Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.13.36"
@node Pitches
* Relative octave entry::
* Accidentals::
* Note names in other languages::
-* Non-Western note names and accidentals::
@end menu
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
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
@cindex relative octave entry
@cindex octave entry, relative
@cindex relative octave specification
-@cindex ocatve specification, relative
+@cindex octave specification, relative
@funindex relative
@funindex \relative
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
@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}.
-
@end itemize
Here is the relative mode shown in action:
@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.
new system:
@lilypond[verbatim,quote,relative=2]
-cis1 ~ cis ~
+cis1~ cis~
\break
cis
@end lilypond
@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}
-
@seealso
Music Glossary:
@rglos{sharp},
@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
-@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
-@item @file{nederlands.ly}
+@item @code{nederlands}
@tab c d e f g a bes b
-@item @file{arabic.ly}
- @tab do re mi fa sol la sib si
-@item @file{catalan.ly}
+@item @code{catalan}
@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
-@item @file{english.ly}
+@item @code{english}
@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
-@item @file{italiano.ly}
+@item @code{italiano}
@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
-@item @file{portugues.ly}
+@item @code{portugues}
@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
-@item @file{svenska.ly}
+@item @code{svenska}
@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
-@noindent
-and the accidental suffixes they define are:
+In addition to note names, accidental suffixes may
+also vary depending on the language:
@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
-@item @file{nederlands.ly}
+@item @code{nederlands}
@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
-@item @file{deutsch.ly}
+@item @code{deutsch}
@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
-@item @file{espanol.ly}
+@item @code{espanol}
@tab -s @tab -b @tab -ss/-x @tab -bb
-@item @file{italiano.ly}
+@item @code{italiano}
@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
-@item @file{portugues.ly}
+@item @code{portugues}
@tab -s @tab -b @tab -ss @tab -bb
-@item @file{suomi.ly}
+@item @code{suomi}
@tab -is @tab -es @tab -isis @tab -eses
-@item @file{svenska.ly}
+@item @code{svenska}
@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
@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
-@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
-@item @file{nederlands.ly}
+@item @code{nederlands}
@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
-@item @file{english.ly}
+@item @code{english}
@tab -qs @tab -qf @tab -tqs @tab -tqf
-@item @file{espanol.ly}
+@item @code{espanol}
@tab -cs @tab -cb @tab -tcs @tab -tcb
-@item @file{italiano.ly}
+@item @code{italiano}
@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
+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:
-@rglos{Pitch names}.
-
-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}.
+@rglos{Pitch names},
+@rglos{Common Practice Period}.
+Notation Reference:
+@ref{Common notation for non-Western music}.
-@snippets
+Installed Files:
+@file{scm/define-note-names.scm}.
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{makam-example.ly}
+Snippets:
+@rlsr{Pitches}.
@node Changing multiple pitches
@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
-relative to the @var{controlpitch}.
+relative to the @code{@var{controlpitch}}.
@lilypond[verbatim,quote]
\relative c'' {
@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.}
@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]
@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.
-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
-\clef "G_8"
-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
@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
@funindex teaching
This rule is intended for students, and makes it easy to create
-scale sheets with automagically created cautionary accidentals.
+scale sheets with automatically created cautionary accidentals.
Accidentals are printed like with @code{modern}, but cautionary
accidentals are added for all sharp or flat tones specified by the
key signature, except if the note is immediately repeated.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ambitus-with-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-ambitus-gap.ly}
+
@seealso
Music Glossary:
@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 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 \aikenHeads
@funindex aikenHeads
@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.
Shape note heads can be produced in Sacred Harp, Southern Harmony,
-and Aiken (Christian Harmony) styles:
+Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
@lilypond[verbatim,quote,relative=2]
\aikenHeads
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
@funindex \key
@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
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},
@code{\aikenHeadsMinor},
+@code{\funkHeads},
+@code{\funkHeadsMinor},
@code{\sacredHarpHeads},
@code{\sacredHarpHeadsMinor},
@code{\southernHarmonyHeads},
-@code{\southernHarmonyHeadsMinor}.
+@code{\southernHarmonyHeadsMinor},
+@code{\walkerHeads},
+@code{\walkerHeadsMinor}.
@endpredefined
projects / lilypond.git / blobdiff