version that you are working on. See TRANSLATION for details.
@end ignore
-@ignore
-
-Tutorial Specification:
-
-The LM is written in a tutorial style which introduces the most
-important concepts, structure and syntax of the elements of a
-LilyPond score in a carefully graded sequence of steps.
-Explanations of all musical concepts used in the Manual can be
-found in the Music Glossary, and readers are assumed to have no
-prior knowledge of LilyPond. The objective is to take readers to
-a level where the Notation Reference can be understood and
-employed to both adapt the templates in the Appendix to their
-needs and to begin to construct their own scores. Commonly used
-tweaks are introduced and explained. Examples are provided
-throughout which, while being focussed on the topic being
-introduced, are long enough to seem real in order to retain the
-readers' interest. Each example builds on the previous material,
-and comments are used liberally. Every new aspect is thoroughly
-explained before it is used.
-
-@end ignore
-
@ignore
Tutorial guidelines: (different from policy.txt!)
- unless you have a really good reason, use either
@rglos{accidental}.
The easiest way to enter notes is by using @code{\relative} mode.
-In this mode, the octave is chosen automatically by assuming the
-following note is always to be placed closest to the previous note,
-i.e., it is to be placed in the octave which is within three
-staff spaces of the previous note. We begin by entering the most
+In this mode, the octave is chosen automatically by assuming the
+following note is always to be placed closest to the previous
+note, i.e., it is to be placed in the octave which is within three
+staff spaces of the previous note. We begin by entering the most
elementary piece of music, a @notation{scale}, in which every note
is within just one staff space of the previous note.
The initial note is @notation{middle C}. Each successive note is
placed closest to the previous note -- in other words, the first
@code{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, still using only @code{\relative} mode:
+closest D to the previous note. We can create melodies which have
+larger intervals, still using only @code{\relative} mode:
@lilypond[verbatim,quote,ragged-right]
\relative c' {
@end lilypond
Exactly the same happens even when any of these notes are
-sharpened or flattened. @notation{Accidentals} are @strong{totally
-ignored} in the calculation of relative position. Precisely the
-same staff space counting is done from a note at any other
-position on the staff.
+sharpened or flattened. @notation{Accidentals} are
+@strong{totally ignored} in the calculation of relative position.
+Precisely the same staff space counting is done from a note at any
+other position on the staff.
To add intervals that are larger than three staff spaces, we can
raise the @notation{octave} by adding a single quote @code{'} (or
@subheading Durations (rhythms)
-Music Glossary: @rglos{beam}, @rglos{duration}, @rglos{whole note},
-@rglos{half note}, @rglos{quarter note}, @rglos{dotted note}.
+Music Glossary: @rglos{beam}, @rglos{duration},
+@rglos{whole note}, @rglos{half note}, @rglos{quarter note},
+@rglos{dotted note}.
The @notation{duration} of a note is specified by a number after
the note name. @code{1} for a @notation{whole note}, @code{2} for
Music Glossary: @rglos{rest}.
-A @notation{rest} is entered just like a note with the name @code{r}:
+A @notation{rest} is entered just like a note with the name
+@code{r}:
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
@seealso
-Notation Reference: @ruser{Writing pitches}, @ruser{Writing rhythms},
-@ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
-
+Notation Reference: @ruser{Writing pitches},
+@ruser{Writing rhythms}, @ruser{Writing rests},
+@ruser{Time signature}, @ruser{Clef}.
-@c HERE's where I started
@node Working on text files
@subsection Working on text files
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
@rglos{double flat}, @rglos{accidental}.
-A @notation{sharp} pitch is made by adding @code{is} to the name, and
-a @notation{flat} pitch by adding @code{es}. As you might expect, a
-@notation{double sharp} or @notation{double flat} is made by adding
-@code{isis} or @code{eses}. This syntax is derived from note
-naming conventions in Nordic and Germanic languages, like German
-and Dutch. To use other names for @notation{accidentals}, see
-@ruser{Note names in other languages}.
+A @notation{sharp} pitch is made by adding @code{is} to the name,
+and a @notation{flat} pitch by adding @code{es}. As you might
+expect, a @notation{double sharp} or @notation{double flat} is
+made by adding @code{isis} or @code{eses}. This syntax is derived
+from note naming conventions in Nordic and Germanic languages,
+like German and Dutch. To use other names for
+@notation{accidentals}, see @ruser{Note names in other languages}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
cis1 ees fisis, aeses
@cindex key signature, setting
@subheading Key signatures
-Music Glossary: @rglos{key signature}, @rglos{major}, @rglos{minor}.
+Music Glossary: @rglos{key signature}, @rglos{major},
+@rglos{minor}.
The @notation{key signature} is set with the command @code{\key}
followed by a pitch and @code{\major} or @code{\minor}.
To determine whether to print an @notation{accidental}, LilyPond
examines the pitches and the @notation{key signature}. The key
-signature only affects the @emph{printed} accidentals, not the note's
-@notation{pitch}! This is a feature that often causes confusion to
-newcomers, so let us explain it in more detail.
+signature only affects the @emph{printed} accidentals, not the
+note's @notation{pitch}! 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 (@notation{flat}, @notation{natural} or
@notation{sharp}) of a note is part of the pitch, and is therefore
-musical content. Whether an accidental (a @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 not be added
-automatically, and you must enter what you want to hear.
+musical content. Whether an accidental (a @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
+not be added automatically, and you must enter what you want to
+hear.
In this example:
@seealso
-Notation Reference: @ruser{Note names in other languages}, @ruser{Accidentals},
-@ruser{Automatic accidentals}, @ruser{Key signature}.
+Notation Reference: @ruser{Note names in other languages},
+@ruser{Accidentals}, @ruser{Automatic accidentals},
+@ruser{Key signature}.
Music Glossary: @rglos{Pitch names}.
Music Glossary: @rglos{slur}.
-A @notation{slur} is a curve drawn across many notes. The starting
-note and ending note are marked with @code{(} and @code{)}
-respectively.
+A @notation{slur} is a curve drawn across many notes. The
+starting note and ending note are marked with @code{(} and
+@code{)} respectively.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
d4( c16) cis( d e c cis d) e( d4)
Music Glossary: @rglos{phrasing}, @rglos{legato}.
Slurs to indicate longer @notation{phrasing} can be entered with
-@code{\(} and @code{\)}. You can have both @notation{legato} slurs and
-phrasing slurs at the same time, but you cannot have simultaneous legato
-slurs or simultaneous phrasing slurs.
+@code{\(} and @code{\)}. You can have both @notation{legato}
+slurs and phrasing slurs at the same time, but you cannot have
+simultaneous legato slurs or simultaneous phrasing slurs.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
Music Glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}.
-A @notation{slur} looks like a @notation{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
-@notation{articulation} of notes, and can be used on larger groups of
-notes. Slurs and ties can be nested.
+A @notation{slur} looks like a @notation{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 @notation{articulation} of notes, and can be used on
+larger groups of notes. Slurs and ties can be nested.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
Music Glossary: @rglos{fingering}.
-Similarly, @notation{fingering} indications can be added to a note using
-a dash (@code{-}) and the digit to be printed:
+Similarly, @notation{fingering} indications can be added to a note
+using a dash (@code{-}) and the digit to be printed:
@lilypond[verbatim,quote,ragged-right,fragment,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 by replacing the dash (@code{-}) with @code{^} (up) or @code{_}
-(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.
+you can specify a direction by replacing the dash (@code{-}) with
+@code{^} (up) or @code{_} (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[verbatim,quote,ragged-right,fragment,relative=2]
c_-^1 d^. f^4_2-> e^-_+
@cindex appoggiatura
@subheading Grace notes
-Music Glossary: @rglos{grace notes}, @rglos{acciacccatura}, @rglos{appoggiatura}.
+Music Glossary: @rglos{grace notes}, @rglos{acciacccatura},
+@rglos{appoggiatura}.
@notation{Grace notes} are created with the @code{\grace} command,
although they can also be created by prefixing a music expression
We see the extra lyrics do not align properly with the notes. The
word @q{shine} should be sung on two notes, not one. This is
-called a @notation{melisma}, a single syllable sung to more than one
-note. There are several ways to spread a syllable over multiple
-notes, the simplest being to add a slur across them (see @ref{Ties
-and slurs}):
+called a @notation{melisma}, a single syllable sung to more than
+one note. There are several ways to spread a syllable over
+multiple notes, the simplest being to add a slur across them (see
+@ref{Ties and slurs}):
@lilypond[verbatim,quote,ragged-right]
<<
(see @ref{Automatic and manual beams}).
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 Dido's Lament, from Purcell's Dido and Æneas:
+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 Dido's Lament, from Purcell's Dido and Æneas:
@lilypond[verbatim,quote,ragged-right]
<<
@subsection After the tutorial
After finishing the tutorial, you should probably try writing a
-piece or two. Start by adding notes to one of the @ref{Templates}.
-If you need any notation that was not covered in the
-tutorial, look at the Notation Reference, starting with
+piece or two. Start by adding notes to one of the
+@ref{Templates}. If you need any notation that was not covered in
+the tutorial, look at the Notation Reference, starting with
@ruser{Musical notation}. If you want to write for an instrument
ensemble that is not covered in the templates, take a look at
@ref{Extending the templates}.
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