From 57e3ef0a15d9679cf31de90b2584e9803226d367 Mon Sep 17 00:00:00 2001 From: Keith OHara Date: Tue, 8 Feb 2011 21:16:36 -0800 Subject: [PATCH] Doc: NR accidental styles Demonstrate effect of set-accidental-style on extraNatural Remove deprecated snippet, erroneous text --- Documentation/de/notation/pitches.itely | 6 -- Documentation/es/notation/pitches.itely | 6 -- Documentation/fr/notation/pitches.itely | 6 -- Documentation/notation/pitches.itely | 48 ++++++------- ...entals-for-each-note-including-naturals.ly | 72 ------------------- ...entals-for-each-note-including-naturals.ly | 23 ------ Documentation/snippets/pitches.snippet-list | 1 - 7 files changed, 22 insertions(+), 140 deletions(-) delete mode 100644 Documentation/snippets/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly delete mode 100644 Documentation/snippets/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly diff --git a/Documentation/de/notation/pitches.itely b/Documentation/de/notation/pitches.itely index 11d3ddda2d..cd2418b59f 100644 --- a/Documentation/de/notation/pitches.itely +++ b/Documentation/de/notation/pitches.itely @@ -2363,12 +2363,6 @@ musicB = { @end lilypond @end table -@snippets - -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} - - @seealso Schnipsel: @rlsr{Pitches}. diff --git a/Documentation/es/notation/pitches.itely b/Documentation/es/notation/pitches.itely index 0f66435a16..55a43d6420 100644 --- a/Documentation/es/notation/pitches.itely +++ b/Documentation/es/notation/pitches.itely @@ -2318,12 +2318,6 @@ musicB = { @end lilypond @end table -@snippets - -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} - - @seealso Fragmentos de código: @rlsr{Pitches}. diff --git a/Documentation/fr/notation/pitches.itely b/Documentation/fr/notation/pitches.itely index f31986bc49..faa12f308d 100644 --- a/Documentation/fr/notation/pitches.itely +++ b/Documentation/fr/notation/pitches.itely @@ -2278,12 +2278,6 @@ musicB = { @end lilypond @end table -@snippets - -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} - - @seealso Morceaux choisis : @rlsrnamed{Pitches,Hauteurs}. diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index 1bd632d33c..c1869ed1fa 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -1467,7 +1467,7 @@ each style, we use the following example: musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1550,7 +1550,7 @@ last@tie{}@code{c}: musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1623,7 +1623,7 @@ individual musicians. If the staff is to be used by one musician musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1674,7 +1674,10 @@ musicB = { @funindex modern This rule corresponds to the common practice in the twentieth -century. It prints the same accidentals as @code{default}, with +century. It omits some extra natural signs, which were +traditionally prefixed to accidentals that reduce or reverse +the direction of a previous alteration. The @code{modern} rule +prints the same accidentals as @code{default}, with 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, @@ -1686,7 +1689,7 @@ the upper staff: musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1750,7 +1753,7 @@ defining the @code{cautionary-style} property of musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1817,7 +1820,7 @@ accidental in a different voice in the previous measure: musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1878,7 +1881,7 @@ typeset as cautionaries. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -1943,7 +1946,7 @@ This accidental style applies to the current @code{GrandStaff} or musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2003,7 +2006,7 @@ typeset as cautionaries. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2062,7 +2065,7 @@ if the note is immediately repeated. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2119,7 +2122,7 @@ accidentals are printed as cautionary accidentals. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2179,7 +2182,7 @@ but they are canceled across voices in the same @code{Staff}. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2236,7 +2239,7 @@ accidentals are printed as cautionary accidentals. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2296,7 +2299,7 @@ including natural signs. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2357,7 +2360,7 @@ key signature, except if the note is immediately repeated. musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2418,7 +2421,7 @@ This is the same as @code{default} but with accidentals lasting musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2471,14 +2474,13 @@ musicB = { This is the opposite of @code{no-reset}: Accidentals are not remembered at all -- and hence all accidentals are typeset relative to the key signature, regardless of what came before in -the music. Unlike @code{dodecaphonic}, this rule never prints -any naturals. +the music. @lilypond[quote] musicA = { << \relative c' { - cis'8 fis, d'4 8 f bis4 | + cis'8 fis, bes4 8 f bis4 | cis2. 4 | } \\ @@ -2522,12 +2524,6 @@ musicB = { @end lilypond @end table -@snippets - -@lilypondfile[verbatim,lilyquote,texidoc,doctitle] -{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} - - @seealso Snippets: @rlsr{Pitches}. diff --git a/Documentation/snippets/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly b/Documentation/snippets/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly deleted file mode 100644 index 6e87757d1b..0000000000 --- a/Documentation/snippets/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly +++ /dev/null @@ -1,72 +0,0 @@ -% Do not edit this file; it is automatically -% generated from Documentation/snippets/new -% This file is in the public domain. -%% Note: this file works from version 2.13.36 -\version "2.13.36" - -\header { -%% Translation of GIT committish: fa19277d20f8ab0397c560eb0e7b814bd804ecec - doctitlees = "Alteraciones de estilo dodecafónico para todas las notas incluidas las naturales" - texidoces = " -En las obras de principios del s.XX, empezando por Schoenberg, Berg y -Webern (la @qq{Segunda} escuela de Viena), cada nota de la escala de -doce tonos se debe tratar con igualdad, sin ninguna jerarquía como los -grados clásicos tonales. Por tanto, estos compositores imprimen una -alteración accidental para cada nota, incluso en las notas naturales, -para enfatizar su nuevo enfoque de la teoría y el lenguaje musicales. - -Este fragmento de código muestra cómo conseguir dichas reglas de -notación. - -" - - -%% Translation of GIT committish: 0a868be38a775ecb1ef935b079000cebbc64de40 - texidocde = " - In Werken des frühen 20. Jahrhundert, angefangen mit Schönberg, Berg - und Webern (die zweite Wiener Schule), wird jeder Ton der - Zwölftonleiter als gleichwertig erachtet, ohne hierarchische - Ordnung. Deshalb wird in dieser Musik für jede Note ein Versetzungszeichen - ausgegeben, auch für unalterierte Tonhöhen, um das neue Verständnis - der Musiktheorie und Musiksprache zu verdeutlichen. - - Dieser Schnipsel zeigt, wie derartige Notationsregeln zu erstellen sind. - " - doctitlede = "Versetzungszeichen für jede Note im Stil der Zwölftonmusik" - -%% Translation of GIT committish: 58a29969da425eaf424946f4119e601545fb7a7e - texidocfr = " -Au début du XXème siècle, Schoenberg, Berg et Webern -- la « Seconde » -école de Vienne -- imaginèrent de donner une importance comparable aux -douze notes de la gamme chromatique, et éviter ainsi toute tonalité. -Pour ce faire, ces compositions font apparaître une altération à chaque -note, y compris un bécarre, pour mettre en exergue cette nouvelle -approche de la théorie et du langage musicaux. - -Voici comment obtenir une telle notation. - -" - doctitlefr = "Le dodécaphonisme : toute note est altérée" - - - lsrtags = "pitches" - texidoc = " -In early 20th century works, starting with Schoenberg, Berg and Webern -(the @qq{Second} Viennese school), every pitch in the twelve-tone scale -has to be regarded as equal, without any hierarchy such as the -classical (tonal) degrees. Therefore, these composers print one -accidental for each note, even at natural pitches, to emphasize their -new approach to music theory and language. - -This snippet shows how to achieve such notation rules. - -" - doctitle = "Dodecaphonic-style accidentals for each note including naturals" -} % begin verbatim - - -\markup { - This snippet is deprecated as of version 2.12 and - will be removed from the documentation in 2.14. -} - diff --git a/Documentation/snippets/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly b/Documentation/snippets/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly deleted file mode 100644 index fa91614d38..0000000000 --- a/Documentation/snippets/new/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly +++ /dev/null @@ -1,23 +0,0 @@ -\version "2.13.36" - -\header { - lsrtags = "pitches" - texidoc = " -In early 20th century works, starting with Schoenberg, Berg and Webern -(the @qq{Second} Viennese school), every pitch in the twelve-tone scale -has to be regarded as equal, without any hierarchy such as the -classical (tonal) degrees. Therefore, these composers print one -accidental for each note, even at natural pitches, to emphasize their -new approach to music theory and language. - -This snippet shows how to achieve such notation rules. - -" - doctitle = "Dodecaphonic-style accidentals for each note including naturals" -} - -\markup { - This snippet is deprecated as of version 2.12 and - will be removed from the documentation in 2.14. -} - diff --git a/Documentation/snippets/pitches.snippet-list b/Documentation/snippets/pitches.snippet-list index 47a78e3584..756236dd17 100644 --- a/Documentation/snippets/pitches.snippet-list +++ b/Documentation/snippets/pitches.snippet-list @@ -8,7 +8,6 @@ changing-the-interval-of-lines-on-the-stave.ly clefs-can-be-transposed-by-arbitrary-amounts.ly coloring-notes-depending-on-their-pitch.ly creating-a-sequence-of-notes-on-various-pitches.ly -dodecaphonic-style-accidentals-for-each-note-including-naturals.ly forcing-a-clef-symbol-to-be-displayed.ly generating-random-notes.ly hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly -- 2.39.2