X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Ftutorial.itely;h=f4d39d0ccffea556b5ab47249a60131891608c84;hb=0387f04497978e37b335a8b99eec905499d6ad0f;hp=b755efdcb7235737cdd5f4e263e2a3a1183390b8;hpb=61762da8bedb70c6b4f0264604396288f70256f5;p=lilypond.git diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index b755efdcb7..f4d39d0ccf 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -33,15 +33,15 @@ Tutorial guidelines: (different from policy.txt!) This tutorial starts with an introduction to the LilyPond music language and explains how to produce printed music. After this first -contact we will explain how to create beautiful printed music +contact we will explain how to create beautiful printed music containing common musical notation. @menu -* First steps:: -* Single staff notation:: -* Multiple notes at once:: -* Songs:: -* Final touches:: +* First steps:: +* Single staff notation:: +* Multiple notes at once:: +* Songs:: +* Final touches:: @end menu @@ -51,8 +51,8 @@ containing common musical notation. This section gives a basic introduction to working with LilyPond. @menu -* Compiling a file:: -* Simple notation:: +* Compiling a file:: +* Simple notation:: * Working on input files:: * How to read the manual:: @end menu @@ -460,7 +460,6 @@ Here is a small example showing all these elements together: @seealso - Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms}, @ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}. @@ -634,14 +633,13 @@ you have a starting template for experiments. To see exactly the same output (line-width and all), copy everything from @qq{Start cut-&-pastable section} to the bottom of the file. -@seealso +@seealso There are more tips for constructing input files in @ref{Suggestions for writing LilyPond input files}. But it might be best to read through the rest of the tutorial first. - @node Single staff notation @section Single staff notation @@ -649,12 +647,12 @@ This section introduces common notation that is used for one voice on one staff. @menu -* Accidentals and key signatures:: -* Ties and slurs:: -* Articulation and dynamics:: -* Adding text:: -* Automatic and manual beams:: -* Advanced rhythmic commands:: +* Accidentals and key signatures:: +* Ties and slurs:: +* Articulation and dynamics:: +* Adding text:: +* Automatic and manual beams:: +* Advanced rhythmic commands:: @end menu @@ -758,14 +756,14 @@ d cis fis No note has a printed accidental, but you must still add @code{is} and type @code{cis} and @code{fis} in the input file. -The code @code{e} does not mean @qq{print a black dot just on -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 +The code @code{b} does not mean @qq{print a black dot just on +the middle line of the staff.} Rather, it means @qq{there is a +note with pitch B-natural.} In the key of A-flat major, it @emph{does} get an accidental: -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,relative=2] \key aes \major -e +b @end lilypond Adding all alterations explicitly might require a little more @@ -775,8 +773,8 @@ according to different conventions. For some examples how accidentals can be printed according to different rules, see @ruser{Automatic accidentals}. -@seealso +@seealso Notation Reference: @ruser{Note names in other languages}, @ruser{Accidentals}, @ruser{Automatic accidentals}, @ruser{Key signature}. @@ -852,8 +850,8 @@ larger groups of notes. Slurs and ties can be nested. c2~( c8 fis fis4 ~ fis2 g2) @end lilypond -@seealso +@seealso Notation Reference: @ruser{Ties}, @ruser{Slurs}, @ruser{Phrasing slurs}. @@ -942,8 +940,8 @@ example @code{\f}, will end the (de)crescendo, or the command c2\< c2\ff\> c2 c2\! @end lilypond -@seealso +@seealso Notation Reference: @ruser{Articulations and ornamentations}, @ruser{Fingering instructions}, @ruser{Dynamics}. @@ -975,7 +973,6 @@ a1_\markup{ @seealso - Notation Reference: @ruser{Writing text}. @@ -1025,8 +1022,8 @@ a8 c b4 d8. c16 b4 a8 c b4 d8. c16 b4 @end lilypond -@seealso +@seealso Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}. @@ -1102,8 +1099,8 @@ c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @end lilypond -@seealso +@seealso Notation Reference: @ruser{Grace notes}, @ruser{Tuplets}, @ruser{Upbeats}. @@ -1366,8 +1363,8 @@ suitable for vocal scores. These staff groups each form another type of context, one that generates the brace at the left end of every system and also controls the extent of bar lines. -@seealso +@seealso Notation Reference: @ruser{Keyboard and other multi-staff instruments}, @ruser{Displaying staves}. @@ -1469,8 +1466,8 @@ Again, these expressions can be nested arbitrarily. >> @end lilypond -@seealso +@seealso Notation Reference: @ruser{Simultaneous notes}. @@ -1628,7 +1625,7 @@ If a syllable extends over several notes or a single very long 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 @notation{Dido's Lament}, from Purcell's +first three bars of @notation{Dido's Lament}, from Purcell's @notation{Dido and Æneas}: @lilypond[verbatim,quote] @@ -1697,7 +1694,6 @@ Here's an example from Rossini's @notation{Figaro}, where @seealso - Notation Reference: @ruser{Vocal music}. @@ -1739,12 +1735,11 @@ produced by separating out the score structure from the notes and lyrics with variables. These are discussed in @ref{Organizing pieces with variables}. -@seealso +@seealso Notation Reference: @ruser{Vocal music}. - @node Final touches @section Final touches @@ -2029,6 +2024,6 @@ cross-references for further reading. If you have not done so already, @emph{please} read @ref{About the documentation}. There is a lot of information about LilyPond, so newcomers often do not know where they should look for help. If -you spend five minutes reading that section carefully, you might +you spend five minutes reading that section carefully, you might save yourself hours of frustration looking in the wrong places!