From 3c2d59cf4e2e857340d6abe68b6cc13b067abf7c Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sat, 19 Jan 2008 20:47:11 -0800 Subject: [PATCH] More rewrites of Pitches. --- Documentation/user/pitches.itely | 158 +++++++++++++------------------ 1 file changed, 64 insertions(+), 94 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 5b7914a0bb..2b8eaeec92 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -54,7 +54,7 @@ engraved in the octave below middle C. @c NOTE: don't use c' here. @lilypond[verbatim,quote,ragged-right,fragment] \clef bass -c d e f g a b c +c d e f g a b c d e f g @end lilypond @funindex ' @@ -128,7 +128,7 @@ Here is the relative mode shown in action: @lilypond[verbatim,quote,ragged-right] \relative c { \clef bass - c d e f g a b c + c d e f g a b c d e f g } @end lilypond @@ -170,9 +170,9 @@ When octaves are specified in absolute mode it is easy to accidentally put a pitch in the wrong octave. Relative octave mode reduces these errors since most of the time it is not necessary to 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. +absolute mode a single mistake may be difficult to spot, while 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 @@ -196,6 +196,8 @@ that each interval contains. Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}. +Notation Reference: @ref{Octave check}. + Snippets: @lsrdir{Pitches}. @@ -331,8 +333,8 @@ define are: @cindex note names, other languages -@example -@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} +@smallexample +@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses} @headitem Language @tab Note names @tab sharp @tab flat @tab double sharp @tab double flat @@ -372,7 +374,7 @@ define are: @tab do re mi fa sol la sib si @tab -k @tab -b @tab -kk @tab -bb @end multitable -@end example +@end smallexample Some music uses microtones whose alterations are fractions of a @q{normal} sharp or flat. The note names for quartertones defined @@ -381,8 +383,8 @@ 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 {nederlands.ly a} {do re mi fa sol la sib si a} {-iss/-is a} {-ess/-es a} {-ississ/-isis a} {-ississ/-isis a} +@smallexample +@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- @@ -403,7 +405,7 @@ languages, no special names have been defined yet. @tab do re mi fa sol la sib si @tab -sqt @tab -bqt @tab -stqt @tab -btqt @end multitable -@end example +@end smallexample In Dutch, @code{aes} is contracted to @code{as}, but both forms are accepted in LilyPond. Similarly, both @code{es} and @@ -444,82 +446,52 @@ This section discusses how to modify pitches. @cindex octave check In relative mode, it is easy to forget an octave changing mark. -Octave checks make such errors easier to correct. A note may be -followed by @code{=}@var{quotes} to indicate what its absolute -octave should be. In the following example, +Octave checks make such errors easier to correct by displaying a +warning if a note is found in an unexpected octave. There are two +types of octave checks: the first changes the pitch, while the +second does not change the pitch. Both checks print warnings and +change the octave for future notes. -@example -\relative c'' @{ - c g d='' -@} -@end example +Consider the simple example: -@noindent -the@tie{}@code{d} will generate a warning, because -a@tie{}@code{d''} is expected, as indicated by the octave check -@code{=''}, but a@tie{}@code{d'} is found, since both -@code{c}-@code{g} and @code{g}-@code{d} without octavation marks -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'}. +@lilypond[verbatim,quote,ragged-right,fragment] +\relative c'' { + c2 d + e2 f +} +@end lilypond -There is also an octave check which produces no visible output. -The syntax is: +To check the octave of the @code{d} (changing the pitch +automatically if necessary), add @code{=}@var{quotes} after the +pitch. The @var{quotes} indicate what its absolute octave should +be. This example will generate a warning, because the second note +is the absolute octave @code{d''} instead of @code{d'} indicated +by the octave check. -@example -@var{pitch} \octave @var{controlpitch} -@end example +@lilypond[verbatim,quote,ragged-right,fragment] +\relative c'' { + c2 d=' + e2 f +} +@end lilypond -@noindent -where @var{pitch} is a regular note within a music expression in -relative mode and @var{controlpitch} is a pitch in absolute mode. -This checks that @var{pitch} lies within the octave surrounding +To check the octave of the@tie{}@code{d} (without changing the +pitch), add @code{\octave}@tie{}@var{controlpitch} to the note. +This checks that the note lies within the octave surrounding @var{controlpitch}, i.e. not more than a fourth above or below it. If this is not the case, a warning is printed and the octave is corrected. The @var{controlpitch} is not printed as a note. -In the example below, the first check passes without incident, -since the@tie{}@code{e} (in @code{relative} mode) is within the -octave range of@tie{}@code{a'}. However, the second check -produces a warning, since the@tie{}@code{e} is not within the -octave range of@tie{}@code{b'}. The warning message is printed, -and the octave is adjusted so that the following notes are in the -correct octave once again. - -@example -\relative c' @{ - e - \octave a' - \octave b' -@} -@end example - -The octave of a note following an @code{\octave} check is -determined with respect to the note preceding it, as modified by -the outcome of the octave check. In the next fragment, the first -note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b}, -and the @code{\octave} check passes successfully. The second note -is then calculated relative to (absolute)@tie{}@code{e'}, which -yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the -check had no influence on the output of the piece. - -The second @code{\octave} check fails: @code{a'}@tie{}is not -within the range of@tie{}@code{b}. A warning is issued, and the -last note is calculated relative to@tie{}@code{a}, not -to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last -@code{\octave} check, the last note would have been -a@tie{}@code{d''}. - @lilypond[verbatim,quote,ragged-right,fragment] -\relative c' { - e - \octave b - a - \octave b - d +\relative c'' { + c2 d \octave d' + e2 f } @end lilypond +In both cases, the following note (the@tie{}@code{e}) is adjusted +to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}. + @seealso Snippets: @lsrdir{Pitches}. @@ -546,30 +518,27 @@ 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. It can be -transposed up to E-major with: - -@example -\transpose d e @dots{} -@end example +transposed up to E-major: -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{} -@end example +@lilypond[verbatim,quote,ragged-right] +\transpose d e { + \relative c' { + \key d \major + d4 fis a d + } +} +@end lilypond -@code{\transpose} will also transpose key signatures: +If a part written in C (normal 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,ragged-right] -mus = { \key d \major cis d fis g } -\new Staff { - \clef "F" \mus - \clef "G" - \transpose c g' \mus - \transpose c f' \mus +\transpose a c' { + \relative c' { + c4 d e g + } } @end lilypond @@ -616,6 +585,7 @@ musicInBflat = @{ e4 @dots{} @} For more information about transposing instruments, see @ref{Instrument transpositions}. + @commonprop @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] -- 2.39.5