X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fpitches.itely;h=5d246864207020a5f270a305aa6e496792619f4e;hb=e7f5fef791c7930fa75fff1423da58308751adeb;hp=860babdc821d081bef8a96ed4042c699f1fc4683;hpb=1218da693e22c42b9f78074ad4d8f4a9151855c4;p=lilypond.git diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 860babdc82..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 "2.16.0" +@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 @@ -1176,9 +1216,24 @@ 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{ClefModifier} +grob. + +@lilypond[fragment,quote,verbatim,relative=1] +\new Staff \with { + \override Clef.color = #blue + \override ClefModifier.color = #red +} + +\clef "treble_8" c4 +@end lilypond + @node Key signature @unnumberedsubsubsec Key signature @@ -1258,8 +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 @@ -1273,13 +1328,13 @@ accidentals are placed within the octave ending at that staff 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 +\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 -\override Staff.KeySignature #'sharp-positions = #'(2) -\bar "||" \key b\major b fis b2 +\override Staff.KeySignature.sharp-positions = #'(2) +\bar "||" \key b \major b fis b2 @end lilypond @snippets @@ -1345,6 +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}. @@ -1423,21 +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 @@ -1473,7 +1544,7 @@ accidental style to use. This function is called as follows: @example \new Staff << - \accidentalStyle "voice" + \accidentalStyle voice @{ @dots{} @} >> @end example @@ -1486,7 +1557,7 @@ scope the style should be changed. For example, to use the same style in all staves of the current @code{StaffGroup}, use: @example -\accidentalStyle #'StaffGroup "voice" +\accidentalStyle StaffGroup.voice @end example The following accidental styles are supported. To demonstrate @@ -1529,11 +1600,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "default" + \accidentalStyle default \musicA } \context Staff = "down" { - \accidentalStyle "default" + \accidentalStyle default \musicB } >> @@ -1549,7 +1620,7 @@ both staves. << \context Staff = "up" @{ %%% change the next line as desired: - \accidentalStyle #'Score "default" + \accidentalStyle Score.default \musicA @} \context Staff = "down" @{ @@ -1612,11 +1683,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "default" + \accidentalStyle default \musicA } \context Staff = "down" { - \accidentalStyle "default" + \accidentalStyle default \musicB } >> @@ -1685,11 +1756,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "voice" + \accidentalStyle voice \musicA } \context Staff = "down" { - \accidentalStyle "voice" + \accidentalStyle voice \musicB } >> @@ -1751,11 +1822,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "modern" + \accidentalStyle modern \musicA } \context Staff = "down" { - \accidentalStyle "modern" + \accidentalStyle modern \musicB } >> @@ -1815,11 +1886,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "modern-cautionary" + \accidentalStyle modern-cautionary \musicA } \context Staff = "down" { - \accidentalStyle "modern-cautionary" + \accidentalStyle modern-cautionary \musicB } >> @@ -1882,11 +1953,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "modern-voice" + \accidentalStyle modern-voice \musicA } \context Staff = "down" { - \accidentalStyle "modern-voice" + \accidentalStyle modern-voice \musicB } >> @@ -1943,11 +2014,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "modern-voice-cautionary" + \accidentalStyle modern-voice-cautionary \musicA } \context Staff = "down" { - \accidentalStyle "modern-voice-cautionary" + \accidentalStyle modern-voice-cautionary \musicB } >> @@ -2008,7 +2079,7 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "piano" + \accidentalStyle piano \musicA } \context Staff = "down" { @@ -2068,7 +2139,7 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "piano-cautionary" + \accidentalStyle piano-cautionary \musicA } \context Staff = "down" { @@ -2127,11 +2198,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "neo-modern" + \accidentalStyle neo-modern \musicA } \context Staff = "down" { - \accidentalStyle "neo-modern" + \accidentalStyle neo-modern \musicB } >> @@ -2184,11 +2255,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "neo-modern-cautionary" + \accidentalStyle neo-modern-cautionary \musicA } \context Staff = "down" { - \accidentalStyle "neo-modern-cautionary" + \accidentalStyle neo-modern-cautionary \musicB } >> @@ -2244,11 +2315,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "neo-modern-voice" + \accidentalStyle neo-modern-voice \musicA } \context Staff = "down" { - \accidentalStyle "neo-modern-voice" + \accidentalStyle neo-modern-voice \musicB } >> @@ -2301,11 +2372,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "neo-modern-voice-cautionary" + \accidentalStyle neo-modern-voice-cautionary \musicA } \context Staff = "down" { - \accidentalStyle "neo-modern-voice-cautionary" + \accidentalStyle neo-modern-voice-cautionary \musicB } >> @@ -2361,11 +2432,69 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "dodecaphonic" + \accidentalStyle dodecaphonic + \musicA + } + \context Staff = "down" { + \accidentalStyle dodecaphonic + \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" + \accidentalStyle dodecaphonic-no-repeat \musicB } >> @@ -2423,12 +2552,12 @@ musicB = { << \context Staff = "up" { \key fis \minor - \accidentalStyle "teaching" + \accidentalStyle teaching \musicA } \context Staff = "down" { \key fis \minor - \accidentalStyle "teaching" + \accidentalStyle teaching \musicB } >> @@ -2483,11 +2612,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "no-reset" + \accidentalStyle no-reset \musicA } \context Staff = "down" { - \accidentalStyle "no-reset" + \accidentalStyle no-reset \musicB } >> @@ -2542,11 +2671,11 @@ musicB = { \new PianoStaff { << \context Staff = "up" { - \accidentalStyle "forget" + \accidentalStyle forget \musicA } \context Staff = "down" { - \accidentalStyle "forget" + \accidentalStyle forget \musicB } >> @@ -2589,7 +2718,7 @@ not need a natural sign: @lilypond[quote] { - \accidentalStyle "modern" + \accidentalStyle modern \time 2/4 \repeat volta 2 { c'2 @@ -2606,12 +2735,12 @@ the accidental style to @code{forget}: @lilypond[verbatim,quote] forget = #(define-music-function (parser location music) (ly:music?) #{ - \accidentalStyle "forget" + \accidentalStyle forget #music - \accidentalStyle "modern" + \accidentalStyle modern #}) { - \accidentalStyle "modern" + \accidentalStyle modern \time 2/4 \repeat volta 2 { c'2 @@ -2726,13 +2855,13 @@ The appearance of note heads may be altered: @lilypond[verbatim,quote,relative=2] c4 b -\override NoteHead #'style = #'cross +\override NoteHead.style = #'cross c4 b -\revert NoteHead #'style +\revert NoteHead.style a b -\override NoteHead #'style = #'harmonic +\override NoteHead.style = #'harmonic a b -\revert NoteHead #'style +\revert NoteHead.style c4 d e f @end lilypond @@ -2765,11 +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 @@ -3002,8 +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 }