From: Graham Percival Date: Sat, 20 Oct 2007 06:39:24 +0000 (-0700) Subject: Updates from Kurt Kroon, thanks! X-Git-Tag: release/2.11.35-1~46^2~32 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=8bdb0125d35cf00037357399d9764e545071c74a;p=lilypond.git Updates from Kurt Kroon, thanks! --- diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 8e2ae095d3..02a33d6bc9 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -213,7 +213,7 @@ Languages in this order. * diatonic scale:: * diminished interval:: * diminuendo:: -* direct:: +* direct:: * disjunct movement:: * dissonance:: * dissonant interval:: @@ -233,6 +233,7 @@ Languages in this order. * duplet:: * duration:: * dydimic comma:: +* dynamics:: * E:: * ecclesiastical mode:: * eighth note:: @@ -329,8 +330,8 @@ Languages in this order. * perfect interval:: * phrase:: * phrasing:: +* pickup:: * piano:: -* pickup:: * pitch:: * pizzicato:: * polyphony:: @@ -350,7 +351,7 @@ Languages in this order. * ritenuto:: * scale:: * scale degree:: -* scordatura:: +* scordatura:: * score:: * second:: * semitone:: @@ -380,7 +381,7 @@ Languages in this order. * subdominant:: * submediant:: * subtonic:: -* sul G:: +* sul G:: * superdominant:: * supertonic:: * symphony:: @@ -2460,6 +2461,26 @@ FI: kesto, aika-arvo. @ref{syntonic comma}. +@node dynamics +@section dynamics + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The aspect of music relating to degrees of loudness, or changes from one +degree to another. The terms, abbreviations, and symbols used to indicate +this information are called dynamic marks. + +@seealso + +@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}. + @node E @section E @@ -2854,8 +2875,8 @@ DK: forte, S: forte, FI: forte, voimakkaasti. -Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud, -@emph{mezzoforte} (@b{mf}) medium loud. +Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud, +@emph{mezzo forte} (@samp{@b{mf}}) medium loud. @node fourth @section fourth @@ -3214,11 +3235,10 @@ S: intervall, FI: intervalli, kahden sävelen korkeusero. Difference in pitch between two notes. Intervals may be perfect, minor, -major, -diminished, or augmented. The augmented fourth and the diminished fifth are -identical (@ref{enharmonic}) and are called @emph{tritonus} -because they consist of three @ref{whole tone}s. The addition -of such two intervals forms an octave. +major, diminished, or augmented. The augmented fourth and the diminished fifth +are identical (@ref{enharmonic}) and are called @emph{tritonus} because they +consist of three @ref{whole tone}s. The addition of such two intervals forms an +octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -4332,7 +4352,7 @@ S: piano, FI, piano, hiljaa. @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, -@emph{mezzopiano} (@b{mp}) medium soft. +@emph{mezzo piano} (@b{mp}) medium soft. @node pitch @section pitch diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index f0d8a2c300..19d4a42ccc 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -12,19 +12,18 @@ Tutorial guidelines: (different from policy.txt!) - 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 @@ -71,7 +70,7 @@ notation. For example, if we write @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] @@ -123,6 +122,7 @@ For future use of LilyPond, you should begin by selecting @q{New} 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 @@ -198,7 +198,7 @@ values are useful. @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 @@ -216,8 +216,8 @@ begin by entering the most elementary piece of music, a 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' { @@ -227,12 +227,12 @@ 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 -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] @@ -252,13 +252,13 @@ this. @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'' { @@ -302,7 +302,7 @@ A @notation{rest} is entered just like a note with the name @samp{r}: 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] @@ -357,7 +357,7 @@ User manual: @ruser{Writing pitches}, @ruser{Writing rhythms}, @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 @@ -375,8 +375,8 @@ explain what all these terms mean: @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. @@ -403,7 +403,7 @@ thumb is to indent code blocks with either a tab or two spaces: @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. @@ -476,7 +476,7 @@ Many people learn programs by trying and fiddling around with the 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] @@ -510,16 +510,18 @@ on one staff. @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] @@ -538,19 +540,21 @@ see @ruser{Octave check}. @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 @@ -559,8 +563,10 @@ 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 @@ -573,23 +579,25 @@ a @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 @@ -622,7 +630,9 @@ how accidentals can be printed according to different rules. @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 @@ -632,7 +642,10 @@ see @ruser{Key signature}. @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] @@ -643,7 +656,9 @@ c4 ~ c8 a8 ~ a2 @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. @@ -655,10 +670,12 @@ d4( c16) cis( d e c cis d) e( d4) @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(\( ais b c) cis2 b'2 a4 cis,\) @@ -669,11 +686,12 @@ 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) @@ -700,8 +718,10 @@ see @ruser{Phrasing slurs}. @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-_ @@ -709,8 +729,11 @@ 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 @@ -727,6 +750,10 @@ c_-^1 d^. f^4_2-> e^-_+ @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 @@ -740,7 +767,7 @@ c\ff c\mf c\p c\pp 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\! @@ -754,10 +781,11 @@ see @ruser{Articulations}. @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 @@ -1042,7 +1070,7 @@ inserted inside a @code{PianoStaff}: >> @end example -Here is a small example +Here is a small example: @lilypond[verbatim,quote,ragged-right] \relative c'' { @@ -1511,7 +1539,7 @@ confusing. We can reduce this confusion by using 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{} @}