@cindex MensuralStaffContext
The predefined @code{MensuralVoiceContext} and
-@code{MensuralStaffContext} can be used to engrave a piece in mensural
-style. These contexts initialize all relevant context properties and
-grob properties to proper values, so you can immediately go ahead
-entering the chant, as the following excerpt demonstrates
+@code{MensuralStaffContext} can be used to engrave a piece in
+mensural style. These contexts initialize all relevant context
+properties and grob properties to proper values, so you can
+immediately go ahead entering the chant, as the following excerpt
+demonstrates
@lilypond[quote,ragged-right,verbatim]
\score {
@node Musica ficta accidentals
@unnumberedsubsubsec Musica ficta accidentals
-In European music from before about 1600, singers were often expected
-to chromatically alter notes at their own initiative. This is called
-@q{Musica Ficta}. In modern transcriptions, these accidentals are
-usually printed over the note.
+In European music from before about 1600, singers were often
+expected to chromatically alter notes at their own initiative.
+This is called @q{Musica Ficta}. In modern transcriptions, these
+accidentals are usually printed over the note.
@cindex Accidental, musica ficta
@cindex Musica ficta
ais bis
@end lilypond
+This will treat @emph{every} subsequent accidentals as
+@emph{musica ficta} until it is unset with @code{\set
+suggestAccidentals = ##f}. A more convenient way is to use
+@code{\once}:
+
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\once \set suggestAccidentals = ##t
+ais ais bis
+@end lilypond
+
@seealso
-Program reference: @internalsref{Accidental_engraver} engraver and the
-@internalsref{AccidentalSuggestion} object.
+Program reference: @internalsref{Accidental_engraver} engraver and
+the @internalsref{AccidentalSuggestion} object.
@node Figured bass
@unnumberedsubsubsec Figured bass
Intro text.
@menu
-* Normal pitches::
-* Relative octaves::
+* Absolute octave entry::
+* Relative octave entry::
* Accidentals::
* Note names in other languages::
@end menu
-@node Normal pitches
-@unnumberedsubsubsec Normal pitches
+@node Absolute octave entry
+@unnumberedsubsubsec Absolute octave entry
@cindex Pitch names
@cindex pitches
@end lilypond
There are two different ways to enter these note names with regard
-to octave placement: absolute and relative. The relative mode will
-in most cases be the most convenient, but since the absolute mode
-is most fundamental, it will be presented first.
+to octave placement: absolute and relative. The relative mode
+will in most cases be the most convenient, but the absolute mode
+is more fundamental and will be presented first.
-In absolute mode, the note name @code{c} is engraved one octave
-below middle C, and each note up to @code{b} in the octave above,
-as in the previous example.
+@cindex Absolute
+@cindex Absolute octave specification
+
+In absolute mode, every note is placed explicitly in a certain
+octave. The note names @code{c} to @code{b} are engraved in the
+octave below middle C, as in the previous example.
@lilypond[quote,fragment,verbatim,ragged-right]
\clef treble
@funindex ,
If a note should be in another octave than this, an octave
-specification can be given. It takes the form of a series of
+specification must be given. It takes the form of a series of
single quote (@samp{'}) or comma (@samp{,}) characters. Each
@samp{'} raises the pitch by one octave; each @samp{,} lowers the
pitch by an octave.
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}.
-
-@seealso
-
-Snippets: @lsrdir{pitch}
-
-
-@node Relative octaves
-@unnumberedsubsubsec Relative octaves
+@node Relative octave entry
+@unnumberedsubsubsec Relative octaves entry
@cindex Relative
@cindex Relative octave specification
@funindex \relative
-When octaves are specified as above by adding @code{'} and
-@code{,} to pitch names, it is easy to accidentally put a pitch in
-the wrong octave. The relative octave mode prevents 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.
+The absolute mode requires a lot of octave specifications, which
+not only becomes tedious but also easily leads to errors.
+Therefore, it is usually more convenient to let notes be entered
+relative to the previous note. This is done with the relative
+mode.
@example
\relative @var{startpitch} @var{musicexpr}
}
@end lilypond
+A note sequence without a single octave mark can nevertheless span
+large intervals:
+
+@lilypond[quote,ragged-right,fragment,verbatim]
+\relative c {
+ c f b e a d g
+}
+@end lilypond
+
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:
\relative c' {
c <c e g>
<c' e g>
- <c, e' g>
+ <c, e' g> c
}
@end lilypond
absolute mode. In principle it can be any note name, but common
practice is to use @code{c} in various octave positions.
+When octaves are specified as above by adding @code{'} and
+@code{,} to pitch names, it is easy to accidentally put a pitch in
+the wrong octave. The relative octave mode prevents 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.
@seealso
@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
+both @code{es} and @code{ees} are accepted:
@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a2 as e es
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
+name:
@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a4 aes a2
@seealso
-The automatic production of accidentals can be tuned in many ways.
-For more information, see @ref{Automatic accidentals}.
+The automatic production of accidentals can be tuned in many ways
+concerning for how long an accidental is considered to last. For
+more information, see @ref{Automatic accidentals}.
+
+For @emph{musica ficta}, editorial accidentals placed above the
+staff commonly used in editions of early music, see @ref{Musica
+ficta accidentals}.
Program reference: @internalsref{LedgerLineSpanner},
@internalsref{NoteHead}.
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
+define are:
@cindex note names, other languages
@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
+@multitable @columnfractions .2 .6 .05 .05 .05 .05
+@headitem Language
+ @tab Note names
+ @tab semi- @tab semi- @tab sesqui- @tab sesqui-
+@item nederlands.ly
+ @tab c d e f g a bes b
+ @tab -ih @tab -eh @tab -isih @tab -eseh
+@item english.ly
+ @tab c d e f g a bf b
+ @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item deutsch.ly
+ @tab c d e f g a b h
+ @tab -ih @tab -eh @tab -isih @tab -eseh
+@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
+@end multitable
+@end example
@node Changing multiple pitches
@subsection Changing multiple pitches
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}.
+@code{from} is changed to @code{to} 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
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
+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
+@code{\transpose} will also transpose key signatures:
@lilypond[quote,ragged-right,verbatim]
mus = { \key d \major cis d fis g }
}
@end lilypond
+@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
+will remain on the same scale step, the second version will print
+flats on the scale step above.
+
+@lilypond[quote,ragged-right,verbatim]
+mus = { c d e f }
+\new Staff {
+ \transpose c cis { \relative c' \mus }
+ \transpose c des { \relative c' \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
at the start of the staff.
Setting or changing the key signature is done with the @code{\key}
-command
+command:
@example
@code{\key} @var{pitch} @var{type}
@code{\dorian}.
This command sets the context property @code{Staff.keySignature}.
-on-standard key signatures can be specified by setting this
+Non-standard key signatures can be specified by setting this
property directly. See @internalsref{Key_engraver}, and for an
example TODO.
@c TODO: LSR snippet 248. leave this here for now -gp
@cindex ottava
@cindex 15ma
+@cindex 8va
+@cindex 8ve
@cindex octavation
@lilypond[quote,ragged-right,verbatim,fragment]
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.,
+@code{centralCPosition}. To override the text of the bracket, set
+@code{ottavation} after invoking @code{set-octavation}, i.e.,
@lilypond[quote,ragged-right,verbatim]
{
projects / lilypond.git / commitdiff