version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Pitches
@section Pitches
@node Absolute octave entry
-@subsubsection Absolute octave entry
+@unnumberedsubsubsec Absolute octave entry
@cindex pitch names
@cindex pitches
through@tie{}@code{g}. The note names @code{c} to @code{b} are
engraved in the octave below middle C.
-@c NOTE: don't use c' here.
+@c don't use c' here.
@lilypond[verbatim,quote,ragged-right,fragment]
\clef bass
c d e f
@seealso
-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
@node Relative octave entry
-@subsubsection Relative octave entry
+@unnumberedsubsubsec Relative octave entry
@cindex relative
@cindex relative octave specification
@seealso
-Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
+Music Glossary:
+@rglos{fifth},
+@rglos{interval},
+@rglos{Pitch names}.
+
+Notation Reference:
+@ref{Octave checks}.
-Notation Reference: @ref{Octave checks}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Internals Reference:
+@internalsref{RelativeOctaveMusic}.
@funindex \transpose
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-@c NOTE: DEPRECATED
+@c DEPRECATED
If no @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
@node Accidentals
-@subsubsection Accidentals
+@unnumberedsubsubsec Accidentals
@cindex accidental
@cindex key signature
@cindex clef
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
@seealso
-Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
+Music Glossary:
+@rglos{sharp},
+@rglos{flat},
+@rglos{double sharp},
+@rglos{double flat},
+@rglos{Pitch names},
+@rglos{quarter-tone}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Notation Reference: @ref{Automatic accidentals},
+Notation Reference:
+@ref{Automatic accidentals},
@ref{Musica ficta accidentals},
@ref{Note names in other languages}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
+
+Internals Reference:
+@internalsref{Accidental_engraver},
+@internalsref{Accidental},
+@internalsref{AccidentalCautionary},
+@internalsref{accidental-interface}.
@knownissues
@node Note names in other languages
-@subsubsection Note names in other languages
+@unnumberedsubsubsec Note names in other languages
There are predefined sets of note names for various other
languages. To use them, include the language-specific init file.
@seealso
-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
@node Changing multiple pitches
@end menu
@node Octave checks
-@subsubsection Octave checks
+@unnumberedsubsubsec Octave checks
@cindex octave correction
@cindex octave check
The octave of notes may also be checked with the
@code{\octave}@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
+previous note and the @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}.
@end lilypond
Compare the two bars below. The first and third @code{\octave}
-check fail, but the second one does not fail.
+checks fail, but the second one does not fail.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
+
+Internals Reference:
+@internalsref{RelativeOctaveCheck}.
@node Transpose
-@subsubsection Transpose
+@unnumberedsubsubsec Transpose
@cindex transpose
@cindex transposition
}
@end lilypond
-If a part written in C (normal concert pitch) is to be played on
+If a part written in C (normal @notation{concert pitch}) is to be played on
the A clarinet (for which an A is notated as a C and thus sounds a
minor third lower than notated), the appropriate part will be
produced with:
@seealso
-Notation Reference: @ref{Instrument transpositions}.
+Notation Reference:
+@ref{Instrument transpositions}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{TransposedMusic}.
+Internals Reference:
+@internalsref{TransposedMusic}.
@funindex \transpose
@funindex \chordmode
@node Clef
-@subsubsection Clef
+@unnumberedsubsubsec Clef
@funindex \clef
@cindex G clef
By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transposes by two octaves. The argument @var{clefname}
+@code{^15} transpose by two octaves. The argument @var{clefname}
must be enclosed in quotes when it contains underscores or digits.
@cindex choral tenor clef
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+{tweaking-clef-properties.ly}
@seealso
-Notation Reference: @ref{Ancient clefs}.
+Notation Reference:
+@ref{Ancient clefs}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{Clef}.
+Internals Reference:
+@internalsref{Clef_engraver},
+@internalsref{Clef},
+@internalsref{OctavateEight},
+@internalsref{clef-interface}.
@node Key signature
-@subsubsection Key signature
+@unnumberedsubsubsec Key signature
@cindex key signature
@funindex \key
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
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 @q{church modes}: @code{\ionian}, @code{\dorian},
+called @notation{church modes}: @code{\ionian}, @code{\dorian},
@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
@code{\aeolian}, and @code{\locrian}.
@seealso
-Music Glossary: @rglos{church mode}, @rglos{scordatura}.
+Music Glossary:
+@rglos{church mode},
+@rglos{scordatura}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+Internals Reference:
+@internalsref{KeyChangeEvent},
+@internalsref{Key_engraver},
+@internalsref{Key_performer},
+@internalsref{KeyCancellation},
+@internalsref{KeySignature},
+@internalsref{key-cancellation-interface},
+@internalsref{key-signature-interface}.
@node Ottava brackets
-@subsubsection Ottava brackets
+@unnumberedsubsubsec Ottava brackets
@cindex ottava
@cindex 15ma
@seealso
-Music Glossary: @rglos{octavation}.
+Music Glossary:
+@rglos{octavation}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{OttavaBracket}.
+Internals Reference:
+@internalsref{Ottava_spanner_engraver},
+@internalsref{OttavaBracket},
+@internalsref{ottava-bracket-interface}.
@node Instrument transpositions
-@subsubsection Instrument transpositions
+@unnumberedsubsubsec Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument
\new Staff = "Vln" {
\relative c'' {
\set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
+ \set Staff.midiInstrument = "violin"
% strictly speaking not necessary, but a good reminder
\transposition c'
}
\new Staff = "clarinet" {
\relative c'' {
- \set Staff.instrumentName = \markup {Cl (B\flat)}
- \set Staff.midiInstrument="clarinet"
+ \set Staff.instrumentName = \markup { Cl (B\flat) }
+ \set Staff.midiInstrument = "clarinet"
\transposition bes
% not concert pitch
\transposition a
c d e f
\textLengthOn
-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1
\key bes \major
\transposition bes
@seealso
-Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
+Music Glossary:
+@rglos{concert pitch},
+@rglos{transposing instrument}.
-Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
+Notation Reference:
+@ref{Quoting other voices}, @ref{Transpose}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
@node Automatic accidentals
-@subsubsection Automatic accidentals
+@unnumberedsubsubsec Automatic accidentals
@cindex automatic accidentals
@cindex accidentals, automatic
@end example
-@c NOTE: don't use verbatim in this table.
+@c don't use verbatim in this table.
@table @code
@item default
This is the default typesetting behavior. It corresponds to
eighteenth-century common practice: accidentals are remembered to
-the end of the measure in which they occur and only on their own
+the end of the measure in which they occur and only in their own
octave. Thus, in the example below, no natural signs are printed
before the@tie{}@code{b} in the second measure or the
last@tie{}@code{c}:
@end lilypond
@item voice
-The normal behavior is to remember the accidentals on Staff-level.
+The normal behavior is to remember the accidentals at @code{Staff}-level.
In this style, however, accidentals are typeset individually for
each voice. Apart from that, the rule is similar to
@code{default}.
This rule reflects twentieth-century practice for piano notation.
Its behavior is very similar to @code{modern} style, but here
accidentals also get canceled across the staves in the same
-GrandStaff or PianoStaff, hence all the cancellations of the final
-notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
+of the final notes.
This accidental style applies to the current @code{GrandStaff} or
@code{PianoStaff} by default.
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 was before in
+relative to the key signature, regardless of what came before in
the music:
@lilypond[quote,ragged-right]
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+Internals Reference:
+@internalsref{Accidental},
+@internalsref{Accidental_engraver},
+@internalsref{GrandStaff} and
+@internalsref{PianoStaff},
+@internalsref{Staff},
+@internalsref{AccidentalSuggestion},
+@internalsref{AccidentalPlacement},
+@internalsref{accidental-suggestion-interface}.
@cindex accidentals and simultaneous notes
@node Ambitus
-@subsubsection Ambitus
+@unnumberedsubsubsec Ambitus
@cindex ambitus
@cindex range of pitches
\layout {
\context {
\Voice
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
}
\relative c'' {
- aes c e2 cis,2
+ aes c e2
+ cis,1
}
@end lilypond
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{adding-ambiti-per-voice.ly}
+{adding-ambitus-per-voice.ly}
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+{ambitus-with-multiple-voices.ly}
@seealso
-Music Glossary: @rglos{ambitus}.
+Music Glossary:
+@rglos{ambitus}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff}, @internalsref{Voice}.
+Internals Reference:
+@internalsref{Ambitus_engraver},
+@internalsref{Voice},
+@internalsref{Staff},
+@internalsref{Ambitus},
+@internalsref{AmbitusAccidental},
+@internalsref{AmbitusLine},
+@internalsref{AmbitusNoteHead},
+@internalsref{ambitus-interface}.
@knownissues
@end menu
@node Special note heads
-@subsubsection Special note heads
+@unnumberedsubsubsec Special note heads
@cindex note heads, special
@cindex note heads, cross
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Notation Reference: @ref{Note head styles}.
+Notation Reference:
+@ref{Note head styles}.
-Internals Reference: @internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+Internals Reference:
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{Ledger_line_engraver},
+@internalsref{NoteHead},
+@internalsref{LedgerLineSpanner},
+@internalsref{note-head-interface},
+@internalsref{ledger-line-spanner-interface}.
@node Easy notation note heads
-@subsubsection Easy notation note heads
+@unnumberedsubsubsec Easy notation note heads
@cindex note heads, practice
@cindex note heads, easy notation
@seealso
-Notation Reference: @ref{Setting the staff size}.
+Notation Reference:
+@ref{Setting the staff size}.
-Snippets: @lsrdir{Pitches,Pitches},
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference:
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{NoteHead},
+@internalsref{note-head-interface}.
@node Shape note heads
-@subsubsection Shape note heads
+@unnumberedsubsubsec Shape note heads
@cindex note heads, shape
@cindex note heads, Aiken
@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
\aikenHeads
-c8 d4 e8 a2 g1
+c8 d4 e8 a2
+g1
\sacredHarpHeads
-c,8 d4 e8 a2 g1
+c,8 d4 e8 a2
+g1
@end lilypond
Shapes are typeset according to the step in the scale, where
the base of the scale is determined by the @code{\key} command.
+@predefined
+
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+@code{\aikenHeads}, @code{\sacredHarpHeads}
+
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
@noindent
To see all note head styles, see @ref{Note head styles}.
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
+
+Notation Reference:
+@ref{Note head styles}.
-Notation Reference: @ref{Note head styles}.
+Internals Reference:
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{NoteHead},
+@internalsref{note-head-interface}.
@node Improvisation
-@subsubsection Improvisation
+@unnumberedsubsubsec Improvisation
@cindex improvisation
@cindex slashed note heads
@lilypond[verbatim,quote,ragged-right]
\new Voice \with {
- \consists Pitch_squash_engraver
+ \consists "Pitch_squash_engraver"
} \transpose c c' {
e8 e g a a16( bes) a8 g
\improvisationOn
- e8
- ~e2~e8 f4 fis8
- ~fis2
+ e8 ~
+ e2 ~ e8 f4 f8 ~
+ f2
\improvisationOff
- a16(bes) a8 g e
+ a16( bes) a8 g e
}
@end lilypond
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@lsrdir{Pitches,Pitches}.
-Internals Reference: @internalsref{Pitch_squash_engraver},
-@internalsref{Voice}.
+Internals Reference:
+@internalsref{Pitch_squash_engraver},
+@internalsref{Voice},
+@internalsref{RhythmicStaff}.
projects / lilypond.git / blobdiff