@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond.tely
-@c
-@c Translation of GIT committish: <FILL-IN-HEAD-COMMITTISH>
-@c
-@c When revising a translation, copy the HEAD committish of the
-@c version that you are working on. Use
-@c
-@c git-rev-list HEAD | head -1
-@c
-@c to discover that.
+@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
@c TODO:
@c * more details about running lilypond; error messages,
@section First steps
The first example demonstrates how to enter the most elementary piece
-of music, a @rglos{scale}. A @rglos{note} can be entered by typing its
-name, from @samp{a} through @samp{g}. So, if you enter
+of music, a @rglos{scale}. A @rglos{note} can be entered by typing
+its name, from @samp{a} through @samp{g}. So, if you enter
@example
@{
}
@end lilypond
-@emph{Warning:} Every piece of LilyPond input needs to have
-@{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 examples in this manual, but don't forget them in
-your own music!
+@emph{Warning:} Every piece of LilyPond input needs to have @{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 examples in this
+manual, but don't forget them in your own music!
@cindex Case sensitive
In addition, LilyPond input is case sensitive. @code{ @{ c d e @} } is
In this section we will explain what commands to run
and how to view or print the output.
-@unnumberedsubsec MacOS X
+@unnumberedsubsubsec 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.
+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".
-@unnumberedsubsec Windows
+@unnumberedsubsubsec Windows
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
+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' c'' }
the file and show the resulting PDF file.
-@unnumberedsubsec Unix
+@unnumberedsubsubsec Unix
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
Converting to `test.pdf'...
@end example
-@cindex DVI file
+@cindex PDF file
@cindex Viewing music
-@cindex xdvi
+
@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
@node Second steps
@section Second steps
-@emph{Remember:} Every piece of LilyPond input needs to
-have @{curly braces@} placed around the input.
-The braces should be surrounded by a space unless
-they are at the beginning or end of a line to avoid ambiguities.
-For the rest of this manual, most examples will
-omit these braces, but don't forget them in your own music!
+@emph{Remember:} Every piece of LilyPond input needs to have @{curly
+braces@} placed around the input. The braces should be surrounded by
+a space unless they are at the beginning or end of a line to avoid
+ambiguities. For the rest of this manual, most examples will omit
+these braces, but don't forget them in your own music!
@c will be removed once the tutorial either explains \relative or
@c examples are fixed so they don't use it. -gp
@end example
@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
+The code @samp{d} does not mean @qq{print a black dot just below the
+staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key
of A-flat major, it does get an accidental
@lilypond[quote,notime,fragment,relative=1,verbatim]
@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{,}
+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]
@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
+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 @code{'}
-or @code{,} after a note) is chosen so that it is closest to the
+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.
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'
+as a simultaneous combination of two sequences. A @q{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
@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
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
+introduces a line comment; after @samp{%} the rest of the line is
ignored. A block comment marks a whole section of music
input. Anything that is enclosed in @code{%@{} and @code{%@}} is
ignored. The following fragment shows possible uses for comments
@cindex 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.,
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}),
+spacer rest (@samp{s}) instead of a normal rest (@samp{r}),
@lilypond[quote,verbatim,relative=2,fragment]
<< { a4 g2 f4~ f4 } \\
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}.
projects / lilypond.git / blobdiff