X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fpitches.itely;h=5d246864207020a5f270a305aa6e496792619f4e;hb=40aac0ae57ee113faa860ba221d83d9e6312173e;hp=bdfc34a7dfc442a1d2b88c4fa1477f985750eb92;hpb=f25b23eb6fbbf83489dfac39f1908ab13a75b4b9;p=lilypond.git

diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely
index bdfc34a7df..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
@@ -464,9 +489,9 @@ The available languages and the note names they define are:
   @tab c d e f g a b h
 @item @code{english}
   @tab c d e f g a bf b
-@item @code{espanol}
+@item @code{espanol} or @code{español}
   @tab do re mi fa sol la sib si
-@item @code{italiano}
+@item @code{italiano} or @code{français}
   @tab do re mi fa sol la sib si
 @item @code{norsk}
   @tab c d e f g a b h
@@ -497,9 +522,9 @@ also vary depending on the language:
 @item @code{english}
   @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
     @tab -ff/-flatflat
-@item @code{espanol}
+@item @code{espanol} or @code{español}
   @tab -s @tab -b @tab -ss/-x @tab -bb
-@item @code{italiano}
+@item @code{italiano} or @code{français}
   @tab -d @tab -b @tab -dd @tab -bb
 @item @code{norsk}
   @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
@@ -551,9 +576,9 @@ appear in this table do not provide special note names yet.
   @tab -ih @tab -eh @tab -isih @tab -eseh
 @item @code{english}
   @tab -qs @tab -qf @tab -tqs @tab -tqf
-@item @code{espanol}
+@item @code{espanol} or @code{español}
   @tab -cs @tab -cb @tab -tcs @tab -tcb
-@item @code{italiano}
+@item @code{italiano} or @code{français}
   @tab -sd @tab -sb @tab -dsd @tab -bsb
 @item @code{portugues}
   @tab -sqt @tab -bqt @tab -stqt @tab -btqt
@@ -841,7 +866,7 @@ music = \relative c' { c d e f }
 @end lilypond
 
 @warning{Motifs to be inverted should be expressed in absolute form
-or be first converted to absolute form by enclosing them in a 
+or be first converted to absolute form by enclosing them in a
 @code{\relative} block.}
 
 @seealso
@@ -1127,6 +1152,8 @@ c2 c
 @cindex transposing clef
 @cindex clef, transposing
 @cindex octave transposition
+@cindex optional octave transposition
+@cindex octave transposition, optional
 @cindex choral tenor clef
 @cindex tenor clef, choral
 
@@ -1151,6 +1178,19 @@ c2 c
 c2 c
 @end lilypond
 
+Optional octavation can be obtained by enclosing the numeric
+argument in parentheses or brackets:
+
+@lilypond[verbatim,quote,relative=1]
+\clef "treble_(8)"
+c2 c
+\clef "bass^[15]"
+c2 c
+@end lilypond
+
+The pitches are displayed as if the numeric argument were
+given without parentheses/brackets.
+
 Some special purpose clefs are described in @ref{Mensural clefs},
 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
 tablatures}.  For mixing different clefs when using cue notes within a
@@ -1176,19 +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
@@ -1273,8 +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
 
@@ -1290,11 +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
@@ -1360,6 +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}.
@@ -1438,21 +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
@@ -2387,6 +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 <a cis>8 f bis4 |
+      cis2. <c, g'>4 |
+    }
+    \\
+    \relative c' {
+      ais'2 cis, |
+      fis8 b a4 cis2 |
+    }
+  >>
+}
+
+musicB = {
+  \clef bass
+  \new Voice {
+    \voiceTwo \relative c' {
+      <fis, a cis>8[ <fis a cis>
+      \change Staff = up
+      cis' cis
+      \change Staff = down
+      <fis, a> <fis a>]
+      \showStaffSwitch
+      \change Staff = up
+      dis'4 |
+      \change Staff = down
+      <fis, a cis>4 gis <f a d>2 |
+    }
+  }
+}
+
+\new PianoStaff {
+  <<
+    \context Staff = "up" {
+      \accidentalStyle dodecaphonic-no-repeat
+      \musicA
+    }
+    \context Staff = "down" {
+      \accidentalStyle dodecaphonic-no-repeat
+      \musicB
+    }
+  >>
+}
+@end lilypond
+
 
 @item teaching
 
@@ -2780,11 +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]
-<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
 @end lilypond
 
 @predefined
@@ -3017,8 +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
 }