From 349c39512013bbe856553c12cd9810d27e5c6aef Mon Sep 17 00:00:00 2001 From: John Mandereau Date: Sat, 12 Jan 2008 13:58:57 +0100 Subject: [PATCH] Notation reference: nitpicking on Pitches - rephrase 'relative octave' to avoid too much repetition (maybe better: split out the long beginning blurb between ly snippets?), - fix transposition intervals in Transpose, - other nitpicks. --- Documentation/user/pitches.itely | 82 ++++++++++++++++---------------- 1 file changed, 40 insertions(+), 42 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index ef33f9a7ad..384a032d20 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -112,32 +112,30 @@ mode. @end example In relative mode, each note is assumed to be as close to the -previous note as possible. This means that the octave of notes -that appear in @var{musicexpr} are calculated as follows: +previous note as possible. This means that the octave of pitches +in @var{musicexpr} is calculated as follows: @itemize @item -The pitch of the first note is relative to @code{\relative -@var{startpitch} }. +The pitch of the first note is relative to @code{@var{startpitch}}. @item -If no octave changing marks are used, the basic interval between a -note and the one that precedes it is always taken to be a fourth -or less. +If no octave changing mark is used on a pitch, its octave is calculated +so that the interval with the previous note is a fourth or less. This +interval is determined without regarding alterations or the actual +sounding pitches, it is determined only with note names. For example, +an augmented fourth is considered a @emph{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. @item -This distance is determined without regarding alterations or the -actual sounding pitches; a @code{fisis} following a @code{ceses} -will be put above the @code{ceses}. In other words, 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. - -@item -The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be -added to raise or lower the pitch by an extra octave from the -basic interval. +An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to +respectively raise or lower a pitch by an extra octave, relatively to +the pitch calculated without octave mark. @item Multiple octave changing marks can be used. @code{''}@tie{}will @@ -186,7 +184,8 @@ relative to the preceding one. The @var{startpitch} (after @code{\relative}) is a note name in absolute mode. In principle it can be any note name, but common -practice is to use@tie{}@code{c} in various octave positions. +practice is to use@tie{}@code{c} in various octave positions or the +first note of @var{musicexpr}. When octaves are specified as above by adding@tie{}@code{'} and@tie{}@code{,} to pitch names, it is easy to accidentally put a @@ -196,11 +195,10 @@ 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. -LilyPond examines pitches based on the note names -- in other -words, an augmented fourth is @emph{not} treated the same as a -diminished fifth. If we begin at a C, then an F-sharp will be -placed higher than the C, while a G-flat 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 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. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] c2 fis @@ -243,7 +241,7 @@ see @rlearning{Accidentals and key signatures}.} 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 derived +made by adding @code{isis} or @code{eses}. This syntax is derived from note naming conventions in Nordic and Germanic languages, like German and Dutch. To use other names for accidentals, see @ref{Note names in other languages}. @@ -480,7 +478,7 @@ 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. -The syntax is: +The syntax is @example @var{pitch} \octave @var{controlpitch} @@ -571,13 +569,13 @@ E-major with \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 -following transposition will produce the appropriate part: +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 @example -\transpose a c @dots{} +\transpose a c' @dots{} @end example @code{\transpose} will also transpose key signatures: @@ -616,15 +614,15 @@ trumpet which begins on a notated E (concert D), one would write: @example musicInBflat = @{ e4 @dots{} @} -\transpose c bes \musicInBflat +\transpose c bes, \musicInBflat @end example -To print this music in F (e.g., rearranging to a french horn) you +To print this music in F (e.g., rearranging to a French horn) you would wrap the existing music with another @code{\transpose} @example musicInBflat = @{ e4 @dots{} @} -\transpose f c @{ \transpose c bes \musicInBflat @} +\transpose f c' @{ \transpose c bes, \musicInBflat @} @end example @commonprop @@ -714,10 +712,10 @@ The clef can also be changed inside the staff: >> @end lilypond -These same clef symbols are used in different positions on the -staff to change the range of notes shown by that staff. The -treble (alto, bass) clef is always positioned to show the line on -which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed. +These same clef symbols are used in different positions on the staff to +change the range of notes shown by that staff. The treble (respectively +alto, bass) clef is always positioned to show the line on which +a@tie{}@code{g'} (resp. @code{c'}, @code{f}) note is printed. Supported clefs include @@ -800,7 +798,7 @@ Setting or changing the key signature is done with the @code{\key} command: @example -\key @var{pitch} @var{type} +\key @var{pitch} @var{mode} @end example @funindex \minor @@ -815,9 +813,9 @@ command: @funindex \dorian @cindex church modes -Here, @var{type} should be @code{\major} or @code{\minor} to get +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}): +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}. -- 2.39.5