From: Graham Percival Date: Tue, 20 May 2008 05:37:33 +0000 (-0700) Subject: Policy updates. X-Git-Tag: release/2.11.47-1~5^2~27^2~6 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=3e7561400c3a953144bb7949d4fc22e42e87dd89;p=lilypond.git Policy updates. --- diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 98e990dbb5..f615cdbe05 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -111,18 +111,20 @@ pitch inside @var{musicexpr} is calculated as follows: @itemize @item -If no octave changing mark is used on a pitch, its octave is calculated -so that the interval with the previous note is less than a fifth. This -interval is determined without considering accidentals. +If no octave changing mark is used on a pitch, its octave is +calculated so that the interval with the previous note is less +than a fifth. This interval is determined without considering +accidentals. @item -An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to -respectively raise or lower a pitch by an extra octave, relative to -the pitch calculated without an octave mark. +An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be +added to 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 -@code{,,}@tie{} will alter the pitch by two octaves. +Multiple octave changing marks can be used. For example, +@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two +octaves. @item The pitch of the first note is relative to @@ -257,12 +259,12 @@ see @rlearning{Accidentals and key signatures}.} @cindex flat, double @cindex natural sign -A @notation{sharp} pitch is made by adding @code{is} to the note name, -and a @notation{flat} pitch by adding @code{es}. As you might expect, -a @notation{double sharp} or @notation{double flat} is made by adding -@code{isis} or @code{eses}. This syntax is derived from Dutch note -naming conventions. To use other names for accidentals, see -@ref{Note names in other languages}. +A @notation{sharp} pitch is made by adding @code{is} to the note +name, and a @notation{flat} pitch by adding @code{es}. As you +might expect, a @notation{double sharp} or @notation{double flat} +is made by adding @code{isis} or @code{eses}. This syntax is +derived from Dutch note naming conventions. To use other names +for accidentals, see @ref{Note names in other languages}. @lilypond[verbatim,quote,relative=2] ais1 aes aisis aeses @@ -492,11 +494,11 @@ Octave checks make such errors easier to find by displaying a warning and correcting the octave if a note is found in an unexpected octave. -To check the octave of a note, specify the absolute -octave after the @code{=}@tie{}symbol. This example will generate -a warning (and change the pitch) because the second note is the -absolute octave @code{d''} instead of @code{d'} as indicated by -the octave correction. +To check the octave of a note, specify the absolute octave after +the @code{=}@tie{}symbol. This example will generate a warning +(and change the pitch) because the second note is the absolute +octave @code{d''} instead of @code{d'} as indicated by the octave +correction. @lilypond[verbatim,quote,fragment] \relative c'' { @@ -506,11 +508,12 @@ the octave correction. @end lilypond The octave of notes may also be checked with the -@code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is -specified in absolute mode. This checks that the interval between the -previous note and the @var{controlpitch} is within a fourth (i.e., the -normal calculation of relative mode). If this check fails, a warning -is printed, but the previous note is not changed. Future notes are +@code{\octave}@tie{}@var{controlpitch} command. +@var{controlpitch} is specified in absolute mode. This checks +that the interval between the previous note and the +@var{controlpitch} is within a fourth (i.e., the normal +calculation of relative mode). If this check fails, a warning is +printed, but the previous note is not changed. Future notes are relative to the @var{controlpitch}. @lilypond[verbatim,quote,fragment] @@ -583,10 +586,10 @@ automatically transposed as well. } @end lilypond -If a part written in C (normal @notation{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: +If a part written in C (normal @notation{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] \transpose a c' { @@ -669,7 +672,6 @@ Internals Reference: @knownissues - 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 @@ -727,8 +729,7 @@ This section discusses how to alter the output of pitches. @cindex clef, varbaritone @cindex subbass clef, subbass -The clef is set with the @w{@code{\clef @var{clefname}}} command. -Middle C is shown in every example. +The clef may be altered. Middle C is shown in every example. @lilypond[verbatim,quote,relative=1] \clef treble @@ -770,14 +771,14 @@ Further supported clefs are described under @ref{Ancient clefs}. @cindex transposing clefs @cindex clef, transposing @cindex octave transposition - -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} transpose by two octaves. The argument @var{clefname} -must be enclosed in quotes when it contains underscores or digits. - @cindex choral tenor clef +By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the +clef is transposed one octave down or up, respectively, +and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves. +The clef name must be enclosed in quotes when it contains +underscores or digits. + @lilypond[verbatim,quote,relative=2] \clef treble c2 c @@ -825,8 +826,7 @@ see @rlearning{Accidentals and key signatures}.} 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: +at the start of the staff. The key signature may be altered: @example \key @var{pitch} @var{mode} @@ -949,8 +949,8 @@ parts can be typeset in a different pitch than the @notation{concert pitch}. In these cases, the key of the @notation{transposing instrument} should be specified; otherwise the MIDI output and cues in other parts will produce incorrect -pitches. For more information about quotations, see @ref{Quoting -other voices}. +pitches. For more information about quotations, see +@ref{Quoting other voices}. @example \transposition @var{pitch} @@ -961,7 +961,7 @@ 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 that produces a real sound which is one tone higher than the printed music should use -@code{\transposition d'}. @code{\transposition} should +@w{@code{\transposition d'}}. @code{\transposition} should @emph{only} be used if the pitches are @emph{not} being entered in concert pitch. @@ -1041,7 +1041,7 @@ Snippets: There are many different conventions on how to typeset accidentals. LilyPond provides a function to specify which -accidental style to use. This function is called as follows +accidental style to use. This function is called as follows: @example \new Staff << @@ -1055,7 +1055,7 @@ 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 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 +style in all staves of the current @code{StaffGroup}, use: @example #(set-accidental-style 'voice 'StaffGroup) @@ -1187,10 +1187,10 @@ musicB = { @end lilypond @item voice -The normal behavior is to remember the accidentals at @code{Staff}-level. -In this style, however, accidentals are typeset individually for -each voice. Apart from that, the rule is similar to -@code{default}. +The normal behavior is to remember the accidentals at +@code{Staff}-level. In this style, however, accidentals are +typeset individually for each voice. Apart from that, the rule is +similar to @code{default}. As a result, accidentals from one voice do not get canceled in other voices, which is often an unwanted result: in the following @@ -1323,7 +1323,6 @@ parentheses, but they can also be printed in reduced size by defining the @code{cautionary-style} property of @code{AccidentalSuggestion}. - @lilypond[quote] musicA = { << @@ -1388,7 +1387,6 @@ previous cancellation was in a different voice, and the@tie{}@code{d} in the lower staff is canceled because of the accidental in a different voice in the previous measure: - @lilypond[quote] musicA = { << @@ -1442,10 +1440,10 @@ musicB = { @item modern-voice-cautionary This rule is the same as @code{modern-voice}, but with the extra -accidentals (the ones not typeset by @code{voice}) typeset -as cautionaries. Even though all accidentals typeset by -@code{default} @emph{are} typeset with this rule, -some of them are typeset as cautionaries. +accidentals (the ones not typeset by @code{voice}) typeset as +cautionaries. Even though all accidentals typeset by +@code{default} @emph{are} typeset with this rule, some of them are +typeset as cautionaries. @lilypond[quote] musicA = { @@ -1502,8 +1500,8 @@ musicB = { This rule reflects twentieth-century practice for piano notation. Its behavior is very similar to @code{modern} style, but here accidentals also get canceled across the staves in the same -@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations -of the final notes. +@code{GrandStaff} or @code{PianoStaff}, hence all the +cancellations of the final notes. This accidental style applies to the current @code{GrandStaff} or @code{PianoStaff} by default. @@ -1562,8 +1560,8 @@ musicB = { @cindex cautionary accidental style, piano @cindex piano cautionary accidental style -Same as @w{@code{#(set-accidental-style 'piano)}} but with the -extra accidentals typeset as cautionaries. +This is the same as @code{piano} but with the extra accidentals +typeset as cautionaries. @lilypond[quote] musicA = { @@ -1855,32 +1853,34 @@ This section suggests ways of altering note heads. @cindex harmonic note heads @cindex guitar note heads -Different note heads are used by various instruments for various -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: +Note heads may be altered: @lilypond[verbatim,quote,relative=2] -c4 d +c4 b a b \override NoteHead #'style = #'cross -e f +c4 b a b \revert NoteHead #'style -e d +c4 d e f +@end lilypond + +There is a shorthand for diamond shapes which can only be used +inside chords: + +@lilypond[verbatim,quote,relative=2] +2 4 @end lilypond @noindent To see all note head styles, see @ref{Note head styles}. - @seealso Snippets: @rlsr{Pitches}. Notation Reference: -@ref{Note head styles}. +@ref{Note head styles}, +@ref{Chorded notes}. Internals Reference: @rinternals{note-event}, @@ -1905,7 +1905,9 @@ Internals Reference: @cindex note heads, easy play The @q{easy play} note head includes a note name inside the head. -It is used in music for beginners. +It is used in music for beginners. To make the letters readable, +it should be printed in a large font size. To print with a larger +font, see @ref{Setting the staff size}. @lilypond[verbatim,quote] #(set-global-staff-size 26) @@ -1918,12 +1920,6 @@ It is used in music for beginners. } @end lilypond -The command @code{\easyHeadsOn} overrides settings for the -@code{NoteHead} object. These settings can be reverted with the command -@code{\easyHeadsOff}. To make the letters readable, it has to be printed -in a large font size. To print with a larger font, see @ref{Setting the -staff size}. - @predefined @funindex \easyHeadsOn @@ -1962,9 +1958,7 @@ Internals Reference: In shape note head notation, the shape of the note head corresponds to the harmonic function of a note in the scale. This notation was popular in nineteenth-century American song books. - -Shape note heads can be produced by setting @code{\aikenHeads} or -@code{\sacredHarpHeads}, depending on the style desired. +Shape note heads can be produced: @lilypond[verbatim,quote,relative=2] \aikenHeads @@ -1973,8 +1967,8 @@ c, d e f g a b c c, d e f g a b c @end lilypond -Shapes are typeset according to the step in the scale, where -the base of the scale is determined by the @code{\key} command. +Shapes are typeset according to the step in the scale, where the +base of the scale is determined by the @code{\key} command. @predefined