Guide, node Updating translation committishes..
@end ignore
-@c \version "2.17.6"
+@c \version "2.17.18"
@node Pitches
}
@end lilypond
+@funindex absolute
+@funindex \absolute
+Music can be marked explicitly as being in absolute octave
+notation by preceding it with @code{\absolute}:
+
+@example
+\absolute @var{musicexpr}
+@end example
+
+will be interpreted in absolute octave entry mode regardless of
+the context it appears in.
+
@seealso
Music Glossary:
@rglos{Pitch names}.
@funindex relative
@funindex \relative
-When octaves are specified in absolute mode it is easy to
-accidentally put a pitch in the wrong octave. Relative octave
-mode reduces these errors since most of the time it is not
-necessary to indicate any octaves at all. Furthermore, in
-absolute mode a single mistake may be difficult to spot, while in
-relative mode a single error puts the rest of the piece off by one
-octave.
+Absolute octave entry requires specifying the octave for every
+single note. Relative octave entry, in contrast, specifies each
+octave in relation to the last note: changing one note's octave
+will affect all of the following notes.
+
+Relative note mode has to be entered explicitly using the
+@code{\relative} command:
@example
\relative @var{startpitch} @var{musicexpr}
@item
The pitch of the first note is relative to
@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. Which choices are meaningful?
+
+@table @asis
+@item an octave of @code{c}
+Identifying middle C with @code{c'} is quite basic, so finding
+octaves of @code{c} tends to be straightforward. If your music
+starts with @code{gis} above @code{c'''}, you'd write something
+like @code{\relative c''' @{ gis' @dots{} @}}
+
+@item an octave of the first note inside
+Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
+determine the absolute pitch of the first note inside.
+
+@item no explicit starting pitch
+This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
+viewed as a compact version of the previous option: the first note
+inside is written in absolute pitch itself. This happens to be
+equivalent to choosing @code{f} as the reference pitch.
+@end table
+
+The documentation will usually employ the first option.
@end itemize
Here is the relative mode shown in action:
@tab c d e f g a b h
@item @code{english}
@tab c d e f g a bf b
-@item @code{espanol}
+@item @code{espanol} or @code{español}
@tab do re mi fa sol la sib si
-@item @code{italiano}
+@item @code{italiano} or @code{français}
@tab do re mi fa sol la sib si
@item @code{norsk}
@tab c d e f g a b h
@item @code{english}
@tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
@tab -ff/-flatflat
-@item @code{espanol}
+@item @code{espanol} or @code{español}
@tab -s @tab -b @tab -ss/-x @tab -bb
-@item @code{italiano}
+@item @code{italiano} or @code{français}
@tab -d @tab -b @tab -dd @tab -bb
@item @code{norsk}
@tab -iss/-is @tab -ess/-es @tab -ississ/-isis
@tab -ih @tab -eh @tab -isih @tab -eseh
@item @code{english}
@tab -qs @tab -qf @tab -tqs @tab -tqf
-@item @code{espanol}
+@item @code{espanol} or @code{español}
@tab -cs @tab -cb @tab -tcs @tab -tcb
-@item @code{italiano}
+@item @code{italiano} or @code{français}
@tab -sd @tab -sb @tab -dsd @tab -bsb
@item @code{portugues}
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
Internals Reference:
@rinternals{Clef_engraver},
@rinternals{Clef},
-@rinternals{OctavateEight},
+@rinternals{ClefModifier},
@rinternals{clef-interface}.
@knownissues
Ottavation numbers attached to clefs are treated as separate grobs. So
any @code{\override} done to the @var{Clef} will also need to be
-applied, as a separate @code{\override}, to the @var{OctavateEight}
+applied, as a separate @code{\override}, to the @var{ClefModifier}
grob.
@lilypond[fragment,quote,relative=1]
\new Staff \with {
- \override OctavateEight.color = #red
+ \override ClefModifier.color = #red
\override Clef.color = #blue
}
@lilypondfile[verbatim,quote,texidoc,doctitle]
{ottava-text.ly}
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{adding-an-ottava-marking-to-a-single-voice.ly}
+
@seealso
Music Glossary:
@rglos{octavation}.
@end lilypond
The @code{\transposition} may be changed during a piece. For
-example, a clarinetist may switch from an A clarinet to a B-flat
-clarinet.
+example, a clarinetist may be required to switch from an A clarinet
+to a B-flat clarinet.
-@lilypond[verbatim,quote,relative=2]
-\set Staff.instrumentName = #"Cl (A)"
-\key a \major
-\transposition a
-c d e f
-\textLengthOn
-<>^\markup { Switch to B\flat clarinet }
-R1
-
-\key bes \major
-\transposition bes
-c2 g
+@lilypond[verbatim,quote]
+flute = \relative c'' {
+ \key f\major
+ \cueDuring #"clarinet" #DOWN {
+ R1 _\markup\tiny "clarinet"
+ c4 f e d
+ R1 _\markup\tiny "clarinet"
+ }
+}
+clarinet = \relative c'' {
+ \key aes \major
+ \transposition a
+ aes4 bes c des
+ R1^\markup { muta in B\flat }
+ \key g \major
+ \transposition bes
+ d2 g,
+}
+\addQuote "clarinet" \clarinet
+<<
+ \new Staff \with { instrumentName = #"Flute" }
+ \flute
+ \new Staff \with { instrumentName = #"Cl (A)" }
+ \clarinet
+>>
@end lilypond
@seealso
projects / lilypond.git / blobdiff