From: Graham Percival Date: Wed, 21 Nov 2007 22:53:33 +0000 (-0800) Subject: Tutorial formatting fixes from Ralph, thanks! X-Git-Tag: release/2.11.36-1~98 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=c37931ff1b57efdd0764dfc6ca15b91ed8e1c446;p=lilypond.git Tutorial formatting fixes from Ralph, thanks! --- diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 446ae6e672..3c35e81f2c 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -11,21 +11,20 @@ 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 +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 @@ -44,7 +43,7 @@ Tutorial guidelines: (different from policy.txt!) correct Dutch naming, but let's not confuse people with this until we get to the Basic notation chapter. -- Add "Music glossary: @rglos{foo}" to the _top_ of the relevant +- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant portions of the tutorial. @end ignore @@ -222,7 +221,7 @@ values are useful. @subheading Pitches -Music glossary: @rglos{pitch}, @rglos{interval}, +Music Glossary: @rglos{pitch}, @rglos{interval}, @rglos{scale}, @rglos{middle C}, @rglos{octave}, @rglos{accidental}. @@ -245,7 +244,7 @@ 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: +have larger intervals, still using only @code{\relative} mode: @lilypond[verbatim,quote,ragged-right] \relative c' { @@ -290,7 +289,7 @@ above the B, and an A, G or F will be assumed to be below. @end lilypond Exactly the same happens even when any of these notes are -sharpened or flatted. @notation{Accidentals} are @strong{totally +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. @@ -317,7 +316,7 @@ this. @subheading Durations (rhythms) -Music glossary: @rglos{beam}, @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 @@ -325,6 +324,10 @@ the note name. @code{1} for a @notation{whole note}, @code{2} for a @notation{half note}, @code{4} for a @notation{quarter note} and so on. @notation{Beams} are added automatically. +If you do not specify a duration, the previous duration is used +for the next note. The duration of the first note defaults to a +quarter. + @lilypond[verbatim,quote,ragged-right] \relative c'' { a1 @@ -333,13 +336,9 @@ so on. @notation{Beams} are added automatically. } @end lilypond -@noindent -If you do not specify a duration, the previous duration is used -for the next note. The duration of the first note defaults to a -quarter. - -To create @notation{dotted notes}, add a dot @code{.} to the duration -number. +To create @notation{dotted notes}, add a dot @code{.} to the +duration number. The duration of a dotted note must be stated +explicitly (i.e., with a number). @lilypond[verbatim,quote,ragged-right] \relative c'' { @@ -351,7 +350,7 @@ number. @subheading Rests -Music glossary: @rglos{rest}. +Music Glossary: @rglos{rest}. A @notation{rest} is entered just like a note with the name @code{r}: @@ -365,7 +364,7 @@ A @notation{rest} is entered just like a note with the name @code{r}: @subheading Time signature -Music glossary: @rglos{time signature}. +Music Glossary: @rglos{time signature}. The @notation{time signature} can be set with the @code{\time} command: @@ -384,7 +383,7 @@ command: @subheading Clef -Music glossary: @rglos{clef}. +Music Glossary: @rglos{clef}. The @notation{clef} can be set using the @code{\clef} command: @@ -468,8 +467,8 @@ thumb is to indent code blocks with either a tab or two spaces: @end example @item -@strong{Expressions:} -Every piece of LilyPond input needs to have @strong{@{ curly +@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 parentheses @code{()} in mathematics. The braces should be surrounded by a @@ -484,7 +483,7 @@ single music expression. @cindex block comment @item @strong{Comments}: -A comment is a remark for the human reader of the music input; it +a comment is a remark for the human reader of the music input; it is ignored while parsing, so it has no effect on the printed output. There are two types of comments. The percent symbol @code{%} introduces a line comment; anything after @code{%} on @@ -508,9 +507,6 @@ fragment shows possible uses for comments: @end itemize -There are more tips for constructing input files in -@ref{Suggestions for writing LilyPond files}. - @node How to read the tutorial @subsection How to read the tutorial @@ -559,6 +555,13 @@ you have a starting template for experiments. To see exactly the same output (line-width and all), copy everything from @qq{Start cut-&-pastable section} to the bottom of the file. +@seealso + + +There are more tips for constructing input files in +@ref{Suggestions for writing LilyPond files}. + + @node Single staff notation @section Single staff notation @@ -581,13 +584,13 @@ on one staff. @subheading Accidentals -Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, +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 derived from note +@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}. @@ -599,7 +602,7 @@ 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}. @@ -615,7 +618,7 @@ a @subheading Warning: key signatures and pitches -Music glossary: @rglos{accidental}, @rglos{key signature}, +Music Glossary: @rglos{accidental}, @rglos{key signature}, @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}, @rglos{transposition}. @@ -665,10 +668,10 @@ accidentals can be printed according to different rules, see @seealso -Notation Reference: @ruser{Accidentals}, +Notation Reference: @ruser{Note names in other languages}, @ruser{Accidentals}, @ruser{Automatic accidentals}, @ruser{Key signature}. -Music glossary: @rglos{Pitch names}. +Music Glossary: @rglos{Pitch names}. @node Ties and slurs @@ -677,7 +680,7 @@ Music glossary: @rglos{Pitch names}. @cindex ties @subheading Ties -Music glossary: @rglos{tie}. +Music Glossary: @rglos{tie}. A @notation{tie} is created by appending a tilde @code{~} to the first note being tied. @@ -690,7 +693,7 @@ c4 ~ c8 a8 ~ a2 @cindex slurs @subheading Slurs -Music glossary: @rglos{slur}. +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{)} @@ -704,7 +707,7 @@ d4( c16) cis( d e c cis d) e( d4) @cindex phrasing slurs @subheading Phrasing slurs -Music glossary: @rglos{phrasing}, @rglos{legato}. +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 @@ -720,7 +723,7 @@ a8(\( ais b c) cis2 b'2 a4 cis,\) @cindex slurs versus ties @subheading Warnings: slurs vs. ties -Music glossary: @rglos{articulation}, @rglos{slur}, @rglos{tie}. +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 @@ -746,7 +749,7 @@ Notation Reference: @ruser{Ties}, @ruser{Slurs}, @cindex staccato @subheading Articulations -Music glossary: @rglos{articulation}. +Music Glossary: @rglos{articulation}. Common @notation{articulations} can be added to a note using a dash @code{-} and a single character: @@ -758,7 +761,8 @@ c-. c-- c-> c-^ c-+ c-_ @cindex fingering @subheading Fingerings -Music glossary: @rglos{fingering}. +Music Glossary: @rglos{fingering}. + Similarly, @notation{fingering} indications can be added to a note using a dash (@code{-}) and the digit to be printed: @@ -768,7 +772,7 @@ c-3 e-5 b-2 a-1 @end lilypond Articulations and fingerings are usually placed automatically, but -you can specify a direction using @code{^} (up) or @code{_} +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. @@ -779,7 +783,7 @@ c_-^1 d^. f^4_2-> e^-_+ @subheading Dynamics -Music glossary: @rglos{dynamics}, @rglos{crescendo}, +Music Glossary: @rglos{dynamics}, @rglos{crescendo}, @rglos{decrescendo}. @notation{Dynamic} signs are made by adding the markings (with a @@ -807,8 +811,6 @@ c2\< c2\ff\> c2 c2\! Notation Reference: @ruser{Articulations}, @ruser{Fingering instructions}, @ruser{Dynamics}. -Music glossary: @rglos{Dynamics}. - @node Adding text @subsection Adding text @@ -837,7 +839,7 @@ Notation Reference: @ruser{Writing text}. @node Automatic and manual beams @subsection Automatic and manual beams -Music glossary: @rglos{beam}. +Music Glossary: @rglos{beam}. @cindex beams, by hand All @notation{beams} are drawn automatically: @@ -868,7 +870,7 @@ Notation Reference: @ruser{Automatic beams}, @ruser{Manual beams}. @cindex partial measure @subheading Partial measure -Music glossary: @rglos{anacrusis}. +Music Glossary: @rglos{anacrusis}. A pickup (or @notation{anacrusis}) is entered with the keyword @code{\partial}. It is followed by a duration: @code{\partial 4} @@ -883,7 +885,7 @@ f8 c2 d @cindex triplets @subheading Tuplets -Music glossary: @rglos{note value}, @rglos{triplet}. +Music Glossary: @rglos{note value}, @rglos{triplet}. @notation{Tuplets} are made with the @code{\times} keyword. It takes two arguments: a fraction and a piece of music. The @@ -903,7 +905,7 @@ Triplets make notes occupy 2/3 of their notated duration, so a @cindex appoggiatura @subheading Grace notes -Music glossary: @rglos{grace notes}, @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 @@ -969,7 +971,7 @@ one). The result is another music expression: @subheading Simultaneous music expressions: multiple staves -Music glossary: @rglos{polyphony}. +Music Glossary: @rglos{polyphony}. This technique is useful for @notation{polyphonic} music. To enter music with more voices or more staves, we combine @@ -1020,8 +1022,8 @@ staff. This mechanism is similar to mathematical formulas: a big formula is created by composing small formulas. Such formulas are called -expressions, and their definition is recursive so you can make -arbitrarily complex and large expressions. For example, +expressions, and they can contain other music expressions, so you +can make arbitrarily complex and large expressions. For example, @example 1 @@ -1080,7 +1082,7 @@ creates a bigger music expression. In this way it resembles the minus sign in mathematics. The formula @math{(4+5)} is an expression, so @math{-(4+5)} is a bigger expression. -Time signatures entered in one staff affects all other +Time signatures entered in one staff affect all other staves@footnote{This behavior may be changed if desired; for details, see @ruser{Polymetric notation}.}. On the other hand, the key signature of one staff does @emph{not} affect other @@ -1089,8 +1091,8 @@ staves. @lilypond[verbatim,quote,ragged-right] \relative c'' { << - \new Staff { \clef treble \time 3/4 c } - \new Staff { \clef bass \key d \major c,, } + \new Staff { \clef treble \key d \major \time 3/4 c } + \new Staff { \clef bass c,, } >> } @end lilypond @@ -1104,7 +1106,7 @@ staves. @cindex staff switch, manual @cindex cross staff voice, manual -Music glossary: @rglos{brace}. +Music Glossary: @rglos{brace}. Piano music is typeset in two staves connected by a @notation{brace}. @@ -1140,7 +1142,7 @@ Notation Reference: @ruser{Piano music}. @cindex chords -Music glossary: @rglos{chord}. +Music Glossary: @rglos{chord}. @notation{Chords} can be made by surrounding pitches with single angle brackets. Angle brackets are the symbols @code{<} and @@ -1237,7 +1239,7 @@ This section introduces vocal music and simple song sheets. @cindex lyrics @cindex songs -Music glossary: @rglos{lyrics}. +Music Glossary: @rglos{lyrics}. Here is the start of the melody to a nursery rhyme, @qq{Girls and boys come out to play}: @@ -1274,7 +1276,7 @@ show that the music and lyrics are to occur at the same time. @node Aligning lyrics to a melody @subsection Aligning lyrics to a melody -Music glossary: @rglos{melisma}, @rglos{extender line}. +Music Glossary: @rglos{melisma}, @rglos{extender line}. @cindex melisma @cindex extender line