From: Graham Percival Date: Tue, 6 Nov 2007 13:03:34 +0000 (-0800) Subject: Trevor Daniel's update to tutorial. X-Git-Tag: release/2.11.35-1~41^2~29 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=2d66ab616d2014ece06c5564ab0188610e49bfeb;p=lilypond.git Trevor Daniel's update to tutorial. --- diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 9ab341c38b..2ec99f7652 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -198,6 +198,16 @@ at all. Furthermore, in absolute mode, a single mistake may be difficult to spot; in relative mode, a single error puts the rest of the piece off by one octave. +LilyPond examines pitches based on the note names -- in other +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] +c2 fis +c2 ges +@end lilypond + @seealso Snippets: @lsrdir{pitch} diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index fcdc6c3d21..5c9d0273cd 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -7,6 +7,29 @@ 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. 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 @@ -203,20 +226,22 @@ Music glossary: @rglos{pitch}, @rglos{interval}, @rglos{fourth}, @rglos{scale}, @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 current note is assumed to be within a @notation{fourth}. We -begin by entering the most elementary piece of music, a -@notation{scale}. +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. @lilypond[verbatim,quote,ragged-right] -\relative c' { +\relative c' { % set the starting point to middle C c d e f g a b c } @end lilypond The initial note is @notation{middle C}. Each successive note is -within a fourth of the previous note -- in other words, the first +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: @@ -229,13 +254,36 @@ have larger intervals: @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 @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. +Relative mode can be confusing initially, but is the easiest way +to enter most melodies. Let us see how this relative calculation +works in practice. Starting from a B, which is on the middle line +in a treble clef, you can reach a C, D and E within 3 staff spaces +going up, and an A, G and F within 3 staff spaces going down. So +if the note following a B is a C, D or F it will be assumed to be +above the B, and an A, G or F will be assumed to be below. + +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +b c % c is 1 staff space up, so is the c above +b d % d is 2 up or 5 down, so is the d above +b e % e is 3 up or 4 down, so is the e above +b a % a is 4 up or 3 down, so is the a below +b g % g is 5 up or 2 down, so is the g below +b f % f is 6 up or 1 down, so is the f below +@end lilypond + +Exactly the same happens even when any of these notes are +sharpened or flatted (@rglos{accidentals} and the @rglos{key +signature}) are @strong{totally ignored} in the calculation of +relative position. Exactly the same staff space counting is done +from a note at any other position on the staff. + +To add intervals that are larger than four staff spaces, 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] \relative c'' { @@ -504,7 +552,6 @@ This section introduces common notation that is used for one voice on one staff. @menu -* Relative note names:: * Accidentals and key signatures:: * Ties and slurs:: * Articulation and dynamics:: @@ -514,42 +561,6 @@ on one staff. @end menu -@node Relative note names -@subsection Relative note names - -Music glossary: @rglos{octave}, @rglos{fourth}, @rglos{fifth}. - -LilyPond calculates the pitch of each note relative to the -previous one@footnote{There is another mode of entering pitches, -@ruser{Absolute octave entry}. However, in practice relative mode is -much easier and safer to use.}, as we saw in @ref{Simple -notation}. 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} 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. -An F-sharp is written as @code{fis} and a G-flat is written as -@code{ges} as we will see in @ref{Accidentals and key signatures}. - -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] -c2 fis -c2 ges -@end lilypond - -@seealso -@quotation -@table @asis -@item Relative octaves -see @ruser{Relative octave entry}. -@item Octave check -see @ruser{Octave check}. -@end table -@end quotation - - @node Accidentals and key signatures @subsection Accidentals and key signatures