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 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.
+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
+double-augmented fourth is considered a smaller interval than a
+double-diminished fifth, regardless of the number of semitones
+that each interval contains.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2 fis
c2 ges
+b2 eisis
+b2 feses
@end lilypond
-In addition, an augmented fourth is considered a 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.
-
@seealso
cis cis cis! cis? c c? c! c
@end lilypond
-Accidentals are not printed on tied notes, except when the tie
-crosses a line break, where a reminder accidental is automatically added:
+Accidentals are only printed on tied notes which begin a new
+system:
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
cis1~ cis~ \break cis
@cindex note names, other languages
@example
-@multitable @columnfractions .2 .6 .05 .05 .05 .05
+@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}
@headitem Language
@tab Note names
@tab sharp @tab flat @tab double sharp @tab double flat
@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
-greater simplicity, LilyPond uses a single @q{s} for all these
-languages.
-
-Similarly, in Germanic and Nordic languages, alterations
-of@tie{}@code{a}, like for example @code{aes} and @code{aeses},
-are usually contracted to @code{as} and @code{ases} (or more
-commonly @code{asas}). This also applies to @code{eeses} being
-accepted as @code{eses}. Sometimes only these contracted names
-are defined in the corresponding language files (this also applies
-to the suffixes for quartertones below).
-
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 @q{semi-} and @q{sesqui-} mean @q{half} and
-@q{one and a half}, respectively. For the other languages, no
-special names have been defined yet.
+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.
@example
-@multitable @columnfractions .2 .6 .05 .05 .05 .05
+@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}
@headitem Language
@tab Note names
@tab semi- @tab semi- @tab sesqui- @tab sesqui-
@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
-@c @tab c d e f g a b h
@item italiano.ly
@tab do re mi fa sol la sib si
@tab -sd @tab -sb @tab -dsd @tab -bsb
-@c @item catalan.ly
-@c @tab do re mi fa sol la sib si
-@c @item espanol.ly
-@c @tab do re mi fa sol la sib si
@item portugues.ly
@tab do re mi fa sol la sib si
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@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. 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
+
+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
+greater simplicity, LilyPond uses a single @q{s} for all these
+languages.
+
@seealso
Snippets: @lsrdir{Pitches}.
octave should be. In the following example,
@example
-\relative c'' @{ c g d='' @}
+\relative c'' @{
+ c g d=''
+@}
@end example
@noindent
be a@tie{}@code{d''} and the next note is calculated relative
to@tie{}@code{d''} instead of@tie{}@code{d'}.
-There is also an octave check that produces no visible output.
+There is also an octave check which produces no visible output.
The syntax is:
@example
syntax is
@example
-\transpose @var{from} @var{to} @var{musicexpr}
+\transpose @var{frompitch} @var{topitch} @var{musicexpr}
@end example
@noindent
This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{from} and @var{to}: any note with pitch
-@var{from} is changed to @var{to} and any other note is transposed
-by the same 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.
-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:
+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
-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:
+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{}
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}. See the previous example.
+a @code{\transpose}.
@node Displaying pitches
* Ambitus::
@end menu
+
@node Clef
@unnumberedsubsubsec Clef
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
\clef treble
-c2 c
+c1
\clef alto
-c2 c
+c
\clef tenor
-c2 c
+c
\clef bass
-c2 c
+c
@end lilypond
The clef can also be changed inside the staff:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right,fragment,relative=0]
\new PianoStaff <<
\new Staff {
\time 2/4
\clef treble
r16
\clef bass
- e g c' e' e g c'
+ e g c e e, g c
}
\new Staff {
\clef bass
- c,8 r
+ c,,8 r
\clef treble
- g''4
+ g''''4
}
>>
@end lilypond
@funindex \dorian
@cindex church modes
-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}:
-@code{\ionian}, @code{\locrian}, @code{\aeolian},
-@code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
-@code{\dorian}.
+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}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key g \major
The @code{set-octavation} function also takes -1 (for 8va bassa),
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
+
+
+@commonprop
+
+@ignore
Internally the function sets the properties @code{ottavation}
(e.g., to @code{"8va"} or @code{"8vb"}) and
@code{middleCPosition}. To override the text of the bracket, set
\set Staff.ottavation = #"8"
c'
@end lilypond
+@end ignore
+
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@c {}
@seealso
The key of a @notation{transposing instrument} can 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).
+(B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D,
+and@tie{}F).
For such instruments, LilyPond will print a correct part, but is
not aware whether the instrument is playing in concert pitch or
meanings -- crosses are used for @q{parlato} with vocalists,
stopped notes on guitar; diamonds are used for harmonics on string
instruments, etc. There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by tweaking
-the property:
+diamond shapes; the other note head styles are produced by
+tweaking the property:
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
c4 d
Notation Reference: @ref{Note head styles}.
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference: @internalsref{NoteHead},
+@internalsref{LedgerLineSpanner}.
@node Easy notation note heads
The @q{easy play} note head includes a note name inside the head.
It is used in music for beginners
-@lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
-\setEasyHeads
-c'2 e'4 f' |
-g'1
+@lilypond[verbatim,quote,ragged-right]
+#(set-global-staff-size 26)
+\relative c' {
+ \setEasyHeads
+ c2 e4 f
+ g1
+}
@end lilypond
The command @code{\setEasyHeads} overrides settings for the
@unnumberedsubsubsec Shape note heads
@cindex note heads, shape
+@funindex \key
+@funindex shapeNoteStyles
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
Shapes are typeset according to the step in the scale, where
the base of the scale is determined by the @code{\key} command.
-@funindex \key
-@funindex shapeNoteStyles
-@funindex \aikenHeads
-@funindex \sacredHarpHeads
-
-Shape note heads are implemented through the
-@code{shapeNoteStyles} property. Its value is a vector of
-symbols. The k-th element indicates the style to use for the k-th
-step of the scale. Arbitrary combinations are possible, e.g.:
-
-@lilypond[verbatim,fragment,relative=1]
-\set shapeNoteStyles =
- ##(cross triangle fa #f mensural xcircle diamond)
-c8 d4 e8 a2 g1
-@end lilypond
-
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@cindex note heads, improvisation
@cindex note heads, slashed
-Improvisation is sometimes denoted with slashed note heads. Such
-note heads can be created by adding a @code{Pitch_squash_engraver}
-to the @code{Voice} context. Then, the following command
-
-@example
-\set squashedPosition = #0
-\override NoteHead #'style = #'slash
-@end example
-
-@noindent
-switches on the slashes.
-
-There are shortcuts @code{\improvisationOn} (and an accompanying
-@code{\improvisationOff}) for this command sequence. They are
-used in the following example:
+Improvisation is sometimes denoted with slashed note heads, where
+the performer may choose any pitch but should play the specified
+rhythm. Such note heads can be created:
@lilypond[verbatim,quote,ragged-right]
\new Voice \with {
\consists Pitch_squash_engraver
} \transpose c c' {
- e8 e g a a16(bes)(a8) g
+ e8 e g a a16( bes) a8 g
\improvisationOn
e8
~e2~e8 f4 fis8
Internals Reference: @internalsref{Pitch_squash_engraver},
@internalsref{Voice}.
+
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