-@c -*- coding: latin-1; mode: texinfo; -*-
+@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@ignore
+Tutorial guidelines:
+- unless you have a really good reason, use either
+ @l ilypond[quote,ragged-right,verbatim]
+ or
+ @l ilypond[quote,ragged-right,verbatim,fragment,relative=2]
+ (without spaces)
+ Don't use any other relative=X commands (make it a non-fragment
+ example), and don't use fragment without relative=2.
+- 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.
+@end ignore
+
+
+@c old info that will probably be removed.
@c TODO:
@c * more details about running lilypond; error messages,
@c compiling/viewing (emacs?)
@c * where to go from First steps+More basics?
+@c wherever possible, do not include index entries here; the
+@c index should point to stuff in the reference manual. -gp
+
@c Your first LilyPond score in 10 minutes?
@node Tutorial
@chapter Tutorial
-This tutorial starts with a short introduction to the LilyPond music
-language. After this first contact we will show you how to produce
-printed output. Then you will be able to create and print your own
-sheets of music.
+This tutorial starts with an introduction to the LilyPond music
+language and how to produce printed music. After this first contact we
+will explain how to create common musical notation.
@ifhtml
Many people learn programs by trying and fiddling around with the
LilyPond input that was used to generate that image.
Try it on this image
-@lilypond[fragment,quote,raggedright,relative=2]
+@lilypond[fragment,quote,ragged-right,relative=2]
c-\markup { \bold \huge { Click here. } }
@end lilypond
-@end ifhtml
-By cutting and pasting the full input into a test file, you have a
+By cutting and pasting everything from the @qq{Start cut-&-pastable-section}
+to the end of the file, you have a
starting template for experiments. If you like learning in this way,
-you will probably want to print out or bookmark
-@ifhtml
-the
+you will probably want to print out or bookmark the
+@ref{Cheat sheet}, which is a table listing of the most common
+commands for quick reference.
@end ifhtml
-@ref{Cheat sheet}, which is a table listing all commands for quick
-reference.
@menu
* First steps::
-* Running LilyPond for the first time::
-* More about pitches::
-* Entering ties::
-* Automatic and manual beams::
-* Octave entry::
-* Music expressions explained::
-* More staves::
-* Adding articulation marks to notes::
-* 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::
+* Notation for one note at once FIXME name::
+* Multiple notes at once::
+* Songs::
+* Unsorted::
@end menu
@node First steps
@section First steps
-The first example demonstrates how to enter the most elementary piece
-of music, a scale. A note can be entered by typing its name, from
-@samp{a} through @samp{g}. So, if you enter
+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::
+@end menu
+
+
+@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
+notation. For example, if we write
@example
-c d e f g a b
+@{
+ c' e' g' e'
+@}
@end example
@noindent
the result looks like this
-@lilypond[fragment,quote,notime,relative=1]
-c d e f g a b
+@lilypond[quote,ragged-right]
+{
+ c' e' g' e'
+}
@end lilypond
-The 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},
-@samp{4} for a @rglos{quarter note} and so on
+@strong{Warning:} Every piece of LilyPond input needs to have @strong{@{ curly
+braces @}} placed around the input. The braces should be 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.
+
+@sp 1
+
+@subheading Entering music and viewing output
+
+In this section we will explain what commands to run
+and how to view or print the output.
+
+@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
+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
+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".
+
+@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
+
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
+
+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.
+
+
+@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
+easiest editing environment is @file{LilyPondTool}. See
+@ref{Editor support} for more information.}. In your
+text editor, enter the following input and save the file as
+@file{test.ly}
+
+@verbatim
+{
+ c' e' g' e'
+}
+@end verbatim
+
+@noindent
+To process @file{test.ly}, proceed as follows
@example
-a1 a2 a4 a16 a32
+lilypond test.ly
@end example
-@c FIXME: have NOTIME also remove Score.timing?
-@lilypond[fragment,quote,notime,relative=2]
-\set Score.timing = ##f
-\set Staff.autoBeaming = ##f
-{ a1 a2 a4 a16 a32 s16_" " }
-@end lilypond
-
-If you do not specify a @rglos{duration}, the duration last entered is
-used for the next notes. The duration of the first note in input
-defaults to a quarter
+@noindent
+You will see something resembling
@example
-a a8 a a2 a
+lilypond test.ly
+GNU LilyPond 2.10.0
+Processing `test.ly'
+Parsing...
+Interpreting music... [1]
+Preprocessing graphical objects...
+Calculating line breaks... [2]
+Layout output to `test.ps'...
+Converting to `test.pdf'...
@end example
-@lilypond[fragment,quote,notime,relative=2]
-\set Score.timing = ##f
-{ a a8 a a2 a s16_" " }
+@cindex PDF file
+@cindex Viewing music
+
+@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
+@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
+available package for viewing and printing PDF and PostScript files.}
+
+
+@node 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
+added a clef, time signature, and rhythms.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ c' e' g' e'
+}
@end lilypond
+@noindent
+This behavior may be altered, but in most cases these automatic values
+are useful.
-Rests are entered just like notes, but with the name @samp{r}
-@cindex rests
-@example
-r2 r4 r8 r16
-@end example
+@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
+current note is assumed to be within a @rglos{fourth}. We begin by
+entering the most elementary piece of music, a @rglos{scale}.
-@lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-r2 r4 r8 r16 s16_" "
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ c d e f
+ g a b c
+}
@end lilypond
-Add a dot @samp{.} after the duration to get a @rglos{dotted note}
+The initial note is @rglos{middle C}. Each successive note
+is within a fourth of the previous note -- in other words, the first
+@samp{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:
-@example
-a2. a4 a8. a16
-@end example
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ d f a g
+ c b f d
+}
+@end lilypond
+
+@noindent
+As you may notice, this example does not start on middle C. The first
+note -- the @samp{d} -- is the closest D to middle C.
+
+To add intervals that are larger than a fourth, we can raise the 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[fragment,quote,notime,relative=1]
-\set Score.timing = ##f
-{ a2. a4 a8. a16 s16_" " }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a, c' f,
+ g g'' a,, f'
+}
@end lilypond
-The @rglos{meter} (or @rglos{time signature}) can be set with the
-@code{\time} command
+@noindent
+To change a note by two (or more!) octaves, we use multiple @code{''} or
+@code{,,} -- but be careful that you use two single quotes @code{''} and
+not one double quote @code{"}@tie{}! The initial value in
+@code{\relative c'} may also be modified like this.
-@example
-\time 3/4
-\time 6/8
-\time 4/4
-@end example
-@c A clef here may lead to confusion, remove it.
-@lilypond[fragment,quote]
-\override Staff.Clef #'transparent = ##t
-\time 3/4
-s4_" "
-\time 6/8
-s4_" "
-\time 4/4
-s16_" "
+@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},
+@samp{4} for a @rglos{quarter note} and so on. Beams are added
+automatically.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a1
+ a2 a4 a8 a
+ a16 a a a a32 a a a a64 a a a a a a a a2
+}
@end lilypond
-The @rglos{clef} can be set using the @code{\clef} command
+@noindent
+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.
-@example
-\clef treble
-\clef bass
-\clef alto
-\clef tenor
-@end example
+To create @rglos{dotted notes}, add a dot @samp{.} to the duration number.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a a a4. a8
+ a8. a16 a a8. a8 a4.
+}
+@end lilypond
+
+
+@subheading Rests
+
+A @rglos{rest} is entered just like a note with the name @samp{r}:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ a r r2
+ r8 a r4 r4. r8
+}
+@end lilypond
+
+
+@subheading Time signature
-@lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\clef treble
-s4_" "
-\clef bass
-s4_" "
-\clef alto
-s4_" "
-\clef tenor
-s16_" "
+The @rglos{time signature}) can be set with the @code{\time} command:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ \time 3/4
+ a4 a a
+ \time 6/8
+ a4. a
+ \time 4/4
+ a4 a a a
+}
@end lilypond
-Remember to enclose the notes and commands in curly braces
-@code{@{@tie{}@dots{}@tie{}@}} to convert it to printable output.
+@subheading Clef
+
+The @rglos{clef} can be set using the @code{\clef} command:
-@lilypond[fragment,quote,noindent,linewidth=55\staffspace]
-\time 3/4
-\clef bass
-c2 e4 g2.
-f4 e d c2 r4
+@lilypond[quote,ragged-right,verbatim]
+\relative c' {
+ \clef treble
+ c1
+ \clef alto
+ c1
+ \clef tenor
+ c1
+ \clef bass
+ c1
+}
@end lilypond
-For more elaborate information on
+@subheading All together
+
+Here is a small example showing all these elements together:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c, {
+ \time 3/4
+ \clef bass
+ c2 e8 c' g'2.
+ f4 e d c4 c, r4
+}
+@end lilypond
+
+@moreinfo
@quotation
@table @asis
@item Entering pitches and durations
-see
-@ref{Pitches}, and @ref{Durations}.
-@item Clefs
-see @ref{Clef}.
+see @ref{Pitches} and @ref{Durations}.
@item Rests
-see @ref{Rests}.
+see @ref{Rests}.
@item Time signatures and other timing commands
see @ref{Time signature}.
+@item Clefs
+see @ref{Clef}.
@end table
@end quotation
-@node Running LilyPond for the first time
-@section Running LilyPond for the first time
+@node Working on text files
+@subsection Working on text files
-@c cheesy title to avoid clash with chapter name.
+LilyPond input files are treated like files in most programming languages:
+they are case sensitive, white-space insensitive, expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ .. %@}}.
-In the last section we explained what kind of things you can enter
-in a LilyPond file. In this section we will explain what commands to
-run and how to view or print the output. If you have not used
-LilyPond before, want to test your setup, or want to run an example
-file yourself, read this section. The instructions that follow are
-for Unix-like systems. Some additional instructions for Microsoft
-Windows are given at the end of this section.
+If the previous sentence sounds like nonsense, don't worry! We'll explain
+what all these terms mean:
-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
-@c FIXME lousy reference.
-the file @file{INSTALL.txt}.} In your text editor, enter the following
-input and save the file as @file{test.ly}
+@itemize
+@cindex Case sensitive
+@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.
+
+@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
@example
-@{ c'4 e' g' @}
+ @{
+c d
+ e @}
@end example
@noindent
-To process @file{test.ly}, proceed as follows
-
+Of course, the previous example is hard to read. A good rule of thumb
+is to indent code blocks with either a tab or two spaces:
@example
-lilypond test.ly
+@{
+ c d e
+@}
@end example
-@noindent
-You will see something resembling
+@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
+parenthesis @samp{()} 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 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. The following fragment shows possible uses for comments
@example
-lilypond test.ly
-GNU LilyPond 2.5.0
-Processing `test.ly'
-Parsing...
-Interpreting music... [1]
-Preprocessing graphical objects...
-Calculating line breaks... [2]
-Layout output to `test.tex'...
-Converting to `test.dvi'...
-Converting to `test.ps'...
-Converting to `test.pdf'...
+% 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
-@cindex DVI file
-@cindex Viewing music
-@cindex xdvi
-@noindent
-The result is the file @file{test.pdf}@footnote{For @TeX{}
-aficionados: there is also a @file{test.dvi} file. It can be viewed
-with @code{xdvi}. The DVI uses a lot of PostScript specials, which do
-not show up in the magnifying glass. The specials also mean that the
-DVI file cannot be processed with @code{dvilj}. Use @code{dvips} for
-printing.
-@cindex dvips
-@cindex dvilj
-@cindex DVI driver
-} 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
-@uref{http://@/www@/.cs@/.wisc@/.edu/@/~ghost/,Ghostscript}, a freely
-available package for viewing and printing PDF and PostScript files.}
+@end itemize
-On Windows, start up a text-editor@footnote{Any simple or
-programmer-oriented editor will do, for example Notepad. Do not use a
-word processor, since these insert formatting codes that will confuse
-LilyPond.} and enter
+There are more tips for constructing input files in
+@ref{Suggestions for writing LilyPond files}.
+
+
+@node How to read the tutorial
+@subsection How to read the tutorial
+
+As we saw in @ref{Working on text files}, LilyPond input must be
+surrounded by @{ @} marks or a @code{\relative c'' @{ ... @}}. For the
+rest of this manual, most examples will omit this.
+
+If you are reading the HTML documentation and wish to see the exact
+exact LilyPond code that was used to create the example, simply click
+on the picture. If you are not reading the HTML version, you could
+copy and paste the displayed input, but you @strong{must} add the
+@code{\relative c'' @{ @}} like this:
@example
-@{ c'4 e' g' @}
+\relative c'' @{
+ ... example goes here...
+@}
@end example
-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.
+Why omit the braces? Most examples
+in this manual can be inserted into the middle of a longer piece of
+music. For these examples, it does not make sense to add
+@code{\relative c'' @{ @}} -- you should not place a @code{\relative}
+inside another @code{\relative}, so you would not be able to copy
+a small documentation example and paste it inside a longer piece
+of your own.
+
+
+@node Notation for one note at once FIXME name
+@section Notation for one note at once FIXME name
+This section introduces common notation that is used for a single
+staff.
+
+@menu
+* Accidentals and key signatures::
+* Ties and slurs::
+* Articulation and dynamics::
+* Automatic and manual beams::
+* Advanced rhythmic commands::
+@end menu
-@node More about pitches
-@section More about pitches
-A @rglos{sharp} (@texisharp{}) pitch is made by adding @samp{is} to
-the name, a @rglos{flat} (@texiflat{}) pitch by adding @samp{es}. As
+@node Accidentals and key signatures
+@subsection Accidentals and key signatures
+
+@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
you might expect, a @rglos{double sharp} or @rglos{double flat} is
made by adding @samp{isis} or @samp{eses}@footnote{This syntax
derived from note naming conventions in Nordic and Germanic languages,
-like German and Dutch.}
-
-@example
-cis1 ees fisis aeses
-@end example
+like German and Dutch. To use other names for accidentals, see
+@ref{Note names in other languages}.}
-@lilypond[fragment,quote,notime]
-\set Score.timing = ##f
-\transpose c c' { cis1 ees fisis aeses s16_" " }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+cis1 ees fisis, aeses
@end lilypond
@cindex key signature, setting
-The key signature is set with the command @code{\key}, followed by
-a pitch and @code{\major} or @code{\minor}
+@subheading Key signatures
-@example
-\key d \major
-g1
-\key c \minor
-g
-@end example
+The key signature is set with the command @code{\key} followed by
+a pitch and @code{\major} or @code{\minor}.
-@lilypond[fragment,quote,notime,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\key d \major
-g'1
+a1
\key c \minor
-g'
+a
@end lilypond
-@noindent
-Key signatures together with the pitches (including alterations) are
-used to determine when to print accidentals. This is a
+@sp 1
+
+@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
+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.
-
LilyPond makes a sharp distinction between musical content and
layout. The alteration (flat, natural or sharp) of a note is part of
the pitch, and is therefore musical content. Whether an accidental (a
-flat, natural or sharp @emph{sign}) is printed in front of the
+@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 accidentals are printed automatically according to
those rules. The pitches in your music are works of art, so they will
In this example
-@lilypond[quote,notime,fragment]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
\key d \major
-d' cis' fis'
+d cis fis
@end lilypond
@noindent
-no note has an explicit accidental, but you still must enter
-
-@example
-\key d \major
-d cis fis
-@end example
+No note has a printed accidental, but you must still add the @samp{is} to
+@code{cis} and @code{fis}.
-@noindent
-The code @samp{d} does not mean `print a black dot just below the
-staff.' Rather, it means: `a note with pitch D-natural.' In the key
-of A-flat major, it does get an accidental
+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 note with
+pitch E-natural.} In the key of A-flat major, it @emph{does} get an
+accidental:
-@lilypond[quote,notime,fragment,relative=1,verbatim]
-\key as \major
-d
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+\key aes \major
+e
@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
-@ref{Accidentals}, for some examples how accidentals can be printed
+@ref{Automatic accidentals} for some examples how accidentals can be printed
according to different rules.
-
-For more information on
-
+@moreinfo
@quotation
@table @asis
@item Accidentals
-see @ref{Accidentals}.
-
+see @ref{Accidentals} and @ref{Automatic accidentals}.
@item Key signature
see @ref{Key signature}.
@end table
@end quotation
-@node Entering ties
-@section Entering ties
-
-@cindex tie
-A tie is created by appending a tilde @samp{~} to the first note
-being tied
-@lilypond[quote,notime,fragment,verbatim,relative=3]
-g4~ g a2~ a4
-@end lilypond
-
-For more information on Ties see @ref{Ties}.
+@node Ties and slurs
+@subsection Ties and slurs
+@cindex ties
+@subheading Ties
+A @rglos{tie} is created by appending a tilde @samp{~} to the first
+note being tied
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+g4~ g c2~
+c4 ~ c8 a8 ~ a2
+@end lilypond
-@node Automatic and manual beams
-@section Automatic and manual beams
+@cindex slurs
+@subheading Slurs
-@cindex beams, by hand
-Beams are drawn automatically
+A @rglos{slur} is a curve drawn across many notes. The starting note
+and ending note are marked with @samp{(} and @samp{)} respectively.
-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+d4( c16) cis( d e c cis d) e( d4)
@end lilypond
-@noindent
-If you do not like where beams are put, they can be entered by
-hand. Mark the first note to be beamed with @samp{[} and the last one
-with @samp{]}.
+@cindex slurs, phrasing
+@cindex phrasing slurs
+@subheading Phrasing slurs
-@lilypond[quote,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+@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
+phrasing slurs.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8(\( ais b c) cis2 b'2 a4 cis,\)
@end lilypond
-For more information on beams, see @ref{Beaming}.
+@sp 1
+@cindex slurs versus ties
+@subheading Warnings: slurs vs. ties
-Here are key signatures, accidentals and ties in action
+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
+pairs of notes with the same pitch. Slurs indicate the articulations
+of notes, and can be used on larger groups of notes. Slurs and ties
+can be nested.
-@lilypond[fragment,quote,noindent,linewidth=50\staffspace,verbatim]
-\relative c'' {
- \time 4/4
- \key g \minor
- \clef treble
- r4 r8 a8 gis4 b
- a8 d4.~ d e,8
- fis4 fis8 fis8 eis4 a8 gis~
- gis2 r2
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@cindex accidentals
-
+@moreinfo
+@quotation
+@table @asis
+@item Ties
+see @ref{Ties}.
+@item Slurs
+see @ref{Slurs}.
+@item Phrasing slurs
+see @ref{Phrasing slurs}.
+@end table
+@end quotation
-@noindent
-There are some interesting points to note in this example. Bar lines
-and beams are drawn automatically. Line breaks are calculated
-automatically; it does not matter where the line breaks are in the
-source file. Finally, the order in which time, key, and clef changes
-are entered is not relevant: in the printout, these are ordered
-according to standard notation conventions.
+@node Articulation and dynamics
+@subsection Articulation and dynamics
+@cindex articulation
+@cindex accents
+@cindex staccato
+@subheading Articulations
-@node Octave entry
-@section Octave entry
+@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:
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
+@end lilypond
-@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...
+@cindex fingering
+@subheading Fingerings
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed:
-@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 @code{'} (apostrophe) to
-the note name, to lower a note one octave, add a `low quote' @code{,}
-(comma). Middle C is @code{c'}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-3 e-5 b-2 a-1
+@end lilypond
-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
+Articulations and fingerings are usually placed automatically, but you
+can specify a direction using @samp{^} (up) or @samp{_} (down). You can
+also use multiple articulations on the same note. However, in most cases
+it is best to let LilyPond determine the articulation directions.
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c_-^1 d^. f^4_2-> e^-_+
@end lilypond
-An example of the use of quotes is in the following Mozart fragment
+@subheading Dynamics
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
-@lilypond[quote,raggedright,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
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\ff c\mf c\p c\pp
+@end lilypond
+
+@cindex dynamics
+@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
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c2\< c2\ff\> c2 c2\!
+@end lilypond
+
+@moreinfo
+@quotation
+@table @asis
+@item Articulations
+see @ref{Articulations}.
+@item Fingering
+see @ref{Fingering instructions}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
+@end quotation
+
+
+@node Automatic and manual beams
+@subsection Automatic and manual beams
+
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
+
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8
@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 `relative octave' mode. This is the
-most convenient way to copy existing music.
+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{]}.
-In relative mode, a note without octavation quotes (i.e. the @code{'}
-or @code{,} 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.
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
+@end lilypond
-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'})
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation
+@node Advanced rhythmic commands
+@subsection Advanced rhythmic commands
-@lilypond[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
-}
+@cindex pickup
+@cindex anacruse
+@cindex partial measure
+@subheading Partial measure
+
+@c FIXME: glossary "anacrusis".
+A pickup (or @q{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
-Since most music has small intervals, pieces can be written almost
-without octavation quotes in relative mode. The previous example is
-entered as
+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,raggedright,verbatim]
-\relative {
- \key a \major
- \time 6/8
- cis'8. d16 cis8 e4 e8
- b8. cis16 b8 d4 d8
-}
+@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
-@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.
+@cindex grace notes
+@cindex acciaccatura
+@cindex appoggiatura
+@subheading Grace notes
-@lilypond[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
+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
-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.
+@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
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+@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
+@node Music expressions explained
+@subsection Music expressions explained
-In input files, music is represent by so-called @emph{music
-expression}s. We have already seen some in the previous examples;
-a single note is a music expression
+In LilyPond input files, music is represented by @emph{music
+expressions}. A single note is a music expression, although it is not
+valid input all on its own.
-@lilypond[fragment,quote,verbatim,relative=3]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
a4
@end lilypond
-Enclosing a group of notes in braces creates a new music
-expression
+Enclosing a group of notes in braces creates a new music expression:
-@lilypond[fragment,quote,verbatim,relative=3]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
{ a4 g4 }
@end lilypond
-Putting a bunch of music expressions (e.g., notes) in braces, means that
-they should be played in sequence. The result again is a music
-expression, which can be grouped with other expressions sequentially.
-Here, the expression from the previous example is combined with two
-notes
+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
+is another music expression:
-@lilypond[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
@end lilypond
-This technique is useful for non-monophonic music. To enter music
-with more voices or more staves, we also combine expressions in
-parallel. Two voices that should play at the same time, are entered
-as a simultaneous combination of two sequences. A `simultaneous'
-music expression is formed by enclosing expressions in @code{<<} and
-@code{>>}. In the following example, three sequences (all containing
-two separate notes) are combined simultaneously
+@subheading Simultaneous music expressions: multiple staves
-@lilypond[fragment,quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
+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
+@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:
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
+}
@end lilypond
+Note that we have indented each level of the input with a different
+amount of space. LilyPond does not care how much (or little) space there
+is at the beginning of a line, but indenting LilyPond code like this makes
+it much easier for humans to read.
+
+@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
+simultaneous expression, there is more than one staff.
+
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c2 <<c e>>
+ << { e f } { c <<b d>> } >>
+}
+@end lilypond
+
+@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
-formulas are called expressions, and their definition is recursive, so
+formulas are called expressions, and their definition is recursive so
you can make arbitrarily complex and large expressions. For example,
@example
((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 one. The simplest expressions are numbers, and larger
+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. Like mathematical expressions,
music expressions can be nested arbitrarily deep, which is necessary
for complex music like polyphonic scores.
-Note that this example only has one staff, whereas
-the previous example had three separate staves. That is because this
-example begins with a single note. To determine the number of staves,
-LilyPond looks at the first element. If it is a single note, there is one
-staff; if there is a simultaneous expression, there is more than one staff.
-@lilypond[fragment,quote,verbatim,relative=2]
-{
- c <<c e>>
- << { e f } { c <<b d>> } >>
-}
-@end lilypond
+@node Multiple staves
+@subsection Multiple staves
-Music files with deep nesting can be confusing to enter and
-maintain. One convention that helps against this confusion is
-indenting. When entering a file with deep nesting of braces and
-angles, it is customary to use an indent that indicates the nesting
-level. Formatting music like this eases reading and helps you insert
-the right number of closing braces at the end of an expression. For
-example,
-
-@example
-<<
- @{
- @dots{}
- @}
- @{
- @dots{}
- @}
->>
-@end example
-
-Some editors have special support for entering LilyPond, and can help
-indenting source files. See @ref{Editor support} for more information.
-
-@node More staves
-@section More staves
+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 `notation context.' A notation
+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,raggedright]
-\relative <<
- \new Staff {
- \time 3/4
- \clef treble
-
- e'2 d4 c2 b4 a8[ a]
- b[ b] g[ g] a2.
- }
- \new Staff {
- \clef bass
- c,,2 e4 g2.
- f4 e d c2.
- }
->>
-@end lilypond
-For more information on contexts see the description in
-@ref{Interpretation contexts}.
-
-
-
-@node Adding articulation marks to notes
-@section Adding articulation marks to notes
-
-@cindex articulation
-@cindex accents
-@cindex staccato
-
-Common accents can be added to a note using a dash (@samp{-}) and a
-single character
-
-@lilypond[fragment,quote,verbatim,relative=2]
-c-. c-- c-> c-^ c-+ c-_
-@end lilypond
-
-@cindex fingering
-Similarly, fingering indications can be added to a note using a dash
-(@samp{-}) and the digit to be printed
-
-@lilypond[fragment,quote,verbatim,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{_} (down). You can
-also use multiple articulations on the same note. In most cases, however,
-it is best to let LilyPond determine the articulation directions.
-
-@lilypond[fragment,quote,verbatim,relative=2]
-c_-^1 d^. f^4_2-> e^-_+
-@end lilypond
-
-Dynamic signs are made by adding the markings (with a backslash) to
-the note
-
-@lilypond[fragment,quote,verbatim,relative=2]
-c\ff c\mf
-@end lilypond
-
-@cindex dynamics
-@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
-
-@lilypond[fragment,quote,verbatim,relative=2]
-c2\< c2\ff\> c2 c2\!
-@end lilypond
-
-
-
-@cindex slur
-
-A slur is a curve drawn across many notes, and indicates legato
-articulation. The starting note and ending note are marked with
-@samp{(} and @samp{)}, respectively
-
-@lilypond[fragment,quote,fragment,relative=2,verbatim]
-d4( c16) cis( d e c cis d) e( d4)
-@end lilypond
-
-@cindex slurs versus ties
-A slur looks like a tie, but it has a different meaning. A tie simply
-makes the first note sound longer, and can only be used on pairs of
-notes with the same pitch. Slurs indicate the articulations of notes,
-and can be used on larger groups of notes. Slurs and ties can be
-nested
-
-@lilypond[quote,fragment,relative=2]
-c2~( c8 fis fis4 ~ fis2 g2)
-@end lilypond
-
-@cindex phrasing slurs
-Slurs to indicate phrasing can be entered with @code{\(} and
-@code{\)}, so you can have both legato slurs and phrasing slurs at the
-same time.
-
-@lilypond[quote,fragment,relative=2,verbatim]
-a8(\( ais b c) cis2 b'2 a4 cis, c\)
-@end lilypond
-
-
-For more information on
-
-@quotation
-@table @asis
-@item Fingering
-see @ref{Fingering instructions}.
-@item Articulations
-see @ref{Articulations}.
-@item Slurs
-see @ref{Slurs}.
-@item Phrasing slurs
-see @ref{Phrasing slurs}.
-@item Dynamics
-see @ref{Dynamics}.
-@end table
-@end quotation
-
-
-@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
-
-
-You can combine markings like beams and ties with chords. They must
-be placed outside the angled brackets
+@node Piano staves
+@subsection Piano staves
-@lilypond[quote,relative=1,fragment,verbatim]
-r4 <c e g>8[ <c f a>]~ <c f a>
-@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
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+\new PianoStaff <<
+ \new Staff @dots{}
+ \new Staff @dots{}
+>>
@end example
-@lilypond[quote,relative=1,fragment]
-\slurUp
-r4 <c e g>8\>( <c e g> <c e g> <c f a>\!)
+Here is a small example
+
+@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
+@moreinfo
+See @ref{Piano music}.
-@node Advanced rhythmic commands
-@section Advanced rhythmic commands
-@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
+@node Single staff polyphony
+@subsection Single staff polyphony
-@lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
-@end lilypond
+@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 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
+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=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 } \\
+ { r4 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
+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=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+<<
+ { a4 g2 f4~ f4 } \\
+ { s4 g4 f2 f4 }
+>>
@end lilypond
@noindent
+Again, these expressions can be nested arbitrarily.
-For more information on
+@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
-@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
+@moreinfo
+See @ref{Basic polyphony}.
-@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 @code{%} 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 angled 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-2.4 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 2.4.0, use
+@node Songs
+@section Songs
-@example
-\version "2.4.0"
-@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{Invoking convert-ly}), and it uses
-@code{\version} to determine what rules to apply.
+@menu
+* Printing lyrics::
+* A lead sheet::
+@end menu
+@c zz
@node Printing lyrics
-@section Printing lyrics
+@subsection Printing lyrics
@cindex lyrics
@c TODO: (c) status of the Queen fragment.
Consider the melody
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
\relative {
r4 c \times 2/3 { f g g }
\times 2/3 { g4( a2) }
The lyrics can be set to these notes, combining both with the
@code{\addlyrics} keyword
-@lilypond[quote,verbatim,fragment,raggedright]
+@lilypond[quote,verbatim,fragment,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
@cindex melisma
@cindex extender line
@c synonyms?
-This melody ends on a @rglos{melisma}, a single syllable (`free')
+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
+@end example
-@lilypond[fragment,quote,raggedright]
+@lilypond[fragment,quote,ragged-right]
<<
\relative {
r4 c \times 2/3 { f g g }
resulting in a centered hyphen between two syllables
@example
-Twin -- kle twin -- kle
+A -- le gri -- a
@end example
-@lilypond[fragment,quote,raggedright]
+@c no ragged-right here, because otherwise the hypens get lost.
+@lilypond[fragment,quote]
<<
\relative {
\time 2/4
f4 f c' c
}
- \addlyrics { Twin -- kle twin -- kle }
+ \addlyrics { A -- le gri -- a }
>>
@end lilypond
@node A lead sheet
-@section A lead sheet
+@subsection A lead sheet
@cindex Lead sheets
@cindex chords
In popular music, it is common to denote accompaniment with chord names.
Such chords can be entered like notes,
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4. g8 }
@end lilypond
Other chords can be created by adding modifiers after a colon. The
following example shows a few common modifiers
-@lilypond[quote,verbatim,raggedright]
+@lilypond[quote,verbatim,ragged-right]
\chordmode { c2 f4:m g4:maj7 gis1:dim7 }
@end lilypond
of @code{\chordmode}. This uses the same syntax as @code{\chordmode},
but renders the notes in a @code{ChordNames} context, with the
following result.
-
-@lilypond[quote,verbatim,raggedright]
+
+@lilypond[quote,verbatim,ragged-right]
\chords { c2 f4.:m g4.:maj7 gis8:dim7 }
@end lilypond
@}
@end example
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
<<
- \chords { r2 c:sus4 f }
+ \chords { r2 c:sus4 f }
\relative {
r4 c' \times 2/3 { f g g }
\times 2/3 { g4( a2) }
in @ref{Chords}.
+@node Unsorted
+@section Unsorted
+
+@menu
+* Adding titles::
+* Organizing larger pieces::
+* An orchestral part::
+* After the tutorial::
+* Octave entry::
+@end menu
+
@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
@{@tie{}@dots{}@tie{}@}}. The @code{\header} block is usually put at
the top of the file. For example,
-@example
+@example
\header @{
- title = "Miniature"
+ title = "Miniature"
composer = "Igor Stravinsky"
@}
titles}.
-@node Single staff polyphony
-@section Single staff polyphony
-
-@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.
-
-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,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 } >>
-@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 (@code{s}) instead of a normal rest (@code{r}),
-
-@lilypond[quote,verbatim,relative=2,fragment]
-<< { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 } >>
-@end lilypond
-
-@noindent
-Again, these expressions can be nested arbitrarily
-
-@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
-
-More features of polyphonic typesetting are described in this manual
-in section @ref{Polyphony}.
-
-
-@node Piano staves
-@section Piano staves
-
-@cindex staff switch, manual
-@cindex cross staff voice, manual
-@cindex @code{\context}
-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 }
->>
-@end lilypond
-
-More information on formatting piano music is given in @ref{Piano music}.
@node Organizing larger pieces
-@section Organizing larger pieces
+@subsection Organizing larger pieces
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 pieces,
+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.
By using variables, also known as identifiers, it is possible to break
In the next example, a two-note motive is repeated two times by using
variable substitution
-@lilypond[quote,raggedright,verbatim,nofragment]
+@lilypond[quote,ragged-right,verbatim,nofragment]
seufzer = {
e'4( dis'4)
}
{ \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
+The name of an identifier should have alphabetic characters only: no
+numbers, underscores, or dashes. The assignment should be outside of
running music.
It is possible to use variables for many other types of objects in the
@example
\paper @{
\aFivePaper
- linewidth = \width
+ line-width = \width
@}
@{ c4^\name @}
@end example
@node An orchestral part
-@section An orchestral part
+@subsection 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
substitutes the contents of @file{horn-music.ly} at this position in
the file, so @code{hornNotes} is defined afterwards. The command
@code{\transpose f@tie{}c'} indicates that the argument, being
-@code{\hornNotes}, should be transposed by a fifth downwards. Sounding
+@code{\hornNotes}, should be transposed by a fifth 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,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
r4 f8 a cis4 f e d
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
-(1@tie{}for a whole note, 2@tie{}for a half note, etc.). By multiplying the
+(@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
@code{Score} context to true (@code{##t}). Prepending the rest and
this option to the music above, leads to the following result
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\transpose f c' \relative c {
\time 2/4
- \set Score.skipBars = ##t
+ \set Score.skipBars = ##t
R2*3
r4 f8 a cis4 f e d
}
@end example
@noindent
-leading to
+leading to
-@lilypond[quote,raggedright]
+@lilypond[quote,ragged-right]
\relative c <<
\new Staff {
\time 2/4 R2*3
More in-depth information on preparing parts and scores can be found
in the notation manual; see @ref{Orchestral music}.
-Setting run-time variables (`properties') is discussed in
+Setting run-time variables (@q{properties}) is discussed in
@ref{Changing context properties on the fly}.
-@ignore
+@node After the tutorial
+@subsection After the tutorial
-* longer example
+After finishing the tutorial, you should probably try writing a
+piece or two. Start with one of the @ref{Example 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},
+take a look at @ref{Extending the templates}.
-* discuss expectations (?)
+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
+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.
-* conclude tutorial
-* overview of chapters?
-@end ignore
+
+
+@node Octave entry
+@subsection 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}.
+
+@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.
+
+@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
+
+@example
+\version "2.10.1"
+@end example
+
+@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.
+
+
projects / lilypond.git / blobdiff