are three steps to this process: input, modifying, and output.
@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
mode. In most cases, relative mode will be more convient.
@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@cindex relative octave specification
@funindex \relative
-The absolute mode requires a lot of octave specifications, which
-not only becomes tedious but also easily leads to errors.
-Therefore, it is usually more convenient to let notes be entered
-relative to the previous note. This is done with the relative
-mode.
+When octaves are specified in absolute mode it is easy to
+accidentally put a pitch in the wrong octave. Relative octave
+mode reduces these errors since most of the time it is not
+necessary to indicate any octaves at all. Furthermore, in
+absolute mode a single mistake may be difficult to spot, while in
+relative mode a single error puts the rest of the piece off by one
+octave.
@example
\relative @var{startpitch} @var{musicexpr}
}
@end lilypond
-When octaves are specified in absolute mode it is easy to
-accidentally put a pitch in the wrong octave. Relative octave
-mode reduces these errors since most of the time it is not
-necessary to indicate any octaves at all. Furthermore, in
-absolute mode a single mistake may be difficult to spot, while in
-relative mode a single error puts the rest of the piece off by one
-octave.
-
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
E-double-sharp sharp following a B will be placed higher, while an
Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
-Notation Reference: @ref{Octave check}.
+Notation Reference: @ref{Octave corrections and checks}.
Snippets: @lsrdir{Pitches}.
accidentals, see @ref{Note names in other languages}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 ais a aes
-a2 aisis a aeses
+ais1 aes aisis aeses
@end lilypond
A natural will cancel the effect of an accidental or key
adding an exclamation mark@tie{}@code{!} after the pitch. A
cautionary accidental (i.e., an accidental within parentheses) can
be obtained by adding the question mark@tie{}@code{?} after the
-pitch. These extra accidentals can be used to produce natural
-signs, too.
+pitch. These extra accidentals can also be used to produce
+natural signs.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-cis cis cis! cis? c c? c! c
+cis cis cis! cis? c c c! c?
@end lilypond
Accidentals are only printed on tied notes which begin a new
This section discusses how to modify pitches.
@menu
-* Octave check::
-* Transpose::
+* Octave corrections and checks::
+* Transpose::
@end menu
-@node Octave check
-@unnumberedsubsubsec Octave check
+@node Octave corrections and checks
+@unnumberedsubsubsec Octave corrections and checks
+@cindex octave correction
@cindex octave check
+@funindex =
+@funindex \octave
In relative mode, it is easy to forget an octave changing mark.
-Octave checks make such errors easier to correct by displaying a
-warning if a note is found in an unexpected octave. There are two
-types of octave checks: the first changes the pitch, while the
-second does not change the pitch. Both checks print warnings and
-change the octave for future notes.
+Octave corrections and checks make such errors easier to find
+by displaying a warning if a note is found in an unexpected
+octave. An octave correction will change the pitch, while an
+octave check does not change the pitch. Both commands will print
+a warning and change the octave for future notes.
-Consider the simple example:
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\relative c'' {
- c2 d
- e2 f
-}
-@end lilypond
-
-To check the octave of the @code{d} (changing the pitch
-automatically if necessary), add @code{=}@var{quotes} after the
+To use an octave correction, add @code{=}@var{quotes} after the
pitch. The @var{quotes} indicate what its absolute octave should
-be. This example will generate a warning, because the second note
-is the absolute octave @code{d''} instead of @code{d'} indicated
-by the octave check.
+be. This example will generate a warning (and change the pitch)
+because the second note is the absolute octave @code{d''} instead
+of @code{d'} as indicated by the octave correction.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
}
@end lilypond
-To check the octave of the@tie{}@code{d} (without changing the
-pitch), add @code{\octave}@tie{}@var{controlpitch} to the note.
-This checks that the note lies within the octave surrounding
-@var{controlpitch}, i.e. not more than a fourth above or below it.
-If this is not the case, a warning is printed and the octave is
-corrected. The @var{controlpitch} is not printed as a note.
+To use an octave check, add @code{\octave}@tie{}@var{controlpitch}
+to the note. This checks that the note lies within the octave
+surrounding @var{controlpitch}, i.e. not more than a fourth above
+or below it. If this is not the case, a warning is printed and
+the octave is corrected. The @var{controlpitch} is not printed as
+a note.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
other note is transposed by the same interval.
Consider a piece written in the key of D-major. It can be
-transposed up to E-major:
+transposed up to E-major; note that the key signature is
+automatically transposed as well.
@lilypond[verbatim,quote,ragged-right]
\transpose d e {
This section discusses how to alter the output of pitches.
@menu
-* Clef::
-* Key signature::
-* Ottava brackets::
-* Instrument transpositions::
-* Automatic accidentals::
-* Ambitus::
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+* Automatic accidentals::
+* Ambitus::
@end menu
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\clef treble
-c1
+c2 c
\clef alto
-c
+c2 c
\clef tenor
-c
+c2 c
\clef bass
-c
+c2 c
@end lilypond
-Supported clefs include
+Supported clefs include:
@multitable @columnfractions .4 .6
@headitem Clef @tab Position
The key signature indicates the tonality in which a piece is
played. It is denoted by a set of alterations (flats or sharps)
-at the start of the staff.
-
-Setting or changing the key signature is done with the @code{\key}
-command:
+at the start of the staff. Setting or changing the key signature
+is done with the @code{\key} command:
@example
\key @var{pitch} @var{mode}
@end lilypond
@end ignore
+@c FIXME: add this
@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@c {}
\new GrandStaff <<
\new Staff = "Vln" {
\relative c'' {
- \transposition c'
\set Staff.instrumentName = "Vln"
\set Staff.midiInstrument="violin"
+ % strictly speaking not necessary, but a good reminder
+ \transposition c'
+
\key c \major
- c4 d e f
+ g4( c8) r c r c4
}
}
\new Staff = "clarinet" {
\relative c'' {
- \transposition bes
\set Staff.instrumentName = \markup {Cl (B\flat)}
\set Staff.midiInstrument="clarinet"
+ \transposition bes
+
\key d \major
- d e fis g
+ a4( d8) r d r d4
}
}
>>
@seealso
-Music Glossary: @rglos{concert pitch}, @rglos{transposing
-instrument}.
+Music Glossary: @rglos{concert pitch},
+@rglos{transposing instrument}.
Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
@subsection Note heads
@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
@end menu
@node Special note heads
projects / lilypond.git / blobdiff