- 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:
-- discuss subheading vs. unnumberedsubsection
-
@end ignore
* Ties and slurs::
* Articulation and dynamics::
* Automatic and manual beams::
+* Advanced rhythmic commands::
* Music expressions explained::
* More staves::
* Combining notes into chords::
-* Advanced rhythmic commands::
-* Commenting input files::
* Printing lyrics::
* A lead sheet::
* Adding titles::
@sp 1
-@unnumberedsubsec Entering music and viewing output
+@subheading Entering music and viewing output
In this section we will explain what commands to run
and how to view or print the output.
-@unnumberedsubsubsec MacOS X
+@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
For future use of LilyPond, you should begin by selecting "New"
or "Open".
-@unnumberedsubsubsec Windows
+@subsubheading Windows
On Windows, start up a text-editor@footnote{Any simple or
programmer-oriented editor with UTF-8 support will do, for example
the file and show the resulting PDF file.
-@unnumberedsubsubsec Unix
+@subsubheading Unix
Begin by opening a terminal window and starting a text editor. For
example, you could open an xterm and execute
are useful.
-@unnumberedsubsec Pitches
+@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
@code{\relative c'} may also be modified like this.
-@unnumberedsubsec Durations (rhythms)
+@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},
@end lilypond
-@unnumberedsubsec Rests
+@subheading Rests
A @rglos{rest} is entered just like a note with the name @samp{r}:
@end lilypond
-@unnumberedsubsec Time signature
+@subheading Time signature
The @rglos{time signature}) can be set with the @code{\time} command:
@end lilypond
-@unnumberedsubsec Clef
+@subheading Clef
The @rglos{clef} can be set using the @code{\clef} command:
@end lilypond
-@unnumberedsubsec All together
+@subheading All together
Here is a small example showing all these elements together:
@section Working on text files
LilyPond input files are treated like files in most programming languages:
-they are case sensitive, white-space insensitive, and expressions are
-formed with curly braces @{ @}.
+they are case sensitive, white-space insensitive, expressions are
+formed with curly braces @{ @}, and comments are denoted with @code{%} or
+@code{%@{ .. %@}}.
If the previous sentence sounds like nonsense, don't worry! We'll explain
what all these terms mean:
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
+% 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
+
@end itemize
There are more tips for constructing input files in
@node Accidentals and key signatures
@section Accidentals and key signatures
-@unnumberedsubsec Accidentals
+@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
@end lilypond
@cindex key signature, setting
-@unnumberedsubsec Key signatures
+@subheading Key signatures
The key signature is set with the command @code{\key} followed by
a pitch and @code{\major} or @code{\minor}.
@sp 1
-@unnumberedsubsec Warning: key signatures and pitches
+@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
@section Ties and slurs
@cindex ties
-@unnumberedsubsec Ties
+@subheading Ties
A @rglos{tie} is created by appending a tilde @samp{~} to the first
note being tied
@end lilypond
@cindex slurs
-@unnumberedsubsec Slurs
+@subheading Slurs
A @rglos{slur} is a curve drawn across many notes. The starting note
and ending note are marked with @samp{(} and @samp{)} respectively.
@cindex slurs, phrasing
@cindex phrasing slurs
-@unnumberedsubsec Phrasing slurs
+@subheading Phrasing slurs
@cindex phrasing slurs
Slurs to indicate longer phrasing can be entered with @code{\(} and
@sp 1
@cindex slurs versus ties
-@unnumberedsubsec Warnings: slurs vs. ties
+@subheading Warnings: slurs vs. ties
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
@cindex articulation
@cindex accents
@cindex staccato
+@subheading Articulations
@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
@end lilypond
@cindex fingering
+@subheading Fingerings
Similarly, fingering indications can be added to a note using a dash
(@samp{-}) and the digit to be printed:
c_-^1 d^. f^4_2-> e^-_+
@end lilypond
+@subheading Dynamics
Dynamic signs are made by adding the markings (with a backslash) to
the note
@end quotation
+@node Advanced rhythmic commands
+@section Advanced rhythmic commands
+
+@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
+
+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,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
+
+@cindex grace notes
+@cindex acciaccatura
+@cindex appoggiatura
+@subheading Grace notes
+
+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
+
+@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
+
+@c zzz
@node Music expressions explained
@section Music expressions explained
{ { a4 g } f g }
@end lilypond
-@unnumberedsubsec Simultaneous music expressions: multiple staves
+@subheading Simultaneous music expressions: multiple staves
This technique is useful for polyphonic music. To enter music
with more voices or more staves, we combine expressions in
is at the beginning of a line, but indenting LilyPond code like this makes
it much easier for humans to read.
-@unnumberedsubsec Simultaneous music expressions: single staff
+@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
@end lilypond
-@unnumberedsubsec Analogy: mathematical expressions
+@subheading Analogy: mathematical expressions
This mechanism is similar to mathematical
formulas: a big formula is created by composing small formulas. Such
@end lilypond
-@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
-
-@lilypond[quote,relative=2,verbatim,fragment]
-\partial 8
-f8 c2 d e
-@end lilypond
-
-@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
-
-@lilypond[quote,relative=1,verbatim,fragment]
-\times 2/3 { f8 g a }
-\times 2/3 { c r c }
-@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
-
-@lilypond[quote,relative=2,verbatim,fragment]
-c4 \appoggiatura b16 c4
-c4 \acciaccatura b16 c4
-@end lilypond
-
-@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
-
-
-@node Commenting input files
-@section Commenting input files
-
-@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 @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
-
-@example
-% 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
@c TODO post-2.6 reorg
@c This is good info, but I wouldn't call it a comment. IMO it should
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