{pitches-headword.ly}
This section discusses how to specify the pitch of notes. There
-are three steps to this process: input, modifying, and output.
+are three steps to this process: input, modification, and output.
@menu
* Writing pitches::
@item
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.
+respectively raise or lower a pitch by an extra octave, relative to
+the pitch calculated without an octave mark.
@item
Multiple octave changing marks can be used. For example, @code{''}@tie{}and
If the preceding item is a chord, the first note of the chord is
used as the reference point for the octave placement of a
-following note or chord. Inside of chords the next note is always
+following note or chord. Inside chords, the next note is always
relative to the preceding one.
@lilypond[verbatim,quote,ragged-right]
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
-E-double-sharp sharp following a B will be placed higher, while an
-F-double-flat would be placed lower. In other words, a
+E-double-sharp following a B will be placed higher, while an
+F-double-flat will be placed lower. In other words, a
double-augmented fourth is considered a smaller interval than a
double-diminished fifth, regardless of the number of semitones
that each interval contains.
cis cis cis! cis? c c c! c?
@end lilypond
-Accidentals are only printed on tied notes which begin a new
+Accidentals are only printed on tied notes that begin a new
system:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
@refbugs
There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
+quarter-tone accidentals, so LilyPond's symbol does not conform to
+any standard.
@subsubsection 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:
+languages. To use them, include the language-specific init file.
+For example, to use English notes names, add @code{\include
+"english.ly"} to the top of the input file. The available
+language files and the note names they define are:
@cindex note names, other languages
@end multitable
@end smallexample
+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. This also applies to
+@code{aeses}@tie{}/@tie{}@code{ases} and
+@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
+contracted names are defined in the corresponding language files.
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a2 as e es a ases e eses
+@end lilypond
+
+
Some music uses microtones whose alterations are fractions of a
-@q{normal} sharp or flat. The note names for quartertones defined
-in the various language files are listed in the following table.
-Here the prefixes @notation{semi-} and @notation{sesqui-} mean
-@q{half} and @q{one and a half}, respectively. For the other
+@q{normal} sharp or flat. The note names for quarter-tones
+defined in the various language files are listed in the following
+table. Here the prefixes @notation{semi-} and @notation{sesqui-}
+mean @q{half} and @q{one and a half}, respectively. For the other
languages, no special names have been defined yet.
@smallexample
@end multitable
@end smallexample
-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. This also applies to
-@code{aeses}@tie{}/@tie{}@code{ases} and
-@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
-contracted names are defined in the corresponding language files.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 as e es a ases e eses
-@end lilypond
-
@seealso
@end lilypond
Compare the two bars below. The first and third @code{\octave}
-check fail, but the second ones passes without fail.
+check fail, but the second ones does not fail.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
This means that @var{musicexpr} is transposed by the interval
between the pitches @var{frompitch} and @var{topitch}: any note
with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.
+other note is transposed by the same interval. Both pitches are
+entered in absolute mode.
Consider a piece written in the key of D-major. It can be
transposed up to E-major; note that the key signature is
@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 notes
+up a semitone. The first version will print sharps and the notes
will remain on the same scale step, the second version will print
flats on the scale step above.
typeset them for a transposing instrument, but the opposite is
also possible if you for example have a set of instrumental parts
and want to print a conductor's score. For example, when entering
-music for a B-flat trumpet which begins on a notated E (concert
-D), one would write:
+music for a B-flat trumpet that begins on a notated E (concert D),
+one would write:
@example
musicInBflat = @{ e4 @dots{} @}
@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}.
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument.
+To use relative mode within transposed music, an additional
+@code{\relative} must be placed inside @code{\transpose}.
@node Displaying pitches
@cindex varbaritone clef
@cindex subbass clef
-The clef is set with the @code{\clef} @var{clefname} command:
+The clef is set with the @code{\clef} @var{clefname} command.
+Middle C is shown in every example.
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\clef treble
c2 c
@end lilypond
-Supported clefs include:
-
-@multitable @columnfractions .4 .6
-@headitem Clef @tab Position
-@item @code{treble, violin, G, G2} @tab
-G clef, g' is on 2nd line
-@item @code{alto, C} @tab
-C clef, c' is on 3rd line
-@item @code{tenor} @tab
-C clef, c' is on 4th line
-@item @code{bass, F} @tab
-F clef, f is on 4th line
-@item @code{french} @tab
-G clef, g' is on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef, c' is on 1st line
-@item @code{mezzosoprano} @tab
-C clef, c' is on 2nd line
-@item @code{baritone} @tab
-C clef, c' is on 5th line
-@item @code{varbaritone} @tab
-F clef, f is on 3rd line
-@item @code{subbass} @tab
-F clef, f is on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
+Other clefs include:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\clef french
+c2 c
+\clef soprano
+c2 c
+\clef mezzosoprano
+c2 c
+\clef baritone
+c2 c
+
+\break
+
+\clef varbaritone
+c2 c
+\clef subbass
+c2 c
+\clef percussion
+c2 c
+\clef tab
+c2 c
+@end lilypond
Further supported clefs are described under @ref{Ancient clefs}.
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{\locrian},
-@code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
+called @q{church modes}: @code{\ionian}, @code{\dorian},
+@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
+@code{\aeolian}, and @code{\locrian}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key g \major
The pitch to use for @code{\transposition} should correspond to
the real sound heard when a@tie{}@code{c'} written on the staff is
played by the transposing instrument. This pitch is entered in
-absolute mode, so an instrument which produces a real sound which
+absolute mode, so an instrument that produces a real sound which
is one tone higher than the printed music should use
@code{\transposition d'}. @code{\transposition} should
@emph{only} be used if the pitches are @emph{not} being entered in
@funindex set-accidental-style
There are many different conventions on how to typeset
-accidentals. LilyPond provides a function to specify which such
+accidentals. LilyPond provides a function to specify which
accidental style to use. This function is called as follows
@example
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
@code{piano-cautionary}, which are explained below). Optionally,
-the function can take a second argument which determines in which
+the function can take a second argument that determines in which
scope the style should be changed. For example, to use the same
style in all staves of the current @code{StaffGroup}, use
This rule corresponds to the common practice in the twentieth
century. It prints the same accidentals as @code{default}, with
-two exceptions which serve to avoid ambiguity: after temporary
+two exceptions that serve to avoid ambiguity: after temporary
accidentals, cancellation marks are printed also in the following
measure (for notes in the same octave) and, in the same measure,
for notes in other octaves. Hence the naturals before
Ambits are denoted at the beginning of a piece near the initial
clef. The range is graphically specified by two note heads that
-represent the minimum and maximum pitch. Accidentals are only
+represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
@lilypond[verbatim,quote,ragged-right]
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