From: Mats Bengtsson Date: Wed, 14 Aug 2002 09:07:06 +0000 (+0000) Subject: Small documentation updates. Note the comments! X-Git-Tag: release/1.5.73~5 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=c490f3618562cf432755dedaf251969649697af6;p=lilypond.git Small documentation updates. Note the comments! --- diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index fe805695e8..5cf541e666 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -47,7 +47,7 @@ affects you as a user. When we started with developing LilyPond, we were interested in music notation, not as publishers or musicians, but as students and -scientists. We wanted tried to figure to what extent formatting sheet +scientists. We wanted to figure to what extent formatting sheet music could be automated. This was when we were still studying at the university. Back then GUIs were not as ubiquitous as they are today, and we were immersed in the UNIX operating system, where it is very @@ -61,7 +61,7 @@ compiler. One other decision was also motivated by our academic background. In the scientific community it has always been a tradition to share knowledge, and, to a lesser extent, the software you wrote. One of the -most visible groups that stimulated this philosopy, was the Free +most visible groups that stimulated this philosophy, was the Free Software Foundation, whose GNU project aimed to replace closed and proprietary computing solutions with free (as in ``Libre'') variants. We jumped on that bandwagon, and that is the reason that you @@ -89,10 +89,10 @@ corrections was cumbersome, so engraving had to be correct in one go. As you can imagine this was a highly specialized skill, much more so than the traditional process of printing books. -@cindex craftmanship +@cindex craftsmanship @cindex master -In fact, in the traditional German craftmanship six years of full-time +In fact, in the traditional German craftsmanship six years of full-time training were required, before a student could call himself a master of the art. After that many more years of practical experience were needed to become an established music engraver. Even today, in the @@ -152,6 +152,8 @@ example of a motive, printed four times. It is printed using both exact, mathematical spacing, and with some corrections. Can you spot which is which? +@c I can only see the motive printed two times!!! /Mats + @cindex optical spacing @lilypond \score { \notes { @@ -209,7 +211,7 @@ opens a can of worms. What really @emph{is} music? Many philosophical treatises must have been written on the subject. Even if you are more practically inclined, you will notice that an enormous number of different ways to represent music in a computer exist, and they are -much more incompatible than the formats for wordprocessors and +much more incompatible than the formats for word processors and spreadsheets. Anyone who has tried to exchange data files from between different notation programs can attest to this. @@ -258,7 +260,7 @@ file. As you will notice in the coming pages, and the examples, in a lot of -case, the program makes good decisions, and what comes out of lilypond +cases, the program makes good decisions, and what comes out of lilypond generally looks good. For some specific examples, the default layout of lilypond even is suitable for publication. However, some aspects of the formatting are not yet very good. This gives us programmers @@ -285,7 +287,7 @@ used to determine formatting of the sheet music are available directly to the user. These are variables to control thicknesses, distances, and other formatting options: there are a huge number of them, and it would be impossible to describe them all in a hand-written -manual. There is no need to despair, there is `automatic' manual, that +manual. There is no need to despair, there is an `automatic' manual, that lists all of the variables, symbol types, etc. that are available. It is directly generated from the definitions that LilyPond itself uses, so it is always up to date. If you are reading this from a screen: it @@ -314,13 +316,13 @@ and shows popular input idioms. The rest of the manual is structured as follows: it starts with a tutorial that explains how to use lilypond. In the tutorial, a number of fragments of increasing complexity are shown and explained. Then comes the reference manual, -which gives more detailed information on all features of If you're new +which gives more detailed information on all features. If you're new to lilypond, then you should start reading the tutorial, and experiment for yourself. If you already have some experience, then you can simply use the manual as reference: there is an extensive -index@footnote{If you are looking something, and you can't find it by +index@footnote{If you are looking for something, and you can't find it by using the index, that is considered a bug. In that case, please file -a bugreport} +a bug report}. @cindex bugreport @cindex index diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 56174518a8..81c624b72b 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -25,9 +25,9 @@ @end menu Operating lilypond is done through text files: to print a piece of -music, you enter the music in a file. When you run lilypond on that -file, the program produces another file which contains sheet music that -you can print or view. +music, you enter the music in a file. When you run lilypond (normally +using the program @code{ly2dvi}) on that file, the program produces +another file which contains sheet music that you can print or view. This tutorial starts with a small introduction to the LilyPond music language. After this first contact, we will show you how to run @@ -161,7 +161,7 @@ The clef can be set using the ``@code{\clef}'' command: @c what is more common name treble or violin? @c in Dutch, its violin. -@c in English its definately treble. +@c in English its definitely treble. @quotation @example \clef treble @@ -607,7 +607,7 @@ quotes or commas do not determine the absolute height of a note; the height of a note is relative to the previous one. @c don't use commas or quotes in this sentence For example: @code{c f,} goes down; @code{f, f} are both the same; -@code{c c'} are the same; and @code{c g'} goes up: +@code{c' c} are the same; and @code{c g'} goes up: @quotation @example @@ -668,6 +668,9 @@ Here's an example of the difference between relative mode and The following table summarizes the syntax learned so far in this section. +@c Is it possible to avoid page breaks directly after the +@c table head? /Mats + @multitable @columnfractions .3 .3 .4 @item @b{Syntax} @@ -772,7 +775,7 @@ and @code{]}: To print more than one staff, each piece of music that makes up a staff is marked by adding @code{\context Staff} before it. These -@code{Staff}'s can be grouped inside @code{<} and @code{>}, as is +@code{Staff}'s are then grouped inside @code{<} and @code{>}, as is demonstrated here: @quotation @@ -790,7 +793,7 @@ as each staff has a unique name. @separate -We can typeset a melody with two staves now: +We can now typeset a melody with two staves: @quotation @lilypond[verbatim,singleline] @@ -1077,8 +1080,8 @@ the hyphen has no special meaning for lyrics, and does not introduce special symbols. Spaces can be introduced into a lyric either by using quotes: -@code{"He could"4 not4} or by using an underscore without quotes: -@code{He_could4 not4}. All unquoted underscores are converted to +@code{"He could" not} or by using an underscore without quotes: +@code{He_could not}. All unquoted underscores are converted to spaces. These are the lyrics for the free software song: @@ -1096,17 +1099,16 @@ of the next lyric, so you may want to shorten it by using a blank lyric (using @code{_}). -If you can use have hyphens at the end of a syllable, i.e. +You can use ordinary hyphens at the end of a syllable, i.e. @example soft- ware @end example -but then the hyphen will be attached to the to the end of the first -syllable. +but then the hyphen will be attached to the end of the first syllable. If you want them centered between syllables you can use the special `@code{-}@code{-}' lyric as a separate word between syllables. The hyphen will have variable length depending on the space between -syllables. It will be centered between the syllables. +the syllables and it will be centered between the syllables. Normally the notes that you enter are transformed into note heads. Note heads alone make no sense, so they need surrounding information: a @@ -1247,8 +1249,8 @@ Smaller size (suitable for inclusion in a book). @end example The structure of the file will be the same as the previous one: a @code{\score} block with music in it. To keep things readable, we will -give names to the different parts of music, and use the names to -construct the music within the score block. +give different names to the different parts of music, and use the names +to construct the music within the score block. @separate @example @@ -1259,10 +1261,6 @@ construct the music within the score block. @cindex anacrusis The piece starts with an anacrusis (or ``pickup'') of one eighth. @separate -@example - \key c \minor -@end example -The key is C minor: we have three flats. @separate @example @@ -1294,6 +1292,7 @@ This ends the definition of @code{melody}. @cindex lyrics @cindex identifier assignment @cindex syllables, entering +This defines the lyrics, similar to what we have seen before. @separate @example @@ -1324,10 +1323,10 @@ There is no accompaniment during the anacrusis. @cindex tonic @cindex chord modifier @cindex modifier, chord -This is a c minor chord, lasting for a half note. Chord are entered using +This is a c minor chord, lasting for a half note. Chords are entered using the tonic. Notes can be changed to create different chords. In this case, a lowered third is used (making a C major chord into a C minor chord). - The code for this is @code{3-}. +The code for this is @code{3-}. @separate @example @@ -2076,7 +2075,7 @@ object in the current @code{Voice}. The variable @code{attachment} is set to the pair of symbols @code{'(stem . stem)}. Although this is useful information, it is not very helpful: the -lilypond backend supports approximately 240 variables like +lilypond back-end supports approximately 240 variables like @code{attachment}, each with their own meaning and own type (eg. number, symbol, list, etc). Besides slur, LilyPond has 80 different types of Grobs, that may be created in 14 different context @@ -2084,7 +2083,7 @@ types besides Voice. @cindex internal documentation @cindex finding grobs -@cindex grob descriptiosn +@cindex grob descriptions The interesting information is how you can figure out which properties to tune for your own scores. To discover this, you must have a copy of @@ -2621,7 +2620,7 @@ beginning of the Scheme expression to be able to access the @example \property Staff.transposing = #3 @end example -The french horn is to be tuned in E-flat, so we tell the MIDI backend to +The french horn is to be tuned in E-flat, so we tell the MIDI back-end to transpose this staff by three steps. Note how we can choose different tuning for entering, printing and @@ -2741,7 +2740,7 @@ true. Sometimes, you might want to use music examples in a text that you are writing. For example, if you are writing a musicological treatise, a songbook, or (like us) the LilyPond manual. You can make such texts by -hand, simply by importing a PostScript figure into your wordprocessor. +hand, simply by importing a PostScript figure into your word processor. However, there is a also an automated procedure: If you use HTML, La@TeX{} or texinfo, you can mix text and LilyPond