version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Pitches
@section Pitches
engraved in the octave below middle C.
@c don't use c' here.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\clef bass
c d e f
g a b c
pitch by one octave; each@tie{}@code{,} lowers the pitch by an
octave.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\clef treble
c' c'' e' g
d'' d' d c
@rglos{Pitch names}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Relative octave entry
@end example
In relative mode, each note is assumed to be as close to the
-previous note as possible. This means that the octave of pitches
-in @var{musicexpr} is calculated as follows:
+previous note as possible. This means that the octave of each
+pitch inside @var{musicexpr} is calculated as follows:
@itemize
@item
Here is the relative mode shown in action:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c {
\clef bass
c d e f
Octave changing marks are used for intervals greater than a
fourth:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c g c f,
c' a, e'' c
A note sequence without a single octave mark can nevertheless span
large intervals:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c {
c f b e
a d g c
If the preceding item is a chord, the first note of the chord is
used as the reference point for the octave placement of a
following note or chord. Inside chords, the next note is always
-relative to the preceding one.
+relative to the preceding one. Examine the next example
+carefully, paying attention to the @code{c} notes.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
c
<c e g>
- % the C is now an octave higher
<c' e g'>
- % the C returns to the original pitch
<c, e, g''>
}
@end lilypond
double-diminished fifth, regardless of the number of semitones
that each interval contains.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 fis
c2 ges
@ref{Octave checks}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveMusic}.
@funindex \transpose
naming conventions. To use other names for accidentals, see
@ref{Note names in other languages}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
ais1 aes aisis aeses
@end lilypond
syntax with a suffix; a natural pitch is shown as a simple note
name:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
a4 aes a2
@end lilypond
@cindex semi-flats, semi-sharps
Quarter tones may be added; the following is a series of Cs with
-increasing pitches
+increasing pitches:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
ceseh1 ces ceh c cih cis cisih
@end lilypond
pitch. These extra accidentals can also be used to produce
natural signs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
cis cis cis! cis? c c c! c?
@end lilypond
Accidentals on tied notes are only printed at the beginning of a
new system:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
cis1 ~ cis ~
\break
cis
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
@seealso
@rglos{double sharp},
@rglos{double flat},
@rglos{Pitch names},
-@rglos{quarter-tone}.
+@rglos{quarter tone}.
Learning Manual:
@rlearning{Accidentals and key signatures}.
Notation Reference:
@ref{Automatic accidentals},
-@ref{Musica ficta accidentals},
+@ref{Annotational accidentals},
@ref{Note names in other languages}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental_engraver},
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.
@knownissues
@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
contracted names are defined in the corresponding language files.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
a2 as e es a ases e eses
@end lilypond
@rglos{Pitch names}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Changing multiple pitches
warning and correcting the octave if a note is found in an
unexpected octave.
-To check the octave of a specific note, specify the absolute
+To check the octave of a note, specify the absolute
octave after the @code{=}@tie{}symbol. This example will generate
a warning (and change the pitch) because the second note is the
absolute octave @code{d''} instead of @code{d'} as indicated by
the octave correction.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\relative c'' {
c2 d='4 d
e2 f
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}.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\relative c'' {
c2 d
\octave c'
@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]
+@lilypond[verbatim,quote,fragment]
\relative c'' {
c4 f g f
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveCheck}.
@node Transpose
transposed up to E-major; note that the key signature is
automatically transposed as well.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\transpose d e {
\relative c' {
\key d \major
}
@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:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\transpose a c' {
\relative c' {
\key c \major
will remain on the same scale step, the second version will print
flats on the scale step above.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
mus = \relative c' { c d e f }
\new Staff {
\transpose c cis { \mus }
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
@ref{Instrument transpositions}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{TransposedMusic}.
+@rinternals{TransposedMusic}.
@funindex \transpose
@funindex \chordmode
The clef is set with the @code{\clef} @var{clefname} command.
Middle C is shown in every example.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef treble
c2 c
\clef alto
Other clefs include:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef french
c2 c
\clef soprano
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
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef "treble_8"
c2 c
\clef "bass^15"
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-clef-properties.ly}
@seealso
@ref{Ancient clefs}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Clef}.
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
@node Key signature
@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
@code{\aeolian}, and @code{\locrian}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
\key g \major
fis1
f
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@rlearning{Accidentals and key signatures}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.
@node Ottava brackets
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
a'2 b
#(set-octavation 1)
a b
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
@rglos{octavation}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{OttavaBracket}.
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
each part of the conductor's score. The two instruments are
playing in unison.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\new GrandStaff <<
\new Staff = "Vln" {
\relative c'' {
\set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
- % strictly speaking not necessary, but a good reminder
+ \set Staff.midiInstrument = "violin"
+ % not strictly necessary, but a good reminder
\transposition c'
\key c \major
}
\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
\key d \major
a4( d8) r d r d4
}
example, a clarinetist may switch from an A clarinet to a B-flat
clarinet.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
\set Staff.instrumentName = "Cl (A)"
\key a \major
\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
@ref{Quoting other voices}, @ref{Transpose}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Automatic accidentals
@unnumberedsubsubsec Automatic accidentals
-@cindex automatic accidentals
-@cindex accidentals, automatic
-@cindex accidentals
@cindex accidental style
-@cindex default accidental style
@cindex accidental style, default
+@cindex accidentals
+@cindex accidentals, automatic
+@cindex automatic accidentals
+@cindex default accidental style
@funindex set-accidental-style
There are many different conventions on how to typeset
The following accidental styles are supported. To demonstrate
each style, we use the following example:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
musicA = {
<<
\relative c' {
\new PianoStaff {
<<
\context Staff = "up" {
- %%% change the next line as desired:
#(set-accidental-style 'default)
\musicA
}
\context Staff = "down" {
- %%% change the next line as desired:
#(set-accidental-style 'default)
\musicB
}
Note that the last lines of this example can be replaced by the
following, as long as the same accidental style should be used in
both staves.
+
@example
\new PianoStaff @{
<<
@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}:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative 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}.
@code{modern-cautionary} should be used instead.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
the upper staff:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@item modern-cautionary
@cindex accidentals, modern cautionary style
-@cindex modern style accidentals
-@cindex modern style cautionary accidentals
@cindex modern accidental style
@cindex modern cautionary accidental style
+@cindex modern style accidentals
+@cindex modern style cautionary accidentals
@funindex modern-cautionary
This rule is similar to @code{modern}, but the @q{extra}
@code{AccidentalSuggestion}.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-voice
-@cindex accidentals, multivoice
+@cindex accidental style, modern
@cindex accidentals, modern
+@cindex accidentals, multivoice
+@cindex modern accidental style
@cindex modern accidentals
@cindex multivoice accidentals
-@cindex accidental style, modern
-@cindex modern accidental style
@funindex modern-voice
This rule is used for multivoice accidentals to be read both by
accidental in a different voice in the previous measure:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
}
@end lilypond
-@cindex accidental style, modern voice cautionary
@cindex accidental style, cautionary, modern voice
+@cindex accidental style, modern voice cautionary
@cindex accidental style, voice, modern cautionary
@funindex modern-voice-cautionary
@item modern-voice-cautionary
@code{default} @emph{are} typeset with this rule,
some of them are typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item piano
-@cindex piano accidentals
-@cindex piano accidentals
+@cindex accidental style, piano
@cindex accidentals, piano
@cindex piano accidental style
-@cindex accidental style, piano
+@cindex piano accidentals
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.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
Same as @code{#(set-accidental-style 'piano)} but with the extra
accidentals typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
This is the same as @code{default} but with accidentals lasting
@q{forever} and not only within the same measure:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
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]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+@rinternals{Accidental},
+@rinternals{Accidental_engraver},
+@rinternals{GrandStaff} and
+@rinternals{PianoStaff},
+@rinternals{Staff},
+@rinternals{AccidentalSuggestion},
+@rinternals{AccidentalPlacement},
+@rinternals{accidental-suggestion-interface}.
@cindex accidentals and simultaneous notes
represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\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}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-ambitus-per-voice.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{ambitus-with-multiple-voices.ly}
@seealso
@rglos{ambitus}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff}, @internalsref{Voice}.
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.
@knownissues
diamond shapes; the other note head styles are produced by
tweaking the property:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
c4 d
\override NoteHead #'style = #'cross
e f
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Notation Reference:
@ref{Note head styles}.
Internals Reference:
-@internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{Ledger_line_engraver},
+@rinternals{NoteHead},
+@rinternals{LedgerLineSpanner},
+@rinternals{note-head-interface},
+@rinternals{ledger-line-spanner-interface}.
@node Easy notation note heads
The @q{easy play} note head includes a note name inside the head.
It is used in music for beginners.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
#(set-global-staff-size 26)
\relative c' {
\easyHeadsOn
@ref{Setting the staff size}.
Snippets:
-@lsrdir{Pitches,Pitches},
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{NoteHead}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Shape note heads
Shape note heads can be produced by setting @code{\aikenHeads} or
@code{\sacredHarpHeads}, depending on the style desired.
-@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
+@lilypond[verbatim,fragment,quote,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
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-notehead-styles-depending-on-the-step-of-the-scale.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{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}.
+@rlsr{Pitches}.
Notation Reference:
@ref{Note head styles}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
+
@node Improvisation
@unnumberedsubsubsec Improvisation
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\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}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Pitch_squash_engraver},
-@internalsref{Voice}.
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.
projects / lilypond.git / blobdiff