From 30cee52bf9a1eb423009ba577aefa90e274edc2d Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Thu, 7 Feb 2008 05:29:28 -0800 Subject: [PATCH] Update from Ralph. --- Documentation/user/pitches.itely | 75 ++++++++++++++++++++++++-------- 1 file changed, 58 insertions(+), 17 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 264946ff47..cc6d1fcc53 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -203,6 +203,10 @@ Notation Reference: @ref{Octave checks}. Snippets: @lsrdir{Pitches,Pitches}. +@funindex \transpose +@funindex \chordmode +@funindex \relative + @refbugs The relative conversion will not affect @code{\transpose}, @@ -221,6 +225,10 @@ discouraged. @node Accidentals @subsubsection Accidentals +@cindex accidental +@cindex key signature +@cindex clef + @warning{New users are sometimes confused about accidentals and key signatures. In LilyPond, note names are the raw input; key signatures and clefs determine how this raw input is displayed. @@ -230,13 +238,19 @@ see @rlearning{Accidentals and key signatures}.} @cindex note names, Dutch @cindex note names, default - -A @notation{sharp} pitch is made by adding @code{is} to the 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}. +@cindex sharp +@cindex flat +@cindex double sharp +@cindex sharp, double +@cindex double flat +@cindex flat, double + +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,ragged-right,fragment,relative=2] ais1 aes aisis aeses @@ -303,6 +317,7 @@ cis Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, @rglos{double flat}, @rglos{Pitch names}. +@c FIXME: add @rglos{quarter-tone} Learning Manual: @rlearning{Accidentals and key signatures}. @@ -331,6 +346,7 @@ For example, to use English notes names, add @code{\include language files and the note names they define are: @cindex note names, other languages +@cindex pitch names, other languages @smallexample @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses} @@ -398,7 +414,7 @@ languages, no special names have been defined yet. @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis} @headitem Language @tab Note names - @tab semi- @tab semi- @tab sesqui- @tab sesqui- + @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat @item nederlands.ly @tab c d e f g a bes b @@ -462,14 +478,13 @@ the octave correction. } @end lilypond -The octave of pitches 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 relative to -the @var{controlpitch}. +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 +relative to the @var{controlpitch}. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -506,6 +521,7 @@ Snippets: @lsrdir{Pitches,Pitches}. @subsubsection Transpose @cindex transpose +@cindex transposition @cindex transposition of pitches @funindex \transpose @@ -613,8 +629,13 @@ Snippets: @lsrdir{Pitches,Pitches}. Internals Reference: @internalsref{TransposedMusic}. +@funindex \transpose +@funindex \chordmode +@funindex \relative + @refbugs + 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 @@ -640,7 +661,6 @@ This section discusses how to alter the output of pitches. @subsubsection Clef @funindex \clef - @cindex G clef @cindex C clef @cindex F clef @@ -655,6 +675,23 @@ This section discusses how to alter the output of pitches. @cindex baritone clef @cindex varbaritone clef @cindex subbass clef +@cindex clef +@cindex ancient clef +@cindex clef, ancient +@cindex clef, G +@cindex clef, C +@cindex clef, F +@cindex clef, treble +@cindex clef, violin +@cindex clef, alto +@cindex clef, tenor +@cindex clef, bass +@cindex clef, french +@cindex clef, soprano +@cindex clef, mezzosoprano +@cindex clef, baritone +@cindex clef, varbaritone +@cindex subbass clef, subbass The clef is set with the @code{\clef} @var{clefname} command. Middle C is shown in every example. @@ -696,6 +733,10 @@ c2 c 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} transposes by two octaves. The argument @var{clefname} -- 2.39.5