X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fpitches.itely;h=06c60180c7fa5329b09057c5c1da1f0a77d7bf04;hb=ef4c562ff9a4468fa742c237cba7a81f5ea80ebf;hp=b3854c94e0fdeb41e7038925c8ae41bbcf00891c;hpb=67d26bc9de7f8baaa1d274dcc2e2fe7aacb6409c;p=lilypond.git

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index b3854c94e0..06c60180c7 100644
--- a/Documentation/notation/pitches.itely
+++ b/Documentation/notation/pitches.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.12.0"
+@c \version "2.13.36"
 
 
 @node Pitches
@@ -38,7 +38,6 @@ mode.  In most cases, relative mode will be more convenient.
 * Relative octave entry::
 * Accidentals::
 * Note names in other languages::
-* Non-Western note names and accidentals::
 @end menu
 
 
@@ -58,11 +57,13 @@ through@tie{}@code{g}.  The note names @code{c} to @code{b} are
 engraved in the octave below middle C.
 
 @c don't use c' here.
-@lilypond[verbatim,quote,fragment]
-\clef bass
-c d e f
-g a b c
-d e f g
+@lilypond[verbatim,quote]
+{
+  \clef bass
+  c4 d e f
+  g4 a b c
+  d4 e f g
+}
 @end lilypond
 
 @cindex octave changing mark
@@ -75,13 +76,15 @@ or comma@tie{}(@code{,}) character.  Each@tie{}@code{'} raises the
 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
 octave.
 
-@lilypond[verbatim,quote,fragment]
-\clef treble
-c' c'' e' g
-d'' d' d c
-\clef bass
-c, c,, e, g
-d,, d, d c
+@lilypond[verbatim,quote]
+{
+  \clef treble
+  c'4 c'' e' g
+  d''4 d' d c
+  \clef bass
+  c,4 c,, e, g
+  d,,4 d, d c
+}
 @end lilypond
 
 
@@ -100,7 +103,7 @@ Snippets:
 @cindex relative octave entry
 @cindex octave entry, relative
 @cindex relative octave specification
-@cindex ocatve specification, relative
+@cindex octave specification, relative
 
 @funindex relative
 @funindex \relative
@@ -119,7 +122,7 @@ octave.
 
 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
@@ -140,10 +143,9 @@ octaves.
 
 @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:
@@ -282,7 +284,7 @@ Internals Reference:
 
 
 @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.
@@ -379,7 +381,7 @@ Accidentals on tied notes are only printed at the beginning of a
 new system:
 
 @lilypond[verbatim,quote,relative=2]
-cis1 ~ cis ~
+cis1~ cis~
 \break
 cis
 @end lilypond
@@ -387,10 +389,12 @@ cis
 
 @snippets
 
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
+{hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
+
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {preventing-extra-naturals-from-being-automatically-added.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{sharp},
@@ -438,80 +442,79 @@ any standard.
 @cindex language, pitch names in other
 
 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.
+other languages.  Selecting the note name language is usually done
+at the beginning of the file; the following example is written
+using Italian note names:
 
-@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
-use default (Nederlands) note names, the @code{@bs{}include}
-command for the language file should be placed after all other
-LilyPond distribution files.}
+@lilypond[quote,verbatim]
+\language "italiano"
 
-The available language files and the note names they define are:
+\relative do' {
+  do re mi sib
+}
+@end lilypond
+
+The available languages and the note names they define are:
 
 @quotation
-@multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
-@headitem Language File
+@multitable {@code{nederlands}} {do re mi fa sol la sib si}
+@headitem Language
   @tab Note Names
-@item @file{nederlands.ly}
+@item @code{nederlands}
   @tab c d e f g a bes b
-@item @file{arabic.ly}
+@item @code{catalan}
   @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}
+@item @code{deutsch}
   @tab c d e f g a b h
-@item @file{english.ly}
+@item @code{english}
   @tab c d e f g a bf b
-@item @file{espanol.ly}
+@item @code{espanol}
   @tab do re mi fa sol la sib si
-@item @file{italiano.ly}
+@item @code{italiano}
   @tab do re mi fa sol la sib si
-@item @file{norsk.ly}
+@item @code{norsk}
   @tab c d e f g a b h
-@item @file{portugues.ly}
+@item @code{portugues}
   @tab do re mi fa sol la sib si
-@item @file{suomi.ly}
+@item @code{suomi}
   @tab c d e f g a b h
-@item @file{svenska.ly}
+@item @code{svenska}
   @tab c d e f g a b h
-@item @file{vlaams.ly}
+@item @code{vlaams}
   @tab do re mi fa sol la sib si
 @end multitable
 @end quotation
 
-@noindent
-and the accidental suffixes they define are:
+In addition to note names, accidental suffixes may
+also vary depending on the language:
 
 @quotation
-@multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
-@headitem Language File
+@multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
+@headitem Language
   @tab sharp @tab flat @tab double sharp @tab double flat
-@item @file{nederlands.ly}
+@item @code{nederlands}
   @tab -is @tab -es @tab -isis @tab -eses
-@item @file{arabic.ly}
-  @tab -d @tab -b @tab -dd @tab -bb
-@item @file{catalan.ly}
+@item @code{catalan}
   @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
-@item @file{deutsch.ly}
+@item @code{deutsch}
   @tab -is @tab -es @tab -isis @tab -eses
-@item @file{english.ly}
+@item @code{english}
   @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
     @tab -ff/-flatflat
-@item @file{espanol.ly}
+@item @code{espanol}
   @tab -s @tab -b @tab -ss/-x @tab -bb
-@item @file{italiano.ly}
+@item @code{italiano}
   @tab -d @tab -b @tab -dd @tab -bb
-@item @file{norsk.ly}
+@item @code{norsk}
   @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
     @tab -essess/-eses
-@item @file{portugues.ly}
+@item @code{portugues}
   @tab -s @tab -b @tab -ss @tab -bb
-@item @file{suomi.ly}
+@item @code{suomi}
   @tab -is @tab -es @tab -isis @tab -eses
-@item @file{svenska.ly}
+@item @code{svenska}
   @tab -iss @tab -ess @tab -ississ @tab -essess
-@item @file{vlaams.ly}
+@item @code{vlaams}
   @tab -k @tab -b @tab -kk @tab -bb
 @end multitable
 @end quotation
@@ -535,107 +538,51 @@ a2 as e es a ases e eses
 @cindex sesqui-flat
 
 Some music uses microtones whose alterations are fractions of a
-@q{normal} sharp or flat.  The note names for quarter-tones
-defined in the various language files are listed in the following
-table.  Here the prefixes @notation{semi-} and @notation{sesqui-}
-mean @q{half} and @q{one and a half}, respectively.  For the other
-languages, no special names have been defined yet.
+@q{normal} sharp or flat.  The following table lists note names
+for quarter-tone accidentals in various languages; here the prefixes
+@notation{semi-} and @notation{sesqui-} respectively
+mean @q{half} and @q{one and a half}.  Languages that do not
+appear in this table do not provide special note names yet.
 
 @quotation
-@multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
-@headitem Language File
+@multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
+@headitem Language
   @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
 
-@item @file{nederlands.ly}
+@item @code{nederlands}
   @tab -ih @tab -eh @tab -isih @tab -eseh
-@item @file{arabic.ly}
-  @tab -sd @tab -sb @tab -dsd @tab -bsb
-@item @file{deutsch.ly}
+@item @code{deutsch}
   @tab -ih @tab -eh @tab -isih @tab -eseh
-@item @file{english.ly}
+@item @code{english}
   @tab -qs @tab -qf @tab -tqs @tab -tqf
-@item @file{espanol.ly}
+@item @code{espanol}
   @tab -cs @tab -cb @tab -tcs @tab -tcb
-@item @file{italiano.ly}
+@item @code{italiano}
   @tab -sd @tab -sb @tab -dsd @tab -bsb
-@item @file{portugues.ly}
+@item @code{portugues}
   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
 @end multitable
 @end quotation
 
+Most languages presented here are commonly associated with
+Western classical music, also referred to as
+@notation{Common Practice Period}.  However, alternate
+pitches and tuning systems are also supported: see
+@ref{Common notation for non-Western music}.
+
 
 @seealso
 Music Glossary:
-@rglos{Pitch names}.
+@rglos{Pitch names},
+@rglos{Common Practice Period}.
+
+Notation Reference:
+@ref{Common notation for non-Western music}.
 
 Snippets:
 @rlsr{Pitches}.
 
 
-@node Non-Western note names and accidentals
-@unnumberedsubsubsec Non-Western note names and accidentals
-
-Many non-Western musics (and some Western folk and
-traditional musics) employ alternative or extended tuning
-systems that do not fit readily into standard classical
-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
-accidentals, with the precise pitch alterations being
-determined by context.  Others 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.
-From a modern notational point of view, it is convenient
-to use the standard Western staff notes (c, d, e, ...)
-with special accidentals unique to Turkish music.  These
-accidentals are defined in @file{makam.ly} (to locate this
-file on your system, see
-@rlearning{Other sources of information}).  The following
-table gives their names, the accidental suffix that must
-be added to notes, and their pitch alteration as a
-fraction of one whole tone.
-
-@c TODO: can we include the actual accidentals in this table?
-@quotation
-@multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
-@headitem Accidental name
-  @tab suffix @tab pitch alteration
-
-@item büyük mücenneb (sharp)
-  @tab -bm @tab +8/9
-@item kücük mücenneb (sharp)
-  @tab -k @tab +5/9
-@item bakiye (sharp)
-  @tab -b @tab +4/9
-@item koma (sharp)
-  @tab -c @tab +1/9
-
-@item koma (flat)
-  @tab -fc @tab -1/9
-@item bakiye (flat)
-  @tab -fb @tab -4/9
-@item kücük mücenneb (flat)
-  @tab -fk @tab -5/9
-@item büyük mücenneb (flat)
-  @tab -fbm @tab -8/9
-@end multitable
-@end quotation
-
-For further information on Turkish classical music and
-makamlar, see @ref{Turkish classical music}.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{makam-example.ly}
-
-
 @node Changing multiple pitches
 @subsection Changing multiple pitches
 
@@ -677,13 +624,13 @@ correction.
 @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'' {
@@ -741,11 +688,12 @@ syntax is
 @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.}
@@ -892,9 +840,6 @@ This section discusses how to alter the output of pitches.
 @cindex baritone clef
 @cindex varbaritone clef
 @cindex subbass clef
-@cindex tab clef
-@cindex moderntab clef
-@cindex percussion clef
 @cindex clef
 @cindex ancient clef
 @cindex clef, ancient
@@ -917,7 +862,7 @@ This section discusses how to alter the output of pitches.
 @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]
@@ -951,8 +896,6 @@ c2 c
 c2 c
 \clef percussion
 c2 c
-\clef tab
-c2 c
 
 \break
 
@@ -971,27 +914,29 @@ c2 c
 @cindex tenor clef, choral
 
 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
-clef is transposed one octave down or up, respectively,
+clef is transposed one octave down or up respectively,
 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
-Clef names containing non-alphabetic characters must be enclosed
-in quotes.
+Other integers can be used if required.  Clef names containing
+non-alphabetic characters must be enclosed in quotes
 
 @lilypond[verbatim,quote,relative=1]
 \clef treble
 c2 c
 \clef "treble_8"
 c2 c
-\clef "G_8"
-c2 c
 \clef "bass^15"
 c2 c
-\clef "F^15"
+\clef "alto_2"
+c2 c
+\clef "G_8"
+c2 c
+\clef "F^5"
 c2 c
 @end lilypond
 
-Further supported clefs are described under
-@ref{Mensural clefs}, @ref{Gregorian clefs},
-and @ref{Custom tablatures}.
+Some special purpose clefs are described in @ref{Mensural clefs},
+@ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
+tablatures}.
 
 @snippets
 
@@ -1003,6 +948,7 @@ and @ref{Custom tablatures}.
 Notation Reference:
 @ref{Mensural clefs},
 @ref{Gregorian clefs},
+@ref{Default tablatures},
 @ref{Custom tablatures}.
 
 Snippets:
@@ -1071,12 +1017,12 @@ at the start of the staff.  The key signature may be altered:
 @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
@@ -1133,17 +1079,19 @@ Internals Reference:
 octave for the staff:
 
 @lilypond[verbatim,quote,relative=2]
-a'2 b
-\ottava #1
-a b
+a2 b
+\ottava #-2
+a2 b
+\ottava #-1
+a2 b
 \ottava #0
-a b
+a2 b
+\ottava #1
+a2 b
+\ottava #2
+a2 b
 @end lilypond
 
-The @code{ottava} function also takes -1 (for 8va bassa),
-2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-
-
 @snippets
 
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
@@ -2480,6 +2428,9 @@ printed if they are not part of the key signature.
 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
 {ambitus-with-multiple-voices.ly}
 
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-the-ambitus-gap.ly}
+
 
 @seealso
 Music Glossary:
@@ -2576,6 +2527,10 @@ c4 b
 c b < g \xNote c f > b
 @end lilypond
 
+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:
 
@@ -2596,7 +2551,8 @@ Snippets:
 
 Notation Reference:
 @ref{Note head styles},
-@ref{Chorded notes}.
+@ref{Chorded notes},
+@ref{Indicating harmonics and dampened notes}.
 
 Internals Reference:
 @rinternals{note-event},
@@ -2615,7 +2571,6 @@ Internals Reference:
 @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
@@ -2678,33 +2633,94 @@ Internals Reference:
 @cindex shape notes
 @cindex Aiken shape 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 \key
-@funindex key
 @funindex \aikenHeads
 @funindex aikenHeads
 @funindex \sacredHarpHeads
 @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:
+Shape note heads can be produced in Sacred Harp, Southern Harmony,
+Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
 
 @lilypond[verbatim,quote,relative=2]
 \aikenHeads
-c, d e f g a b c
+c, d e f g2 a b1 c \break
 \sacredHarpHeads
-c, d e f g a b c
+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
 
-Shapes are typeset according to the step in the scale, where the
-base of the scale is determined by the @code{\key} command.
+@funindex \key
+@funindex key
+@funindex \aikenHeadsMinor
+@funindex aikenHeadsMinor
+@funindex \sacredHarpHeadsMinor
+@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
+in a minor key, the scale step can be determined from the relative
+major:
+
+@lilypond[verbatim,quote,relative=2]
+\key a \minor
+\aikenHeads
+a b c d e2 f g1 a \break
+\aikenHeadsMinor
+a,4 b c d e2 f g1 a \break
+\sacredHarpHeadsMinor
+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{\sacredHarpHeads}.
+@code{\aikenHeadsMinor},
+@code{\funkHeads},
+@code{\funkHeadsMinor},
+@code{\sacredHarpHeads},
+@code{\sacredHarpHeadsMinor},
+@code{\southernHarmonyHeads},
+@code{\southernHarmonyHeadsMinor},
+@code{\walkerHeads},
+@code{\walkerHeadsMinor}.
 @endpredefined