X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=Documentation%2Fnotation%2Fpitches.itely;h=5d246864207020a5f270a305aa6e496792619f4e;hb=e7aa6c445f463844dbaa52d38ea4aac2882b5601;hp=61a59ad0fc7cab1fb12b4357a877d872b1d6367c;hpb=73580a4adff969f66b5c562c6a45b2b92fc6128e;p=lilypond.git diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 61a59ad0fc..5d24686420 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.6" +@c \version "2.19.2" @node Pitches @@ -87,6 +87,18 @@ octave. } @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}. @@ -107,13 +119,13 @@ Snippets: @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} @@ -143,8 +155,27 @@ octaves. @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: @@ -283,12 +314,6 @@ Internals Reference: @funindex \relative @funindex relative -@c DEPRECATED -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. - @node Accidentals @unnumberedsubsubsec Accidentals @@ -379,8 +404,8 @@ cis cis cis! cis? c c c! c? Accidentals on tied notes are only printed at the beginning of a new system: -@lilypond[verbatim,quote,relative=2] -cis1~ cis~ +@lilypond[verbatim,quote,relative=2,ragged-right] +cis1~ 1~ \break cis @end lilypond @@ -1191,19 +1216,19 @@ Snippets: 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] +@lilypond[fragment,quote,verbatim,relative=1] \new Staff \with { - \override OctavateEight.color = #red \override Clef.color = #blue + \override ClefModifier.color = #red } \clef "treble_8" c4 @@ -1288,8 +1313,8 @@ freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL) (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT)) \relative c' { - \key c\freygish c4 des e f - \bar "||" \key d\freygish d es fis g + \key c \freygish c4 des e f + \bar "||" \key d \freygish d es fis g } @end lilypond @@ -1305,11 +1330,11 @@ position. @lilypond[verbatim, quote,relative=0] \override Staff.KeySignature.flat-positions = #'((-5 . 5)) \override Staff.KeyCancellation.flat-positions = #'((-5 . 5)) -\clef bass \key es\major es g bes d -\clef treble \bar "||" \key es\major es g bes d +\clef bass \key es \major es g bes d +\clef treble \bar "||" \key es \major es g bes d \override Staff.KeySignature.sharp-positions = #'(2) -\bar "||" \key b\major b fis b2 +\bar "||" \key b \major b fis b2 @end lilypond @snippets @@ -1375,6 +1400,9 @@ a2 b @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}. @@ -1453,21 +1481,34 @@ playing in unison. @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 @@ -2402,6 +2443,64 @@ musicB = { } @end lilypond +@item dodecaphonic-no-repeat + +@cindex dodecaphonic accidental style +@cindex dodecaphonic style, neo-modern + +@funindex dodecaphonic-no-repeat + +Like with the dodecaphonic accidental style @emph{every} note +gets an accidental sign by default, but accidentals are +suppressed for pitches immediately repeated within one voice. + +@lilypond[quote] +musicA = { + << + \relative c' { + cis'8 fis, bes4 8 f bis4 | + cis2. 4 | + } + \\ + \relative c' { + ais'2 cis, | + fis8 b a4 cis2 | + } + >> +} + +musicB = { + \clef bass + \new Voice { + \voiceTwo \relative c' { + 8[ + \change Staff = up + cis' cis + \change Staff = down + ] + \showStaffSwitch + \change Staff = up + dis'4 | + \change Staff = down + 4 gis 2 | + } + } +} + +\new PianoStaff { + << + \context Staff = "up" { + \accidentalStyle dodecaphonic-no-repeat + \musicA + } + \context Staff = "down" { + \accidentalStyle dodecaphonic-no-repeat + \musicB + } + >> +} +@end lilypond + @item teaching @@ -2795,11 +2894,10 @@ As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff}, @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can be used. The term @notation{dead note} is commonly used by guitarists. -There is also a shorthand for diamond shapes which can be used -only inside chords: +There is also a similar shorthand for diamond shapes: @lilypond[verbatim,quote,relative=2] -2 4 +2 4 f\harmonic @end lilypond @predefined @@ -3032,8 +3130,8 @@ rhythm. Such note heads can be created: e8 e g a a16( bes) a8 g \improvisationOn e8 ~ - e2 ~ e8 f4 f8 ~ - f2 + 2 ~ 8 f4 f8 ~ + 2 \improvisationOff a16( bes) a8 g e }