@end example
In relative mode, each note is assumed to be as close to the
-previous note as possible. This means that the octave of notes
-that appear in @var{musicexpr} are calculated as follows:
+previous note as possible. This means that the octave of pitches
+in @var{musicexpr} is calculated as follows:
@itemize
@item
-The pitch of the first note is relative to @code{\relative
-@var{startpitch} }.
+The pitch of the first note is relative to @code{@var{startpitch}}.
@item
-If no octave changing marks are used, the basic interval between a
-note and the one that precedes it is always taken to be a fourth
-or less.
+If no octave changing mark is used on a pitch, its octave is calculated
+so that the interval with the previous note is a fourth or less. This
+interval is determined without regarding alterations or the actual
+sounding pitches, it is determined only with note names. For example,
+an augmented fourth is considered a @emph{smaller} interval than a
+diminished fifth, even though these intervals both span six semitones.
+Even @qq{worse}, a doubly-augmented fourth is considered a smaller
+interval than a diminished fifth, even though the doubly-augmented
+fourth spans seven semitones while the diminished fifth only spans six
+semitones; that is why a B-sharp following an F will be put above
+the F.
@item
-This distance is determined without regarding alterations or the
-actual sounding pitches; a @code{fisis} following a @code{ceses}
-will be put above the @code{ceses}. In other words, a
-doubly-augmented fourth is considered a smaller interval than a
-diminished fifth, even though the doubly-augmented fourth spans
-seven semitones while the diminished fifth only spans six
-semitones.
-
-@item
-The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be
-added to raise or lower the pitch by an extra octave from the
-basic interval.
+An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
+respectively raise or lower a pitch by an extra octave, relatively to
+the pitch calculated without octave mark.
@item
Multiple octave changing marks can be used. @code{''}@tie{}will
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.
+practice is to use@tie{}@code{c} in various octave positions or the
+first note of @var{musicexpr}.
When octaves are specified as above by adding@tie{}@code{'}
and@tie{}@code{,} to pitch names, it is easy to accidentally put a
single mistake may be difficult to spot; in relative mode, a
single error puts the rest of the piece off by one octave.
-LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} treated the same as a
-diminished fifth. If we begin at a C, then an F-sharp will be
-placed higher than the C, while a G-flat will be placed lower than
-the C.
+As explained above, the octave of pitches is calculated only with the
+note names, regardless of any alterations. Therefore, an F-sharp
+following a C will be placed higher than the C, while a G-flat following
+a C will be placed lower than the C.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2 fis
A @notation{sharp} pitch is made by adding @code{is} to the name,
and a @notation{flat} pitch by adding @code{es}. As you might
expect, a @notation{double sharp} or @notation{double flat} is
-made by adding @code{isis} or @code{eses}. This syntax derived
+made by adding @code{isis} or @code{eses}. This syntax is derived
from note naming conventions in Nordic and Germanic languages,
like German and Dutch. To use other names for accidentals, see
@ref{Note names in other languages}.
to@tie{}@code{d''} instead of@tie{}@code{d'}.
There is also an octave check that produces no visible output.
-The syntax is:
+The syntax is
@example
@var{pitch} \octave @var{controlpitch}
\transpose d e @dots{}
@end example
-Consider a part written for violin (a C instrument). If this part
-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
-following transposition will produce the appropriate part:
+Consider a part written for violin (a C instrument). If this part 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
+produces with
@example
-\transpose a c @dots{}
+\transpose a c' @dots{}
@end example
@code{\transpose} will also transpose key signatures:
@example
musicInBflat = @{ e4 @dots{} @}
-\transpose c bes \musicInBflat
+\transpose c bes, \musicInBflat
@end example
-To print this music in F (e.g., rearranging to a french horn) you
+To print this music in F (e.g., rearranging to a French horn) you
would wrap the existing music with another @code{\transpose}
@example
musicInBflat = @{ e4 @dots{} @}
-\transpose f c @{ \transpose c bes \musicInBflat @}
+\transpose f c' @{ \transpose c bes, \musicInBflat @}
@end example
@commonprop
>>
@end lilypond
-These same clef symbols are used in different positions on the
-staff to change the range of notes shown by that staff. The
-treble (alto, bass) clef is always positioned to show the line on
-which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed.
+These same clef symbols are used in different positions on the staff to
+change the range of notes shown by that staff. The treble (respectively
+alto, bass) clef is always positioned to show the line on which
+a@tie{}@code{g'} (resp. @code{c'}, @code{f}) note is printed.
Supported clefs include
command:
@example
-\key @var{pitch} @var{type}
+\key @var{pitch} @var{mode}
@end example
@funindex \minor
@funindex \dorian
@cindex church modes
-Here, @var{type} should be @code{\major} or @code{\minor} to get
+Here, @var{mode} should be @code{\major} or @code{\minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively. You may
-also use the standard mode names (also called @q{church modes}):
+also use the standard mode names, also called @q{church modes}:
@code{\ionian}, @code{\locrian}, @code{\aeolian},
@code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
@code{\dorian}.
projects / lilypond.git / commitdiff