@c NOTE: don't use c' here.
@lilypond[verbatim,quote,ragged-right,fragment]
\clef bass
-c d e f g a b c
+c d e f g a b c d e f g
@end lilypond
@funindex '
@lilypond[verbatim,quote,ragged-right]
\relative c {
\clef bass
- c d e f g a b c
+ c d e f g a b c d e f g
}
@end lilypond
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; in
-relative mode, a single error puts the rest of the piece off by
-one octave.
+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.
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
+Notation Reference: @ref{Octave check}.
+
Snippets: @lsrdir{Pitches}.
@cindex note names, other languages
-@example
-@multitable {nederlands.ly a} {do re mi fa sol la sib si a} {-iss/-is a} {-ess/-es a} {-ississ/-isis a} {-ississ/-isis a}
+@smallexample
+@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@headitem Language
@tab Note names
@tab sharp @tab flat @tab double sharp @tab double flat
@tab do re mi fa sol la sib si
@tab -k @tab -b @tab -kk @tab -bb
@end multitable
-@end example
+@end smallexample
Some music uses microtones whose alterations are fractions of a
@q{normal} sharp or flat. The note names for quartertones defined
@q{half} and @q{one and a half}, respectively. For the other
languages, no special names have been defined yet.
-@example
-@multitable {nederlands.ly a} {do re mi fa sol la sib si a} {-iss/-is a} {-ess/-es a} {-ississ/-isis a} {-ississ/-isis a}
+@smallexample
+@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
@headitem Language
@tab Note names
@tab semi- @tab semi- @tab sesqui- @tab sesqui-
@tab do re mi fa sol la sib si
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@end multitable
-@end example
+@end smallexample
In Dutch, @code{aes} is contracted to @code{as}, but both forms
are accepted in LilyPond. Similarly, both @code{es} and
@cindex octave check
In relative mode, it is easy to forget an octave changing mark.
-Octave checks make such errors easier to correct. A note may be
-followed by @code{=}@var{quotes} to indicate what its absolute
-octave should be. In the following example,
+Octave checks make such errors easier to correct by displaying a
+warning if a note is found in an unexpected octave. There are two
+types of octave checks: the first changes the pitch, while the
+second does not change the pitch. Both checks print warnings and
+change the octave for future notes.
-@example
-\relative c'' @{
- c g d=''
-@}
-@end example
+Consider the simple example:
-@noindent
-the@tie{}@code{d} will generate a warning, because
-a@tie{}@code{d''} is expected, as indicated by the octave check
-@code{=''}, but a@tie{}@code{d'} is found, since both
-@code{c}-@code{g} and @code{g}-@code{d} without octavation marks
-are descending fourths. In the output, the octave is corrected to
-be a@tie{}@code{d''} and the next note is calculated relative
-to@tie{}@code{d''} instead of@tie{}@code{d'}.
+@lilypond[verbatim,quote,ragged-right,fragment]
+\relative c'' {
+ c2 d
+ e2 f
+}
+@end lilypond
-There is also an octave check which produces no visible output.
-The syntax is:
+To check the octave of the @code{d} (changing the pitch
+automatically if necessary), add @code{=}@var{quotes} after the
+pitch. The @var{quotes} indicate what its absolute octave should
+be. This example will generate a warning, because the second note
+is the absolute octave @code{d''} instead of @code{d'} indicated
+by the octave check.
-@example
-@var{pitch} \octave @var{controlpitch}
-@end example
+@lilypond[verbatim,quote,ragged-right,fragment]
+\relative c'' {
+ c2 d='
+ e2 f
+}
+@end lilypond
-@noindent
-where @var{pitch} is a regular note within a music expression in
-relative mode and @var{controlpitch} is a pitch in absolute mode.
-This checks that @var{pitch} lies within the octave surrounding
+To check the octave of the@tie{}@code{d} (without changing the
+pitch), add @code{\octave}@tie{}@var{controlpitch} to the note.
+This checks that the note lies within the octave surrounding
@var{controlpitch}, i.e. not more than a fourth above or below it.
If this is not the case, a warning is printed and the octave is
corrected. The @var{controlpitch} is not printed as a note.
-In the example below, the first check passes without incident,
-since the@tie{}@code{e} (in @code{relative} mode) is within the
-octave range of@tie{}@code{a'}. However, the second check
-produces a warning, since the@tie{}@code{e} is not within the
-octave range of@tie{}@code{b'}. The warning message is printed,
-and the octave is adjusted so that the following notes are in the
-correct octave once again.
-
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
-
-The octave of a note following an @code{\octave} check is
-determined with respect to the note preceding it, as modified by
-the outcome of the octave check. In the next fragment, the first
-note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
-and the @code{\octave} check passes successfully. The second note
-is then calculated relative to (absolute)@tie{}@code{e'}, which
-yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
-check had no influence on the output of the piece.
-
-The second @code{\octave} check fails: @code{a'}@tie{}is not
-within the range of@tie{}@code{b}. A warning is issued, and the
-last note is calculated relative to@tie{}@code{a}, not
-to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
-@code{\octave} check, the last note would have been
-a@tie{}@code{d''}.
-
@lilypond[verbatim,quote,ragged-right,fragment]
-\relative c' {
- e
- \octave b
- a
- \octave b
- d
+\relative c'' {
+ c2 d \octave d'
+ e2 f
}
@end lilypond
+In both cases, the following note (the@tie{}@code{e}) is adjusted
+to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}.
+
@seealso
Snippets: @lsrdir{Pitches}.
other note is transposed by the same interval.
Consider a piece written in the key of D-major. It can be
-transposed up to E-major with:
-
-@example
-\transpose d e @dots{}
-@end example
+transposed up to E-major:
-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 produced with:
-
-@example
-\transpose a c' @dots{}
-@end example
+@lilypond[verbatim,quote,ragged-right]
+\transpose d e {
+ \relative c' {
+ \key d \major
+ d4 fis a d
+ }
+}
+@end lilypond
-@code{\transpose} will also transpose key signatures:
+If a part written in C (normal 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:
@lilypond[verbatim,quote,ragged-right]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
+\transpose a c' {
+ \relative c' {
+ c4 d e g
+ }
}
@end lilypond
For more information about transposing instruments,
see @ref{Instrument transpositions}.
+
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
projects / lilypond.git / commitdiff