Tutorial guidelines:
- unless you have a really good reason, use either
@l ilypond[quote,ragged-right,verbatim]
-or
+ 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.
+ (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.
TODO:
* First steps (compiling a file)::
* Simple notation::
* Working on text files::
-* How to read the manual::
+* How to read the tutorial::
* Accidentals and key signatures::
* Ties and slurs::
+* Articulation and dynamics::
* 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::
* Organizing larger pieces::
* An orchestral part::
* After the tutorial::
+* Octave entry::
@end menu
}
@end lilypond
-@c I don't think these are useful, but I haven't completely made
-@c up my mind whether to completely remove them or not.
-@ignore
-For more information on
-
-@q uotation
-@t able @a sis
-@i tem Entering pitches and durations
-see
-@r ef{Pitches}, and @r ef{Durations}.
-@i tem Clefs
-see @r ef{Clef}.
-@i tem Rests
-see @r ef{Rests}.
-@i tem Time signatures and other timing commands
-see @r ef{Time signature}.
-@e nd table
-@e nd quotation
-@end ignore
+@moreinfo
+@quotation
+@table @asis
+@item Entering pitches and durations
+see @ref{Pitches} and @ref{Durations}.
+@item 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 Working on text files
There are more tips for constructing input files in
@ref{Suggestions for writing LilyPond files}.
-@c End of current re-write; more material coming in a few days. -gp
-
-@node How to read the manual
-@section How to read the manual
+@node How to read the tutorial
+@section 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
accidental:
@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
-\key as \major
+\key aes \major
e
@end lilypond
@ref{Automatic accidentals} for some examples how accidentals can be printed
according to different rules.
-@ignore
-For more information on
-
-@q uotation
-@t able @a sis
-@i tem Accidentals
-see @r ef{Automatic accidentals}.
-
-@i tem Key signature
-see @r ef{Key signature}.
-@e nd table
-@e nd quotation
-@end ignore
+@moreinfo
+@quotation
+@table @asis
+@item Accidentals
+see @ref{Accidentals} and @ref{Automatic accidentals}.
+@item Key signature
+see @ref{Key signature}.
+@end table
+@end quotation
-@c zz
@node Ties and slurs
@section Ties and slurs
c4 ~ c8 a8 ~ a2
@end lilypond
-@c For more information on Ties see @ref{Ties}.
-
@cindex slurs
@unnumberedsubsec Slurs
c2~( c8 fis fis4 ~ fis2 g2)
@end lilypond
-@c zzz
-
+@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
-@node Automatic and manual beams
-@section Automatic and manual beams
-@cindex beams, by hand
-All @rglos{beam}s are drawn automatically
+@node Articulation and dynamics
+@section Articulation and dynamics
-@lilypond[quote,fragment,relative=2,verbatim]
-a8 ais d es r d
-@end lilypond
+@cindex articulation
+@cindex accents
+@cindex staccato
-@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{]}.
+@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,fragment,relative=2,verbatim]
-a8[ ais] d[ es r d]
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-. c-- c-> c-^ c-+ c-_
@end lilypond
-For more information on beams, see @ref{Manual beams}.
+@cindex fingering
+Similarly, fingering indications can be added to a note using a dash
+(@samp{-}) and the digit to be printed:
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c-3 e-5 b-2 a-1
+@end lilypond
-Here are key signatures, accidentals and ties in action
+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[fragment,quote,noindent,line-width=50\staff-space,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]
+c_-^1 d^. f^4_2-> e^-_+
@end lilypond
-@cindex accidentals
+Dynamic signs are made by adding the markings (with a backslash) to
+the note
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+c\ff c\mf c\p c\pp
+@end lilypond
-@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.
+@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
-@node Octave entry
-@section Octave entry
+@moreinfo
+@quotation
+@table @asis
+@item Articulations
+see @ref{Articulations}.
+@item Fingering
+see @ref{Fingering instructions}.
+@item Dynamics
+see @ref{Dynamics}.
+@end table
+@end quotation
-@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...
+@node Automatic and manual beams
+@section Automatic and manual beams
-@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'}
+@cindex beams, by hand
+All @rglos{beam}s are drawn automatically:
-@lilypond[quote,notime,fragment,verbatim]
-c'4 c'' c''' \clef bass c c,
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8 ais d ees r d c16 b a8
@end lilypond
-An example of the use of quotes is in the following Mozart fragment
+@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{]}.
-@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
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a8[ ais] d[ ees r d] a b
@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.
+@moreinfo
+@quotation
+@table @asis
+@item Automatic beams
+see @ref{Automatic beams}.
+@item Manual beams
+see @ref{Manual beams}.
+@end table
+@end quotation
-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'})
+@node Music expressions explained
+@section Music expressions explained
+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[quote,notime,fragment,verbatim]
-\relative {
- c' f c g c
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+a4
@end lilypond
+Enclosing a group of notes in braces creates a new music expression:
-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
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ a4 g4 }
@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.
+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[quote,notime,verbatim,fragment]
-\relative c {
- c'' f, f c' c g' c,
-}
+@lilypond[quote,ragged-right,verbatim,fragment,relative=2]
+{ { a4 g } f g }
@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.
+@unnumberedsubsec Simultaneous music expressions: multiple staves
-For more information on relative octaves see @ref{Relative octaves},
-and @ref{Octave check}.
+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:
-
-@node Music expressions explained
-@section 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
-
-@lilypond[fragment,quote,verbatim,relative=3]
-a4
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ <<
+ { a4 g }
+ { f e }
+ { d b }
+ >>
+}
@end lilypond
-Enclosing a group of notes in braces creates a new music
-expression
+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.
-@lilypond[fragment,quote,verbatim,relative=3]
-{ a4 g4 }
-@end lilypond
+@unnumberedsubsec Simultaneous music expressions: single staff
-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
+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[fragment,quote,verbatim,relative=3]
-{ { a4 g } f g }
+@lilypond[quote,ragged-right,verbatim]
+\relative c'' {
+ c <<c e>> << { e f } { c <<b d>> } >>
+}
@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 @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
-@lilypond[fragment,quote,verbatim,relative=3]
-<<
- { a4 g }
- { f e }
- { d b }
->>
-@end lilypond
+@unnumberedsubsec 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
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
-
-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.
+@c zz
@node More staves
@section More staves
+As we saw in @ref{Music expressions explained}, LilyPond is blah blah.
+
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
For more information on contexts see the description in
@ref{Interpretation contexts}.
+@c zz
-@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
-
-
-
-
-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
c4 \acciaccatura b16 c4
@end lilypond
-@noindent
-
-For more information on
-
+@moreinfo
@quotation
@table @asis
@item Grace notes
now, and come back to them after you have more experience.
+
+
+
+@node Octave entry
+@section 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}.
+
+
projects / lilypond.git / commitdiff