X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fpitches.itely;h=252cf82b13e2e19292e941b28e53640cc2b695ee;hb=62bd8f673cb93c886334082489274803932297da;hp=0ec57da745cad65a171602044234e197cdccb336;hpb=2d19173a5554dc8633c1837aef30ac28db703947;p=lilypond.git diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 0ec57da745..252cf82b13 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -6,12 +6,13 @@ version that you are working on. See TRANSLATION for details. @end ignore +@c \version "2.11.38" + @node Pitches @section Pitches -@lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16] -{pitches-headword.ly} +@lilypondfile[quote]{pitches-headword.ly} This section discusses how to specify the pitch of notes. There are three steps to this process: input, modification, and output. @@ -40,7 +41,7 @@ mode. In most cases, relative mode will be more convenient. @node Absolute octave entry -@subsubsection Absolute octave entry +@unnumberedsubsubsec Absolute octave entry @cindex pitch names @cindex pitches @@ -51,7 +52,7 @@ A pitch name is specified using lowercase letters@tie{}@code{a} through@tie{}@code{g}. The note names @code{c} to @code{b} are engraved in the octave below middle C. -@c NOTE: don't use c' here. +@c don't use c' here. @lilypond[verbatim,quote,ragged-right,fragment] \clef bass c d e f @@ -78,13 +79,15 @@ d,, d, d c @seealso -Music Glossary: @rglos{Pitch names}. +Music Glossary: +@rglos{Pitch names}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. @node Relative octave entry -@subsubsection Relative octave entry +@unnumberedsubsubsec Relative octave entry @cindex relative @cindex relative octave specification @@ -196,11 +199,19 @@ that each interval contains. @seealso -Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}. +Music Glossary: +@rglos{fifth}, +@rglos{interval}, +@rglos{Pitch names}. + +Notation Reference: +@ref{Octave checks}. -Notation Reference: @ref{Octave checks}. +Snippets: +@lsrdir{Pitches,Pitches}. -Snippets: @lsrdir{Pitches,Pitches}. +Internals Reference: +@internalsref{RelativeOctaveMusic}. @funindex \transpose @@ -214,7 +225,7 @@ The relative conversion will not affect @code{\transpose}, To use relative mode within transposed music, an additional @code{\relative} must be placed inside @code{\transpose}. -@c NOTE: DEPRECATED +@c DEPRECATED If no @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 @@ -223,12 +234,13 @@ discouraged. @node Accidentals -@subsubsection Accidentals +@unnumberedsubsubsec Accidentals @cindex accidental @cindex key signature @cindex clef +@c duplicated in Key signature and Accidentals @warning{New users are sometimes confused about accidentals and key signatures. In LilyPond, note names are the raw input; key signatures and clefs determine how this raw input is displayed. @@ -316,16 +328,30 @@ cis @seealso -Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, -@rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}. +Music Glossary: +@rglos{sharp}, +@rglos{flat}, +@rglos{double sharp}, +@rglos{double flat}, +@rglos{Pitch names}, +@rglos{quarter-tone}. -Learning Manual: @rlearning{Accidentals and key signatures}. +Learning Manual: +@rlearning{Accidentals and key signatures}. -Notation Reference: @ref{Automatic accidentals}, +Notation Reference: +@ref{Automatic accidentals}, @ref{Musica ficta accidentals}, @ref{Note names in other languages}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. + +Internals Reference: +@internalsref{Accidental_engraver}, +@internalsref{Accidental}, +@internalsref{AccidentalCautionary}, +@internalsref{accidental-interface}. @knownissues @@ -337,7 +363,7 @@ any standard. @node Note names in other languages -@subsubsection Note names in other languages +@unnumberedsubsubsec Note names in other languages There are predefined sets of note names for various other languages. To use them, include the language-specific init file. @@ -437,9 +463,11 @@ languages, no special names have been defined yet. @seealso -Music Glossary: @rglos{Pitch names}. +Music Glossary: +@rglos{Pitch names}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. @node Changing multiple pitches @@ -453,7 +481,7 @@ This section discusses how to modify pitches. @end menu @node Octave checks -@subsubsection Octave checks +@unnumberedsubsubsec Octave checks @cindex octave correction @cindex octave check @@ -481,7 +509,7 @@ the octave correction. The octave of notes may also be checked with the @code{\octave}@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 +previous note and the @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}. @@ -495,7 +523,7 @@ relative to the @var{controlpitch}. @end lilypond Compare the two bars below. The first and third @code{\octave} -check fail, but the second one does not fail. +checks fail, but the second one does not fail. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -514,11 +542,15 @@ check fail, but the second one does not fail. @seealso -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. + +Internals Reference: +@internalsref{RelativeOctaveCheck}. @node Transpose -@subsubsection Transpose +@unnumberedsubsubsec Transpose @cindex transpose @cindex transposition @@ -552,7 +584,7 @@ automatically transposed as well. } @end lilypond -If a part written in C (normal concert pitch) is to be played on +If a part written in C (normal @notation{concert pitch}) is to be played on the A clarinet (for which an A is notated as a C and thus sounds a minor third lower than notated), the appropriate part will be produced with: @@ -623,11 +655,14 @@ see @ref{Instrument transpositions}. @seealso -Notation Reference: @ref{Instrument transpositions}. +Notation Reference: +@ref{Instrument transpositions}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{TransposedMusic}. +Internals Reference: +@internalsref{TransposedMusic}. @funindex \transpose @funindex \chordmode @@ -658,7 +693,7 @@ This section discusses how to alter the output of pitches. @node Clef -@subsubsection Clef +@unnumberedsubsubsec Clef @funindex \clef @cindex G clef @@ -739,7 +774,7 @@ Further supported clefs are described under @ref{Ancient clefs}. By adding @code{_8} or @code{^8} to the clef name, the clef is transposed one octave down or up, respectively, and @code{_15} and -@code{^15} transposes by two octaves. The argument @var{clefname} +@code{^15} transpose by two octaves. The argument @var{clefname} must be enclosed in quotes when it contains underscores or digits. @cindex choral tenor clef @@ -755,24 +790,31 @@ c2 c @snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] -{clefs-commonly-tweaked-properties.ly} +{tweaking-clef-properties.ly} @seealso -Notation Reference: @ref{Ancient clefs}. +Notation Reference: +@ref{Ancient clefs}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{Clef}. +Internals Reference: +@internalsref{Clef_engraver}, +@internalsref{Clef}, +@internalsref{OctavateEight}, +@internalsref{clef-interface}. @node Key signature -@subsubsection Key signature +@unnumberedsubsubsec Key signature @cindex key signature @funindex \key +@c duplicated in Key signature and Accidentals @warning{New users are sometimes confused about accidentals and key signatures. In LilyPond, note names are the raw input; key signatures and clefs determine how this raw input is displayed. @@ -804,7 +846,7 @@ is done with the @code{\key} command: 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 @q{church modes}: @code{\ionian}, @code{\dorian}, +called @notation{church modes}: @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian}, @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}. @@ -827,18 +869,28 @@ fis @seealso -Music Glossary: @rglos{church mode}, @rglos{scordatura}. +Music Glossary: +@rglos{church mode}, +@rglos{scordatura}. -Learning Manual: @rlearning{Accidentals and key signatures}. +Learning Manual: +@rlearning{Accidentals and key signatures}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{KeyCancellation}, -@internalsref{KeySignature}, @internalsref{Key_engraver}. +Internals Reference: +@internalsref{KeyChangeEvent}, +@internalsref{Key_engraver}, +@internalsref{Key_performer}, +@internalsref{KeyCancellation}, +@internalsref{KeySignature}, +@internalsref{key-cancellation-interface}, +@internalsref{key-signature-interface}. @node Ottava brackets -@subsubsection Ottava brackets +@unnumberedsubsubsec Ottava brackets @cindex ottava @cindex 15ma @@ -869,16 +921,21 @@ The @code{set-octavation} function also takes -1 (for 8va bassa), @seealso -Music Glossary: @rglos{octavation}. +Music Glossary: +@rglos{octavation}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{OttavaBracket}. +Internals Reference: +@internalsref{Ottava_spanner_engraver}, +@internalsref{OttavaBracket}, +@internalsref{ottava-bracket-interface}. @node Instrument transpositions -@subsubsection Instrument transpositions +@unnumberedsubsubsec Instrument transpositions @cindex transposition, MIDI @cindex transposition, instrument @@ -917,7 +974,7 @@ playing in unison. \new Staff = "Vln" { \relative c'' { \set Staff.instrumentName = "Vln" - \set Staff.midiInstrument="violin" + \set Staff.midiInstrument = "violin" % strictly speaking not necessary, but a good reminder \transposition c' @@ -927,8 +984,8 @@ playing in unison. } \new Staff = "clarinet" { \relative c'' { - \set Staff.instrumentName = \markup {Cl (B\flat)} - \set Staff.midiInstrument="clarinet" + \set Staff.instrumentName = \markup { Cl (B\flat) } + \set Staff.midiInstrument = "clarinet" \transposition bes % not concert pitch @@ -949,7 +1006,8 @@ clarinet. \transposition a c d e f \textLengthOn -r1^\markup{Switch to B\flat clarinet} +s1*0^\markup { Switch to B\flat clarinet } +R1 \key bes \major \transposition bes @@ -959,15 +1017,19 @@ c2 g @seealso -Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}. +Music Glossary: +@rglos{concert pitch}, +@rglos{transposing instrument}. -Notation Reference: @ref{Quoting other voices}, @ref{Transpose}. +Notation Reference: +@ref{Quoting other voices}, @ref{Transpose}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. @node Automatic accidentals -@subsubsection Automatic accidentals +@unnumberedsubsubsec Automatic accidentals @cindex automatic accidentals @cindex accidentals, automatic @@ -1069,12 +1131,12 @@ both staves. @end example -@c NOTE: don't use verbatim in this table. +@c don't use verbatim in this table. @table @code @item default This is the default typesetting behavior. It corresponds to eighteenth-century common practice: accidentals are remembered to -the end of the measure in which they occur and only on their own +the end of the measure in which they occur and only in their own octave. Thus, in the example below, no natural signs are printed before the@tie{}@code{b} in the second measure or the last@tie{}@code{c}: @@ -1126,7 +1188,7 @@ musicB = { @end lilypond @item voice -The normal behavior is to remember the accidentals on Staff-level. +The normal behavior is to remember the accidentals at @code{Staff}-level. In this style, however, accidentals are typeset individually for each voice. Apart from that, the rule is similar to @code{default}. @@ -1442,8 +1504,8 @@ musicB = { This rule reflects twentieth-century practice for piano notation. Its behavior is very similar to @code{modern} style, but here accidentals also get canceled across the staves in the same -GrandStaff or PianoStaff, hence all the cancellations of the final -notes. +@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations +of the final notes. This accidental style applies to the current @code{GrandStaff} or @code{PianoStaff} by default. @@ -1611,7 +1673,7 @@ musicB = { This is the opposite of @code{no-reset}: Accidentals are not remembered at all -- and hence all accidentals are typeset -relative to the key signature, regardless of what was before in +relative to the key signature, regardless of what came before in the music: @lilypond[quote,ragged-right] @@ -1669,12 +1731,18 @@ musicB = { @seealso -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{Accidental_engraver}, -@internalsref{Accidental}, @internalsref{AccidentalSuggestion}, -@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and -@internalsref{PianoStaff}, @internalsref{Staff}. +Internals Reference: +@internalsref{Accidental}, +@internalsref{Accidental_engraver}, +@internalsref{GrandStaff} and +@internalsref{PianoStaff}, +@internalsref{Staff}, +@internalsref{AccidentalSuggestion}, +@internalsref{AccidentalPlacement}, +@internalsref{accidental-suggestion-interface}. @cindex accidentals and simultaneous notes @@ -1695,7 +1763,7 @@ problematic notes. @node Ambitus -@subsubsection Ambitus +@unnumberedsubsubsec Ambitus @cindex ambitus @cindex range of pitches @@ -1716,12 +1784,13 @@ printed if they are not part of the key signature. \layout { \context { \Voice - \consists Ambitus_engraver + \consists "Ambitus_engraver" } } \relative c'' { - aes c e2 cis,2 + aes c e2 + cis,1 } @end lilypond @@ -1729,22 +1798,29 @@ printed if they are not part of the key signature. @snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] -{adding-ambiti-per-voice.ly} +{adding-ambitus-per-voice.ly} @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] -{ambiti-multiple-voices.ly} +{ambitus-with-multiple-voices.ly} @seealso -Music Glossary: @rglos{ambitus}. +Music Glossary: +@rglos{ambitus}. -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{Ambitus}, -@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead}, -@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver}, -@internalsref{Staff}, @internalsref{Voice}. +Internals Reference: +@internalsref{Ambitus_engraver}, +@internalsref{Voice}, +@internalsref{Staff}, +@internalsref{Ambitus}, +@internalsref{AmbitusAccidental}, +@internalsref{AmbitusLine}, +@internalsref{AmbitusNoteHead}, +@internalsref{ambitus-interface}. @knownissues @@ -1756,6 +1832,8 @@ ambitus. @node Note heads @subsection Note heads +This section suggests ways of altering note heads. + @menu * Special note heads:: * Easy notation note heads:: @@ -1764,7 +1842,7 @@ ambitus. @end menu @node Special note heads -@subsubsection Special note heads +@unnumberedsubsubsec Special note heads @cindex note heads, special @cindex note heads, cross @@ -1800,16 +1878,24 @@ To see all note head styles, see @ref{Note head styles}. @seealso -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Notation Reference: @ref{Note head styles}. +Notation Reference: +@ref{Note head styles}. -Internals Reference: @internalsref{NoteHead}, -@internalsref{LedgerLineSpanner}. +Internals Reference: +@internalsref{note-event}, +@internalsref{Note_heads_engraver}, +@internalsref{Ledger_line_engraver}, +@internalsref{NoteHead}, +@internalsref{LedgerLineSpanner}, +@internalsref{note-head-interface}, +@internalsref{ledger-line-spanner-interface}. @node Easy notation note heads -@subsubsection Easy notation note heads +@unnumberedsubsubsec Easy notation note heads @cindex note heads, practice @cindex note heads, easy notation @@ -1848,15 +1934,21 @@ staff size}. @seealso -Notation Reference: @ref{Setting the staff size}. +Notation Reference: +@ref{Setting the staff size}. -Snippets: @lsrdir{Pitches,Pitches}, +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{NoteHead}. +Internals Reference: +@internalsref{note-event}, +@internalsref{Note_heads_engraver}, +@internalsref{NoteHead}, +@internalsref{note-head-interface}. @node Shape note heads -@subsubsection Shape note heads +@unnumberedsubsubsec Shape note heads @cindex note heads, shape @cindex note heads, Aiken @@ -1878,31 +1970,47 @@ Shape note heads can be produced by setting @code{\aikenHeads} or @lilypond[verbatim,fragment,quote,ragged-right,relative=1] \aikenHeads -c8 d4 e8 a2 g1 +c8 d4 e8 a2 +g1 \sacredHarpHeads -c,8 d4 e8 a2 g1 +c,8 d4 e8 a2 +g1 @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. +@predefined + +@funindex \aikenHeads +@funindex \sacredHarpHeads +@code{\aikenHeads}, @code{\sacredHarpHeads} + @snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] -{applying-noteheads-styles-depending-on-the-step-of-the-scale.ly} +{applying-note-head-styles-depending-on-the-step-of-the-scale.ly} @noindent To see all note head styles, see @ref{Note head styles}. @seealso -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. + +Notation Reference: +@ref{Note head styles}. -Notation Reference: @ref{Note head styles}. +Internals Reference: +@internalsref{note-event}, +@internalsref{Note_heads_engraver}, +@internalsref{NoteHead}, +@internalsref{note-head-interface}. @node Improvisation -@subsubsection Improvisation +@unnumberedsubsubsec Improvisation @cindex improvisation @cindex slashed note heads @@ -1915,15 +2023,15 @@ rhythm. Such note heads can be created: @lilypond[verbatim,quote,ragged-right] \new Voice \with { - \consists Pitch_squash_engraver + \consists "Pitch_squash_engraver" } \transpose c c' { e8 e g a a16( bes) a8 g \improvisationOn - e8 - ~e2~e8 f4 fis8 - ~fis2 + e8 ~ + e2 ~ e8 f4 f8 ~ + f2 \improvisationOff - a16(bes) a8 g e + a16( bes) a8 g e } @end lilypond @@ -1937,9 +2045,12 @@ rhythm. Such note heads can be created: @seealso -Snippets: @lsrdir{Pitches,Pitches}. +Snippets: +@lsrdir{Pitches,Pitches}. -Internals Reference: @internalsref{Pitch_squash_engraver}, -@internalsref{Voice}. +Internals Reference: +@internalsref{Pitch_squash_engraver}, +@internalsref{Voice}, +@internalsref{RhythmicStaff}.