@node Writing pitches
@subsection Writing pitches
-This section discusses how to input pitches.
+This section discusses how to input pitches. There are two
+different ways to place notes in octaves: absolute and relative
+mode. In most cases, relative mode will be more convient.
@menu
* Absolute octave entry::
@cindex pitch names
@cindex pitches
-
-A pitch name is specified using lowercase letters@tie{}@code{a}
-through@tie{}@code{g}. An ascending C-major scale is engraved
-with
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\clef bass
-c d e f g a b c'
-@end lilypond
-
@cindex absolute
@cindex absolute octave specification
-There are two different ways to enter these note names with regard
-to octave placement: absolute and relative. The relative mode
-will in most cases be the most convenient, but the absolute mode
-is more fundamental and will be presented first. In absolute
-mode, every note is placed explicitly in a specific octave. The
-note names @code{c} to @code{b} are engraved in the octave below
-middle C, as in the previous example.
+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.
@lilypond[verbatim,quote,ragged-right,fragment]
-\clef treble
-c1
\clef bass
-c1
+c d e f g a b c
@end lilypond
@funindex '
@funindex ,
-If a note should be in another octave than this, an octave
-specification must be given. It takes the form of a series of
-single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) characters.
-Each@tie{}@code{'} raises the pitch by one octave;
-each@tie{}@code{,} lowers the pitch by an octave.
+Other octaves may be specified with a single quote@tie{}(@code{'})
+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,ragged-right,fragment]
\clef treble
Snippets: @lsrdir{Pitches}.
-Internals Reference: @internalsref{LedgerLineSpanner},
-@internalsref{NoteHead}.
-
@node Relative octave entry
@unnumberedsubsubsec Relative octave entry
@code{,,}@tie{} will alter the pitch by two octaves.
@item
-The pitch of the first note is relative to @code{@var{startpitch}}.
+The pitch of the first note is relative to
+@code{@var{startpitch}}. @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:
@lilypond[verbatim,quote,ragged-right,fragment]
-\relative c'' {
- b c d c b c bes a
+\relative c {
+ \clef bass
+ c d e f g a b c
}
@end lilypond
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
- c g c f, c' a, e''
+ c g c f, c' a, e'' c
}
@end lilypond
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c {
- c f b e a d g
+ c f b e a d g c
}
@end lilypond
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c' {
- c <c e g>
- <c' e, g'>
- <c, e' g> c
+ c
+ <c e g>
+ % the C is now an octave higher
+ <c' e g'>
+ % the C returns to the original pitch
+ <c, e, g''>
}
@end lilypond
-The @var{startpitch} (after @code{\relative}) is a note name in
-absolute mode. In principle it can be any note name, but common
-practice is to use@tie{}@code{c} in various octave positions or the
-first note of @var{musicexpr}.
-
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
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-@c DEPRECATED
+@c TODO: 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
a2 aisis a aeses
@end lilypond
-@noindent
-In Dutch, @code{aes} is contracted to @code{as}, but both forms
-are accepted in LilyPond. Similarly, both @code{es} and
-@code{ees} are accepted:
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 as e es
-@end lilypond
-
A natural will cancel the effect of an accidental or key
signature. However, naturals are not encoded into the note name
syntax with a suffix; a natural pitch is shown as a simple note
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a4 aes a2
@end lilypond
+@cindex quarter tones
+@cindex semi-flats, semi-sharps
+
+Half-flats and half-sharps are formed by adding @code{eh} and
+@code{ih}; the following is a series of Cs with increasing
+pitches
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+ceseh1 ces ceh c cih cis cisih
+@end lilypond
+
@cindex accidental, reminder
cis1~ cis~ \break cis
@end lilypond
-@cindex quarter tones
-@cindex semi-flats, semi-sharps
-
-Half-flats and half-sharps are formed by adding @code{eh} and
-@code{ih}; the following is a series of Cs with increasing
-pitches
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-\set Staff.extraNatural = ##f
-ceseh ces ceh c cih cis cisih
-@end lilypond
-
@commonprop
@lsr{Pitches, makam.ly}.
-
@refbugs
There are no generally accepted standards for denoting
@end multitable
@end example
+In Dutch, @code{aes} is contracted to @code{as}, but both forms
+are accepted in LilyPond. Similarly, both @code{es} and
+@code{ees} are accepted:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a2 as e es
+@end lilypond
+
Note that in some languages such as Norwegian and Swedish, the
usual spelling for accidentals is a double @q{s} such as in
@code{ciss} or @code{cess}. For both historical reasons and a
@item deutsch.ly
@tab c d e f g a b h
@tab -ih @tab -eh @tab -isih @tab -eseh
+@c TODO:
@c @item norsk.ly
@c @tab c d e f g a b h
@c @item svenska.ly
@end example
-@c don't use verbatim in this table.
+@c NOTE: don't use verbatim in this table.
@table @code
@item default
This is the default typesetting behavior. It corresponds to
projects / lilypond.git / commitdiff