From: Graham Percival <graham@percival-music.ca>
Date: Fri, 18 Jan 2008 04:49:01 +0000 (-0800)
Subject: Second wave of serious Pitches work.
X-Git-Tag: release/2.11.38-1~51
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=d429ed454a593a7273d791b51c36d35d9e07b7f8;p=lilypond.git

Second wave of serious Pitches work.
---

diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely
index da4887393a..6da12f76c2 100644
--- a/Documentation/user/pitches.itely
+++ b/Documentation/user/pitches.itely
@@ -172,24 +172,21 @@ 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.
 
-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
 
@@ -280,8 +277,8 @@ signs, too.
 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
@@ -330,7 +327,7 @@ define are:
 @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
@@ -372,37 +369,15 @@ define are:
 @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-
@@ -416,24 +391,32 @@ special names have been defined yet.
 @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}.
@@ -460,7 +443,9 @@ followed by @code{=}@var{quotes} to indicate what its absolute
 octave should be.  In the following example,
 
 @example
-\relative c'' @{ c g d='' @}
+\relative c'' @{
+  c g d=''
+@}
 @end example
 
 @noindent
@@ -472,7 +457,7 @@ are descending fourths.  In the output, the octave is corrected to
 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
@@ -545,27 +530,26 @@ A music expression can be transposed with @code{\transpose}.  The
 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{}
@@ -645,7 +629,7 @@ Internals Reference: @internalsref{TransposedMusic}.
 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
@@ -662,6 +646,7 @@ This section discusses how to alter the output of pitches.
 * Ambitus::
 @end menu
 
+
 @node Clef
 @unnumberedsubsubsec Clef
 
@@ -686,31 +671,31 @@ The clef is set with the @code{\clef} @var{clefname} command:
 
 @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
@@ -816,12 +801,12 @@ command:
 @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
@@ -873,6 +858,11 @@ a b
 
 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
@@ -883,6 +873,10 @@ Internally the function sets the properties @code{ottavation}
 \set Staff.ottavation = #"8"
 c'
 @end lilypond
+@end ignore
+
+@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@c {}
 
 
 @seealso
@@ -915,8 +909,8 @@ parts can be typeset in a different pitch than the
 
 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
@@ -1765,8 +1759,8 @@ 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:
+diamond shapes; the other note head styles are produced by
+tweaking the property:
 
 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
 c4 d
@@ -1786,7 +1780,8 @@ Snippets: @lsrdir{Pitches}.
 
 Notation Reference: @ref{Note head styles}.
 
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference: @internalsref{NoteHead},
+@internalsref{LedgerLineSpanner}.
 
 
 @node Easy notation note heads
@@ -1800,10 +1795,13 @@ Internals Reference: @internalsref{NoteHead}.
 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
@@ -1829,6 +1827,10 @@ Internals Reference: @internalsref{NoteHead}.
 @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
@@ -1847,22 +1849,6 @@ c,8 d4 e8 a2 g1
 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]
@@ -1882,27 +1868,15 @@ Snippets: @lsrdir{Pitches}.
 @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
@@ -1919,3 +1893,4 @@ Snippets: @lsrdir{Pitches}.
 Internals Reference: @internalsref{Pitch_squash_engraver},
 @internalsref{Voice}.
 
+