From: Graham Percival Date: Thu, 7 Feb 2008 13:29:51 +0000 (-0800) Subject: Update from Trevor. X-Git-Tag: release/2.11.39-1~1^2 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=f56b3b294c97de484d143a933360ee23ad42e11d;p=lilypond.git Update from Trevor. --- diff --git a/Documentation/user/fundamental.itely b/Documentation/user/fundamental.itely index c06e0f3751..d25e7ffe4e 100644 --- a/Documentation/user/fundamental.itely +++ b/Documentation/user/fundamental.itely @@ -131,9 +131,13 @@ MIDI output respectively. They are described fully in the Notation Reference -- @ruser{Score layout} and @ruser{Creating MIDI files}. -The @code{\book} command allows -several @code{\score} blocks to be combined into one output. -If there are several @code{\book} blocks each one produces a +You may code multiple @code{\score} blocks. Each will be +treated as a separate score, but they will be all combined into +a single output file. A @code{\book} command is not necessary +-- one will be implicitly created. However, if you would like +separate output files from one @code{.ly} file then the +@code{\book} command should be used to separate the different +sections: each @code{\book} block will produce a separate output file. For details see @ruser{Multiple scores in a book}. @@ -1778,24 +1782,26 @@ melody = \relative c' @{ @} @end example -We don't need two @code{\version} commands. We'll need the @code{melody} -section. We don't want two @code{\score} sections -- if we had two -@code{\score}s, we'd get the two parts separately. We want them together, -as a duet. Within the @code{\score} section, we don't need two -@code{\layout} or @code{\midi}. - -If we simply cut and paste the @code{melody} section, we would end up with -two @code{melody} sections. So let's rename them. We'll call the section -for the soprano @code{sopranoMusic} and the section for the cello -@code{celloMusic}. While we're doing this, let's rename @code{text} -to be @code{sopranoLyrics}. Remember to rename both instances of all -these names -- both the initial definition (the +We don't need two @code{\version} commands. We'll need the +@code{melody} section. We don't want two @code{\score} sections +-- if we had two @code{\score}s, we'd get the two parts separately. +We want them together, as a duet. Within the @code{\score} +section, we don't need two @code{\layout} or @code{\midi}. + +If we simply cut and paste the @code{melody} section, we would +end up with two @code{melody} definitions. This would not generate +an error, but the second one would be used for both melodies. +So let's rename them to make them distinct. We'll call the +section for the soprano @code{sopranoMusic} and the section for +the cello @code{celloMusic}. While we're doing this, let's rename +@code{text} to be @code{sopranoLyrics}. Remember to rename both +instances of all these names -- both the initial definition (the @code{melody = \relative c' @{ } part) and the name's use (in the @code{\score} section). -While we're doing this, let's change the cello part's staff -- celli -normally use bass clef. We'll also give the cello some different -notes. +While we're doing this, let's change the cello part's staff -- +celli normally use bass clef. We'll also give the cello some +different notes. @example \version "2.11.38" @@ -2347,3 +2353,4 @@ PedalOrganMusic = \relative c { + diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 4fc476ae51..765bd4aff1 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -65,6 +65,9 @@ in LilyPond format to produce a file which can be printed and (optionally) a MIDI file which can be played. The first example shows what a simple input text file looks like. +To create sheet music, we write a text file that specifies the +notation. For example, if we write: + @example @{ c' e' g' e' @@ -81,8 +84,8 @@ the result looks like this: } @end lilypond -@warning{Every piece of LilyPond input needs to have -@strong{@{ curly braces @}} placed around the input. The braces +@warning{Notes and lyrics in LilyPond input must always be +surrounded by @strong{@{ curly braces @}}. The braces should also be surrounded by a space unless they are at the beginning or end of a line to avoid ambiguities. The braces may be omitted in some examples in this manual, but don't forget them @@ -628,7 +631,7 @@ 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 (@notation{flat}, @notation{natural} or +layout. The alteration (@notation{flat}, @notation{natural sign} 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 @@ -1036,9 +1039,9 @@ the input, not relative to the @code{c''} in the initial @subheading Simultaneous music expressions: single staff To determine the number of staves in a piece, LilyPond looks at -the first expression. If it is a single note, there is one staff; -if there is a simultaneous expression, there is more than one -staff. +the beginning of the first expression. If is a single note, there +is one staff; if there is a simultaneous expression, there is more +than one staff. @lilypond[verbatim,quote,ragged-right] \relative c'' { @@ -1157,10 +1160,12 @@ Notation Reference: @ruser{Piano music}, Music Glossary: @rglos{chord}. -@notation{Chords} can be made by surrounding pitches with single -angle brackets. Note that all the notes in a chord must have the -same duration, and that duration is placed after the closing -bracket. +We saw earlier how notes can be combined into @notation{chords} by +indicating they are simultaneous by enclosing them in double angle +brackets. However, the normal way of indicating a chord is to +surround the pitches with @emph{single} angle brackets. Note that +all the notes in a chord must have the same duration, and that the +duration is placed after the closing bracket. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] r4 4 2 @@ -1168,8 +1173,8 @@ r4 4 2 Think of chords as almost equivalent to single notes: almost everything you can attach to a single note can be attached -to a chord, and everything must go @emph{outside} the angle -brackets. For example, you can combine markings like beams and +to a chord, and everything must go @emph{outside} the angle +brackets. For example, you can combine markings like beams and ties with chords. They must be placed outside the angle brackets. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] @@ -1717,3 +1722,4 @@ you have more experience. +