- unless you have a really good reason, use either
@lilypond[verbatim,quote,ragged-right]
or
-blah @lilypond[verbatim,quote,ragged-right,fragment,relative=2] f
- (without spaces)
+ @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+
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.
-- Add "Music glossary: @r gloss{foo}" to the _top_ of the relevant
+
+- Add "Music glossary: @rglos{foo}" to the _top_ of the relevant
portions of the tutorial.
-@node foo
-@section foo
-blah
@end ignore
@end example
@noindent
-the result looks like this
+the result looks like this:
@c in this case we don't want verbatim
@lilypond[quote,ragged-right]
or @q{Open}. You must save your file before typesetting it. If
any errors occur in processing, please see the log window.
+
@subsubheading Windows
On Windows, if you double-click in the LilyPond icon on the
@subheading Pitches
Music glossary: @rglos{interval}, @rglos{fourth}, @rglos{scale},
-@rglos{middle C}
+@rglos{middle C}, @rglos{octave}.
The easiest way to enter notes is by using @code{\relative} mode.
In this mode, the @notation{interval} between the previous note and
The initial note is @notation{middle C}. Each successive note is
within a fourth of 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:
+closest D to the previous note. We can create melodies which
+have larger intervals:
@lilypond[verbatim,quote,ragged-right]
\relative c' {
@end lilypond
@noindent
-As you may notice, this example does not start on middle C. The
-first note -- the @code{d} -- is the closest D to middle C.
+As you may notice, this example does not start on middle C. The first
+note -- the @code{d} -- is the closest D to middle C.
-To add intervals that are larger than a fourth, we can raise the
-octave by adding a single quote @code{'} (or apostrophe) to the
-note name. We can lower the octave by adding a comma @code{,} to
+To add intervals that are larger than a fourth, we can raise
+the @notation{octave} by adding a single quote @code{'} (or apostrophe)
+to the note name. We can lower the octave by adding a comma @code{,} to
the note name.
@lilypond[verbatim,quote,ragged-right]
@subheading Durations (rhythms)
-Music glossary: @rglos{duration}, @rglos{whole 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. @samp{1} for a @notation{whole note}, @samp{2} for
a @notation{half note}, @samp{4} for a @notation{quarter note} and
-so on. Beams are added automatically.
+so on. @notation{Beam}@tie{}s are added automatically.
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
Music glossary: @rglos{time signature}.
-The @notation{time signature}) can be set with the @code{\time}
+The @notation{time signature} can be set with the @code{\time}
command:
@lilypond[verbatim,quote,ragged-right]
@ruser{Writing rests}, @ruser{Time signature}, @ruser{Clef}.
-@c KURTIS: update stuff below this line with the style above.
+@c HERE's where I started
@node Working on text files
@subsection Working on text files
@cindex Case sensitive
@item @strong{Case sensitive}:
-it matters whether you enter a letter in lower case (i.e. @code{a,
-b, s, t}) or upper case (i.e. @code{A, B, S, T}). Notes are
+it matters whether you enter a letter in lower case (e.g. @code{a,
+b, s, t}) or upper case (e.g. @code{A, B, S, T}). Notes are
lower case: @code{@{ c d e @}} is valid input; @code{@{ C D E @}}
will produce an error message.
@item @strong{Expressions:}
Every piece of LilyPond input needs to have @strong{@{ curly
braces @}} placed around the input. These braces tell LilyPond
-that the input is a single music expression, just like parenthesis
+that the input is a single music expression, just like parentheses
@samp{()} in mathematics. The braces should be surrounded by a
space unless they are at the beginning or end of a line to avoid
ambiguities.
program. This is also possible with LilyPond. If you click on a
picture in the HTML version of this manual, you will see the exact
LilyPond input that was used to generate that image. Try it on
-this image
+this image:
@c no verbatim here
@lilypond[quote,ragged-right]
@node Relative note names
@subsection Relative note names
-As we saw in @ref{Simple notation}, LilyPond calculates the
-pitch of each note relative to the previous one@footnote{There is
-another mode of entering pitches, @ruser{Absolute note names}, but
-in practice relative mode is much easier and safer to use.}. If
-no extra octave marks (@code{'} and @code{,}) are added, it
-assumes that each pitch is within a fourth of the previous note.
+Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}.
+
+As we saw in @ref{Simple notation}, LilyPond calculates the pitch of
+each note relative to the previous one@footnote{There is another mode
+of entering pitches, @ruser{Absolute note names}, but in practice
+relative mode is much easier and safer to use.}. If no extra
+@notation{octave} marks (@code{'} and @code{,}) are added, it assumes
+that each pitch is within a @notation{fourth} of the previous note.
LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} the same as a diminished
-fifth. If we begin at a C, then an F-sharp will be placed a
+words, an augmented fourth is @emph{not} treated the same as a
+diminished fifth. If we begin at a C, then an F-sharp will be placed a
higher than the C, while a G-flat will be placed lower than the C.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
@end quotation
-
@node Accidentals and key signatures
@subsection Accidentals and key signatures
@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 you might expect, a
-@rglos{double sharp} or @rglos{double flat} is made by adding
+Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
+@rglos{double flat}, @rglos{accidental}.
+
+A @notation{sharp} pitch is made by adding @samp{is} to the name, and
+a @notation{flat} pitch by adding @samp{es}. As you might expect, a
+@notation{double sharp} or @notation{double flat} is made by adding
@samp{isis} or @samp{eses}@footnote{This syntax derived from note
naming conventions in Nordic and Germanic languages, like German
-and Dutch. To use other names for accidentals, see @ruser{Note
-names in other languages}.}
+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
-The key signature is set with the command @code{\key} followed by
-a pitch and @code{\major} or @code{\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}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key d \major
@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 affects the
-@emph{printed} accidentals, not the actual pitches! This is a
-feature that often causes confusion to newcomers, so let us
-explain it in more detail.
+Music glossary: @rglos{accidental}, @rglos{key signature},
+@rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}.
+
+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.
LilyPond makes a sharp distinction between musical content and
-layout. The alteration (flat, natural or 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
+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.
-In this example
+In this example:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key d \major
@item Accidentals
see @ruser{Accidentals}, and @ruser{Automatic accidentals}.
@item Key signature
-see @ruser{Key signature}.
+see @ruser{Key signature}
+@item Pitch names
+see @rglos{Pitch names}.
@end table
@end quotation
@cindex ties
@subheading Ties
-A @rglos{tie} is created by appending a tilde @samp{~} to the
+
+Music glossary: @rglos{tie}.
+
+A @notation{tie} is created by appending a tilde @samp{~} to the
first note being tied
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
@cindex slurs
@subheading Slurs
-A @rglos{slur} is a curve drawn across many notes. The starting
+Music glossary: @rglos{slur}.
+
+A @notation{slur} is a curve drawn across many notes. The starting
note and ending note are marked with @samp{(} and @samp{)}
respectively.
@cindex phrasing slurs
@subheading Phrasing slurs
-Slurs to indicate longer phrasing can be entered with @code{\(}
-and @code{\)}. You can have both legato slurs and phrasing slurs
-at the same time, but you cannot have simultaneous slurs or
-simultaneous phrasing slurs.
+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.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a8(\( ais b c) cis2 b'2 a4 cis,\)
@cindex slurs versus 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
-pairs of notes with the same pitch. Slurs indicate the
-articulations of notes, and can be used on larger groups of notes.
-Slurs and ties can be nested.
+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.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2~( c8 fis fis4 ~ fis2 g2)
@cindex staccato
@subheading Articulations
-Common @rglos{articulation}s can be added to a note using a dash
-@samp{-} and a single character:
+Music glossary: @rglos{articulation}.
+
+Common @notation{articulation}@tie{}s can be added to a note using a
+dash @samp{-} and a single character:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c-. c-- c-> c-^ c-+ c-_
@cindex fingering
@subheading Fingerings
-Similarly, fingering indications can be added to a note using a
-dash (@samp{-}) and the digit to be printed:
+
+Music glossary: @rglos{fingering}.
+
+Similarly, @notation{fingering} indications can be added to a note using
+a dash (@samp{-}) and the digit to be printed:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c-3 e-5 b-2 a-1
@end lilypond
@subheading Dynamics
+
+Music glossary: @rglos{dynamics}, @rglos{crescendo},
+@rglos{decrescendo}.
+
Dynamic signs are made by adding the markings (with a backslash)
to the note
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
+finish the (de)crescendo, or the command @code{\!} can be used:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2\< c2\ff\> c2 c2\!
@item Fingering
see @ruser{Fingering instructions}.
@item Dynamics
-see @ruser{Dynamics}.
+see @ruser{Dynamics} (User manual) and @rglos{dynamics} (Glossary).
@end table
@end quotation
+@c CONTINUE HERE
@node Automatic and manual beams
@subsection Automatic and manual beams
>>
@end example
-Here is a small example
+Here is a small example:
@lilypond[verbatim,quote,ragged-right]
\relative c'' {
With variables (also known as variables or macros), we can break
up complex music expressions. An variable is assigned as
-follows
+follows:
@example
namedMusic = @{ @dots{} @}
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