From 6b0f48dc116d1defcc416cfea6f678358ee3bef4 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 19 Jan 2007 17:52:04 -0800 Subject: [PATCH] Third phase of tutorial rewrite. --- Documentation/user/basic-notation.itely | 10 +- Documentation/user/tutorial.itely | 127 +++++++++++++----------- 2 files changed, 73 insertions(+), 64 deletions(-) diff --git a/Documentation/user/basic-notation.itely b/Documentation/user/basic-notation.itely index b4e36e8655..6303b54b87 100644 --- a/Documentation/user/basic-notation.itely +++ b/Documentation/user/basic-notation.itely @@ -39,7 +39,7 @@ This section discusses how to specify the pitch of notes. * Accidentals:: * Cautionary accidentals:: * Micro tones:: -* Notes names in other languages:: +* Note names in other languages:: * Relative octaves:: * Octave check:: * Transpose:: @@ -128,7 +128,7 @@ The input @code{d e f} is interpreted as @q{print a D-natural, E-natural, and an F-natural,} regardless of the key signature. For more information about the distinction between musical content and the presentation of that content, see -@ref{More about pitches}. +@ref{Accidentals and key signatures}. @lilypond[fragment,quote,ragged-right,verbatim,relative] \key d \major @@ -212,8 +212,8 @@ three-quarter flats, so LilyPond's symbol does not conform to any standard. -@node Notes names in other languages -@subsection Notes names in other languages +@node Note names in other languages +@subsection Note names in other languages There are predefined sets of note names for various other languages. To use them, include the language specific init file. For @@ -1394,7 +1394,7 @@ can be specified by setting this property directly. Accidentals and key signatures often confuse new users, because unaltered notes get natural signs depending on the key signature. For -more information, see @ref{Accidentals} or @ref{More about pitches}. +more information, see @ref{Accidentals} or @ref{Accidentals and key signatures}. @lilypond[quote,ragged-right,verbatim,relative=2,fragment] \key g \major diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index ff819391c1..18a5622445 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -7,6 +7,13 @@ version that you are working on. See TRANSLATION for details. @end ignore +@c Tutorial guidelines: +@c - unless you have a really good reason, use +@c @lilypond[quote,ragged-right,verbatim] +@c (i.e. no fragment or relative in the header.) + + +@c old info that will probably be removed. @c TODO: @c * more details about running lilypond; error messages, @c compiling/viewing (emacs?) @@ -36,7 +43,7 @@ c-\markup { \bold \huge { Click here. } } @end lilypond @end ifhtml -By cutting and pasting everything from the @qq{Start cut-&-pastable section}, +By cutting and pasting everything from the @qq{Start cut-&-pastable-section}, to the end of the file, you have a starting template for experiments. If you like learning in this way, you will probably want to print out or bookmark @@ -50,7 +57,7 @@ commands for quick reference. * First steps (compiling a file):: * Simple notation:: * Working on text files:: -* More about pitches:: +* Accidentals and key signatures:: * Entering ties:: * Automatic and manual beams:: * Octave entry:: @@ -352,16 +359,16 @@ Here is a small example showing all these elements together: For more information on @q uotation -@t able @asis +@t able @a sis @i tem Entering pitches and durations see -@r ef{Pitches}, and @ref{Durations}. +@r ef{Pitches}, and @r ef{Durations}. @i tem Clefs -see @ref{Clef}. +see @r ef{Clef}. @i tem Rests -see @ref{Rests}. +see @r ef{Rests}. @i tem Time signatures and other timing commands -see @ref{Time signature}. +see @r ef{Time signature}. @e nd table @e nd quotation @end ignore @@ -419,57 +426,56 @@ but don't forget them in your own music! @end itemize -@c zzz @c End of current re-write; more material coming in a few days. -gp -@node More about pitches -@section More about pitches +@node Accidentals and key signatures +@section Accidentals and key signatures + +@unnumberedsubsec Accidentals A @rglos{sharp} pitch is made by adding @samp{is} to -the name, a @rglos{flat} pitch by adding @samp{es}. As +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 @samp{isis} or @samp{eses}@footnote{This syntax derived from note naming conventions in Nordic and Germanic languages, -like German and Dutch.} +like German and Dutch. To use other names for accidentals, see +@ref{Note names in other languages}.} -@example -cis1 ees fisis aeses -@end example - -@lilypond[fragment,quote,notime] -\set Score.timing = ##f -\transpose c c' { cis1 ees fisis aeses s16_" " } +@lilypond[quote,ragged-right,verbatim] +\relative c'' { + cis1 ees fisis, aeses +} @end lilypond @cindex key signature, setting -The key signature is set with the command @code{\key}, followed by -a pitch and @code{\major} or @code{\minor} +@unnumberedsubsec Key signatures -@example -\key d \major -g1 -\key c \minor -g -@end example +The key signature is set with the command @code{\key} followed by +a pitch and @code{\major} or @code{\minor}. -@lilypond[fragment,quote,notime,fragment] -\key d \major -g'1 -\key c \minor -g' +@lilypond[quote,ragged-right,verbatim] +\relative c'' { + \key d \major + a1 + \key c \minor + a +} @end lilypond -@noindent -Key signatures together with the pitches (including alterations) are -used to determine when to print accidentals. This is a +@sp 1 + +@unnumberedsubsec Warning: key signatures and pitches + +To determine whether to print an accidental, LilyPond examines the +pitches and the key signature. The key signature only effects +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. - 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 -flat, natural or sharp @emph{sign}) is printed in front of the +@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 @@ -477,27 +483,26 @@ not be added automatically, and you must enter what you want to hear. In this example -@lilypond[quote,notime,fragment] -\key d \major -d' cis' fis' +@lilypond[quote,ragged-right,verbatim] +\relative c' { + \key d \major + d cis fis +} @end lilypond @noindent -no note has an explicit accidental, but you still must enter - -@example -\key d \major -d cis fis -@end example +no note has a printed accidental, but you must still add the @code{-is} to +@code{cis} and @code{fis}. -@noindent The code @samp{d} does not mean @qq{print a black dot just below the staff.} Rather, it means: @qq{a note with pitch D-natural.} In the key -of A-flat major, it does get an accidental +of A-flat major, it @emph{does} get an accidental -@lilypond[quote,notime,fragment,relative=1,verbatim] -\key as \major -d +@lilypond[quote,ragged-right,verbatim] +\relative c' { + \key as \major + d +} @end lilypond Adding all alterations explicitly might require a little more effort @@ -506,18 +511,22 @@ accidentals can be printed according to different conventions. See @ref{Automatic accidentals}, for some examples how accidentals can be printed according to different rules. +@c zzz +@ignore For more information on -@quotation -@table @asis -@item Accidentals -see @ref{Automatic accidentals}. +@q uotation +@t able @a sis +@i tem Accidentals +see @r ef{Automatic accidentals}. + +@i tem Key signature +see @r ef{Key signature}. +@e nd table +@e nd quotation +@end ignore -@item Key signature -see @ref{Key signature}. -@end table -@end quotation @node Entering ties @section Entering ties -- 2.39.2