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.
@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
+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]
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
-Notation reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
+Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
@ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
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.
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
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}. 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}.
@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 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:
@seealso
-Notation reference: @ruser{Accidentals}, @ruser{Automatic
-accidentals}, @ruser{Key signature}.
+Notation Reference: @ruser{Accidentals},
+@ruser{Automatic accidentals}, @ruser{Key signature}.
Music glossary: @rglos{Pitch names}.
Music glossary: @rglos{tie}.
-A @notation{tie} is created by appending a tilde @samp{~} to the
+A @notation{tie} is created by appending a tilde @code{~} to the
first note being tied.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
Music glossary: @rglos{slur}.
A @notation{slur} is a curve drawn across many notes. The starting
-note and ending note are marked with @samp{(} and @samp{)}
+note and ending note are marked with @code{(} and @code{)}
respectively.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
@seealso
-Notation reference: @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing
-slurs}.
+Notation Reference: @ruser{Ties}, @ruser{Slurs},
+@ruser{Phrasing slurs}.
@node Articulation and dynamics
Music glossary: @rglos{articulation}.
Common @notation{articulations} can be added to a note using a
-dash @samp{-} and a single character:
+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.
@seealso
-Notation reference: @ruser{Articulations}, @ruser{Fingering
-instructions}, @ruser{Dynamics}.
+Notation Reference: @ruser{Articulations},
+@ruser{Fingering instructions}, @ruser{Dynamics}.
Music glossary: @rglos{Dynamics}.
-@c CONTINUE HERE
-
@node Adding text
@subsection Adding text
@end lilypond
-@c Kurt: leave this alone for now.
-
@seealso
-Notation reference: @ruser{Writing text}.
+Notation Reference: @ruser{Writing text}.
@node Automatic and manual beams
@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
@seealso
-Notation reference: @ruser{Automatic beams}, @ruser{Manual beams}.
+Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}.
@node Advanced rhythmic commands
@seealso
-Notation reference: @ruser{Grace notes}, @ruser{Tuplets},
+Notation Reference: @ruser{Grace notes}, @ruser{Tuplets},
@ruser{Upbeats}.
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.
@seealso
-Notation reference: @ruser{Piano music}.
+Notation Reference: @ruser{Piano music}.
@node Combining notes into chords
Music glossary: @rglos{chord}.
@notation{Chords} can be made by surrounding pitches with single
-angle brackets. Angle brackets are the symbols @samp{<} and
-@samp{>}.
+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
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]
<<
@seealso
-Notation reference: @ruser{Simultaneous notes}.
+Notation Reference: @ruser{Simultaneous notes}.
@node Songs
@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
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
projects / lilypond.git / blobdiff