Merge master into nested-bookparts

[lilypond.git] / Documentation / user / introduction.itely

@c -*- coding: utf-8; mode: texinfo; -*-
@c This file is part of lilypond-learning.tely
@ignore
    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  See TRANSLATION for details.
@end ignore

@c \version "2.11.61"

@node Introduction
@chapter Introduction

This chapter introduces readers to LilyPond and the
documentation.

@menu
* Background::                  
* About the documentation::     
@end menu


@node Background
@section Background

This section covers the overall goals and architecture of
LilyPond.

@menu
* Engraving::                   
* Automated engraving::         
* What symbols to engrave?::    
* Music representation::        
* Example applications::        
@end menu


@node Engraving
@unnumberedsubsec Engraving

@cindex engraving
@cindex typography, music
@cindex music typography
@cindex plate engraving
@cindex music engraving

The art of music typography is called @emph{(plate) engraving}.
The term derives from the traditional process of music printing.
Just a few decades ago, sheet music was made by cutting and
stamping the music into a zinc or pewter plate in mirror image.
The plate would be inked, the depressions caused by the cutting
and stamping would hold ink.  An image was formed by pressing
paper to the plate.  The stamping and cutting was completely done
by hand.  Making a correction was cumbersome, if possible at all,
so the engraving had to be perfect in one go.  Engraving was a
highly specialized skill; a craftsman had to complete around five
years of training before earning the title of master engraver, and
another five years of experience were necessary to become truly
skilled.

Nowadays, all newly printed music is produced with computers.
This has obvious advantages; prints are cheaper to make, and
editorial work can be delivered by email.  Unfortunately, the
pervasive use of computers has also decreased the graphical
quality of scores.  Computer printouts have a bland, mechanical
look, which makes them unpleasant to play from.


@c introduce illustrating aspects of engraving, font...
The images below illustrate the difference between traditional
engraving and typical computer output, and the third picture shows
how LilyPond mimics the traditional look.  The left picture shows
a scan of a flat symbol from an edition published in 2000.  The
center depicts a symbol from a hand-engraved Bärenreiter edition
of the same music.  The left scan illustrates typical flaws of
computer print: the staff lines are thin, the weight of the flat
symbol matches the light lines and it has a straight layout with
sharp corners.  By contrast, the Bärenreiter flat has a bold,
almost voluptuous rounded look.  Our flat symbol is designed
after, among others, this one.  It is rounded, and its weight
harmonizes with the thickness of our staff lines, which are also
much thicker than lines in the computer edition.

@multitable @columnfractions .125 .25 .25 .25 .125
@item @tab
@ifnotinfo
@iftex
@image{henle-flat-gray,,4cm}
@end iftex
@ifnottex
@image{henle-flat-gray,,,png}
@end ifnottex

@tab
@iftex
@image{baer-flat-gray,,4cm}
@end iftex
@ifnottex
@image{baer-flat-gray,,,png}
@end ifnottex

@tab
@iftex
@image{lily-flat-bw,,4cm}
@end iftex
@ifnottex
@image{lily-flat-bw,,,png}
@end ifnottex
@end ifnotinfo
@ifinfo
@image{lilypond/henle-flat-bw,,,png} @image{lilypond/baer-flat-bw,,,png}
@image{lilypond/lily-flat-bw,,,png}
@end ifinfo

@item @tab
Henle (2000)
@tab
Bärenreiter (1950)
@tab
LilyPond Feta font (2003)

@end multitable


@cindex musical symbols
@cindex font
@cindex blackness
@cindex balance

@c introduce illustrating aspects of engraving, spacing...
In spacing, the distribution of space should reflect the durations
between notes.  However, many modern scores adhere to the
durations with mathematical precision, which leads to poor
results.  In the next example a motive is printed twice: once
using exact mathematical spacing, and once with corrections.  Can
you spot which fragment is which?

@cindex optical spacing
@c file spacing-optical.
@c need to include it here,  because we want two images.
@lilypond
\paper {
  ragged-right = ##t
  indent = #0.0
}

music = {
   c'4 e''4 e'4 b'4 |
   \stemDown
   b'8[ e'' a' e'']
   \stemNeutral
   e'8[ e'8 e'8 e'8]
}

\score
{
  \music
  \layout {
    \context {
      \Staff
      \override NoteSpacing #'stem-spacing-correction = #0.6
    }
  }
}
@end lilypond

@lilypond
\paper {
  ragged-right = ##t
  indent = #0.0
}

music = {
   c'4 e''4 e'4 b'4 |
   \stemDown
   b'8[ e'' a' e'']
   \stemNeutral
   e'8[ e'8 e'8 e'8]
}
\score
{
  \music
  \layout {
    \context {
      \Staff
      \override NoteSpacing #'stem-spacing-correction = #0.0
      \override NoteSpacing #'same-direction-correction = #0.0
      \override StaffSpacing #'stem-spacing-correction = #0.0
    }
  }
}
@end lilypond

@cindex regular rhythms
@cindex regular spacing
@cindex spacing, regular

Each bar in the fragment only uses notes that are played in a
constant rhythm.  The spacing should reflect that.  Unfortunately,
the eye deceives us a little; not only does it notice the distance
between note heads, it also takes into account the distance
between consecutive stems.  As a result, the notes of an
up-stem/@/down-stem combination should be put farther apart, and
the notes of a down-stem/@/up-stem combination should be put
closer together, all depending on the combined vertical positions
of the notes.  The upper two measures are printed with this
correction, the lower two measures without, forming
down-stem/@/up-stem clumps of notes.


Musicians are usually more absorbed with performing than with
studying the looks of a piece of music, so nitpicking about
typographical details may seem academical.  But it is not.  In
larger pieces with monotonous rhythms, spacing corrections lead to
subtle variations in the layout of every line, giving each one a
distinct visual signature.  Without this signature all lines would
look the same, and they become like a labyrinth.  If a musician
looks away once or has a lapse in concentration, the lines might
lose their place on the page.

Similarly, the strong visual look of bold symbols on heavy staff
lines stands out better when the music is far away from the
reader, for example, if it is on a music stand.  A careful
distribution of white space allows music to be set very tightly
without cluttering symbols together.  The result minimizes the
number of page turns, which is a great advantage.

This is a common characteristic of typography.  Layout should be
pretty, not only for its own sake, but especially because it helps
the reader in her task.  For performance material like sheet
music, this is of double importance: musicians have a limited
amount of attention.  The less attention they need for reading,
the more they can focus on playing the music.  In other words,
better typography translates to better performances.

These examples demonstrate that music typography is an art that is
subtle and complex, and that producing it requires considerable
expertise, which musicians usually do not have.  LilyPond is our
effort to bring the graphical excellence of hand-engraved music to
the computer age, and make it available to normal musicians.  We
have tuned our algorithms, font-designs, and program settings to
produce prints that match the quality of the old editions we love
to see and love to play from.


@node Automated engraving
@unnumberedsubsec Automated engraving

@cindex engraving, automated
@cindex automated engraving

How do we go about implementing typography?  If craftsmen need
over ten years to become true masters, how could we simple hackers
ever write a program to take over their jobs?

The answer is: we cannot.  Typography relies on human judgment of
appearance, so people cannot be replaced completely.  However,
much of the dull work can be automated.  If LilyPond solves most
of the common situations correctly, this will be a huge
improvement over existing software.  The remaining cases can be
tuned by hand.  Over the course of years, the software can be
refined to do more and more things automatically, so manual
overrides are less and less necessary.

When we started, we wrote the LilyPond program entirely in the C++
programming language; the program's functionality was set in stone
by the developers.  That proved to be unsatisfactory for a number
of reasons:

@itemize

@item When LilyPond makes mistakes, users need to override
formatting decisions.  Therefore, the user must have access to the
formatting engine.  Hence, rules and settings cannot be fixed by
us at compile-time but must be accessible for users at run-time.

@item Engraving is a matter of visual judgment, and therefore a
matter of taste.  As knowledgeable as we are, users can disagree
with our personal decisions.  Therefore, the definitions of
typographical style must also be accessible to the user.

@item Finally, we continually refine the formatting algorithms, so
we need a flexible approach to rules.  The C++ language forces a
certain method of grouping rules that do not match well with how
music notation works.

@end itemize

@cindex Scheme programming language

These problems have been addressed by integrating an interpreter
for the Scheme programming language and rewriting parts of
LilyPond in Scheme.  The current formatting architecture is built
around the notion of graphical objects, described by Scheme
variables and functions.  This architecture encompasses formatting
rules, typographical style and individual formatting decisions.
The user has direct access to most of these controls.

Scheme variables control layout decisions.  For example, many
graphical objects have a direction variable that encodes the
choice between up and down (or left and right).  Here you see two
chords, with accents and arpeggios.  In the first chord, the
graphical objects have all directions down (or left).  The second
chord has all directions up (right).

@lilypond[quote,ragged-right]
\new Score \with {
   \override SpacingSpanner #'spacing-increment = #3
   \override TimeSignature #'transparent = ##t
} \relative c' {
   \stemDown <e g b>4_>-\arpeggio
   \override Arpeggio #'direction = #RIGHT
   \stemUp <e g b>4^>-\arpeggio
}
@end lilypond

@cindex score formatting
@cindex formatting a score
@cindex formatting rules

@noindent
The process of formatting a score consists of reading and writing
the variables of graphical objects.  Some variables have a preset
value.  For example, the thickness of many lines -- a
characteristic of typographical style -- is a variable with a
preset value.  You are free to alter this value, giving your score
a different typographical impression.

@lilypond[quote,ragged-right]
fragment = {
   \clef bass f8 as8
   c'4-~ c'16 as g f e16 g bes c' des'4
}
<<
   \new Staff \fragment
   \new Staff \with {
      \override Beam #'thickness = #0.3
      \override Stem #'thickness = #0.5
      \override Bar #'thickness = #3.6
      \override Tie #'thickness = #2.2
      \override StaffSymbol #'thickness = #3.0
      \override Tie #'extra-offset = #'(0 .  0.3)
      }
      \fragment
>>
@end lilypond

Formatting rules are also preset variables: each object has
variables containing procedures.  These procedures perform the
actual formatting, and by substituting different ones, we can
change the appearance of objects.  In the following example, the
rule which note head objects are used to produce their symbol is
changed during the music fragment.

@lilypond[quote,ragged-right]
#(set-global-staff-size 30)

#(define (mc-squared grob orig current)
  (let* ((interfaces (ly:grob-interfaces grob))
         (pos (ly:grob-property grob 'staff-position)))
    (if (memq 'note-head-interface interfaces)
        (begin
          (ly:grob-set-property! grob 'stencil ly:text-interface::print)
          (ly:grob-set-property! grob 'font-family 'roman)
          (ly:grob-set-property! grob 'text
            (make-raise-markup -0.5
              (case pos
                ((-5) (make-simple-markup "m"))
                ((-3) (make-simple-markup "c "))
                ((-2) (make-smaller-markup (make-bold-markup "2")))
                (else (make-simple-markup "bla")))))))))

\new Voice \relative c' {
   \stemUp
   \set autoBeaming = ##f
   \time 2/4
   <d f g>4
   \once \override NoteHead #'stencil = #ly:note-head::brew-ez-stencil
   \once \override NoteHead #'font-size = #-7
   \once \override NoteHead #'font-family = #'sans
   \once \override NoteHead #'font-series = #'bold
   <d f g>
   \once \override NoteHead #'style = #'cross
   <d f g>
   \applyOutput #'Voice #mc-squared
   <d f g>
   <<
      { d8[ es-( fis^^ g] fis2-) }
      \repeat unfold 5 { \applyOutput #'Voice #mc-squared s8 }
   >>
}
@end lilypond


@node What symbols to engrave?
@unnumberedsubsec What symbols to engrave?

@cindex engraving
@cindex typography
@cindex engraver
@cindex plug-in

The formatting process decides where to place symbols.  However,
this can only be done once it is decided @emph{what} symbols
should be printed, in other words what notation to use.

Common music notation is a system of recording music that has
evolved over the past 1000 years.  The form that is now in common
use dates from the early renaissance.  Although the basic form
(i.e., note heads on a 5-line staff) has not changed, the details
still evolve to express the innovations of contemporary notation.
Hence, it encompasses some 500 years of music.  Its applications
range from monophonic melodies to monstrous counterpoints for
large orchestras.

How can we get a grip on such a many-headed beast, and force it
into the confines of a computer program?  Our solution is to break
up the problem of notation (as opposed to engraving, i.e.,
typography) into digestible and programmable chunks: every type of
symbol is handled by a separate module, a so-called plug-in.  Each
plug-in is completely modular and independent, so each can be
developed and improved separately.  Such plug-ins are called
@code{engraver}s, by analogy with craftsmen who translate musical
ideas to graphic symbols.

In the following example, we see how we start out with a plug-in
for note heads, the @code{Note_heads_engraver}.

@lilypond[quote,ragged-right]
\include "engraver-example.ily"

\score {
  \topVoice
  \layout {
    \context {
      \Voice
      \remove "Stem_engraver"
      \remove "Phrasing_slur_engraver"
      \remove "Slur_engraver"
      \remove "Script_engraver"
      \remove "Beam_engraver"
      \remove "Auto_beam_engraver"
    }
    \context {
      \Staff
      \remove "Accidental_engraver"
      \remove "Key_engraver"
      \remove "Clef_engraver"
      \remove "Bar_engraver"
      \remove "Time_signature_engraver"
      \remove "Staff_symbol_engraver"
      \consists "Pitch_squash_engraver"
    }
  }
}
@end lilypond

@noindent
Then a @code{Staff_symbol_engraver} adds the staff

@lilypond[quote,ragged-right]
\include "engraver-example.ily"

\score {
  \topVoice
  \layout {
    \context {
      \Voice
      \remove "Stem_engraver"
      \remove "Phrasing_slur_engraver"
      \remove "Slur_engraver"
      \remove "Script_engraver"
      \remove "Beam_engraver"
      \remove "Auto_beam_engraver"
    }
    \context {
      \Staff
      \remove "Accidental_engraver"
      \remove "Key_engraver"
      \remove "Clef_engraver"
      \remove "Bar_engraver"
      \consists "Pitch_squash_engraver"
      \remove "Time_signature_engraver"
    }
  }
}
@end lilypond

@noindent
the @code{Clef_engraver} defines a reference point for the staff

@lilypond[quote,ragged-right]
\include "engraver-example.ily"

\score {
  \topVoice
  \layout {
    \context {
      \Voice
      \remove "Stem_engraver"
      \remove "Phrasing_slur_engraver"
      \remove "Slur_engraver"
      \remove "Script_engraver"
      \remove "Beam_engraver"
      \remove "Auto_beam_engraver"
    }
    \context {
      \Staff
      \remove "Accidental_engraver"
      \remove "Key_engraver"
      \remove "Bar_engraver"
      \remove "Time_signature_engraver"
    }
  }
}
@end lilypond

@noindent
and the @code{Stem_engraver} adds stems.

@lilypond[quote,ragged-right]
\include "engraver-example.ily"

\score {
  \topVoice
  \layout {
    \context {
      \Voice
      \remove "Phrasing_slur_engraver"
      \remove "Slur_engraver"
      \remove "Script_engraver"
      \remove "Beam_engraver"
      \remove "Auto_beam_engraver"
    }
    \context {
      \Staff
      \remove "Accidental_engraver"
      \remove "Key_engraver"
      \remove "Bar_engraver"
      \remove "Time_signature_engraver"
    }
  }
}
@end lilypond

@noindent
The @code{Stem_engraver} is notified of any note head coming
along.  Every time one (or more, for a chord) note head is seen, a
stem object is created and connected to the note head.  By adding
engravers for beams, slurs, accents, accidentals, bar lines, time
signature, and key signature, we get a complete piece of notation.

@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score { \topVoice }
@end lilypond

@cindex polyphony
@cindex engraving multiple voices
@cindex contexts

This system works well for monophonic music, but what about
polyphony?  In polyphonic notation, many voices can share a staff.

@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\new Staff << \topVoice \\ \botVoice >>
@end lilypond

In this situation, the accidentals and staff are shared, but the
stems, slurs, beams, etc., are private to each voice.  Hence,
engravers should be grouped.  The engravers for note heads, stems,
slurs, etc., go into a group called @q{Voice context,} while the
engravers for key, accidental, bar, etc., go into a group called
@q{Staff context.}  In the case of polyphony, a single Staff
context contains more than one Voice context.  Similarly, multiple
Staff contexts can be put into a single Score context.  The Score
context is the top level notation context.

@seealso

Internals Reference: @rinternals{Contexts}.

@lilypond[quote,ragged-right]
\include "engraver-example.ily"
\score {
   <<
      \new Staff << \topVoice \\ \botVoice >>
      \new Staff << \pah \\ \hoom >>
   >>
}
@end lilypond


@node Music representation
@unnumberedsubsec Music representation

@cindex syntax
@cindex recursive structures

Ideally, the input format for any high-level formatting system is
an abstract description of the content.  In this case, that would
be the music itself.  This poses a formidable problem: how can we
define what music really is? Instead of trying to find an answer,
we have reversed the question.  We write a program capable of
producing sheet music, and adjust the format to be as lean as
possible.  When the format can no longer be trimmed down, by
definition we are left with content itself.  Our program serves as
a formal definition of a music document.

The syntax is also the user-interface for LilyPond, hence it is
easy to type:

@example
@{
  c'4 d'8
@}
@end example

@noindent
to create a quarter note C1 (middle C) and an eighth note D1 (D
above middle C).

@lilypond[quote]
{
  c'4 d'8
}
@end lilypond

On a microscopic scale, such syntax is easy to use.  On a larger
scale, syntax also needs structure.  How else can you enter
complex pieces like symphonies and operas?  The structure is
formed by the concept of music expressions: by combining small
fragments of music into larger ones, more complex music can be
expressed.  For example

@lilypond[quote,verbatim,fragment,relative=1]
f4
@end lilypond

@noindent
Simultaneous notes can be constructed by enclosing them with
@code{<<} and @code{>>}:

@example
<<c4 d4 e4>>
@end example

@lilypond[quote,fragment,relative=1]
\new Voice { <<c4 d4 e>> }
@end lilypond

@noindent
This expression is put in sequence by enclosing it in curly braces
@code{@{@tie{}@dots{}@tie{}@}}:

@example
@{ f4 <<c4 d4 e4>> @}
@end example

@lilypond[quote,relative=1,fragment]
{ f4 <<c d e4>> }
@end lilypond

@noindent
The above is also an expression, and so it may be combined again
with another simultaneous expression (a half note) using
@code{<<}, @code{\\}, and @code{>>}:

@example
<< g2 \\ @{ f4 <<c4 d4 e4>> @} >>
@end example

@lilypond[quote,fragment,relative=2]
\new Voice { << g2 \\ { f4 <<c d e>> } >> }
@end lilypond

Such recursive structures can be specified neatly and formally in
a context-free grammar.  The parsing code is also generated from
this grammar.  In other words, the syntax of LilyPond is clearly
and unambiguously defined.

User-interfaces and syntax are what people see and deal with most.
They are partly a matter of taste, and also subject of much
discussion.  Although discussions on taste do have their merit,
they are not very productive.  In the larger picture of LilyPond,
the importance of input syntax is small: inventing neat syntax is
easy, while writing decent formatting code is much harder.  This
is also illustrated by the line-counts for the respective
components: parsing and representation take up less than 10% of
the source code.


@node Example applications
@unnumberedsubsec Example applications

@cindex simple examples
@cindex examples, simple

We have written LilyPond as an experiment of how to condense the
art of music engraving into a computer program.  Thanks to all
that hard work, the program can now be used to perform useful
tasks.  The simplest application is printing notes.

@lilypond[quote,relative=1]
{
  \time 2/4
  c4 c g'4 g a4 a g2
}
@end lilypond

@noindent
By adding chord names and lyrics we obtain a lead sheet.

@lilypond[quote,ragged-right]
<<
   \chords { c2 c f2 c }
   \new Staff \relative c' { \time 2/4 c4 c g'4 g a4 a g2 }
   \new Lyrics \lyricmode { twin4 kle twin kle lit tle star2 }
>>
@end lilypond

Polyphonic notation and piano music can also be printed.  The
following example combines some more exotic constructs.

@lilypond[quote]
\header {
  title = "Screech and boink"
  subtitle = "Random complex notation"
  composer = "Han-Wen Nienhuys"
}

\score {
  \context PianoStaff <<
    \new Staff = "up" {
      \time 4/8
      \key c \minor
      << {
        \revert Stem #'direction
        \change Staff = down
        \set subdivideBeams = ##t            
        g16.[
          \change Staff = up
          c'''32
          \change Staff = down
          g32
          \change Staff = up
          c'''32
          \change Staff = down
          g16]
        \change Staff = up
        \stemUp
        \set followVoice = ##t
        c'''32([ b''16 a''16 gis''16 g''32)]
      } \\ {
        s4 \times 2/3 { d'16[ f' g'] } as'32[ b''32 e'' d'']
      } \\ {
        s4 \autoBeamOff d''8.. f''32
      } \\ {
        s4 es''4
      } >>
    }

    \new Staff = "down" {
      \clef bass
      \key c \minor
      \set subdivideBeams = ##f
      \override Stem  #'french-beaming = ##t
      \override Beam  #'thickness = #0.3
      \override Stem  #'thickness = #4.0
      g'16[ b16 fis16 g16]
      << \makeClusters { 
        as16 <as b>
        <g b>
        <g cis>
      } \\ {
        \override Staff.Arpeggio  #'arpeggio-direction =#down
        <cis, e, gis, b, cis>4\arpeggio
      }
    >> }
  >>
  \midi {
    \context {
      \Score
      tempoWholesPerMinute = #(ly:make-moment 60 8)
    }
  }
  \layout {
    \context {
      \Staff
      \consists Horizontal_bracket_engraver
    }
  }
}
@end lilypond

The fragments shown above have all been written by hand, but that
is not a requirement.  Since the formatting engine is mostly
automatic, it can serve as an output means for other programs that
manipulate music.  For example, it can also be used to convert
databases of musical fragments to images for use on websites and
multimedia presentations.

This manual also shows an application: the input format is text,
and can therefore be easily embedded in other text-based formats
such as @LaTeX{}, HTML, or in the case of this manual, Texinfo.
By means of a special program, the input fragments can be replaced
by music images in the resulting PDF or HTML output files.  This
makes it easy to mix music and text in documents.


@node About the documentation
@section About the documentation

This section explains the different portions of the documentation.

@cindex Learning Manual
@cindex Music Glossary
@cindex Notation Reference
@cindex Application Usage
@cindex Snippet List
@cindex Internals Reference

@c leave these lines wrapping around.  It's some texinfo 4.12 thing. -gp
@c This is actually a limitation of texi2html. -jm
@menu
* About the Learning Manual::  this manual introduces LilyPond, giving in-depth explanations of how to create notation.
* About the Music Glossary::  this manual explains musical terms and gives translations of terms in other languages.
* About the Notation Reference::  this manual is the main portion of the documentation.  It provides detailed information about creating notation.  This book assumes that the reader knows basic material covered in the Learning Manual and is familiar with the English musical terms presented in the Musical Glossary.
* About the Application Usage::  this discusses the actual programs and operating system-specific issues.
* About the Snippet List::  this is a collection of short LilyPond examples.
* About the Internals Reference::  this document gives reference information about LilyPond's internal structures, which is required for constructing tweaks.
* Other documentation::         there are a few other portions of the documentation, such as News items and the mailist archives.
@end menu


@node About the Learning Manual
@unnumberedsubsec About the Learning Manual

@cindex Learning Manual

This book explains how to begin learning LilyPond, as well as
explaining some key concepts in easy terms.  You should read these
chapters in a linear fashion.

There is a paragraph @strong{See also} at the end of each section,
which contains cross-references to other sections: you should not
follow these cross-references at first reading; when you have read all
of the Learning Manual, you may want to read some sections again and
follow cross-references for further reading.

@itemize

@item
@ref{Introduction}: explains the background and overall goal of
LilyPond.

@item
@ref{Tutorial}: gives a gentle introduction to typesetting music.
First time users should start here.

@item
@ref{Fundamental concepts}: explains some general concepts about
the LilyPond file format.  If you are not certain where to place a
command, read this chapter!

@item
@ref{Tweaking output}: shows how to change the default engraving
that LilyPond produces.

@item
@ref{Working on LilyPond projects}: discusses practical uses of
LilyPond and how to avoid some common problems.  Read this before
undertaking large projects!

@end itemize

The Learning Manual also contains appendices which are not part of the
recommended linear reading.  They may be useful for later
viewing:

@itemize

@item
@ref{Templates}: shows ready-made templates of LilyPond pieces.
Just cut and paste a template into a file, add notes, and you're
done!

@item
@ref{Scheme tutorial}: presents a short introduction to Scheme,
the programming language that music functions use.  This is
material for advanced tweaks; many users never touch Scheme at
all.

@end itemize


@node About the Music Glossary
@unnumberedsubsec About the Music Glossary

@cindex Music Glossary
@cindex idiom
@cindex jargon
@cindex terminology
@cindex foreign languages
@cindex language

@rglosnamed{Top,Music glossary}
this explains musical terms, and includes translations to various
languages.  If you are not familiar with music notation or music
terminology (especially if you are a non-native English speaker),
it is highly advisable to consult the glossary.


@node About the Notation Reference
@unnumberedsubsec About the Notation Reference

@cindex Notation Reference
@cindex appendices
@cindex reference charts
@cindex charts, reference

This book explains all the LilyPond commands which produce
notation.  It assumes that readers are familiar with the concepts
in the Learning Manual.

@itemize

@item
@ruser{Musical notation}:
discusses topics grouped by notation construct.  This section
gives details about basic notation that will be useful in almost
any notation project.

@item
@ruser{Specialist notation}:
discusses topics grouped by notation construct.  This section
gives details about special notation that will only be useful for
particular instrument (or vocal) groups.

@item
@ruser{General input and output}:
discusses general information about LilyPond input files and
controlling output.

@item
@ruser{Spacing issues}:
discusses issues which affect the global output, such as selecting
paper size or specifying page breaks.

@item
@ruser{Changing defaults}:
explains how to tweak LilyPond to produce exactly the notation you
want.

@item
@ruser{Interfaces for programmers}:
explains how to create music functions with scheme.

@end itemize

The Notation Reference also contains appendices with useful
reference charts.

@itemize

@item
@ruser{Literature list}:
contains a set of useful reference books for those who wish to
know more on notation and engraving.

@item
@ruser{Notation manual tables}:
are a set of tables showing the chord names, MIDI instruments, a
list of color names, and the Feta font.

@item
@ruser{Cheat sheet}:
is a handy reference of the most common LilyPond commands.

@item
@ruser{LilyPond command index}:
an index of all LilyPond @code{\commands}.

@item
@ruser{LilyPond index}:
a complete index.

@end itemize


@node About the Application Usage
@unnumberedsubsec About the Application Usage

@cindex Application Usage
@cindex integrating LilyPond with other programs

This book explains how to execute the programs and how to integrate
LilyPond notation with other programs.

@itemize

@item
@rprogram{Install}:
explains how to install LilyPond, including compilation if
desired.

@item
@rprogram{Setup}:
describes how to configure your computer for optimum LilyPond
usage, such as using special environments for certain text
editors.

@item
@rprogram{Running LilyPond}:
shows how to run LilyPond and its helper programs.  In addition,
this section explains how to upgrade input files from previous
versions of LilyPond.

@item
@rprogram{LilyPond-book}:
explains the details behind creating documents with in-line music
examples, like this manual.

@item
@rprogram{Converting from other formats}:
explains how to run the conversion programs.  These programs are
supplied with the LilyPond package, and convert a variety of music
formats to the @code{.ly} format.

@end itemize


@node About the Snippet List
@unnumberedsubsec About the Snippet List

@cindex snippets
@cindex LSR
@cindex Snippet List
@cindex LilyPond Snippet Repository

@rlsrnamed{Top,LilyPond Snippet List}: this shows a
selected set of LilyPond snippets from the
@uref{http://lsr@/.dsi@/.unimi@/.it,LilyPond Snippet Repository}
(LSR).  All the snippets are in the public domain.

Please note that this document is not an exact subset of LSR.  LSR
is running a stable LilyPond version, so any snippet which
demonstrates new features of a development version must be added
separately.  These are stored in @file{input/new/} in the LilyPond
source tree.

The list of snippets for each subsection of the Notation Reference are
also linked from the @strong{See also} portion.


@node About the Internals Reference
@unnumberedsubsec About the Internals Reference

@cindex Internals Reference

@rinternalsnamed{Top,Internals Reference}: this is a set
of heavily cross linked HTML pages which document the nitty-gritty
details of each and every LilyPond class, object, and function.
It is produced directly from the formatting definitions in the
source code.

Almost all formatting functionality that is used internally is
available directly to the user.  For example, most variables that
control thickness values, distances, etc., can be changed in input
files.  There are a huge number of formatting options, and all of
them are described in this document.  Each section of the Notation
Reference has a @b{See also} subsection, which refers to the
generated documentation.  In the HTML document, these subsections
have clickable links.


@node Other documentation
@unnumberedsubsec Other documentation

There are a number of other sources of information which may be
very valuable.

@itemize

@item
@ifhtml
@ifset bigpage
@uref{../topdocs/NEWS.html,News}:
@end ifset
@ifclear bigpage
@uref{../../topdocs/NEWS.html,News}:
@end ifclear
@end ifhtml
@ifnothtml
News:
@end ifnothtml
this is a summary of important changes
and new features in LilyPond since the previous version.

@item @uref{http://lists.gnu.org/archive/html/lilypond-user/, The
lilypond-user mailist archives}: this is a collection of previous
emails sent to the user list.  Many questions have been asked
multiple times; there is a very good chance that if you have a
question, the answer might be found in these archives.

@item @uref{http://lists.gnu.org/archive/html/lilypond-devel/, The
lilypond-devel mailist archives}: this is a collection of previous
emails sent to the developer's list.  The discussion here is more
technical; if you have an advanced question about lilypond
internals, the answer might be in these archives.

@item Embedded music fragments: in all HTML documents that have
music fragments embedded, the exact LilyPond input that was used
to produce that image can be viewed by clicking the image.

@item Init files: the location of the documentation files that are
mentioned here can vary from system to system.  On occasion, this
manual refers to initialization and example files.  Throughout this
manual, we refer to input files relative to the top-directory of the
source archive.  For example, @file{input/@/lsr/@/dirname/@/bla@/.ly}
may refer to the file
@file{lilypond@/2.x.y/@/input/@/lsr/@/dirname/@/bla@/.ly}.  On binary
packages for the UNIX platform, the documentation and examples can
typically be found somewhere below
@file{/usr/@/share/@/doc/@/lilypond/}.  Initialization files, for
example @file{scm/@/lily@/.scm}, or @file{ly/@/engraver@/-init@/.ly},
are usually found in the directory @file{/usr/@/share/@/lilypond/}.
For more details, see @ref{Other sources of information}.

@end itemize