X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fpitches.itely;h=60fb0cc443d1763bedcaefd13ad1aaa08a56cf8a;hb=a1c9c3d285a2f3e59cf79a375b67cfb58ceca7ba;hp=f892637b171fc671c91209bb696b8d95ef2699f0;hpb=94345c6367d9e6a7dac6711cbb81845e8e889db5;p=lilypond.git diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index f892637b17..60fb0cc443 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.17.18" +@c \version "2.19.2" @node Pitches @@ -314,12 +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 @@ -410,8 +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 @@ -1110,8 +1104,16 @@ 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 -following clef names can (but do not need to) be enclosed in quotes. +Without any explicit command, the default clef for LilyPond is the +treble (or @emph{G}) clef. + +@lilypond[verbatim,quote,relative=1,ragged-right] +c2 c +@end lilypond + +However, the clef can be changed by using the @code{\clef} command and +an appropriate clef name. @emph{Middle C} is shown in each of the +following examples. @lilypond[verbatim,quote,relative=1] \clef treble @@ -1124,36 +1126,17 @@ c2 c c2 c @end lilypond -Other clefs include: +For the full range of possible clef names see @ref{Clef styles}. -@lilypond[verbatim,quote,relative=1] -\clef french -c2 c -\clef soprano -c2 c -\clef mezzosoprano -c2 c -\clef baritone -c2 c - -\break - -\clef varbaritone -c2 c -\clef subbass -c2 c -\clef percussion -c2 c - -\break +Specialized clefs, such as those used in @emph{Ancient} music, are +described in @ref{Mensural clefs} and @ref{Gregorian clefs}. Music that +requires tablature clefs is discussed in @ref{Default tablatures} and +@ref{Custom tablatures}. -\clef G % synonym for treble -c2 c -\clef F % synonym for bass -c2 c -\clef C % synonym for alto -c2 c -@end lilypond +@cindex Cue clefs +@cindex Clefs with cue notes +For mixing clefs when using cue notes, see the @code{\cueClef} and +@code{\cueDuringWithClef} commands in @ref{Formatting cue notes}. @cindex transposing clef @cindex clef, transposing @@ -1197,14 +1180,60 @@ c2 c 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 -score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions -in @ref{Formatting cue notes}. +By default, a clef change taking place at a line break will cause +the new clef symbol to be printed at the end of the previous line, +as a @emph{warning} clef, as well as the beginning of the next. +This @emph{warning} clef can be suppressed. -@snippets +@lilypond[verbatim,quote,relative=1] +\clef treble { c2 c } \break +\clef bass { c2 c } \break +\clef alto + \set Staff.explicitClefVisibility = #end-of-line-invisible + { c2 c } \break + \unset Staff.explicitClefVisibility +\clef bass { c2 c } \break +@end lilypond + +By default, a clef that has previously been printed will not be +re-printed if the same @code{\clef} command is issued again and +will be ignored. The the command +@code{\set Staff.forceClef = ##t} changes this behaviour. + +@lilypond[verbatim,quote,relative=1] + \clef treble + c1 + \clef treble + c1 + \set Staff.forceClef = ##t + c1 + \clef treble + c1 +@end lilypond + +When there is a manual clef change, the glyph of the changed clef +will be smaller than normal. This behaviour can be overridden. + +@lilypond[verbatim,quote,relative=1] + \clef "treble" + c1 + \clef "bass" + c1 + \clef "treble" + c1 + \override Staff.Clef.full-size-change = ##t + \clef "bass" + c1 + \clef "treble" + c1 + \revert Staff.Clef.full-size-change + \clef "bass" + c1 + \clef "treble" + c1 +@end lilypond +@snippets @lilypondfile[verbatim,quote,texidoc,doctitle] {tweaking-clef-properties.ly} @@ -1216,6 +1245,9 @@ Notation Reference: @ref{Custom tablatures}, @ref{Formatting cue notes}. +Installed Files: +@file{scm/parser-clef.scm}. + Snippets: @rlsr{Pitches}. @@ -1226,15 +1258,15 @@ Internals Reference: @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. +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,relative=1] +@lilypond[fragment,quote,verbatim,relative=1] \new Staff \with { - \override ClefModifier.color = #red \override Clef.color = #blue + \override ClefModifier.color = #red } \clef "treble_8" c4 @@ -1319,8 +1351,8 @@ 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 @@ -1336,11 +1368,11 @@ 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 @@ -1351,6 +1383,7 @@ position. @lilypondfile[verbatim,quote,texidoc,doctitle] {non-traditional-key-signatures.ly} + @seealso Music Glossary: @rglos{church mode}, @@ -1409,6 +1442,9 @@ a2 b @lilypondfile[verbatim,quote,texidoc,doctitle] {adding-an-ottava-marking-to-a-single-voice.ly} +@lilypondfile[verbatim,quote,texidoc,doctitle] +{modifying-the-ottava-spanner-slope.ly} + @seealso Music Glossary: @rglos{octavation}. @@ -1492,7 +1528,7 @@ to a B-flat clarinet. @lilypond[verbatim,quote] flute = \relative c'' { - \key f\major + \key f \major \cueDuring #"clarinet" #DOWN { R1 _\markup\tiny "clarinet" c4 f e d @@ -2449,6 +2485,124 @@ 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 the same staff. + +@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 dodecaphonic-first + +@cindex dodecaphonic accidental style +@cindex dodecaphonic style, neo-modern + +@funindex dodecaphonic-first + +Similar to the dodecaphonic accidental style @emph{every} pitch +gets an accidental sign, but only the first time it is encountered +in a measure. Accidentals are only remembered for the actual octave +but throughout voices. + +@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-first + \musicA + } + \context Staff = "down" { + \accidentalStyle dodecaphonic-first + \musicB + } + >> +} +@end lilypond + @item teaching @@ -2842,11 +2996,10 @@ 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 @@ -3079,8 +3232,8 @@ 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 }