Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.13.36"
@node Pitches
@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.
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.
+@code{@w{@bs{}include "english.ly"}} to the input file.
@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
use default (Nederlands) note names, the @code{@bs{}include}
@tab Note Names
@item @file{nederlands.ly}
@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}
@tab do re mi fa sol la sib si
@item @file{deutsch.ly}
@headitem Language File
@tab sharp @tab flat @tab double sharp @tab double flat
@item @file{nederlands.ly}
- @tab -is @tab -es @tab -isis @tab -eses
-@item @file{arabic.ly}
@tab -d @tab -b @tab -dd @tab -bb
@item @file{catalan.ly}
@tab -d/-s @tab -b @tab -dd/-ss @tab -bb
@item @file{nederlands.ly}
@tab -ih @tab -eh @tab -isih @tab -eseh
-@item @file{arabic.ly}
- @tab -sd @tab -sb @tab -dsd @tab -bsb
@item @file{deutsch.ly}
@tab -ih @tab -eh @tab -isih @tab -eseh
@item @file{english.ly}
@end quotation
+@cindex Arabic music
+
+Other languages and types of music may be supported by extending
+these predefined sets of note names. For example, Arabic music
+may be typeset using @code{@w{@bs{}include "arabic.ly"}} which
+actually includes, in turn, the standard Italian note names as
+defined in @file{italiano.ly}, and adds extra macros and definitions.
+For details about non-Western music support, see
+@ref{Non-Western note names and accidentals} and
+@ref{World music}.
+
+
@seealso
+Notation Reference:
+@ref{Non-Western note names and accidentals},
+@ref{World music}.
+
Music Glossary:
@rglos{Pitch names}.
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
+pitch differences being implicit. For example,
+@notation{Arabic music} is typically notated in
+standard @q{Italian} notation, with standard semitone and quarter-tone
accidentals, with the precise pitch alterations being
-determined by context. Others require extended or unique
-notations.
+determined by context.
+Italian note names and Arabic-specific tweaks are explained in
+@ref{Note names in other languages}; Arabic notation is discussed
+more extensively in @ref{Arabic music}.
+Other types of music 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.
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{makam-example.ly}
+@seealso
+Notation Reference:
+@ref{Note names in other languages},
+@ref{World music},
+@ref{Arabic music},
+@ref{Turkish classical music}.
+
@node Changing multiple pitches
@subsection 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 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
{ambitus-with-multiple-voices.ly}
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{change-ambitus-gap.ly}
+{changing-the-ambitus-gap.ly}
@seealso
@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