Fix minimum spacing between staves.

[lilypond.git] / Documentation / notation / pitches.itely

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index b3854c94e0fdeb41e7038925c8ae41bbcf00891c..06c60180c7fa5329b09057c5c1da1f0a77d7bf04 100644 (file)
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
     Guide, node Updating translation committishes..
 @end ignore
 

-@c \version "2.12.0"
+@c \version "2.13.36"

 
 
 @node Pitches
 
 
 @node Pitches


@@ -38,7 +38,6 @@ mode.  In most cases, relative mode will be more convenient.
 * Relative octave entry::
 * Accidentals::
 * Note names in other languages::
 * Relative octave entry::
 * Accidentals::
 * Note names in other languages::

-* Non-Western note names and accidentals::

 @end menu
 
 
 @end menu
 
 


@@ -58,11 +57,13 @@ through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.
 engraved in the octave below middle C.
 
 @c don't use c' here.

-@lilypond[verbatim,quote,fragment]
-\clef bass
-c d e f
-g a b c
-d e f g
+@lilypond[verbatim,quote]
+{
+  \clef bass
+  c4 d e f
+  g4 a b c
+  d4 e f g
+}

 @end lilypond
 
 @cindex octave changing mark
 @end lilypond
 
 @cindex octave changing mark


@@ -75,13 +76,15 @@ or comma@tie{}(@code{,}) character.  Each@tie{}@code{'} raises the
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 

-@lilypond[verbatim,quote,fragment]
-\clef treble
-c' c'' e' g
-d'' d' d c
-\clef bass
-c, c,, e, g
-d,, d, d c
+@lilypond[verbatim,quote]
+{
+  \clef treble
+  c'4 c'' e' g
+  d''4 d' d c
+  \clef bass
+  c,4 c,, e, g
+  d,,4 d, d c
+}

 @end lilypond
 
 
 @end lilypond
 
 


@@ -100,7 +103,7 @@ Snippets:
 @cindex relative octave entry
 @cindex octave entry, relative
 @cindex relative octave specification
 @cindex relative octave entry
 @cindex octave entry, relative
 @cindex relative octave specification

-@cindex ocatve specification, relative
+@cindex octave specification, relative

 
 @funindex relative
 @funindex \relative
 
 @funindex relative
 @funindex \relative


@@ -119,7 +122,7 @@ octave.
 
 In relative mode, each note is assumed to be as close to the
 previous note as possible.  This means that the octave of each
 
 In relative mode, each note is assumed to be as close to the
 previous note as possible.  This means that the octave of each

-pitch inside @var{musicexpr} is calculated as follows:
+pitch inside @code{@var{musicexpr}} is calculated as follows:

 
 @itemize
 @item
 
 @itemize
 @item


@@ -140,10 +143,9 @@ octaves.
 
 @item
 The pitch of the first note is relative to
 
 @item
 The pitch of the first note is relative to

-@code{@var{startpitch}}.  @var{startpitch} is specified in
+@code{@var{startpitch}}.  @code{@var{startpitch}} is specified in

 absolute octave mode, and it is recommended that it be a octave of
 @code{c}.
 absolute octave mode, and it is recommended that it be a octave of
 @code{c}.

-

 @end itemize
 
 Here is the relative mode shown in action:
 @end itemize
 
 Here is the relative mode shown in action:


@@ -282,7 +284,7 @@ Internals Reference:
 
 
 @c DEPRECATED
 
 
 @c DEPRECATED

-If no @var{startpitch} is specified for @code{\relative},
+If no @code{@var{startpitch}} is specified for @code{\relative},

 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is
 discouraged.
 then@tie{}@code{c'} is assumed.  However, this is a deprecated
 option and may disappear in future versions, so its use is
 discouraged.


@@ -379,7 +381,7 @@ Accidentals on tied notes are only printed at the beginning of a
 new system:
 
 @lilypond[verbatim,quote,relative=2]
 new system:
 
 @lilypond[verbatim,quote,relative=2]

-cis1 ~ cis ~
+cis1~ cis~

 \break
 cis
 @end lilypond
 \break
 cis
 @end lilypond


@@ -387,10 +389,12 @@ cis
 
 @snippets
 
 
 @snippets
 

+@lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
+{hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
+

 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {preventing-extra-naturals-from-being-automatically-added.ly}
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {preventing-extra-naturals-from-being-automatically-added.ly}
 

-

 @seealso
 Music Glossary:
 @rglos{sharp},
 @seealso
 Music Glossary:
 @rglos{sharp},


@@ -438,80 +442,79 @@ any standard.
 @cindex language, pitch names in other
 
 There are predefined sets of note and accidental names for various
 @cindex language, pitch names in other
 
 There are predefined sets of note and accidental names for various

-other languages.  To use them, include the language-specific init
-file listed below.  For example, to use English note names, add
-@code{@w{\include "english.ly"}} to the input file.
+other languages.  Selecting the note name language is usually done
+at the beginning of the file; the following example is written
+using Italian note names:

 
 

-@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
-use default (Nederlands) note names, the @code{@bs{}include}
-command for the language file should be placed after all other
-LilyPond distribution files.}
+@lilypond[quote,verbatim]
+\language "italiano"

 
 

-The available language files and the note names they define are:
+\relative do' {
+  do re mi sib
+}
+@end lilypond
+
+The available languages and the note names they define are:

 
 @quotation
 
 @quotation

-@multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
-@headitem Language File
+@multitable {@code{nederlands}} {do re mi fa sol la sib si}
+@headitem Language

   @tab Note Names
   @tab Note Names

-@item @file{nederlands.ly}
+@item @code{nederlands}

   @tab c d e f g a bes b
   @tab c d e f g a bes b

-@item @file{arabic.ly}
+@item @code{catalan}

   @tab do re mi fa sol la sib si
   @tab do re mi fa sol la sib si

-@item @file{catalan.ly}
-  @tab do re mi fa sol la sib si
-@item @file{deutsch.ly}
+@item @code{deutsch}

   @tab c d e f g a b h
   @tab c d e f g a b h

-@item @file{english.ly}
+@item @code{english}

   @tab c d e f g a bf b
   @tab c d e f g a bf b

-@item @file{espanol.ly}
+@item @code{espanol}

   @tab do re mi fa sol la sib si
   @tab do re mi fa sol la sib si

-@item @file{italiano.ly}
+@item @code{italiano}

   @tab do re mi fa sol la sib si
   @tab do re mi fa sol la sib si

-@item @file{norsk.ly}
+@item @code{norsk}

   @tab c d e f g a b h
   @tab c d e f g a b h

-@item @file{portugues.ly}
+@item @code{portugues}

   @tab do re mi fa sol la sib si
   @tab do re mi fa sol la sib si

-@item @file{suomi.ly}
+@item @code{suomi}

   @tab c d e f g a b h
   @tab c d e f g a b h

-@item @file{svenska.ly}
+@item @code{svenska}

   @tab c d e f g a b h
   @tab c d e f g a b h

-@item @file{vlaams.ly}
+@item @code{vlaams}

   @tab do re mi fa sol la sib si
 @end multitable
 @end quotation
 
   @tab do re mi fa sol la sib si
 @end multitable
 @end quotation
 

-@noindent
-and the accidental suffixes they define are:
+In addition to note names, accidental suffixes may
+also vary depending on the language:

 
 @quotation
 
 @quotation

-@multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
-@headitem Language File
+@multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
+@headitem Language

   @tab sharp @tab flat @tab double sharp @tab double flat
   @tab sharp @tab flat @tab double sharp @tab double flat

-@item @file{nederlands.ly}
+@item @code{nederlands}

   @tab -is @tab -es @tab -isis @tab -eses
   @tab -is @tab -es @tab -isis @tab -eses

-@item @file{arabic.ly}
-  @tab -d @tab -b @tab -dd @tab -bb
-@item @file{catalan.ly}
+@item @code{catalan}

   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb

-@item @file{deutsch.ly}
+@item @code{deutsch}

   @tab -is @tab -es @tab -isis @tab -eses
   @tab -is @tab -es @tab -isis @tab -eses

-@item @file{english.ly}
+@item @code{english}

   @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
     @tab -ff/-flatflat
   @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
     @tab -ff/-flatflat

-@item @file{espanol.ly}
+@item @code{espanol}

   @tab -s @tab -b @tab -ss/-x @tab -bb
   @tab -s @tab -b @tab -ss/-x @tab -bb

-@item @file{italiano.ly}
+@item @code{italiano}

   @tab -d @tab -b @tab -dd @tab -bb
   @tab -d @tab -b @tab -dd @tab -bb

-@item @file{norsk.ly}
+@item @code{norsk}

   @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
     @tab -essess/-eses
   @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
     @tab -essess/-eses

-@item @file{portugues.ly}
+@item @code{portugues}

   @tab -s @tab -b @tab -ss @tab -bb
   @tab -s @tab -b @tab -ss @tab -bb

-@item @file{suomi.ly}
+@item @code{suomi}

   @tab -is @tab -es @tab -isis @tab -eses
   @tab -is @tab -es @tab -isis @tab -eses

-@item @file{svenska.ly}
+@item @code{svenska}

   @tab -iss @tab -ess @tab -ississ @tab -essess
   @tab -iss @tab -ess @tab -ississ @tab -essess

-@item @file{vlaams.ly}
+@item @code{vlaams}

   @tab -k @tab -b @tab -kk @tab -bb
 @end multitable
 @end quotation
   @tab -k @tab -b @tab -kk @tab -bb
 @end multitable
 @end quotation


@@ -535,107 +538,51 @@ a2 as e es a ases e eses
 @cindex sesqui-flat
 
 Some music uses microtones whose alterations are fractions of a
 @cindex sesqui-flat
 
 Some music uses microtones whose alterations are fractions of a

-@q{normal} sharp or flat.  The note names for quarter-tones
-defined in the various language files are listed in the following
-table.  Here the prefixes @notation{semi-} and @notation{sesqui-}
-mean @q{half} and @q{one and a half}, respectively.  For the other
-languages, no special names have been defined yet.
+@q{normal} sharp or flat.  The following table lists note names
+for quarter-tone accidentals in various languages; here the prefixes
+@notation{semi-} and @notation{sesqui-} respectively
+mean @q{half} and @q{one and a half}.  Languages that do not
+appear in this table do not provide special note names yet.

 
 @quotation
 
 @quotation

-@multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
-@headitem Language File
+@multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
+@headitem Language

   @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 
   @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 

-@item @file{nederlands.ly}
+@item @code{nederlands}

   @tab -ih @tab -eh @tab -isih @tab -eseh
   @tab -ih @tab -eh @tab -isih @tab -eseh

-@item @file{arabic.ly}
-  @tab -sd @tab -sb @tab -dsd @tab -bsb
-@item @file{deutsch.ly}
+@item @code{deutsch}

   @tab -ih @tab -eh @tab -isih @tab -eseh
   @tab -ih @tab -eh @tab -isih @tab -eseh

-@item @file{english.ly}
+@item @code{english}

   @tab -qs @tab -qf @tab -tqs @tab -tqf
   @tab -qs @tab -qf @tab -tqs @tab -tqf

-@item @file{espanol.ly}
+@item @code{espanol}

   @tab -cs @tab -cb @tab -tcs @tab -tcb
   @tab -cs @tab -cb @tab -tcs @tab -tcb

-@item @file{italiano.ly}
+@item @code{italiano}

   @tab -sd @tab -sb @tab -dsd @tab -bsb
   @tab -sd @tab -sb @tab -dsd @tab -bsb

-@item @file{portugues.ly}
+@item @code{portugues}

   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
 @end multitable
 @end quotation
 
   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
 @end multitable
 @end quotation
 

+Most languages presented here are commonly associated with
+Western classical music, also referred to as
+@notation{Common Practice Period}.  However, alternate
+pitches and tuning systems are also supported: see
+@ref{Common notation for non-Western music}.
+

 
 @seealso
 Music Glossary:
 
 @seealso
 Music Glossary:

-@rglos{Pitch names}.
+@rglos{Pitch names},
+@rglos{Common Practice Period}.
+
+Notation Reference:
+@ref{Common notation for non-Western music}.

 
 Snippets:
 @rlsr{Pitches}.
 
 
 
 Snippets:
 @rlsr{Pitches}.
 
 

-@node Non-Western note names and accidentals
-@unnumberedsubsubsec Non-Western note names and accidentals
-
-Many non-Western musics (and some Western folk and
-traditional musics) employ alternative or extended tuning
-systems that do not fit readily into standard classical
-notation.
-
-In some cases standard notation is still used, with the
-pitch differences being implicit.  For example, Arabic
-music is notated with standard semitone and quarter-tone
-accidentals, with the precise pitch alterations being
-determined by context.  Others require extended or unique
-notations.
-
-@notation{Turkish classical music}, or Ottoman music,
-employs melodic forms known as @notation{makamlar}, whose
-intervals are based on 1/9 divisions of the whole tone.
-From a modern notational point of view, it is convenient
-to use the standard Western staff notes (c, d, e, ...)
-with special accidentals unique to Turkish music.  These
-accidentals are defined in @file{makam.ly} (to locate this
-file on your system, see
-@rlearning{Other sources of information}).  The following
-table gives their names, the accidental suffix that must
-be added to notes, and their pitch alteration as a
-fraction of one whole tone.
-
-@c TODO: can we include the actual accidentals in this table?
-@quotation
-@multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
-@headitem Accidental name
-  @tab suffix @tab pitch alteration
-
-@item büyük mücenneb (sharp)
-  @tab -bm @tab +8/9
-@item kücük mücenneb (sharp)
-  @tab -k @tab +5/9
-@item bakiye (sharp)
-  @tab -b @tab +4/9
-@item koma (sharp)
-  @tab -c @tab +1/9
-
-@item koma (flat)
-  @tab -fc @tab -1/9
-@item bakiye (flat)
-  @tab -fb @tab -4/9
-@item kücük mücenneb (flat)
-  @tab -fk @tab -5/9
-@item büyük mücenneb (flat)
-  @tab -fbm @tab -8/9
-@end multitable
-@end quotation
-
-For further information on Turkish classical music and
-makamlar, see @ref{Turkish classical music}.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{makam-example.ly}
-
-

 @node Changing multiple pitches
 @subsection Changing multiple pitches
 
 @node Changing multiple pitches
 @subsection Changing multiple pitches
 


@@ -677,13 +624,13 @@ correction.
 @end lilypond
 
 The octave of notes may also be checked with the
 @end lilypond
 
 The octave of notes may also be checked with the

-@code{\octaveCheck}@tie{}@var{controlpitch} command.
-@var{controlpitch} is specified in absolute mode.  This checks
-that the interval between the previous note and the
-@var{controlpitch} is within a fourth (i.e., the normal
+@code{\octaveCheck@tie{}@var{controlpitch}} command.
+@code{@var{controlpitch}} is specified in absolute mode.  This
+checks that the interval between the previous note and the
+@code{@var{controlpitch}} is within a fourth (i.e., the normal

 calculation of relative mode).  If this check fails, a warning is
 printed, but the previous note is not changed.  Future notes are
 calculation of relative mode).  If this check fails, a warning is
 printed, but the previous note is not changed.  Future notes are

-relative to the @var{controlpitch}.
+relative to the @code{@var{controlpitch}}.

 
 @lilypond[verbatim,quote]
 \relative c'' {
 
 @lilypond[verbatim,quote]
 \relative c'' {


@@ -741,11 +688,12 @@ syntax is
 @end example
 
 @noindent
 @end example
 
 @noindent

-This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{frompitch} and @var{topitch}: any note
-with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.  Both pitches are
-entered in absolute mode.
+This means that @code{@var{musicexpr}} is transposed by the
+interval between the pitches @code{@var{frompitch}} and
+@code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
+is changed to @code{@var{topitch}} and any other note is
+transposed by the same interval.  Both pitches are entered in
+absolute mode.

 
 @warning{Music inside a @code{@bs{}transpose} block is absolute
 unless a @code{@bs{}relative} is included in the block.}
 
 @warning{Music inside a @code{@bs{}transpose} block is absolute
 unless a @code{@bs{}relative} is included in the block.}


@@ -892,9 +840,6 @@ This section discusses how to alter the output of pitches.
 @cindex baritone clef
 @cindex varbaritone clef
 @cindex subbass clef
 @cindex baritone clef
 @cindex varbaritone clef
 @cindex subbass clef

-@cindex tab clef
-@cindex moderntab clef
-@cindex percussion clef

 @cindex clef
 @cindex ancient clef
 @cindex clef, ancient
 @cindex clef
 @cindex ancient clef
 @cindex clef, ancient


@@ -917,7 +862,7 @@ This section discusses how to alter the output of pitches.
 @funindex \clef
 @funindex clef
 
 @funindex \clef
 @funindex clef
 

-The clef may be altered.  Middle C is shown in every example. The
+The clef may be altered.  Middle C is shown in every example.  The

 following clef names can (but do not need to) be enclosed in quotes.
 
 @lilypond[verbatim,quote,relative=1]
 following clef names can (but do not need to) be enclosed in quotes.
 
 @lilypond[verbatim,quote,relative=1]


@@ -951,8 +896,6 @@ c2 c
 c2 c
 \clef percussion
 c2 c
 c2 c
 \clef percussion
 c2 c

-\clef tab
-c2 c

 
 \break
 
 
 \break
 


@@ -971,27 +914,29 @@ c2 c
 @cindex tenor clef, choral
 
 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
 @cindex tenor clef, choral
 
 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the

-clef is transposed one octave down or up, respectively,
+clef is transposed one octave down or up respectively,

 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.

-Clef names containing non-alphabetic characters must be enclosed
-in quotes.
+Other integers can be used if required.  Clef names containing
+non-alphabetic characters must be enclosed in quotes

 
 @lilypond[verbatim,quote,relative=1]
 \clef treble
 c2 c
 \clef "treble_8"
 c2 c
 
 @lilypond[verbatim,quote,relative=1]
 \clef treble
 c2 c
 \clef "treble_8"
 c2 c

-\clef "G_8"
-c2 c

 \clef "bass^15"
 c2 c
 \clef "bass^15"
 c2 c

-\clef "F^15"
+\clef "alto_2"
+c2 c
+\clef "G_8"
+c2 c
+\clef "F^5"

 c2 c
 @end lilypond
 
 c2 c
 @end lilypond
 

-Further supported clefs are described under
-@ref{Mensural clefs}, @ref{Gregorian clefs},
-and @ref{Custom tablatures}.
+Some special purpose clefs are described in @ref{Mensural clefs},
+@ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
+tablatures}.

 
 @snippets
 
 
 @snippets
 


@@ -1003,6 +948,7 @@ and @ref{Custom tablatures}.
 Notation Reference:
 @ref{Mensural clefs},
 @ref{Gregorian clefs},
 Notation Reference:
 @ref{Mensural clefs},
 @ref{Gregorian clefs},

+@ref{Default tablatures},

 @ref{Custom tablatures}.
 
 Snippets:
 @ref{Custom tablatures}.
 
 Snippets:


@@ -1071,12 +1017,12 @@ at the start of the staff.  The key signature may be altered:
 @cindex dorian
 
 @noindent
 @cindex dorian
 
 @noindent

-Here, @var{mode} should be @code{\major} or @code{\minor} to get a
-key signature of @var{pitch}-major or @var{pitch}-minor,
-respectively.  You may also use the standard mode names, also
-called @notation{church modes}: @code{\ionian}, @code{\dorian},
-@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
-@code{\aeolian}, and @code{\locrian}.
+Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
+to get a key signature of @code{@var{pitch}}-major or
+@code{@var{pitch}}-minor, respectively.  You may also use the
+standard mode names, also called @notation{church modes}:
+@code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
+@code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.

 
 @lilypond[verbatim,quote,relative=2]
 \key g \major
 
 @lilypond[verbatim,quote,relative=2]
 \key g \major


@@ -1133,17 +1079,19 @@ Internals Reference:
 octave for the staff:
 
 @lilypond[verbatim,quote,relative=2]
 octave for the staff:
 
 @lilypond[verbatim,quote,relative=2]

-a'2 b
-\ottava #1
-a b
+a2 b
+\ottava #-2
+a2 b
+\ottava #-1
+a2 b

 \ottava #0
 \ottava #0

-a b
+a2 b
+\ottava #1
+a2 b
+\ottava #2
+a2 b

 @end lilypond
 
 @end lilypond
 

-The @code{ottava} function also takes -1 (for 8va bassa),
-2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-
-

 @snippets
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 @snippets
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]


@@ -2480,6 +2428,9 @@ printed if they are not part of the key signature.
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {ambitus-with-multiple-voices.ly}
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {ambitus-with-multiple-voices.ly}
 

+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-ambitus-gap.ly}
+

 
 @seealso
 Music Glossary:
 
 @seealso
 Music Glossary:


@@ -2576,6 +2527,10 @@ c4 b
 c b < g \xNote c f > b
 @end lilypond
 
 c b < g \xNote c f > b
 @end lilypond
 

+As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
+@code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
+be used.  The term @notation{dead note} is commonly used by guitarists.
+

 There is also a shorthand for diamond shapes which can be used
 only inside chords:
 
 There is also a shorthand for diamond shapes which can be used
 only inside chords:
 


@@ -2596,7 +2551,8 @@ Snippets:
 
 Notation Reference:
 @ref{Note head styles},
 
 Notation Reference:
 @ref{Note head styles},

-@ref{Chorded notes}.
+@ref{Chorded notes},
+@ref{Indicating harmonics and dampened notes}.

 
 Internals Reference:
 @rinternals{note-event},
 
 Internals Reference:
 @rinternals{note-event},


@@ -2615,7 +2571,6 @@ Internals Reference:
 @cindex practice note heads
 @cindex note heads, easy notation
 @cindex easy notation
 @cindex practice note heads
 @cindex note heads, easy notation
 @cindex easy notation

-@cindex Hal Leonard

 @cindex beginners' music
 @cindex music, beginners'
 @cindex easy play note heads
 @cindex beginners' music
 @cindex music, beginners'
 @cindex easy play note heads


@@ -2678,33 +2633,94 @@ Internals Reference:
 @cindex shape notes
 @cindex Aiken shape note heads
 @cindex sacred harp note heads
 @cindex shape notes
 @cindex Aiken shape note heads
 @cindex sacred harp note heads

+@cindex note heads, Southern Harmony
+@cindex Southern Harmony note heads
+@cindex Funk shape note heads
+@cindex note heads, Funk
+@cindex note heads, Harmonica Sacra
+@cindex Harmonica Sacra note heads
+@cindex Christian Harmony note heads
+@cindex note heads, Christian Harmony
+@cindex Walker shape note heads
+@cindex note heads, Walker

 
 

-@funindex \key
-@funindex key

 @funindex \aikenHeads
 @funindex aikenHeads
 @funindex \sacredHarpHeads
 @funindex sacredHarpHeads
 @funindex \aikenHeads
 @funindex aikenHeads
 @funindex \sacredHarpHeads
 @funindex sacredHarpHeads

+@funindex \southernHarmonyHeads
+@funindex southernHarmonyHeads
+@funindex \funkHeads
+@funindex funkHeads
+@funindex \walkerHeads
+@funindex walkerHeads

 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
 notation was popular in nineteenth-century American song books.
 
 In shape note head notation, the shape of the note head
 corresponds to the harmonic function of a note in the scale.  This
 notation was popular in nineteenth-century American song books.

-Shape note heads can be produced:
+Shape note heads can be produced in Sacred Harp, Southern Harmony,
+Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:

 
 @lilypond[verbatim,quote,relative=2]
 \aikenHeads
 
 @lilypond[verbatim,quote,relative=2]
 \aikenHeads

-c, d e f g a b c
+c, d e f g2 a b1 c \break

 \sacredHarpHeads
 \sacredHarpHeads

-c, d e f g a b c
+c,4 d e f g2 a b1 c \break
+\southernHarmonyHeads
+c,4 d e f g2 a b1 c \break
+\funkHeads
+c,4 d e f g2 a b1 c \break
+\walkerHeads
+c,4 d e f g2 a b1 c \break

 @end lilypond
 
 @end lilypond
 

-Shapes are typeset according to the step in the scale, where the
-base of the scale is determined by the @code{\key} command.
+@funindex \key
+@funindex key
+@funindex \aikenHeadsMinor
+@funindex aikenHeadsMinor
+@funindex \sacredHarpHeadsMinor
+@funindex sacredHarpHeadsMinor
+@funindex \southernHarmonyHeadsMinor
+@funindex southernHarmonyHeadsMinor
+@funindex \funkHeadsMinor
+@funindex funkHeadsMinor
+@funindex \walkerHeadsMinor
+@funindex walkerHeadsMinor
+
+Shapes are typeset according to the step in the scale, where the base
+of the scale is determined by the @code{\key} command.  When writing
+in a minor key, the scale step can be determined from the relative
+major:
+
+@lilypond[verbatim,quote,relative=2]
+\key a \minor
+\aikenHeads
+a b c d e2 f g1 a \break
+\aikenHeadsMinor
+a,4 b c d e2 f g1 a \break
+\sacredHarpHeadsMinor
+a,2 b c d \break
+\southernHarmonyHeadsMinor
+a2 b c d \break
+\funkHeadsMinor
+a2 b c d \break
+\walkerHeadsMinor
+a2 b c d \break
+
+@end lilypond

 
 
 @predefined
 @code{\aikenHeads},
 
 
 @predefined
 @code{\aikenHeads},

-@code{\sacredHarpHeads}.
+@code{\aikenHeadsMinor},
+@code{\funkHeads},
+@code{\funkHeadsMinor},
+@code{\sacredHarpHeads},
+@code{\sacredHarpHeadsMinor},
+@code{\southernHarmonyHeads},
+@code{\southernHarmonyHeadsMinor},
+@code{\walkerHeads},
+@code{\walkerHeadsMinor}.

 @endpredefined
 
 
 @endpredefined