-@anchor{Instrument transpositions}
-@unnumberedsubsubsec Instrument transpositions
-
-@cindex transposition, MIDI
-@cindex transposition, instrument
-
-The key of a transposing instrument can also be specified. This
-applies to many wind instruments, for example, clarinets (B-flat, A, and
-E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
-
-The transposition is entered after the keyword @code{\transposition}
-
-@example
-\transposition bes %% B-flat clarinet
-@end example
-
-@noindent
-This command sets the property @code{instrumentTransposition}. The value of
-this property is used for MIDI output and quotations. It does not
-affect how notes are printed in the current staff. To change the printed
-output, see @ref{Transpose}.
-
-The pitch to use for @code{\transposition} should correspond to the
-real sound heard when a @code{c'} written on the staff is played by the
-transposing instrument. For example, when entering a score in
-concert pitch, typically all voices are entered in C, so
-they should be entered as
-
-@example
-clarinet = @{
- \transposition c'
- ...
-@}
-saxophone = @{
- \transposition c'
- ...
-@}
-@end example
-
-The command @code{\transposition} should be used when the music is
-entered from a (transposed) orchestral part. For example, in
-classical horn parts, the tuning of the instrument is often changed
-during a piece. When copying the notes from the part, use
-@code{\transposition}, e.g.,
-
-@example
-\transposition d'
-c'4^"in D"
-...
-\transposition g'
-c'4^"in G"
-...
-@end example
-
-
-@anchor{Ottava brackets}
-@unnumberedsubsubsec Ottava brackets
-
-@q{Ottava} brackets introduce an extra transposition of an octave for
-the staff. They are created by invoking the function
-@code{set-octavation}
-
-@cindex ottava
-@cindex 15ma
-@cindex octavation
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
-@end lilypond
-
-The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
-and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
-@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
-@code{centralCPosition}. For overriding the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[quote,ragged-right,verbatim]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{OttavaBracket}.
-
-
-@refbugs
-
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
-
@anchor{Different editions from one source}
@unnumberedsubsubsec Different editions from one source
This chapter explains how to use basic notation features.
@menu
-* Pitches::
* Rhythms::
* Polyphony::
* Staff notation::
-@node Pitches
-@section Pitches
-
-This section discusses how to specify the pitch of notes.
-
-@menu
-* Normal pitches::
-* Accidentals::
-* Cautionary accidentals::
-* Micro tones::
-* Note names in other languages::
-* Relative octaves::
-* Octave check::
-* Transpose::
-* Rests::
-* Skips::
-@end menu
-
-
-@anchor{Normal pitches}
-@unnumberedsubsubsec Normal pitches
-
-@cindex Pitch names
-@cindex pitches
-
-A pitch name is specified using lowercase letters @code{a} through @code{g}.
-An ascending C-major scale is engraved with
-
-@lilypond[quote,fragment,verbatim,ragged-right]
-\clef bass
-c d e f g a b c'
-@end lilypond
-
-The note name @code{c} is engraved one octave below middle C.
-
-@lilypond[quote,fragment,verbatim,ragged-right]
-\clef treble
-c1
-\clef bass
-c1
-@end lilypond
-
-@funindex '
-@funindex ,
-
-The optional octave specification takes the form of a series of
-single quote (@samp{'}) characters or a series of comma
-(@samp{,}) characters. Each @samp{'} raises the pitch by one
-octave; each @samp{,} lowers the pitch by an octave.
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\clef treble
-c' c'' e' g d'' d' d c
-\clef bass
-c, c,, e, g d,, d, d c
-@end lilypond
-
-An alternate method may be used to declare which octave to
-engrave a pitch; this method does not require as many
-octave specifications (@code{'} and @code{,}). See
-@ref{Relative octaves}.
-
-
-@anchor{Accidentals}
-@unnumberedsubsubsec Accidentals
-
-@cindex note names, Dutch
-@cindex note names, default
-
-A sharp is formed by adding @code{-is} to the end of a pitch name and
-a flat is formed by adding @code{-es}. Double sharps and double flats
-are obtained by adding @code{-isis} or @code{-eses} to a note name.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a2 ais a aes
-a2 aisis a aeses
-@end lilypond
-
-@noindent
-These are the Dutch note names. In Dutch, @code{aes} is contracted to
-@code{as}, but both forms are accepted. Similarly, both
-@code{es} and @code{ees} are accepted
-
-@lilypond[fragment,quote,ragged-right,verbatim,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 name
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-a4 aes a2
-@end lilypond
-
-The input @code{d e f} is interpreted as @q{print a D-natural,
-E-natural, and an F-natural,} regardless of the key
-signature. For more information about the distinction between
-musical content and the presentation of that content, see
-@rlearning{Accidentals and key signatures}.
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative]
-\key d \major
-d e f g
-d e fis g
-@end lilypond
-
-
-@commonprop
-
-In accordance with standard typesetting rules, a natural sign is printed
-before a sharp or flat if a previous accidental needs to be
-cancelled. To change this behavior, use
-@code{\set Staff.extraNatural = ##f}
-
-@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
-ceses4 ces cis c
-\set Staff.extraNatural = ##f
-ceses4 ces cis c
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{LedgerLineSpanner},
-@internalsref{NoteHead}.
-
-
-@anchor{Cautionary accidentals}
-@unnumberedsubsubsec Cautionary accidentals
-
-@cindex accidental, reminder
-@cindex accidental, cautionary
-@cindex accidental, parenthesized
-@cindex reminder accidental
-@funindex ?
-@cindex cautionary accidental
-@cindex parenthesized accidental
-@funindex !
-
-Normally accidentals are printed automatically, but you may also
-print them manually. A reminder accidental
-can be forced by adding an exclamation mark @code{!}
-after the pitch. A cautionary accidental
-(i.e., an accidental within parentheses) can be obtained by adding the
-question mark @samp{?} after the pitch. These extra accidentals
-can be used to produce natural signs, too.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
-cis cis cis! cis? c c? c! c
-@end lilypond
-
-
-@seealso
-
-The automatic production of accidentals can be tuned in many
-ways. For more information, see @ref{Automatic accidentals}.
-
-
-@anchor{Micro tones}
-@unnumberedsubsubsec Micro tones
-
-@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,ragged-right,quote,relative=2,fragment]
-\set Staff.extraNatural = ##f
-ceseh ceh cih cisih
-@end lilypond
-
-Micro tones are also exported to the MIDI file.
-
-
-@refbugs
-
-There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
-
-
-@anchor{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. For
-example, add @code{\include "english.ly"} to the top of the input
-file. The available language files
-and the note names they define are
-
-@c Should this be made into a multitable?
-@cindex note names, other languages
-@example
- Note Names sharp flat double double
- sharp flat
-
-nederlands.ly c d e f g a bes b -is -es -isis -eses
-english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
- -sharpsharp -flatflat
-deutsch.ly c d e f g a b h -is -es -isis -eses
-norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
-svenska.ly c d e f g a b h -iss -ess -ississ -essess
-italiano.ly do re mi fa sol la sib si -d -b -dd -bb
-catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
-espanol.ly do re mi fa sol la sib si -s -b -ss -bb
-@end example
-
-@noindent
-Note that in Dutch, German, Norwegian, and Swedish, the flat
-alterations of @samp{a} like for example @code{aes} and @code{aeses}
-are usually contracted to @code{as} and @code{ases} (or more commonly
-@code{asas}). Sometimes only these contracted names are defined in the
-corresponding language files (this also applies to the suffixes for
-quartertones below).
-
-@noindent
-Some music uses microtones whose alterations are fractions of a
-@q{regular} sharp or flat. The note names for quartertones defined in
-the various language files are listed in the following table. Here the
-prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
-half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
-special names have been defined yet.
-@c What about Turkish Maquam music and similar microtonal systems?
-@c
-@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
-@c is actually misleading since the alteration is in fact one and a half
-@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
-
-@example
- Note Names semi- semi- sesqui- sesqui-
- sharp flat sharp flat
-
-nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
-english.ly c d e f g a bf b -qs -qf -tqs -tqf
-deutsch.ly c d e f g a b h -ih -eh -isih -eseh
-norsk.ly c d e f g a b h
-svenska.ly c d e f g a b h
-italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
-catalan.ly do re mi fa sol la sib si
-espanol.ly do re mi fa sol la sib si
-@end example
-
-
-
-@anchor{Relative octaves}
-@unnumberedsubsubsec Relative octaves
-
-@cindex Relative
-@cindex Relative octave specification
-@funindex \relative
-
-Octaves are specified by adding @code{'} and @code{,} to pitch names.
-When you copy existing music, it is easy to accidentally put a pitch
-in the wrong octave and hard to find such an error. The relative
-octave mode prevents these errors by making the mistakes much
-larger: a single error puts the rest of the piece off by one octave
-
-@example
-\relative @var{startpitch} @var{musicexpr}
-@end example
-
-@noindent
-or
-
-@example
-\relative @var{musicexpr}
-@end example
-
-@noindent
-@code{c'} is used as the default if no starting pitch is defined.
-
-The octave of notes that appear in @var{musicexpr} are calculated as
-follows: if no octave changing marks are used, the basic interval
-between this and the last note is always taken to be a fourth or
-less. This distance is determined without regarding alterations; 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.
-
-The octave changing marks @code{'} and @code{,} can be added to raise
-or lower the pitch by an extra octave. Upon entering relative mode,
-an absolute starting pitch can be specified that will act as the
-predecessor of the first note of @var{musicexpr}. If no starting pitch
-is specified, then middle C is used as a start.
-
-Here is the relative mode shown in action
-@lilypond[quote,fragment,ragged-right,verbatim]
-\relative c'' {
- b c d c b c bes a
-}
-@end lilypond
-
-Octave changing marks are used for intervals greater than a fourth
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c'' {
- c g c f, c' a, e''
-}
-@end lilypond
-
-If the preceding item is a chord, the first note of the chord is used
-to determine the first note of the next chord
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-\relative c' {
- c <c e g>
- <c' e g>
- <c, e' g>
-}
-@end lilypond
-
-The pitch after @code{\relative} contains a note name.
-
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument. To use
-relative within transposed music, an additional @code{\relative} must
-be placed inside @code{\transpose}.
-
-
-@anchor{Octave check}
-@unnumberedsubsubsec Octave check
-
-@cindex Octave check
-
-Octave checks make octave errors easier to correct: a note may be
-followed by @code{=}@var{quotes} which indicates what its absolute
-octave should be. In the following example,
-
-@example
-\relative c'' @{ c='' b=' d,='' @}
-@end example
-
-@noindent
-the @code{d} will generate a warning, because a @code{d''} is expected
-(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
-found. In the output, the octave is corrected to be a @code{d''} and
-the next note is calculated relative to @code{d''} instead of @code{d'}.
-
-There is also an octave check that produces no visible output. The syntax
-
-@example
-\octave @var{pitch}
-@end example
-
-This checks that @var{pitch} (without quotes) yields @var{pitch} (with
-quotes) in @code{\relative} mode compared to the note given in the
-@code{\relative} command. If not, a warning is printed, and the
-octave is corrected. The @var{pitch} is not printed as a note.
-
-In the example below, the first check passes without incident, since
-the @code{e} (in @code{relative} mode) is within a fifth of
-@code{a'}. However,
-the second check produces a warning, since the @code{e} is not within
-a fifth of @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 octave check is determined with
-respect to the note preceding it. In the next fragment, the last note
-is an @code{a'}, above middle C. That means that the @code{\octave}
-check passes successfully, so the check could be deleted without changing
-the output of the piece.
-
-@lilypond[quote,ragged-right,verbatim,fragment]
-\relative c' {
- e
- \octave b
- a
-}
-@end lilypond
-
-
-@anchor{Transpose}
-@unnumberedsubsubsec Transpose
-
-@cindex Transpose
-@cindex Transposition of pitches
-@funindex \transpose
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-@example
-\transpose @var{from} @var{to} @var{musicexpr}
-@end example
-
-This means that @var{musicexpr} is transposed by the interval between
-the pitches @var{from} and @var{to}: any note with pitch @code{from}
-is changed to @code{to}.
-
-For example, consider a piece written in the key of D-major. If
-this piece is a little too low for its performer, it can be
-transposed up to E-major with
-@example
-\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 which sounds a minor third lower
-than notated), the following
-transposition will produce the appropriate part
-
-@example
-\transpose a c @dots{}
-@end example
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose up
-half a tone. The first version will print sharps and the second
-version will print flats
-
-@lilypond[quote,ragged-right,verbatim]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
-}
-@end lilypond
-
-@code{\transpose} may also be used to input written notes for a
-transposing instrument. Pitches are normally entered into LilyPond
-in C (or @q{concert pitch}), but they may be entered in another
-key. For example, when entering music for a B-flat trumpet which
-begins on concert D, one would write
-
-@example
-\transpose c bes @{ e4 @dots{} @}
-@end example
-
-To print this music in B-flat again (i.e., producing a trumpet part,
-instead of a concert pitch conductor's score) you would wrap the
-existing music with another @code{transpose}
-
-@example
-\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
-@end example
-
-
-@seealso
-
-Program reference: @internalsref{TransposedMusic}.
-
-Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
-
-
-@refbugs
-
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside a
-@code{\transpose}.
-
-
@anchor{Rests}
@unnumberedsubsubsec Rests
@cindex Rests
@end menu
-@anchor{Clef}
-@unnumberedsubsubsec Clef
-
-@funindex \clef
-
-The clef indicates which lines of the staff correspond to which
-pitches. The clef is set with the @code{\clef} command
-
-@lilypond[quote,ragged-right,fragment,verbatim]
-{ c''2 \clef alto g'2 }
-@end lilypond
-
-@cindex treble clef
-@cindex violin clef
-@cindex alto clef
-@cindex tenor clef
-@cindex bass clef
-@cindex french clef
-@cindex soprano clef
-@cindex mezzosoprano clef
-@cindex baritone clef
-@cindex varbaritone clef
-@cindex subbass clef
-
-Supported clefs include
-
-@multitable @columnfractions .33 .66
-@headitem Clef @tab Position
-@item @code{treble}, violin, G, G2 @tab
-G clef on 2nd line
-@item @code{alto, C} @tab
-C clef on 3rd line
-@item @code{tenor} @tab
-C clef on 4th line.
-@item @code{bass, F} @tab
-F clef on 4th line
-@item @code{french} @tab
-G clef on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef on 1st line
-@item @code{mezzosoprano} @tab
-C clef on 2nd line
-@item @code{baritone} @tab
-C clef on 5th line
-@item @code{varbaritone} @tab
-F clef on 3rd line
-@item @code{subbass} @tab
-F clef on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
-
-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}
-must be enclosed in quotes when it contains underscores or digits. For
-example,
-
-@cindex choral tenor clef
-@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
-\clef "G_8" c4
-@end lilypond
-
-
-@commonprop
-
-The command @code{\clef "treble_8"} is equivalent to setting
-@code{clefGlyph},
-@code{clefPosition} (which controls the Y position of the clef),
-@code{middleCPosition} and @code{clefOctavation}. A clef is printed
-when any of these properties are changed. The following example shows
-possibilities when setting properties manually.
-
-@lilypond[quote,ragged-right,verbatim]
-{
- \set Staff.clefGlyph = #"clefs.F"
- \set Staff.clefPosition = #2
- c'4
- \set Staff.clefGlyph = #"clefs.G"
- c'4
- \set Staff.clefGlyph = #"clefs.C"
- c'4
- \set Staff.clefOctavation = #7
- c'4
- \set Staff.clefOctavation = #0
- \set Staff.clefPosition = #0
- c'4
- \clef "bass"
- c'4
- \set Staff.middleCPosition = #4
- c'4
-}
-@end lilypond
-
-
-@seealso
-
-Manual: @ref{Grace notes}.
-
-Program reference: @internalsref{Clef}.
-
-
-@anchor{Key signature}
-@unnumberedsubsubsec Key signature
-
-@cindex Key signature
-@funindex \key
-
-The key signature indicates the tonality in which a piece is played. It
-is denoted by a set of alterations (flats or sharps) at the start of the
-staff.
-
-Setting or changing the key signature is done with the @code{\key}
-command
-
-@example
-@code{\key} @var{pitch} @var{type}
-@end example
-
-@funindex \minor
-@funindex \major
-@funindex \minor
-@funindex \ionian
-@funindex \locrian
-@funindex \aeolian
-@funindex \mixolydian
-@funindex \lydian
-@funindex \phrygian
-@funindex \dorian
-@cindex church modes
-
-Here, @var{type} 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}): @code{\ionian},
-@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
-
-This command sets the context property
-@code{Staff.keySignature}. Non-standard key signatures
-can be specified by setting this property directly.
-
-Accidentals and key signatures often confuse new users, because
-unaltered notes get natural signs depending on the key signature. For
-more information, see @ref{Accidentals}, or @rlearning{Accidentals
-and key signatures}.
-
-@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
-\key g \major
-f1
-fis
-@end lilypond
-
-
-@commonprop
-
-A natural sign is printed to cancel any previous accidentals. This
-can be suppressed by setting the @code{Staff.printKeyCancellation}
-property.
-
-@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-\set Staff.printKeyCancellation = ##f
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-@end lilypond
-
-
-@seealso
-
-Program reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}.
-
-
@anchor{Time signature}
@unnumberedsubsubsec Time signature
@include dedication.itely
@menu
-Notation Reference
+* Musical notation:: Musical notation.
+
+old stuff
+* Basic notation::
+* Instrument-specific notation::
+* Advanced notation::
-* Basic notation:: Standard musical notation.
-* Instrument-specific notation:: Specialized notation.
-* Advanced notation:: Less frequently used notation.
* Changing defaults:: Tuning output.
* Non-musical notation:: Output that is not musical notation.
* Spacing issues:: Display of output on paper.
@include macros.itexi
+@include notation.itely
+
@include basic-notation.itely
@include instrument-notation.itely
@include advanced-notation.itely
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+
+@node Musical notation
+@chapter Musical notation
+
+This chapter explains how to create musical notation.
+
+@menu
+* Pitches:: Writing the pitches of notes.
+@end menu
+
+@include pitch.itely
+
--- /dev/null
+@c -*- coding: utf-8; mode: texinfo; -*-
+
+
+@node Pitches
+@section Pitches
+
+This section discusses how to specify the pitch of notes.
+
+@menu
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+@end menu
+
+@node Writing pitches
+@subsection Writing pitches
+
+@menu
+@end menu
+
+
+@anchor{Normal pitches}
+@unnumberedsubsubsec Normal pitches
+
+@cindex Pitch names
+@cindex pitches
+
+A pitch name is specified using lowercase letters @code{a} through @code{g}.
+An ascending C-major scale is engraved with
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef bass
+c d e f g a b c'
+@end lilypond
+
+The note name @code{c} is engraved one octave below middle C.
+
+@lilypond[quote,fragment,verbatim,ragged-right]
+\clef treble
+c1
+\clef bass
+c1
+@end lilypond
+
+@funindex '
+@funindex ,
+
+The optional octave specification takes the form of a series of
+single quote (@samp{'}) characters or a series of comma
+(@samp{,}) characters. Each @samp{'} raises the pitch by one
+octave; each @samp{,} lowers the pitch by an octave.
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\clef treble
+c' c'' e' g d'' d' d c
+\clef bass
+c, c,, e, g d,, d, d c
+@end lilypond
+
+An alternate method may be used to declare which octave to
+engrave a pitch; this method does not require as many
+octave specifications (@code{'} and @code{,}). See
+@ref{Relative octaves}.
+
+
+@anchor{Accidentals}
+@unnumberedsubsubsec Accidentals
+
+@cindex note names, Dutch
+@cindex note names, default
+
+A sharp is formed by adding @code{-is} to the end of a pitch name and
+a flat is formed by adding @code{-es}. Double sharps and double flats
+are obtained by adding @code{-isis} or @code{-eses} to a note name.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a2 ais a aes
+a2 aisis a aeses
+@end lilypond
+
+@noindent
+These are the Dutch note names. In Dutch, @code{aes} is contracted to
+@code{as}, but both forms are accepted. Similarly, both
+@code{es} and @code{ees} are accepted
+
+@lilypond[fragment,quote,ragged-right,verbatim,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 name
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
+a4 aes a2
+@end lilypond
+
+The input @code{d e f} is interpreted as @q{print a D-natural,
+E-natural, and an F-natural,} regardless of the key
+signature. For more information about the distinction between
+musical content and the presentation of that content, see
+@rlearning{Accidentals and key signatures}.
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative]
+\key d \major
+d e f g
+d e fis g
+@end lilypond
+
+
+@commonprop
+
+In accordance with standard typesetting rules, a natural sign is printed
+before a sharp or flat if a previous accidental needs to be
+cancelled. To change this behavior, use
+@code{\set Staff.extraNatural = ##f}
+
+@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
+ceses4 ces cis c
+\set Staff.extraNatural = ##f
+ceses4 ces cis c
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{LedgerLineSpanner},
+@internalsref{NoteHead}.
+
+
+@anchor{Cautionary accidentals}
+@unnumberedsubsubsec Cautionary accidentals
+
+@cindex accidental, reminder
+@cindex accidental, cautionary
+@cindex accidental, parenthesized
+@cindex reminder accidental
+@funindex ?
+@cindex cautionary accidental
+@cindex parenthesized accidental
+@funindex !
+
+Normally accidentals are printed automatically, but you may also
+print them manually. A reminder accidental
+can be forced by adding an exclamation mark @code{!}
+after the pitch. A cautionary accidental
+(i.e., an accidental within parentheses) can be obtained by adding the
+question mark @samp{?} after the pitch. These extra accidentals
+can be used to produce natural signs, too.
+
+@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+cis cis cis! cis? c c? c! c
+@end lilypond
+
+
+@seealso
+
+The automatic production of accidentals can be tuned in many
+ways. For more information, see @ref{Automatic accidentals}.
+
+
+@anchor{Micro tones}
+@unnumberedsubsubsec Micro tones
+
+@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,ragged-right,quote,relative=2,fragment]
+\set Staff.extraNatural = ##f
+ceseh ceh cih cisih
+@end lilypond
+
+Micro tones are also exported to the MIDI file.
+
+
+@refbugs
+
+There are no generally accepted standards for denoting
+three-quarter flats, so LilyPond's symbol does not conform to any
+standard.
+
+
+@anchor{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. For
+example, add @code{\include "english.ly"} to the top of the input
+file. The available language files
+and the note names they define are
+
+@c Should this be made into a multitable?
+@cindex note names, other languages
+@example
+ Note Names sharp flat double double
+ sharp flat
+
+nederlands.ly c d e f g a bes b -is -es -isis -eses
+english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/
+ -sharpsharp -flatflat
+deutsch.ly c d e f g a b h -is -es -isis -eses
+norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses
+svenska.ly c d e f g a b h -iss -ess -ississ -essess
+italiano.ly do re mi fa sol la sib si -d -b -dd -bb
+catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb
+espanol.ly do re mi fa sol la sib si -s -b -ss -bb
+@end example
+
+@noindent
+Note that in Dutch, German, Norwegian, and Swedish, the flat
+alterations of @samp{a} like for example @code{aes} and @code{aeses}
+are usually contracted to @code{as} and @code{ases} (or more commonly
+@code{asas}). Sometimes only these contracted names are defined in the
+corresponding language files (this also applies to the suffixes for
+quartertones below).
+
+@noindent
+Some music uses microtones whose alterations are fractions of a
+@q{regular} sharp or flat. The note names for quartertones defined in
+the various language files are listed in the following table. Here the
+prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a
+half}, respectively. For Norwegian, Swedish, Catalan and Spanish no
+special names have been defined yet.
+@c What about Turkish Maquam music and similar microtonal systems?
+@c
+@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code
+@c is actually misleading since the alteration is in fact one and a half
+@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.
+
+@example
+ Note Names semi- semi- sesqui- sesqui-
+ sharp flat sharp flat
+
+nederlands.ly c d e f g a bes b -ih -eh -isih -eseh
+english.ly c d e f g a bf b -qs -qf -tqs -tqf
+deutsch.ly c d e f g a b h -ih -eh -isih -eseh
+norsk.ly c d e f g a b h
+svenska.ly c d e f g a b h
+italiano.ly do re mi fa sol la sib si -sd -sb -dsd -bsb
+catalan.ly do re mi fa sol la sib si
+espanol.ly do re mi fa sol la sib si
+@end example
+
+
+@node Changing multiple pitches
+@subsection Changing multiple pitches
+
+@menu
+@end menu
+
+@anchor{Relative octaves}
+@unnumberedsubsubsec Relative octaves
+
+@cindex Relative
+@cindex Relative octave specification
+@funindex \relative
+
+Octaves are specified by adding @code{'} and @code{,} to pitch names.
+When you copy existing music, it is easy to accidentally put a pitch
+in the wrong octave and hard to find such an error. The relative
+octave mode prevents these errors by making the mistakes much
+larger: a single error puts the rest of the piece off by one octave
+
+@example
+\relative @var{startpitch} @var{musicexpr}
+@end example
+
+@noindent
+or
+
+@example
+\relative @var{musicexpr}
+@end example
+
+@noindent
+@code{c'} is used as the default if no starting pitch is defined.
+
+The octave of notes that appear in @var{musicexpr} are calculated as
+follows: if no octave changing marks are used, the basic interval
+between this and the last note is always taken to be a fourth or
+less. This distance is determined without regarding alterations; 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.
+
+The octave changing marks @code{'} and @code{,} can be added to raise
+or lower the pitch by an extra octave. Upon entering relative mode,
+an absolute starting pitch can be specified that will act as the
+predecessor of the first note of @var{musicexpr}. If no starting pitch
+is specified, then middle C is used as a start.
+
+Here is the relative mode shown in action
+@lilypond[quote,fragment,ragged-right,verbatim]
+\relative c'' {
+ b c d c b c bes a
+}
+@end lilypond
+
+Octave changing marks are used for intervals greater than a fourth
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c'' {
+ c g c f, c' a, e''
+}
+@end lilypond
+
+If the preceding item is a chord, the first note of the chord is used
+to determine the first note of the next chord
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c' {
+ c <c e g>
+ <c' e g>
+ <c, e' g>
+}
+@end lilypond
+
+The pitch after @code{\relative} contains a note name.
+
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument. To use
+relative within transposed music, an additional @code{\relative} must
+be placed inside @code{\transpose}.
+
+
+@anchor{Octave check}
+@unnumberedsubsubsec Octave check
+
+@cindex Octave check
+
+Octave checks make octave errors easier to correct: a note may be
+followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+
+@example
+\relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is expected
+(because @code{b'} to @code{d''} is only a third), but a @code{d'} is
+found. In the output, the octave is corrected to be a @code{d''} and
+the next note is calculated relative to @code{d''} instead of @code{d'}.
+
+There is also an octave check that produces no visible output. The syntax
+
+@example
+\octave @var{pitch}
+@end example
+
+This checks that @var{pitch} (without quotes) yields @var{pitch} (with
+quotes) in @code{\relative} mode compared to the note given in the
+@code{\relative} command. If not, a warning is printed, and the
+octave is corrected. The @var{pitch} is not printed as a note.
+
+In the example below, the first check passes without incident, since
+the @code{e} (in @code{relative} mode) is within a fifth of
+@code{a'}. However,
+the second check produces a warning, since the @code{e} is not within
+a fifth of @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 octave check is determined with
+respect to the note preceding it. In the next fragment, the last note
+is an @code{a'}, above middle C. That means that the @code{\octave}
+check passes successfully, so the check could be deleted without changing
+the output of the piece.
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c' {
+ e
+ \octave b
+ a
+}
+@end lilypond
+
+
+@anchor{Transpose}
+@unnumberedsubsubsec Transpose
+
+@cindex Transpose
+@cindex Transposition of pitches
+@funindex \transpose
+
+A music expression can be transposed with @code{\transpose}. The
+syntax is
+@example
+\transpose @var{from} @var{to} @var{musicexpr}
+@end example
+
+This means that @var{musicexpr} is transposed by the interval between
+the pitches @var{from} and @var{to}: any note with pitch @code{from}
+is changed to @code{to}.
+
+For example, consider a piece written in the key of D-major. If
+this piece is a little too low for its performer, it can be
+transposed up to E-major with
+@example
+\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 which sounds a minor third lower
+than notated), the following
+transposition will produce the appropriate part
+
+@example
+\transpose a c @dots{}
+@end example
+
+@code{\transpose} distinguishes between enharmonic pitches: both
+@code{\transpose c cis} or @code{\transpose c des} will transpose up
+half a tone. The first version will print sharps and the second
+version will print flats
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { \key d \major cis d fis g }
+\new Staff {
+ \clef "F" \mus
+ \clef "G"
+ \transpose c g' \mus
+ \transpose c f' \mus
+}
+@end lilypond
+
+@code{\transpose} may also be used to input written notes for a
+transposing instrument. Pitches are normally entered into LilyPond
+in C (or @q{concert pitch}), but they may be entered in another
+key. For example, when entering music for a B-flat trumpet which
+begins on concert D, one would write
+
+@example
+\transpose c bes @{ e4 @dots{} @}
+@end example
+
+To print this music in B-flat again (i.e., producing a trumpet part,
+instead of a concert pitch conductor's score) you would wrap the
+existing music with another @code{transpose}
+
+@example
+\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
+@end example
+
+
+@seealso
+
+Program reference: @internalsref{TransposedMusic}.
+
+Example: @lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.
+
+
+@refbugs
+
+If you want to use both @code{\transpose} and @code{\relative},
+you must put @code{\transpose} outside of @code{\relative}, since
+@code{\relative} will have no effect on music that appears inside a
+@code{\transpose}.
+
+
+@node Displaying pitches
+@subsection Displaying pitches
+
+@menu
+@end menu
+
+@anchor{Clef}
+@unnumberedsubsubsec Clef
+
+@funindex \clef
+
+The clef indicates which lines of the staff correspond to which
+pitches. The clef is set with the @code{\clef} command
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+{ c''2 \clef alto g'2 }
+@end lilypond
+
+@cindex treble clef
+@cindex violin clef
+@cindex alto clef
+@cindex tenor clef
+@cindex bass clef
+@cindex french clef
+@cindex soprano clef
+@cindex mezzosoprano clef
+@cindex baritone clef
+@cindex varbaritone clef
+@cindex subbass clef
+
+Supported clefs include
+
+@multitable @columnfractions .33 .66
+@headitem Clef @tab Position
+@item @code{treble}, violin, G, G2 @tab
+G clef on 2nd line
+@item @code{alto, C} @tab
+C clef on 3rd line
+@item @code{tenor} @tab
+C clef on 4th line.
+@item @code{bass, F} @tab
+F clef on 4th line
+@item @code{french} @tab
+G clef on 1st line, so-called French violin clef
+@item @code{soprano} @tab
+C clef on 1st line
+@item @code{mezzosoprano} @tab
+C clef on 2nd line
+@item @code{baritone} @tab
+C clef on 5th line
+@item @code{varbaritone} @tab
+F clef on 3rd line
+@item @code{subbass} @tab
+F clef on 5th line
+@item @code{percussion} @tab
+percussion clef
+@item @code{tab} @tab
+tablature clef
+@end multitable
+
+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}
+must be enclosed in quotes when it contains underscores or digits. For
+example,
+
+@cindex choral tenor clef
+@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
+\clef "G_8" c4
+@end lilypond
+
+
+@commonprop
+
+The command @code{\clef "treble_8"} is equivalent to setting
+@code{clefGlyph},
+@code{clefPosition} (which controls the Y position of the clef),
+@code{middleCPosition} and @code{clefOctavation}. A clef is printed
+when any of these properties are changed. The following example shows
+possibilities when setting properties manually.
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ \set Staff.clefGlyph = #"clefs.F"
+ \set Staff.clefPosition = #2
+ c'4
+ \set Staff.clefGlyph = #"clefs.G"
+ c'4
+ \set Staff.clefGlyph = #"clefs.C"
+ c'4
+ \set Staff.clefOctavation = #7
+ c'4
+ \set Staff.clefOctavation = #0
+ \set Staff.clefPosition = #0
+ c'4
+ \clef "bass"
+ c'4
+ \set Staff.middleCPosition = #4
+ c'4
+}
+@end lilypond
+
+
+@seealso
+
+Manual: @ref{Grace notes}.
+
+Program reference: @internalsref{Clef}.
+
+
+@anchor{Key signature}
+@unnumberedsubsubsec Key signature
+
+@cindex Key signature
+@funindex \key
+
+The key signature indicates the tonality in which a piece is played. It
+is denoted by a set of alterations (flats or sharps) at the start of the
+staff.
+
+Setting or changing the key signature is done with the @code{\key}
+command
+
+@example
+@code{\key} @var{pitch} @var{type}
+@end example
+
+@funindex \minor
+@funindex \major
+@funindex \minor
+@funindex \ionian
+@funindex \locrian
+@funindex \aeolian
+@funindex \mixolydian
+@funindex \lydian
+@funindex \phrygian
+@funindex \dorian
+@cindex church modes
+
+Here, @var{type} 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}): @code{\ionian},
+@code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
+@code{\phrygian}, and @code{\dorian}.
+
+This command sets the context property
+@code{Staff.keySignature}. Non-standard key signatures
+can be specified by setting this property directly.
+
+Accidentals and key signatures often confuse new users, because
+unaltered notes get natural signs depending on the key signature. For
+more information, see @ref{Accidentals}, or @rlearning{Accidentals
+and key signatures}.
+
+@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
+\key g \major
+f1
+fis
+@end lilypond
+
+
+@commonprop
+
+A natural sign is printed to cancel any previous accidentals. This
+can be suppressed by setting the @code{Staff.printKeyCancellation}
+property.
+
+@lilypond[quote,fragment,ragged-right,fragment,verbatim,relative=2]
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+\set Staff.printKeyCancellation = ##f
+\key d \major
+a b cis d
+\key g \minor
+a bes c d
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{KeyCancellation},
+@internalsref{KeySignature}.
+
+
+@anchor{Ottava brackets}
+@unnumberedsubsubsec Ottava brackets
+
+@q{Ottava} brackets introduce an extra transposition of an octave for
+the staff. They are created by invoking the function
+@code{set-octavation}
+
+@cindex ottava
+@cindex 15ma
+@cindex octavation
+
+@lilypond[quote,ragged-right,verbatim,fragment]
+\relative c''' {
+ a2 b
+ #(set-octavation 1)
+ a b
+ #(set-octavation 0)
+ a b
+}
+@end lilypond
+
+The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma),
+and -2 (for 15ma bassa) as arguments. Internally the function sets the properties
+@code{ottavation} (e.g., to @code{"8va"} or @code{"8vb"}) and
+@code{centralCPosition}. For overriding the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
+
+@lilypond[quote,ragged-right,verbatim]
+{
+ #(set-octavation 1)
+ \set Staff.ottavation = #"8"
+ c'''
+}
+@end lilypond
+
+
+@seealso
+
+Program reference: @internalsref{OttavaBracket}.
+
+
+@refbugs
+
+@code{set-octavation} will get confused when clef changes happen
+during an octavation bracket.
+
+
+@anchor{Instrument transpositions}
+@unnumberedsubsubsec Instrument transpositions
+
+@cindex transposition, MIDI
+@cindex transposition, instrument
+
+The key of a transposing instrument can also be specified. This
+applies to many wind instruments, for example, clarinets (B-flat, A, and
+E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
+
+The transposition is entered after the keyword @code{\transposition}
+
+@example
+\transposition bes %% B-flat clarinet
+@end example
+
+@noindent
+This command sets the property @code{instrumentTransposition}. The value of
+this property is used for MIDI output and quotations. It does not
+affect how notes are printed in the current staff. To change the printed
+output, see @ref{Transpose}.
+
+The pitch to use for @code{\transposition} should correspond to the
+real sound heard when a @code{c'} written on the staff is played by the
+transposing instrument. For example, when entering a score in
+concert pitch, typically all voices are entered in C, so
+they should be entered as
+
+@example
+clarinet = @{
+ \transposition c'
+ ...
+@}
+saxophone = @{
+ \transposition c'
+ ...
+@}
+@end example
+
+The command @code{\transposition} should be used when the music is
+entered from a (transposed) orchestral part. For example, in
+classical horn parts, the tuning of the instrument is often changed
+during a piece. When copying the notes from the part, use
+@code{\transposition}, e.g.,
+
+@example
+\transposition d'
+c'4^"in D"
+...
+\transposition g'
+c'4^"in G"
+...
+@end example
+
+
+
projects / lilypond.git / commitdiff