- @c -*-texinfo-*-
+@c -*-texinfo-*-
@c TODO:
@c * LilyPond Lilypond lilypond (sometimes: the program)
@end quotation
@separate
-A tie is created by entering a tilde ``@code{~}'' between the notes to
-be tied. A tie between two notes means that the second note must not be
-played separately; it just makes the first note sound longer:
-
+A tie is created by adding a tilde ``@code{~}'' to the first note
+being tied.
@quotation
@lilypond[fragment,verbatim]
-g'4 ~ g' a'2 ~ a'4
+g'4-~ g' a'2-~ a'4
@end lilypond
@end quotation
@separate
+A tilde is different from a tie. A tie simply makes the first note
+sound longer, and can only be used on pairs of notes with the same
+pitch.
-The key signature is set with the command ``@code{\key}''. One caution:
-you need to specify whether the key is @code{\major} or @code{\minor}.
+The key signature is set with the command ``@code{\key}''. One
+caution word of caution: you need to specify whether the key is
+@code{\major} or @code{\minor}.
@quotation
@example
\key d \major
\key d \minor
\clef violin
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
@}
\paper @{ @}
\clef violin
\key d \minor
r4 r8 d''8 cis''4 e''
- d''8 a'4. ~ a' b'8
- cis''4 cis''8 cis'' bis'4 d''8 cis'' ~
+ d''8 a'4.-~ a' b'8
+ cis''4 cis''8 cis'' bis'4 d''8 cis''-~
cis''2 r2
}
\paper { linewidth = 50*\staffspace }
@quotation
@lilypond[fragment,relative 1, verbatim]
-d4( )c16( cis d e c cis d )e( )d4
+d4-( c16-)-( cis d e c cis d e-)-( d4-)
@end lilypond
@end quotation
@separate
@quotation
@lilypond[fragment,relative 1, verbatim]
-a8(\( ais b ) c cis2 b'2 a4 cis, \) c
+a8-(-\( ais b c-) cis2 b'2 a4 cis, c-\)
@end lilypond
@end quotation
@separate
Beams are drawn automatically, but if you don't like the choices, you
-can enter beams by hand. Surround the notes to be grouped with @code{[}
-and @code{]}:
+can enter beams by hand. Mark the first note to be beamed with
+@code{[} and the last one with @code{]}:
@quotation
@lilypond[fragment,relative 1, verbatim]
-[a8 ais] [d es r d]
+a8-[ ais-] d-[ es r d-]
@end lilypond
@end quotation
@separate
< \context Staff = staffA {
\time 3/4
\clef violin
- \relative c'' { e2 ( d4 c2 b4 [a8 a] [b b] [g g] )a2. }
+ \relative c'' { e2-( d4 c2 b4 a8-[ a-] b-[ b-] g-[ g-] a2.-) }
}
\context Staff = staffB {
\clef bass
@separate
Crescendi and decrescendi are started with the commands @code{\<} and
-@code{\>}. The command @code{\!} finishes a crescendo on the following
-note.
+@code{\>}. The command @code{\!} finishes a crescendo on the note it
+is attached to.
@quotation
@lilypond[verbatim,relative 1]
-c2\< \!c2-\ff \>c2 \!c2
+c2-\< c2-\!-\ff c2-\> c2-\!
@end lilypond
@end quotation
@separate
-Chords can be made by surrounding notes with @code{<} and @code{>}:
+Chords can be made by surrounding notes with @code{<<} and @code{>>}:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 <c e g> <c f a>
+r4 <<c e g>>4 <<c f a>>8
@end lilypond
@end quotation
@separate
must be placed outside the chord markers:
@quotation
@lilypond[relative 0, fragment,verbatim]
-r4 [<c8 e g> <c8 f a>] ~ <c8 f a>
+r4 <<c e g>>8-[ <<c f a>>-]-~ <<c f a>>
@end lilypond
@end quotation
@quotation
@example
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end example
@lilypond[relative 0, fragment]
\slurUp
-r4 <c8 e g \> ( > <c e g> <c e g> < ) \! c8 f a>
-@end lilypond
-@end quotation
-@separate
-
-@c this example is a bit too strongly worded -- there's nothing wrong
-@c with starting a piece with a chord; you just have to be careful when
-@c you do so. I've rephrased this example below.
-@c There is one golden rule that you should keep in mind when writing
-@c LilyPond input:
-@c @quotation
-@c @strong{DO NOT START A PIECE WITH A CHORD}
-@c @end quotation
-@c Of course, it is a allowed, but the result might not be what you expect:
-
-@c rephrased "don't start with a chord"
-There is one caution when using chords: if you use a chord at the very
-beginning of the piece, LilyPond might not understand what you want:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes <c'2 e'2> }
-@end lilypond
-@end quotation
-@separate
-
-If you have a piece that begins with a chord, you must explicitly
-state that the notes of the chord are to be put on the same staff, in
-the same voice. This is done by specifying @code{\context Staff} or
-@code{\context Voice} for the notes:
-
-@quotation
-@lilypond[verbatim,singleline]
-\score { \notes \context Voice <c'2 e'2> }
+r4 <<c e g>>8-\>-( <<c e g>> <<c e g>> <<c f a>>8-\!-\)
@end lilypond
@end quotation
@separate
\score { \notes { \addlyrics
\notes \relative c' {
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 }
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 }
\context Lyrics \lyrics {
Join us now __ and
share the soft -- ware; }
@example
\notes \relative c' @{
\time 7/4
- d'2 c4 b16 ( a g a b a b ) c a2
- b2 c4 b8 ( a16 g ) a4 g2 @}
+ d'2 c4 b16-( a g a b a b c-) a2
+ b2 c4 b8-( a16 g a4-) g2 @}
@end example
Both can be combined with the @code{\addlyrics}:
@separate
@example
-\context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
+\context Voice = reallyLow @{\stemDown g2-~ | g4 c8 @} >
@end example
@cindex tie
@cindex @code{~}
projects / lilypond.git / commitdiff