From b2b9d5cad1d7a5c09ec5ec40b74182a0a7867a87 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 21 Sep 2007 16:22:42 -0700 Subject: [PATCH] Trivial changes. --- Documentation/user/tutorial.itely | 96 +++++++++++++++---------------- 1 file changed, 48 insertions(+), 48 deletions(-) diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 0171abcb5f..47d6d38b07 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -10,9 +10,9 @@ @ignore Tutorial guidelines: - unless you have a really good reason, use either - @l ilypond[quote,ragged-right,verbatim] + @l ilypond[verbatim,quote,ragged-right] or - @l ilypond[quote,ragged-right,verbatim,fragment,relative=2] + @l ilypond[verbatim,quote,ragged-right,fragment,relative=2] (without spaces) Don't use any other relative=X commands (make it a non-fragment example), and don't use fragment without relative=2. @@ -219,7 +219,7 @@ LilyPond will add some notation elements automatically. In the next example, we have only specified four pitches, but LilyPond has added a clef, time signature, and rhythms. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] { c' e' g' e' } @@ -237,7 +237,7 @@ this mode, the @rglos{interval} between the previous note and the current note is assumed to be within a @rglos{fourth}. We begin by entering the most elementary piece of music, a @rglos{scale}. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c' { c d e f g a b c @@ -249,7 +249,7 @@ is within a fourth of the previous note -- in other words, the first @samp{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: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c' { d f a g c b f d @@ -264,7 +264,7 @@ 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 the note name. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { a a, c' f, g g'' a,, f' @@ -285,7 +285,7 @@ name. @samp{1} for a @rglos{whole note}, @samp{2} for a @rglos{half note}, @samp{4} for a @rglos{quarter note} and so on. Beams are added automatically. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { a1 a2 a4 a8 a @@ -299,7 +299,7 @@ for the next note. The duration of the first note defaults to a quarter. To create @rglos{dotted note}s, add a dot @samp{.} to the duration number. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { a a a4. a8 a8. a16 a a8. a8 a4. @@ -311,7 +311,7 @@ To create @rglos{dotted note}s, add a dot @samp{.} to the duration number. A @rglos{rest} is entered just like a note with the name @samp{r}: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { a r r2 r8 a r4 r4. r8 @@ -323,7 +323,7 @@ A @rglos{rest} is entered just like a note with the name @samp{r}: The @rglos{time signature}) can be set with the @code{\time} command: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { \time 3/4 a4 a a @@ -339,7 +339,7 @@ The @rglos{time signature}) can be set with the @code{\time} command: The @rglos{clef} can be set using the @code{\clef} command: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c' { \clef treble c1 @@ -357,7 +357,7 @@ The @rglos{clef} can be set using the @code{\clef} command: Here is a small example showing all these elements together: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c, { \time 3/4 \clef bass @@ -521,7 +521,7 @@ 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 higher than the C, while a G-flat will be placed lower than the C. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c2 fis c2 ges @end lilypond @@ -551,7 +551,7 @@ 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}.} -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] cis1 ees fisis, aeses @end lilypond @@ -561,7 +561,7 @@ cis1 ees fisis, aeses The key signature is set with the command @code{\key} followed by a pitch and @code{\major} or @code{\minor}. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] \key d \major a1 \key c \minor @@ -589,7 +589,7 @@ not be added automatically, and you must enter what you want to hear. In this example -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] \key d \major d cis fis @end lilypond @@ -603,7 +603,7 @@ first line of the staff.} Rather, it means: @qq{there is a note with pitch E-natural.} In the key of A-flat major, it @emph{does} get an accidental: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] \key aes \major e @end lilypond @@ -633,7 +633,7 @@ see @ruser{Key signature}. A @rglos{tie} is created by appending a tilde @samp{~} to the first note being tied -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] g4~ g c2~ c4 ~ c8 a8 ~ a2 @end lilypond @@ -644,7 +644,7 @@ c4 ~ c8 a8 ~ a2 A @rglos{slur} is a curve drawn across many notes. The starting note and ending note are marked with @samp{(} and @samp{)} respectively. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] d4( c16) cis( d e c cis d) e( d4) @end lilypond @@ -657,7 +657,7 @@ Slurs to indicate longer phrasing can be entered with @code{\(} and same time, but you cannot have simultaneous slurs or simultaneous phrasing slurs. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] a8(\( ais b c) cis2 b'2 a4 cis,\) @end lilypond @@ -672,7 +672,7 @@ 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. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c2~( c8 fis fis4 ~ fis2 g2) @end lilypond @@ -700,7 +700,7 @@ see @ruser{Phrasing slurs}. Common @rglos{articulation}s can be added to a note using a dash @samp{-} and a single character: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c-. c-- c-> c-^ c-+ c-_ @end lilypond @@ -709,7 +709,7 @@ c-. c-- c-> c-^ c-+ c-_ Similarly, fingering indications can be added to a note using a dash (@samp{-}) and the digit to be printed: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c-3 e-5 b-2 a-1 @end lilypond @@ -718,7 +718,7 @@ can specify a direction using @samp{^} (up) or @samp{_} (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. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c_-^1 d^. f^4_2-> e^-_+ @end lilypond @@ -726,7 +726,7 @@ c_-^1 d^. f^4_2-> e^-_+ Dynamic signs are made by adding the markings (with a backslash) to the note -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c\ff c\mf c\p c\pp @end lilypond @@ -738,7 +738,7 @@ 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 -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c2\< c2\ff\> c2 c2\! @end lilypond @@ -761,7 +761,7 @@ see @ruser{Dynamics}. @cindex beams, by hand All @rglos{beam}s are drawn automatically: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] a8 ais d ees r d c16 b a8 @end lilypond @@ -770,7 +770,7 @@ If you do not like the automatic beams, they may be overridden manually. Mark the first note to be beamed with @samp{[} and the last one with @samp{]}. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] a8[ ais] d[ ees r d] a b @end lilypond @@ -797,7 +797,7 @@ A pickup (or @rglos{anacrusis}) is entered with the keyword @code{\partial}. It is followed by a duration: @code{\partial 4} is a quarter note pickup and @code{\partial 8} an eighth note. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] \partial 8 f8 c2 d @end lilypond @@ -811,7 +811,7 @@ arguments: a fraction and a piece of music. The duration of the piece of music is multiplied by the fraction. Triplets make notes occupy 2/3 of their notated duration, so a triplet has 2/3 as its fraction -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] \times 2/3 { f8 g a } \times 2/3 { c r c } \times 2/3 { f,8 g16[ a g a] } @@ -827,7 +827,7 @@ Grace notes are created with the @code{\grace} command, although they can also be created by prefixing a music expression with the keyword @code{\appoggiatura} or @code{\acciaccatura} -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] c2 \grace { a32[ b] } c2 c2 \appoggiatura b16 c2 c2 \acciaccatura b16 c2 @@ -873,13 +873,13 @@ In LilyPond input files, music is represented by @emph{music expressions}. A single note is a music expression, although it is not valid input all on its own. -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] a4 @end lilypond Enclosing a group of notes in braces creates a new music expression: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] { a4 g4 } @end lilypond @@ -887,7 +887,7 @@ Putting a group of music expressions (e.g. notes) in braces means that they are in sequence (i.e. each one follows the previous one). The result is another music expression: -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] { { a4 g } f g } @end lilypond @@ -901,7 +901,7 @@ simply enter a simultaneous combination of music expressions. A @code{<<} and @code{>>}. In the following example, three sequences (all containing two separate notes) are combined simultaneously: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { << { a4 g } @@ -927,7 +927,7 @@ 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. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { c2 <> << { e f } { c <> } >> @@ -974,7 +974,7 @@ staff is marked by adding @code{\new Staff} before it. These @code{Staff} elements are then combined in parallel with @code{<<} and @code{>>}: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { << \new Staff { \clef treble c } @@ -1004,7 +1004,7 @@ staves@footnote{This behavior may be changed if desired; see the key signature of one staff does @emph{not} affect other staves. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { << \new Staff { \clef treble \time 3/4 c } @@ -1034,7 +1034,7 @@ but now this entire expression is inserted inside a @code{PianoStaff}: Here is a small example -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { \new PianoStaff << \new Staff { \time 2/4 c4 e g g, } @@ -1087,7 +1087,7 @@ Entering such parts is done by entering each voice as a sequence (with @code{@{...@}}) and combining these simultaneously, separating the voices with @code{\\} -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] << { a4 g2 f4~ f4 } \\ { r4 g4 f2 f4 } @@ -1099,7 +1099,7 @@ these are rests that do not print. They are useful for filling up voices that temporarily do not play. Here is the same example with a spacer rest (@samp{s}) instead of a normal rest (@samp{r}), -@lilypond[quote,ragged-right,verbatim,fragment,relative=2] +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] << { a4 g2 f4~ f4 } \\ { s4 g4 f2 f4 } @@ -1147,7 +1147,7 @@ This section introduces vocal music and simple song sheets. @cindex Songs Consider a simple melody: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \relative c'' { a4 e c8 e r4 b2 c4( d) @@ -1158,7 +1158,7 @@ The lyrics can be set to these notes, combining both with the @code{\addlyrics} keyword. Lyrics are entered by separating each syllable with a space. -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] << \relative c'' { a4 e c8 e r4 @@ -1174,7 +1174,7 @@ This melody ends on a @rglos{melisma}, a single syllable (@q{free}) sung to more than one note. This is indicated with an @emph{extender line}. It is entered as two underscores @code{__}: -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] << \relative c'' { a4 e c8 e r4 @@ -1215,7 +1215,7 @@ discussed in @ruser{Vocal music}. In popular music it is common to denote accompaniment with chord names. Such chords can be entered like notes, -@lilypond[quote,ragged-right,verbatim] +@lilypond[verbatim,quote,ragged-right] \chordmode { c2 f4. g8 } @end lilypond @@ -1224,7 +1224,7 @@ This mode is switched on with @code{\chordmode}. Other chords can be created by adding modifiers after a colon. The following example shows a few common modifiers: -@lilypond[quote,verbatim,ragged-right] +@lilypond[verbatim,quote,ragged-right] \chordmode { c2 f4:m g4:maj7 gis1:dim7 } @end lilypond @@ -1234,7 +1234,7 @@ of @code{\chordmode}. This uses the same syntax as @code{\chordmode}, but renders the notes in a @code{ChordNames} context, with the following result: -@lilypond[quote,verbatim,ragged-right] +@lilypond[verbatim,quote,ragged-right] \chords { c2 f4.:m g4.:maj7 gis8:dim7 } @end lilypond @@ -1242,7 +1242,7 @@ following result: When put together, chord names, lyrics and a melody form a lead sheet, -@lilypond[quote,verbatim,ragged-right] +@lilypond[verbatim,quote,ragged-right] << \chords { c2 g:sus4 f e } \relative c'' { -- 2.39.5