version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Pitches
@section Pitches
@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
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]
\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
Snippets:
@lsrdir{Pitches,Pitches}.
+Internals Reference:
+@internalsref{RelativeOctaveMusic}.
+
@funindex \transpose
@funindex \chordmode
@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]
ceseh1 ces ceh c cih cis cisih
@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}.
+Internals Reference:
+@internalsref{Accidental_engraver},
+@internalsref{Accidental},
+@internalsref{AccidentalCautionary},
+@internalsref{accidental-interface}.
+
@knownissues
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 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'' {
Snippets:
@lsrdir{Pitches,Pitches}.
+Internals Reference:
+@internalsref{RelativeOctaveCheck}.
+
@node Transpose
@unnumberedsubsubsec Transpose
}
@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:
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
@lsrdir{Pitches,Pitches}.
Internals Reference:
-@internalsref{Clef}.
+@internalsref{Clef_engraver},
+@internalsref{Clef},
+@internalsref{OctavateEight},
+@internalsref{clef-interface}.
@node Key signature
@lsrdir{Pitches,Pitches}.
Internals Reference:
+@internalsref{KeyChangeEvent},
+@internalsref{Key_engraver},
+@internalsref{Key_performer},
@internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+@internalsref{KeySignature},
+@internalsref{key-cancellation-interface},
+@internalsref{key-signature-interface}.
@node Ottava brackets
@lsrdir{Pitches,Pitches}.
Internals Reference:
-@internalsref{OttavaBracket}.
+@internalsref{Ottava_spanner_engraver},
+@internalsref{OttavaBracket},
+@internalsref{ottava-bracket-interface}.
Here are a few notes for violin and B-flat clarinet where the
parts have been entered using the notes and key as they appear in
each part of the conductor's score. The two instruments are
-playing in unison.
+playing in unison. Adding the @code{\transposition c'} to the
+violin part is not strictly necessary, but it is a useful
+reminder.
@lilypond[verbatim,quote,ragged-right]
\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"
\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
}
\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
@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
\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}:
@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}.
@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}
@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
}
@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
@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.
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]
@lsrdir{Pitches,Pitches}.
Internals Reference:
+@internalsref{Accidental},
@internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+@internalsref{GrandStaff} and
+@internalsref{PianoStaff},
+@internalsref{Staff},
+@internalsref{AccidentalSuggestion},
+@internalsref{AccidentalPlacement},
+@internalsref{accidental-suggestion-interface}.
@cindex accidentals and simultaneous notes
\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
@lsrdir{Pitches,Pitches}.
Internals Reference:
+@internalsref{Ambitus_engraver},
+@internalsref{Voice},
+@internalsref{Staff},
@internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff}, @internalsref{Voice}.
+@internalsref{AmbitusAccidental},
+@internalsref{AmbitusLine},
+@internalsref{AmbitusNoteHead},
+@internalsref{ambitus-interface}.
@knownissues
@ref{Note head styles}.
Internals Reference:
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{Ledger_line_engraver},
@internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+@internalsref{LedgerLineSpanner},
+@internalsref{note-head-interface},
+@internalsref{ledger-line-spanner-interface}.
@node Easy notation note heads
@ref{Setting the staff size}.
Snippets:
-@lsrdir{Pitches,Pitches},
+@lsrdir{Pitches,Pitches}.
Internals Reference:
-@internalsref{NoteHead}.
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{NoteHead},
+@internalsref{note-head-interface}.
@node Shape note heads
@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
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-notehead-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}.
Notation Reference:
@ref{Note head styles}.
+Internals Reference:
+@internalsref{note-event},
+@internalsref{Note_heads_engraver},
+@internalsref{NoteHead},
+@internalsref{note-head-interface}.
+
@node Improvisation
@unnumberedsubsubsec Improvisation
@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
Internals Reference:
@internalsref{Pitch_squash_engraver},
-@internalsref{Voice}.
+@internalsref{Voice},
+@internalsref{RhythmicStaff}.
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