Docs: run convert-ly for 2.14.0.

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

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index 78a222794d195e9ceae5c812971e5f6b2357a824..f253d35a0df28c057dc07fd5e81635a829fcdaa9 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
@@ -594,6 +594,8 @@ This section discusses how to modify pitches.
 @menu
 * Octave checks::
 * Transpose::
+* Inversion::
+* Retrograde::
 * Modal transformations::
 @end menu
 
@@ -788,9 +790,11 @@ see @ref{Instrument transpositions}.
 
 @seealso
 Notation Reference:
-@ref{Relative octave entry},
+@ref{Instrument transpositions},
+@ref{Inversion},
 @ref{Modal transformations},
-@ref{Instrument transpositions}.
+@ref{Relative octave entry},
+@ref{Retrograde}.
 
 Snippets:
 @rlsr{Pitches}.
@@ -813,6 +817,71 @@ The relative conversion will not affect @code{\transpose},
 To use relative mode within transposed music, an additional
 @code{\relative} must be placed inside @code{\transpose}.
 
+@node Inversion
+@unnumberedsubsubsec Inversion
+
+@cindex inversion
+@cindex operation, inversion
+@funindex \inversion
+
+A music expression can be inverted with:
+
+@example
+\inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
+@end example
+
+The @code{@var{musicexpr}} is inverted interval-by-interval,
+and then transposed so that @code{@var{from-pitch}} is mapped
+to @code{@var{to-pitch}}.
+
+@lilypond[verbatim,quote]
+music = \relative c' { c d e f }
+\new Staff {
+  \music
+  \inversion d' d' \music
+  \inversion d' ees' \music
+}
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Modal transformations},
+@ref{Retrograde},
+@ref{Transpose}.
+
+
+@node Retrograde
+@unnumberedsubsubsec Retrograde
+
+@cindex retrograde transformation
+@cindex transformation, retrograde
+@cindex operation, retrograde
+@funindex \retrograde
+@funindex retrograde
+
+A music expression can be reversed to produce its retrograde:
+
+@lilypond[verbatim,quote]
+music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+
+\new Staff {
+  \music
+  \retrograde \music
+}
+@end lilypond
+
+@knownissues
+Manual ties inside @code{\retrograde} will be broken and
+generate warnings.  Some ties can be generated automatically
+by enabling @ref{Automatic note splitting}.
+
+@seealso
+Notation Reference:
+@ref{Inversion},
+@ref{Modal transformations},
+@ref{Transpose}.
+
+
 @node Modal transformations
 @unnumberedsubsubsec Modal transformations
 
@@ -822,9 +891,10 @@ To use relative mode within transposed music, an additional
 
 In a musical composition that is based on a scale, a motif is
 frequently transformed in various ways.  It may be
-@notation{transposed} to start at different places in the scale, it
-may be @notation{inverted} around a pivot point in the scale, and/or
-it may be converted to its @notation{retrograde} (written backwards).
+@notation{transposed} to start at different places in the scale or
+it may be @notation{inverted} around a pivot point in the scale.
+It may also be reversed to produce its @notation{retrograde}, see
+@ref{Retrograde}.
 
 @warning{Any note that does not lie within the given scale will be
 left untransformed.}
@@ -890,7 +960,7 @@ motif = \relative c' { c8 d e f g a b c }
 
 @cindex modal inversion
 @cindex inversion, modal
-@cindex operation, inversion
+@cindex operation, modal inversion
 @funindex \modalInversion
 @funindex modalInversion
 
@@ -934,26 +1004,6 @@ motive = \relative c' { c c g' c, }
 }
 @end lilypond
 
-
-@subsubheading Retrograde transformation
-
-@cindex retrograde transformation
-@cindex transformation, retrograde
-@cindex operation, retrograde
-@funindex \retrograde
-@funindex retrograde
-
-A motif can be reversed to produce its retrograde:
-
-@lilypond[verbatim,quote]
-motif = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
-
-\new Staff {
-  \motif
-  \retrograde \motif
-}
-@end lilypond
-
 The combined operation of inversion and retrograde produce the
 retrograde-inversion:
 
@@ -969,13 +1019,10 @@ motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
 
 @seealso
 Notation Reference:
+@ref{Inversion},
+@ref{Retrograde},
 @ref{Transpose}.
 
-@knownissues
-Manual ties inside @code{\retrograde} will be broken and
-generate warnings.  Some ties can be generated automatically
-by enabling @ref{Automatic note splitting}.
-
 
 @node Displaying pitches
 @subsection Displaying pitches
@@ -1420,7 +1467,7 @@ 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 |
     }
     \\
@@ -1503,7 +1550,7 @@ 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 |
     }
     \\
@@ -1576,7 +1623,7 @@ 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 |
     }
     \\
@@ -1627,7 +1674,10 @@ musicB = {
 @funindex modern
 
 This rule corresponds to the common practice in the twentieth
-century.  It prints the same accidentals as @code{default}, with
+century.  It omits some extra natural signs, which were
+traditionally prefixed to accidentals that reduce or reverse
+the direction of a previous alteration.  The @code{modern} rule
+prints the same accidentals as @code{default}, with
 two exceptions 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,
@@ -1639,7 +1689,7 @@ 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 |
     }
     \\
@@ -1703,7 +1753,7 @@ 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 |
     }
     \\
@@ -1770,7 +1820,7 @@ 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 |
     }
     \\
@@ -1831,7 +1881,7 @@ 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 |
     }
     \\
@@ -1896,7 +1946,7 @@ 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 |
     }
     \\
@@ -1956,7 +2006,7 @@ 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 |
     }
     \\
@@ -2015,7 +2065,7 @@ 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 |
     }
     \\
@@ -2072,7 +2122,7 @@ 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 |
     }
     \\
@@ -2132,7 +2182,7 @@ 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 |
     }
     \\
@@ -2189,7 +2239,7 @@ 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 |
     }
     \\
@@ -2249,7 +2299,7 @@ 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 |
     }
     \\
@@ -2310,7 +2360,7 @@ 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 |
     }
     \\
@@ -2371,7 +2421,7 @@ 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 |
     }
     \\
@@ -2424,14 +2474,13 @@ 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 |
     }
     \\
@@ -2475,12 +2524,6 @@ musicB = {
 @end lilypond
 @end table
 
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
-
-
 @seealso
 Snippets:
 @rlsr{Pitches}.