Merge branch 'master' of git://git.savannah.gnu.org/lilypond.git

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

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 1bd632d33c69726f5da0e3eda86091cb00f4f434..312b1a6eebe986c793c28700500e88546d49b809 100644 (file)
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.13.36"
+@c \version "2.14.0"
 
 
 @node Pitches
@@ -813,9 +813,14 @@ Internals Reference:
 @knownissues
 
 The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument.
-To use relative mode within transposed music, an additional
-@code{\relative} must be placed inside @code{\transpose}.
+@code{\chordmode} or @code{\relative} sections in its argument.  To use
+relative mode within transposed music, an additional @code{\relative}
+must be placed inside @code{\transpose}.
+
+Triple accidentals will not be printed if using @code{\transpose}. An
+@q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
+rather than e-triple-flat).
+
 
 @node Inversion
 @unnumberedsubsubsec Inversion
@@ -1152,20 +1157,22 @@ c2 c
 
 Some special purpose clefs are described in @ref{Mensural clefs},
 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
-tablatures}.
+tablatures}.  For mixing different clefs when using cue notes within a
+score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
+in @ref{Formatting cue notes}.
 
 @snippets
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {tweaking-clef-properties.ly}
 
-
 @seealso
 Notation Reference:
 @ref{Mensural clefs},
 @ref{Gregorian clefs},
 @ref{Default tablatures},
-@ref{Custom tablatures}.
+@ref{Custom tablatures},
+@ref{Formatting cue notes}.
 
 Snippets:
 @rlsr{Pitches}.
@@ -1467,7 +1474,7 @@ each style, we use the following example:
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1550,7 +1557,7 @@ last@tie{}@code{c}:
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1623,7 +1630,7 @@ individual musicians.  If the staff is to be used by one musician
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1674,8 +1681,11 @@ musicB = {
 @funindex modern
 
 This rule corresponds to the common practice in the twentieth
-century.  It prints the same accidentals as @code{default}, with
-two exceptions that serve to avoid ambiguity: after temporary
+century.  It omits some extra natural signs, which were
+traditionally prefixed to a sharp following a double sharp,
+or a flat following a double flat.  The @code{modern} rule
+prints the same accidentals as @code{default}, with
+two additions that serve to avoid ambiguity: after temporary
 accidentals, cancellation marks are printed also in the following
 measure (for notes in the same octave) and, in the same measure,
 for notes in other octaves.  Hence the naturals before
@@ -1686,7 +1696,7 @@ the upper staff:
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1750,7 +1760,7 @@ defining the @code{cautionary-style} property of
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1817,7 +1827,7 @@ accidental in a different voice in the previous measure:
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1878,7 +1888,7 @@ typeset as cautionaries.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -1943,7 +1953,7 @@ This accidental style applies to the current @code{GrandStaff} or
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2003,7 +2013,7 @@ typeset as cautionaries.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2062,7 +2072,7 @@ if the note is immediately repeated.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2119,7 +2129,7 @@ accidentals are printed as cautionary accidentals.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2179,7 +2189,7 @@ but they are canceled across voices in the same @code{Staff}.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2236,7 +2246,7 @@ accidentals are printed as cautionary accidentals.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2296,7 +2306,7 @@ including natural signs.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2357,7 +2367,7 @@ key signature, except if the note is immediately repeated.
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2418,7 +2428,7 @@ This is the same as @code{default} but with accidentals lasting
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2471,14 +2481,13 @@ musicB = {
 This is the opposite of @code{no-reset}: Accidentals are not
 remembered at all -- and hence all accidentals are typeset
 relative to the key signature, regardless of what came before in
-the music.  Unlike @code{dodecaphonic}, this rule never prints
-any naturals.
+the music.
 
 @lilypond[quote]
 musicA = {
   <<
     \relative c' {
-      cis'8 fis, d'4 <a cis>8 f bis4 |
+      cis'8 fis, bes4 <a cis>8 f bis4 |
       cis2. <c, g'>4 |
     }
     \\
@@ -2522,12 +2531,6 @@ musicB = {
 @end lilypond
 @end table
 
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
-
-
 @seealso
 Snippets:
 @rlsr{Pitches}.