elsewhere:
@itemize
-@item Note names can be tailored as discussed in
-@ref{Note names in other languages}.
-
-@item Additional key signatures can be obtained by the
-inclusion of @code{"arabic.ly"} as discussed in
-@ref{Note names in other languages}. Key signatures
-can also be tailored as described in @ref{Key signature}.
+@item Note names and accidentals (including quarter tones) can be
+tailored as discussed in @ref{Note names in other languages}.
-@item Medium intervals, that are neither minor or major,
-but are approximately a three quarter of a tone, can be
-indicated by the note names of quarter tones as described
-in @ref{Note names in other languages}.
+@item Additional key signatures can also be tailored as described
+in @ref{Key signature}.
-@item Complex time signatures may require that notes
-are grouped manually using @code{[ ]} to
-surround grouped notes, as described in @ref{Manual beams}.
+@item Complex time signatures may require that notes be grouped
+manually as described in @ref{Manual beams}.
@end itemize
-
+
@seealso
+
Notation Reference:
@ref{Note names in other languages},
-@ref{Key signature}.
+@ref{Key signature},
+@ref{Manual beams}.
Snippets:
@rlsr{World music}.
The more traditional Arabic note names can be quite long and are
not suitable for the purpose of music writing, so they are not
-defined by the inclusion of @code{"arabic.ly"}. English note
-names @code{a, b, c, d, e, f, g} are not very familiar in Arabic
-music education. Italian or Solfege note names @code{do, re, mi,
-fa, sol, la, si} are more familiar, and are used when
-@code{"arabic.ly"} is included. Modifiers can also be used, as
-discussed in @ref{Note names in other languages}.
+used. English note names are not very familiar in Arabic music
+education, so Italian or Solfege note names (@code{do, re, mi, fa,
+sol, la, si}) are used instead. Modifiers (accidentals) can also
+be used, as discussed in @ref{Note names in other languages}.
For example, this is how the Arabic @notation{rast} scale can be
notated:
@cindex Arabic key signatures
In addition to the minor and major key signatures, the following
-key signatures are defined in @code{"arabic.ly"}: bayati, rast,
-sikah, iraq, and kurd. These key signatures define a small number
-of maqam groups rather than the large number of maqams that are in
+key signatures are defined in @code{arabic.ly}: @notation{bayati},
+@notation{rast}, @notation{sikah}, @notation{iraq}, and
+@notation{kurd}. These key signatures define a small number of
+maqam groups rather than the large number of maqams that are in
common use.
In general, a maqam uses the key signature of its group, or a
For example to indicate the key signature of a maqam muhayer piece:
- \key re \bayati
+@example
+\key re \bayati
+@end example
-Here re is the default pitch of the muhayer maqam, and bayati is the
-name of the base maqam in the group.
+Here @var{re} is the default pitch of the muhayer maqam, and
+@var{bayati} is the name of the base maqam in the group.
-While the key signature indicates the group, it is
-common for the title to indicate the more specific maqam, so in this
-example, the name of maqam muhayer should appear in the title.
+While the key signature indicates the group, it is common for the
+title to indicate the more specific maqam, so in this example, the
+name of maqam muhayer should appear in the title.
+@c FIXME: what group? bayati?
+@c FIXME: the list is hard to read. Either end the sentence with
+@c the list, or put it in parentheses, or something.
Other maqams in the same group, as shown in the table below:
-bayati, hussaini, saba, and ushaq can be indicated in the
-same way. These are all variations of the base and most common
-maqam in the group, which is bayati. They usually differ from the
-base maqam in their upper tetrachords, or certain flow details that
+bayati, hussaini, saba, and ushaq can be indicated in the same
+way. These are all variations of the base and most common maqam
+in the group, which is bayati. They usually differ from the base
+maqam in their upper tetrachords, or certain flow details that
don't change their fundamental nature, as related siblings.
-The other maqam in the same group (Nawa) is related to bayati by
-modulation which is indicated in the table in parenthesis for
-those maqams that are modulations of their base maqam. Arabic
+The other maqam in the same group (Nawa) is related to bayati by
+modulation which is indicated in the table in parenthesis for
+those maqams that are modulations of their base maqam. Arabic
maqams admit of only limited modulations, due to the nature of
-Arabic musical instruments. Nawa can be indicated as follows :
+Arabic musical instruments. Nawa can be indicated as follows:
- \key sol \bayati
+@example
+\key sol \bayati
+@end example
+In Arabic music, the same term such as bayati that is used to
+indicate a maqam group, is also a maqam which is usually the most
+important in the group, and can also be thought of as a base
+maqam.
-In Arabic music, the same term such as bayati that is used to indicate
-a maqam group, is also a maqam which is usually the most important
-in the group, and can also be thought of as a base maqam.
-
-Here is one suggested grouping that maps the more common maqams to key
-signatures:
+Here is one suggested grouping that maps the more common maqams to
+key signatures:
@multitable @columnfractions 0.1 0.1 0.1 0.6
@headitem maqam group
@tab huzam
@end multitable
+@snippets
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{non-traditional-key-signatures.ly}
-You can also set the key signature using Staff.keySignature as
-discussed in @ref{Key signature}. This offers more flexibility
-if you don't wish to be limited to the key signatures that are
-defined in @code{"arabic.ly"}, or if you don't wish to use the
-above method of determining a key signature based on the maqam
-group.
@seealso
@rlsr{World music},
@rlsr{Pitches}.
+
@node Arabic time signatures
@unnumberedsubsubsec Arabic time signatures
@cindex Semai form
@cindex taqasim
+@c FIXME why not just adjust the automatic beaming?
Some Arabic and Turkish music classical forms such as Semai use
unusual time signatures such as 10/8. This may lead to an
automatic grouping of notes that is quite different from existing
-typeset music. You can override this by switching off automatic
+typeset music. You can override this by switching off automatic
beaming, and grouping the notes manually using @code{[ ]} to
surround grouped notes, as described in @ref{Manual beams}.
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