version that you are working on. See TRANSLATION for details.
@end ignore
+@ignore
+
+Tutorial Specification:
+
+The LM is written in a tutorial style which introduces the
+most important concepts, structure and syntax of the
+elements of a LilyPond score in a carefully graded sequence
+of steps. Explanations of all musical concepts used in the
+Manual can be found in the Music Glossary, and readers are
+assumed to have no prior knowledge of LilyPond. The
+objective is to take readers to a level where the Notation
+Reference can be understood and employed to both adapt the
+templates in the Appendix to their needs and to begin to
+construct their own. Commonly used tweaks are introduced
+and explained. Examples are provided throughout which,
+while being focussed on the topic being introduced, are long
+enough to seem real in order to retain the readers'
+interest. Each example builds on the previous material, and
+comments are used liberally. Every new aspect is thoroughly
+explained before it is used.
+
+@end ignore
+
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
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
+notation. For example, if we write:
@example
@{
in your own music! For more information about the display of
examples in the manual, see @ref{How to read the tutorial}.}
-@cindex Case sensitive
+@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.
@subheading Entering music and viewing output
@cindex PDF file
-@cindex Viewing music
+@cindex viewing music
In this section we will explain what commands to run and how to
view or print the output.
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 >
+Desktop, and then process it with the menu command @code{Compile >
Typeset File}. The resulting PDF file will be displayed on your
screen.
@}
@end example
-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 2.12.0
Processing `test.ly'
Parsing...
-Interpreting music...
+Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
@subheading Pitches
-Music glossary: @rglos{interval}, @rglos{fourth}, @rglos{scale},
-@rglos{middle C}, @rglos{octave}.
+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 @notation{interval} between the previous note and
-the current note is assumed to be within a @notation{fourth}. We
-begin by entering the most elementary piece of music, a
-@notation{scale}.
+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,ragged-right]
-\relative c' {
+\relative c' { % set the starting point to middle C
c d e f
g a b c
}
@end lilypond
The initial note is @notation{middle C}. Each successive note is
-within a fourth of the previous note -- in other words, the first
+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:
@end lilypond
@noindent
-As you may notice, this example does not start on middle C. The first
-note -- the @code{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{\relative c' @{} command, we can change the starting
+octave:
+
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' { % one octave above middle C
+ e c a c
+}
+@end lilypond
+
+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 F it will be assumed to be
+above the B, and an A, G or F will be assumed to be below.
-To add intervals that are larger than a fourth, 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,ragged-right]
+\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 4 up or 3 down, so is the a below
+ b g % g is 5 up or 2 down, so is the g below
+ b f % f is 6 up or 1 down, so is the f below
+}
+@end lilypond
+
+Exactly the same happens even when any of these notes are
+sharpened or flatted. @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,ragged-right]
\relative c'' {
@rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
The @notation{duration} of a note is specified by a number after
-the note name. @samp{1} for a @notation{whole note}, @samp{2} for
-a @notation{half note}, @samp{4} for a @notation{quarter note} and
-so on. @notation{Beam}@tie{}s are added automatically.
+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.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
for the next note. The duration of the first note defaults to a
quarter.
-To create @notation{dotted notes}, add a dot @samp{.} to the duration
+To create @notation{dotted notes}, add a dot @code{.} to the duration
number.
@lilypond[verbatim,quote,ragged-right]
Music glossary: @rglos{rest}.
-A @notation{rest} is entered just like a note with the name @samp{r}:
+A @notation{rest} is entered just like a note with the name @code{r}:
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
@seealso
-User manual: @ruser{Writing pitches}, @ruser{Writing rhythms},
+Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
@ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
@{ @}, and comments are denoted with @code{%} or @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}:
+@cindex case sensitive
+@item
+@strong{Case sensitive}:
it matters whether you enter a letter in lower case (e.g. @code{a,
b, s, t}) or upper case (e.g. @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}:
+@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
+@tie{} @tie{} d e @}} and:
@example
@{ c d
@}
@end example
-@item @strong{Expressions:}
+@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 parentheses
-@samp{()} in mathematics. The braces should be surrounded by a
+@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.
@cindex comments
@cindex line comment
@cindex block comment
-@item @strong{Comments}:
+@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
+@code{%} introduces a line comment; anything after @code{%} 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
+fragment shows possible uses for comments:
@example
% notes for twinkle twinkle follow
@end itemize
There are more tips for constructing input files in
-@ruser{Suggestions for writing LilyPond files}.
+@ref{Suggestions for writing LilyPond files}.
@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. To
-replicate the examples, you may copy and paste the displayed input
-but you @strong{must} add the @code{\relative c'' @{ @}} like
-this:
+LilyPond input must be surrounded by @{ @} marks or a
+@code{\relative c'' @{ ... @}}, as we saw in @ref{Working on text
+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{\relative c''
+@{ @}} like this:
@example
\relative c'' @{
on one staff.
@menu
-* Relative note names::
* Accidentals and key signatures::
* Ties and slurs::
* Articulation and dynamics::
@end menu
-@node Relative note names
-@subsection Relative note names
-
-Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}.
-
-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, @ruser{Absolute note names}, but in practice
-relative mode is much easier and safer to use.}. If no extra
-@notation{octave} marks (@code{'} and @code{,}) are added, it assumes
-that each pitch is within a @notation{fourth} of the previous note.
-
-LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} treated 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
Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
-A @notation{sharp} pitch is made by adding @samp{is} to the name, and
-a @notation{flat} pitch by adding @samp{es}. As you might expect, a
+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
-@samp{isis} or @samp{eses}@footnote{This syntax derived from note
+@code{isis} or @code{eses}. This syntax 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}.}
+@ruser{Note names in other languages}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
cis1 ees fisis, aeses
@subheading Warning: key signatures and pitches
Music glossary: @rglos{accidental}, @rglos{key signature},
-@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}.
+@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
newcomers, so let us explain it in more detail.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (@notation{flat}, @notation{natural} or @notation{sharp}) of a note is part of the pitch, and is therefore
+layout. The alteration (@notation{flat}, @notation{natural} 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
@noindent
No note has a printed accidental, but you must still add the
-@samp{is} to @code{cis} and @code{fis}.
+@code{is} to @code{cis} and @code{fis}.
-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 below
+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:
@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}
-@item Pitch names
-see @rglos{Pitch names}.
-@end table
-@end quotation
+
+Notation Reference: @ruser{Accidentals},
+@ruser{Automatic accidentals}, @ruser{Key signature}.
+
+Music glossary: @rglos{Pitch names}.
@node Ties and slurs
Music glossary: @rglos{tie}.
-A @notation{tie} is created by appending a tilde @samp{~} to the
-first note being tied
+A @notation{tie} is created by appending a tilde @code{~} to the
+first note being tied.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
g4~ g c2~
Music glossary: @rglos{slur}.
A @notation{slur} is a curve drawn across many notes. The starting
-note and ending note are marked with @samp{(} and @samp{)}
+note and ending note are marked with @code{(} and @code{)}
respectively.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
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
+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.
+notes. Slurs and ties can be nested.
@lilypond[verbatim,quote,ragged-right,fragment,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
Music glossary: @rglos{articulation}.
-Common @notation{articulation}@tie{}s can be added to a note using a
-dash @samp{-} and a single character:
+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]
c-. c-- c-> c-^ c-+ c-_
Music glossary: @rglos{fingering}.
Similarly, @notation{fingering} indications can be added to a note using
-a dash (@samp{-}) and the digit to be printed:
+a dash (@code{-}) and the digit to be printed:
@lilypond[verbatim,quote,ragged-right,fragment,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{_}
+you can specify a direction using @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.
Music glossary: @rglos{dynamics}, @rglos{crescendo},
@rglos{decrescendo}.
-Dynamic signs are made by adding the markings (with a backslash)
-to the note
+@notation{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
@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:
+@notation{Crescendi} and @notation{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:
@lilypond[verbatim,quote,ragged-right,fragment,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} (User manual) and @rglos{dynamics} (Glossary).
-@end table
-@end quotation
-
-@c CONTINUE HERE
+
+Notation Reference: @ruser{Articulations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.
+
+Music glossary: @rglos{Dynamics}.
+
@node Adding text
@subsection Adding text
c1^\markup{ \bold espr}
a1_\markup{
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
- }
+}
@end lilypond
-@c Kurt: leave this alone for now.
-
@seealso
-User manual: @ruser{Writing text}.
+Notation Reference: @ruser{Writing text}.
@node Automatic and manual beams
@subsection Automatic and manual beams
+Music glossary: @rglos{beam}.
+
@cindex beams, by hand
-All @rglos{beam}s are drawn automatically:
+All @notation{beams} are drawn automatically:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8 ais d ees r d c16 b a8
@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. Mark the first note to be beamed with @code{[} and the
+last one with @code{]}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8[ ais] d[ ees r d] a b
@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
@cindex pickup
-@cindex anacruse
+@cindex anacrusis
@cindex partial measure
@subheading Partial measure
-A pickup (or @rglos{anacrusis}) is entered with the keyword
+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.
@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
+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,ragged-right,fragment,relative=2]
\times 2/3 { f8 g a }
@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}
+Music glossary: @rglos{grace notes}, @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]
c2 \grace { a32[ b] } 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
@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
+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
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.
+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.
@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.
+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
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.
+staves@footnote{This behavior may be changed if desired; for
+details, see @ruser{Polymetric notation}.}. On the other hand,
+the key signature of one staff does @emph{not} affect other
+staves.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
@cindex staff switch, manual
@cindex cross staff voice, manual
-Piano music is typeset in two staves connected by a brace.
+
+Music glossary: @rglos{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 lilypond
@seealso
-@quotation
-See @ruser{Piano music}.
-@end quotation
+
+Notation Reference: @ruser{Piano music}.
@node Combining notes into chords
@subsection Combining notes into chords
@cindex chords
-Chords can be made by surrounding pitches with single angle
-brackets. Angle brackets are the symbols @samp{<} and @samp{>}.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+Music glossary: @rglos{chord}.
+
+@notation{Chords} can be made by surrounding pitches with single
+angle brackets. Angle brackets are the symbols @code{<} and
+@code{>}.
+
+@lilypond[verbatim,quote,ragged-right,fragment,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
+must be placed outside the angle brackets.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
r4 <c e g>8[ <c f a>]~ <c f a>2
@end lilypond
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
r4 <c e g>8\>( <c e g> <c e g>4 <c f a>\!)
@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}),
+same example with a spacer rest (@code{s}) instead of a normal
+rest (@code{r}),
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
<<
@noindent
Again, these expressions can be nested arbitrarily.
-@lilypond[quote,fragment,verbatim,relative=2,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,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
@node Setting simple songs
@subsection Setting simple songs
-@cindex Lyrics
-@cindex Songs
+@cindex lyrics
+@cindex songs
+
+Music glossary: @rglos{lyrics}.
+
Here is the start of the melody to a nursery
rhyme, @qq{Girls and boys come out to play}:
@lilypond[verbatim,quote,ragged-right]
- \relative c'' {
+\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]
<<
- \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
@node Aligning lyrics to a melody
@subsection Aligning lyrics to a melody
+Music glossary: @rglos{melisma}, @rglos{extender line}.
+
@cindex melisma
@cindex extender line
@cindex hyphens
@lilypond[verbatim,quote,ragged-right]
<<
- \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
+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 (see @ref{Ties
and slurs}):
@lilypond[verbatim,quote,ragged-right]
<<
- \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
(see @ref{Automatic and manual beams}).
If a syllable extends over several notes or a single very long
-note an @emph{extender line} is usually drawn from the syllable
+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 Dido's Lament, from Purcell's Dido and Æneas:
-
+
@lilypond[verbatim,quote,ragged-right]
<<
\relative c'' {
@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]
<<
\relative c' {
\key g \major
@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]
<<
\relative c' {
\clef bass
@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
\time 6/8
\partial 8
}
- \relative c'' { \key f \major
+ \relative c'' {
+ \key f \major
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
+ \relative c' {
+ \key f \major
r8 r4. r4 c8 a'([ g)] f f([ e)] d e([ d)] c bes'4
}
\addlyrics {
discussed later (see @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
@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, @file{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
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 @ref{Version number}.
@example
\version "2.11.23"
@code{g,} will always mean the note on the bottom staff of the
bass clef.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
{
\clef bass
c' b g, g,
Here is a four-octave scale:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
{
\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,ragged-right]
{
\key a \major
\time 6/8
of errors. With @code{\relative}, the previous example is much
easier to read:
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
\relative c'' {
\key a \major
\time 6/8
confusing. We can reduce this confusion by using
@emph{variables}.
-With variables (also known as variables or macros), we can break
-up complex music expressions. An variable is assigned as
+With variables (also known as identifiers or macros), we can break
+up complex music expressions. A variable is assigned as
follows:
@example
Variables must be defined @emph{before} the main music
expression.
-@lilypond[quote,verbatim,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
violin = \new Staff { \relative c'' {
a4 b c b
}}
@end lilypond
@noindent
-The name of an variable must have alphabetic characters only: no
+The name of a variable must have alphabetic characters only, no
numbers, underscores, or dashes.
It is possible to use variables for many other types of objects in
@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
+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{Basic notation}. If you want to write for an instrument
+@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
@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.
+Many examples in the tutorial omitted a @code{\relative c'' @{
+... @}} around the printed example, as we saw in
+@ref{How to read the tutorial}.
In the rest of the manual, we are much more lax about the printed
examples: sometimes they may have omitted a @code{\relative c'' @{
manual.
For information about the structure of the rest of the manual, see
-@ruser{About this manual}.
+@ref{About this manual}.
projects / lilypond.git / blobdiff