in @var{musicexpr} is calculated as follows:
@itemize
-@item
-The pitch of the first note is relative to @code{@var{startpitch}}.
-
@item
If no octave changing mark is used on a pitch, its octave is calculated
so that the interval with the previous note is less than a fifth. This
the pitch calculated without octave mark.
@item
-Multiple octave changing marks can be used. @code{''}@tie{}and
+Multiple octave changing marks can be used. For example, @code{''}@tie{}and
@code{,,}@tie{} will alter the pitch by two octaves.
+@item
+The pitch of the first note is relative to @code{@var{startpitch}}.
+
@end itemize
Here is the relative mode shown in action:
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
-To use relative within transposed music, an additional
+To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
@c DEPRECATED
@end example
@noindent
-Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of@tie{}@code{a} like for example @code{aes} and
-@code{aeses} are usually contracted to @code{as} and @code{ases}
+Note that in Danish, German, Norwegian, and Swedish, the usual
+spelling for accidentals is a double q{s} such as in @code{ciss}
+or @{cess}. For both historical reasons and a greater simplicity,
+LilyPond uses a single @q{s} for all these languages.
+
+@noindent
+Similarly, in Germanic and Nordic languages, alterations
+of@tie{}@code{a}, like for example @code{aes} and
+@code{aeses}, are usually contracted to @code{as} and @code{ases}
(or more commonly @code{asas}). Sometimes only these contracted
names are defined in the corresponding language files (this also
applies to the suffixes for quartertones below).
@q{normal} sharp or flat. The note names for quartertones defined
in the various language files are listed in the following table.
Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
-@q{one and a half}, respectively. For the other languages no
+@q{one and a half}, respectively. For the other languages, no
special names have been defined yet.
yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
check had no influence on the output of the piece.
-The second @code{\octave} check fails: @code{a'}@tie{}is not
+The second @code{\octave} check, however, fails: @code{a'}@tie{}is not
within the range of@tie{}@code{b}. A warning is issued, and the
last note is calculated relative to@tie{}@code{a}, not
to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
@cindex transpose
@cindex transposition of pitches
-@cindex transposing instruments
@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
}
@end lilypond
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. The previous examples show how to enter
+@cindex transposing instruments
+
+@code{\transpose} may also be used in a different way,
+to input written notes for a transposing instrument.
+The previous examples show how to enter
pitches in C (or @notation{concert pitch}) and typeset them for a
transposing instrument, but the opposite is also possible if you
for example have a set of instrumental parts and want to print a
\transpose c bes, \musicInBflat
@end example
+@noindent
To print this music in F (e.g., rearranging to a French horn) you
-would wrap the existing music with another @code{\transpose}:
+could wrap the existing music with another @code{\transpose}:
@example
musicInBflat = @{ e4 @dots{} @}
\transpose f c' @{ \transpose c bes, \musicInBflat @}
@end example
+@noindent
+For more information about transposing instruments,
+see @ref{Instrument transpositions}.
+
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]