expressions explained
In LilyPond input files, music is represented by @emph{music
expressions}. A single note is a music expression, although it is not
@end lilypond
Putting a group of music expressions (e.g. notes) in braces means that
-are in sequence (i.e. each one follows the previous one). The result
+they are in sequence (i.e. each one follows the previous one). The result
is another music expression:
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
{ { a4 g } f g }
@end lilypond
-@unnumberedsubsec Simultaneous music expressions: multiple staves
+@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
-simple enter a simultaneous combination of music expressions. A
+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:
is at the beginning of a line, but indenting LilyPond code like this makes
it much easier for humans to read.
-@unnumberedsubsec Simultaneous music expressions: single staff
+@strong{Warning}: each note is relative to the
+previous note in the input, not relative to the @code{c''} in the
+initial @code{\relative} command.
+
+
+@subheading Simultaneous music expressions: single staff
To determine the number of staves in a piece, LilyPond looks at the first
-exression. If it is a single note, there is one staff; if there is a
+expression. If it is a single note, there is one staff; if there is a
simultaneous expression, there is more than one staff.
@lilypond[quote,ragged-right,verbatim]
\relative c'' {
- c <<c e>> << { e f } { c <<b d>> } >>
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
}
@end lilypond
-
-@unnumberedsubsec Analogy: mathematical expressions
+@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
((1 + 2) * 3) / (4 * 5)
@end example
-@cindex expression
-@cindex music expression
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{+},
for complex music like polyphonic scores.
-@c zz
-
-@node More staves
-@section More staves
+@node Multiple staves
+@subsection Multiple staves
-As we saw in @ref{Music expressions explained}, LilyPond is blah blah.
+As we saw in @ref{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.
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{>>}, as demonstrated here
+@code{>>}:
-@lilypond[quote,fragment,verbatim]
-<<
- \new Staff { \clef treble c'' }
- \new Staff { \clef bass c }
->>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble c }
+ \new Staff { \clef bass c,, }
+ >>
+}
@end lilypond
-
The command @code{\new} introduces a @q{notation context.} A notation
context is an environment in which musical events (like notes or
@code{\clef} commands) are interpreted. For simple pieces, such
notation contexts are created automatically. For more complex pieces, it
-is best to mark contexts explicitly. This ensures that each fragment
-gets its own stave.
+is best to mark contexts explicitly.
-There are several types of contexts. @code{Staff}, @code{Voice} and
-@code{Score} handle melodic notation, while @code{Lyrics} sets lyric
+There are several types of contexts. @code{Score}, @code{Staff},
+and @code{Voice} handle melodic notation, while @code{Lyrics} sets lyric
texts and @code{ChordNames} prints chord names.
In terms of syntax, prepending @code{\new} to a music expression
sign in mathematics. The formula @math{(4+5)} is an expression, so
@math{-(4+5)} is a bigger expression.
-We can now typeset a melody with two staves
-
-@c TODO: (c) status of this Paul McCartney (?) song (let's all stand together)
-
-@lilypond[fragment,quote,verbatim,ragged-right]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
+Time signatures entered in one staff affects all other staves, but
+the key signature of one staff does @emph{not} affect other
+staves@footnote{This behavior may be changed if desired; see
+@ref{Changing defaults}, for details.}.
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
->>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ \new Staff { \clef treble \time 3/4 c }
+ \new Staff { \clef bass \key d \major c,, }
+ >>
+}
@end lilypond
-For more information on contexts see the description in
-@ref{Interpretation contexts}.
-@c zz
+@node Piano staves
+@subsection Piano staves
-@node Combining notes into chords
-@section Combining notes into chords
-
-@cindex chords
-Chords can be made by surrounding pitches with angle brackets.
-Angle brackets are the symbols @samp{<} and @samp{>}.
-
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>4 <c f a>8
-@end lilypond
+@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},
+but now this entire expression is inserted inside a @code{PianoStaff}:
+@example
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
+>>
+@end example
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+Here is a small example
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \new PianoStaff <<
+ \new Staff { \time 2/4 c4 e g g, }
+ \new Staff { \clef bass c,, c' e c }
+ >>
+}
@end lilypond
-@example
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end example
+@moreinfo
+@quotation
+See @ref{Piano music}.
+@end quotation
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
-@end lilypond
+@node Single staff polyphony
+@subsection Single staff polyphony
-@node Advanced rhythmic commands
-@section Advanced rhythmic commands
+@cindex polyphony
+@cindex multiple voices
+@cindex voices, more -- on a staff
+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.
-@cindex pickup
-@cindex anacruse
-@cindex partial measure
-A pickup is entered with the keyword @code{\partial}. It
-is followed by a duration: @code{\partial 4} is a quarter note upstep
-and @code{\partial 8} an eighth note
+Entering such parts is done by entering each voice as a sequence (with
+@code{@{...@}}) and combining these simultaneously, separating the
+voices with @code{\\}
-@lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { r4 g4 f2 f4 }
+>>
@end lilypond
-@cindex tuplets
-@cindex triplets
-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
+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}),
-@lilypond[quote,relative=1,verbatim,fragment]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
-@cindex grace notes
-@cindex acciaccatura
-Grace notes are also made by prefixing a music expression with the
-keyword @code{\appoggiatura} or @code{\acciaccatura}
-@cindex appoggiatura
-@cindex acciaccatura
+@noindent
+Again, these expressions can be nested arbitrarily.
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+<<
+ \new Staff <<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+ >>
+ \new Staff <<
+ \clef bass
+ { <c g>1 ~ <c g>4 } \\
+ { e,,4 d e2 ~ e4}
+ >>
+>>
@end lilypond
@moreinfo
@quotation
-@table @asis
-@item Grace notes
-see @ref{Grace notes},
-@item Tuplets
-see @ref{Tuplets},
-@item Pickups
-see @ref{Partial measures}.
-@end table
+See @ref{Basic polyphony}.
@end quotation
-@node Commenting input files
-@section Commenting input files
+@node Combining notes into chords
+@subsection Combining notes into chords
-@cindex comments
-@cindex line comment
-@cindex block comment
-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; after @samp{%} the rest of the line is
-ignored. A block comment marks a whole section of music
-input. Anything that is enclosed in @code{%@{} and @code{%@}} is
-ignored. The following fragment shows possible uses for comments
+@cindex chords
+Chords can be made by surrounding pitches with single angle brackets. Angle
+brackets are the symbols @samp{<} and @samp{>}.
-@example
-% notes for twinkle twinkle follow
- c4 c g' g a a g2
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>4 <c f a>2
+@end lilypond
-%@{
- This line, and the notes below
- are ignored, since they are in a
- block comment.
+You can combine markings like beams and ties with chords. They must
+be placed outside the angle brackets
- g g f f e e d d c2
-%@}
-@end example
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8[ <c f a>]~ <c f a>2
+@end lilypond
-@c TODO post-2.6 reorg
-@c This is good info, but I wouldn't call it a comment. IMO it should
-@c be moved somewhere else.
+@lilypond[quote,fragment,verbatim,relative=2,fragment]
+r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
+@end lilypond
-@cindex versioning
-There is a special statement that is a kind of comment. The @code{\version}
-statement marks for which version of LilyPond the file was written.
-To mark a file for version 2.10.1, use
+@node Songs
+@section Songs
-@example
-\version "2.10.1"
-@end example
+This section introduces vocal music and simple song sheets.
-@noindent
-These annotations make future upgrades of LilyPond go more
-smoothly. Changes in the syntax are handled with a special program,
-@file{convert-ly} (see @ref{Updating files with convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
@node Printing lyrics
-@section Printing lyrics
-@cindex lyrics
-
-@c TODO: (c) status of the Queen fragment.
+@subsection Printing lyrics
@cindex Lyrics
@cindex Songs
-Lyrics are entered by separating each syllable with a space
-
-@example
-I want to break free
-@end example
+Consider a simple melody:
-Consider the melody
-
-@lilypond[quote,verbatim,fragment,ragged-right]
-\relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
@end lilypond
The lyrics can be set to these notes, combining both with the
-@code{\addlyrics} keyword
+@code{\addlyrics} keyword. Lyrics are entered by separating each
+syllable with a space.
-@lilypond[quote,verbatim,fragment,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free }
+ \addlyrics { One day this shall be free }
>>
@end lilypond
@cindex melisma
@cindex extender line
-@c synonyms?
This melody ends on a @rglos{melisma}, a single syllable (@q{free})
sung to more than one note. This is indicated with an @emph{extender
-line}. It is entered as two underscores, i.e.,
-
-@example
-@{ I want to break free __ @}
-@end example
+line}. It is entered as two underscores @code{__}:
-@lilypond[fragment,quote,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
<<
- \relative {
- r4 c \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free __ }
+ \addlyrics { One day this shall be free __ }
>>
@end lilypond
Similarly, hyphens between words can be entered as two dashes,
resulting in a centered hyphen between two syllables
-@example
-A -- le gri -- a
-@end example
-
-@c no ragged-right here, because otherwise the hypens get lost.
-@lilypond[fragment,quote]
+@c no ragged-right here because otherwise the hypens get lost.
+@lilypond[quote,verbatim]
<<
- \relative {
+ \relative c' {
\time 2/4
- f4 f c' c
+ f4 f c c
}
- \addlyrics { A -- le gri -- a }
+ \addlyrics { A -- le -- gri -- a }
>>
@end lilypond
-More options, like putting multiple lines of lyrics below a melody are
+@moreinfo
+@quotation
+More options, such as putting multiple stanzas below a melody, are
discussed in @ref{Vocal music}.
+@end quotation
@node A lead sheet
-@section A lead sheet
+@subsection A lead sheet
@cindex Lead sheets
@cindex chords
@cindex chord names
-@c TODO: revise this, \chords { } is shorter and more intuitive.
-
-In popular music, it is common to denote accompaniment with chord names.
+In popular music it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[quote,ragged-right,verbatim]
\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{\chordmode}
-
-Other chords can be created by adding modifiers after a colon. The
-following example shows a few common modifiers
+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,ragged-right]
\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
line for themselves. This is achieved by using @code{\chords} instead
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
-following result.
+following result:
@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@cindex lead sheet
When put together, chord names, lyrics and a melody form
-a lead sheet, for example,
-
-@example
-<<
- \chords @{ @emph{chords} @}
- @emph{the melody}
- \addlyrics @{ @emph{the text} @}
->>
-@}
-@end example
+a lead sheet,
-@lilypond[quote,ragged-right]
+@lilypond[quote,verbatim,ragged-right]
<<
- \chords { r2 c:sus4 f }
- \relative {
- r4 c' \times 2/3 { f g g }
- \times 2/3 { g4( a2) }
+ \chords { c2 g:sus4 f e }
+ \relative c'' {
+ a4 e c8 e r4
+ b2 c4( d)
}
- \addlyrics { I want to break free __ }
+ \addlyrics { One day this shall be free __ }
>>
@end lilypond
+
+@moreinfo
+@quotation
A complete list of modifiers and other options for layout can be found
in @ref{Chords}.
+@end quotation
+
+
+@node Final touches
+@section Final touches
+
+This is the final section of the tutorial; it demonstrates how to add the
+final touches to simple pieces, and provides an 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::
+@end menu
+
+
+@node Version number
+@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
+
+@example
+\version "2.11.23"
+@end example
+
+@noindent
+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.
@node Adding titles
-@section Adding titles
+@subsection Adding titles
-Bibliographic information is entered in a separate block, the
-@code{\header} block. The name of the piece, its composer, etc., are
-entered as an assignment, within @code{\header
-@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
-the top of the file. For example,
+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}.
@example
+\version "2.11.23"
\header @{
- title = "Miniature"
- composer = "Igor Stravinsky"
+ title = "Symphony"
+ composer = "Me"
+ opus = "Op. 9"
@}
-@{ @dots{} @}
+@{
+ @dots{} music @dots{}
+@}
@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
titles}.
-@node Single staff polyphony
-@section Single staff polyphony
+@node Absolute note names
+@subsection Absolute note names
-@cindex polyphony
-@cindex multiple voices
-@cindex voices, more -- on a staff
-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.
+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.
-Entering such parts is done by entering each voice as a sequence (with
-@code{@{...@}}), and combining these simultaneously, separating the
-voices with @code{\\}
+If you omit the @code{\relative}, LilyPond treats all pitches as
+absolute values. A @code{c'} will always mean middle C, a @code{b} will
+always mean the note one step below middle C, and a @code{g,} will
+always mean the note on the bottom staff of the bass clef.
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c' b g, g,
+ g, f, f c'
+}
@end lilypond
-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}),
+Here is a four-octave scale:
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \clef bass
+ c, d, e, f,
+ g, a, b, c
+ d e f g
+ a b c' d'
+ \clef treble
+ e' f' g' a'
+ b' c'' d'' e''
+ f'' g'' a'' b''
+ c'''1
+}
@end lilypond
-@noindent
-Again, these expressions can be nested arbitrarily
+As you can see, writing a melody in the treble clef involves a lot of
+quote ' marks. Consider this fragment from Mozart:
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
-<<
- \new Staff <<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
- >>
- \new Staff <<
- \clef bass
- { <c g>1 ~ <c g>4 } \\
- { e,,4 d e2 ~ e4}
- >>
->>
+@lilypond[quote,verbatim,ragged-right]
+{
+ \key a \major
+ \time 6/8
+ cis''8. d''16 cis''8 e''4 e''8
+ b'8. cis''16 b'8 d''4 d''8
+}
@end lilypond
-More features of polyphonic typesetting are described in this manual
-in section @ref{Basic polyphony}.
-
+All these quotes makes the input less readable and it is a source of
+errors. With @code{\relative}, the previous example is much easier
+to read:
-@node Piano staves
-@section Piano staves
-
-@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{More staves},
-
-@example
-<< \new Staff @{ @dots{} @}
- \new Staff @{ @dots{} @} >>
-@end example
-
-@noindent
-but now this entire expression must be interpreted as a
-@code{PianoStaff}
-
-@example
-\new PianoStaff << \new Staff @dots{} >>
-@end example
-
-Here is a small example
-
-@lilypond[quote,verbatim,relative=1,fragment]
-\new PianoStaff <<
- \new Staff { \time 2/4 c4 c g' g }
- \new Staff { \clef bass c,, c' e c }
->>
+@lilypond[quote,verbatim,ragged-right]
+\relative c'' {
+ \key a \major
+ \time 6/8
+ cis8. d16 cis8 e4 e8
+ b8. cis16 b8 d4 d8
+}
@end lilypond
-More information on formatting piano music is given in @ref{Piano music}.
+If you make a mistake with an octave mark (@code{'} or @code{,}) while
+working in @code{\relative} mode, it is very obvious -- many notes will
+be in the wrong octave. When working in absolute mode, a single mistake
+will not be as visible, and will not be as easy to find.
+However, absolute mode is useful for music which has large intervals, and
+is extremely useful for computer-generated LilyPond files.
-@node Organizing larger pieces
-@section Organizing larger pieces
+
+@node Organizing pieces with identifiers
+@subsection Organizing pieces with identifiers
When all of the elements discussed earlier are combined to produce
-larger files, the @code{\score} blocks get a lot bigger because the
-music expressions are longer, and, in the case of polyphonic music,
-more deeply nested. Such large expressions can become unwieldy.
+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}.
-By using variables, also known as identifiers, it is possible to break
-up complex music expressions. An identifier is assigned as follows
+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
-@noindent
-The contents of the music expression @code{namedMusic}, can be used
-later by preceding the name with a backslash, i.e., @code{\namedMusic}.
-In the next example, a two-note motive is repeated two times by using
-variable substitution
-
-@lilypond[quote,ragged-right,verbatim,nofragment]
-seufzer = {
- e'4( dis'4)
+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
+ >>
}
-{ \seufzer \seufzer }
@end lilypond
-The name of an identifier should have alphabetic characters only: no
-numbers, underscores, or dashes. The assignment should be outside of
-running music.
+@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,
@end example
Depending on its contents, the identifier can be used in different
-places. The following example uses the above variables
+places. The following example uses the above variables:
@example
\paper @{
@{ c4^\name @}
@end example
-More information on the possible uses of identifiers is given in the
-technical manual, in @ref{Input variables and Scheme}.
-@c fixme: the ref is too technical.
-
-
-@node An orchestral part
-@section An orchestral part
-
-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
-a variable. The contents of that variable is then used to generate
-both the part and the full score.
-
-It is convenient to define the notes in a special file. For example,
-suppose that the file @file{horn-music.ly} contains the following part
-of a horn/@/bassoon duo
-
-@example
-hornNotes = \relative c @{
- \time 2/4
- r4 f8 a cis4 f e d
-@}
-@end example
-
-@noindent
-Then, an individual part is made by putting the following in a file
-
-@example
-\include "horn-music.ly"
-\header @{
- instrument = "Horn in F"
-@}
-
-@{
- \transpose f c' \hornNotes
-@}
-@end example
-
-The line
-
-@example
-\include "horn-music.ly"
-@end example
-
-@noindent
-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 upwards. Sounding
-@samp{f} is denoted by notated @code{c'}, which corresponds with the
-tuning of a normal French Horn in@tie{}F. The transposition can be seen
-in the following output
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-In ensemble pieces, one of the voices often does not play for many
-measures. This is denoted by a special rest, the multi-measure
-rest. It is entered with a capital @samp{R} followed by a duration
-(@code{1}@tie{}for a whole note, @code{2}@tie{}for a half note,
-etc.). By multiplying the
-duration, longer rests can be constructed. For example, this rest
-takes 3@tie{}measures in 2/4 time
-
-@example
-R2*3
-@end example
-
-When printing the part, multi-rests
-must be condensed. This is done by setting a run-time variable
-
-@example
-\set Score.skipBars = ##t
-@end example
-
-@noindent
-This command sets the property @code{skipBars} in the
-@code{Score} context to true (@code{##t}). Prepending the rest and
-this option to the music above, leads to the following result
-
-@lilypond[quote,ragged-right]
-\transpose f c' \relative c {
- \time 2/4
- \set Score.skipBars = ##t
- R2*3
- r4 f8 a cis4 f e d
-}
-@end lilypond
-
-
-The score is made by combining all of the music together. Assuming
-that the other voice is in @code{bassoonNotes} in the file
-@file{bassoon-music.ly}, a score is made with
-
-@example
-\include "bassoon-music.ly"
-\include "horn-music.ly"
-
-<<
- \new Staff \hornNotes
- \new Staff \bassoonNotes
->>
-@end example
-
-@noindent
-leading to
-
-@lilypond[quote,ragged-right]
-\relative c <<
- \new Staff {
- \time 2/4 R2*3
- r4 f8 a cis4 f e d
- }
- \new Staff {
- \clef bass
- r4 d,8 f | gis4 c | b bes |
- a8 e f4 | g d | gis f
- }
->>
-@end lilypond
-
-More in-depth information on preparing parts and scores can be found
-in the notation manual; see @ref{Orchestral music}.
-
-Setting run-time variables (@q{properties}) is discussed in
-@ref{Changing context properties on the fly}.
-
@node After the tutorial
-@section 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 @ref{Example templates} and
+piece or two. Start with one of the @ref{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
-ensemble which is not covered in the @ref{Example templates},
+ensemble that is not covered in the templates,
take a look at @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 reading them now, of course! However, the rest of the
+with reading it now, of course! However, the rest of the
Learning Manual assumes that you are familiar with
LilyPond input. You may 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 @ref{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{@{ @}}.
-@node Octave entry
-@section Octave entry
-
-@c Tim wants to move this quotes example just before the: quotes-do not-work
-@c score, but we'd need to remove quotes from the other two (key and
-@c tie) examples...
-
-@c better to have this just before the `octaves are bad' snipped
-@c but we'd need to remove the ', from \key and tie
-To raise a note by an octave, add a high quote @samp{'} (apostrophe) to
-the note name, to lower a note one octave, add a @q{low quote} @samp{,}
-(comma). Middle C is @code{c'}
-
-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
-@end lilypond
-
-An example of the use of quotes is in the following Mozart fragment
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\key a \major
-\time 6/8
-cis''8. d''16 cis''8 e''4 e''8
-b'8. cis''16 b'8 d''4 d''8
-@end lilypond
-
-@noindent
-This example shows that music in a high register needs lots of quotes.
-This makes the input less readable, and it is a source of errors. The
-solution is to use @q{relative octave} mode. This is the
-most convenient way to copy existing music.
-
-In relative mode, a note without octavation quotes (i.e., the @samp{'}
-or @samp{,} after a note) is chosen so that it is closest to the
-previous one. For example, @samp{c f} goes up while @samp{c g} goes
-down.
-
-To use relative mode, add @code{\relative} before the piece of
-music. The first note is taken relative to the middle C
-@c no , for this sentence
-(i.e., @code{c'})
-
-
-
-@lilypond[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
-}
-@end lilypond
-
-
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
-
-@lilypond[quote,ragged-right,verbatim]
-\relative {
- \key a \major
- \time 6/8
- cis'8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
-@end lilypond
-
-@c needed better, maybe even redundant explanation
-@c added another example below.
-@c grappig: Pa vond het heel logies, en slim toen-i eenmaal begreep.
-@c in eerste instantie drong het `relative' niet door zonder extra uitleg.
-Larger intervals are made by adding octavation quotes.
-
-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
-@end lilypond
-
-In summary, quotes or commas no longer determine the absolute height
-of a note in @code{\relative} mode. Rather, the height of a note is
-relative to the previous one, and changing the octave of a single note
-shifts all following notes an octave up or down.
-
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
-
+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.
projects / lilypond.git / blobdiff