From 4b0cc7a62e88a087ef8ccd5834bed904fcd8b26b Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Mon, 14 Jan 2008 14:57:28 -0800 Subject: [PATCH] Misc changes. --- Documentation/user/pitches.itely | 64 +++++++++++++++++--------------- 1 file changed, 34 insertions(+), 30 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index d0725e36d8..539dc48500 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -179,13 +179,13 @@ absolute mode. In principle it can be any note name, but common practice is to use@tie{}@code{c} in various octave positions or the first note of @var{musicexpr}. -When octaves are specified in absolute mode, by adding@tie{}@code{'} -and@tie{}@code{,} to pitch names, it is easy to accidentally put a -pitch in the wrong octave. The 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. +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. As explained above, the octave of pitches is calculated only with the note names, regardless of any alterations. Therefore, an F-sharp @@ -399,6 +399,7 @@ define are: @end multitable @end example +@c TODO: move most of this junk into glossary @noindent 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} @@ -523,7 +524,6 @@ correct octave once again. @} @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 @@ -533,7 +533,7 @@ 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, however, fails: @code{a'}@tie{}is not +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 @@ -620,14 +620,14 @@ mus = \relative c' { c d e f } @cindex transposing instruments -@code{\transpose} may also be used in a different way, -to input written notes for a transposing instrument. -The previous examples show how to enter -pitches in C (or @notation{concert pitch}) and typeset them for a -transposing instrument, but the opposite is also possible if you -for example have a set of instrumental parts and want to print a -conductor's score. For example, when entering music for a B-flat -trumpet which begins on a notated E (concert D), one would write: +@code{\transpose} may also be used in a different way, to input +written notes for a transposing instrument. The previous examples +show how to enter pitches in C (or @notation{concert pitch}) and +typeset them for a transposing instrument, but the opposite is +also possible if you for example have a set of instrumental parts +and want to print a conductor's score. For example, when entering +music for a B-flat trumpet which begins on a notated E (concert +D), one would write: @example musicInBflat = @{ e4 @dots{} @} @@ -655,6 +655,8 @@ see @ref{Instrument transpositions}. @seealso +Notation Reference: @ref{Instrument transpositions}. + Snippets: @lsrdir{Pitches}. Internals Reference: @internalsref{TransposedMusic}. @@ -928,19 +930,20 @@ during an octavation bracket. @cindex transposition, MIDI @cindex transposition, instrument -When typesetting scores that involve transposing instruments, -some parts can be typeset in a different pitch than the @qq{concert pitch}. +When typesetting scores that involve transposing instruments, some +parts can be typeset in a different pitch than the +@notation{concert pitch}. 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). -For such instruments, LilyPond will print a correct part, but is not -aware whether the instrument is playing in concert pitch or not. -This can lead to problems if you want a MIDI output, or if you quote -other parts in a transposing staff. In such cases, an explicit transposition -has to be specified, with the command +For such instruments, LilyPond will print a correct part, but is +not aware whether the instrument is playing in concert pitch or +not. This can lead to problems if you want a MIDI output, or if +you quote other parts in a transposing staff. In such cases, an +explicit transposition must be specified: @example \transposition @var{pitch} @@ -948,7 +951,7 @@ has to be specified, with the command @noindent where @var{pitch} specifies the key in which the instrument plays. -For example, a part for B-flat clarinet would include +For example, a part for B-flat clarinet would include: @example \transposition bes @@ -1015,6 +1018,8 @@ to serve as a reminder that these parts are written in C. @seealso +Music Glossary: @c TODO @rglos{concert pitch} + Notation Reference: @ref{Quoting other voices}, @ref{Transpose}. Snippets: @lsrdir{Pitches}. @@ -1039,11 +1044,10 @@ accidental style to use. This function is called as follows The accidental style applies to the current @code{Staff} by default (with the exception of the styles @code{piano} and -@code{piano-cautionary}, which are explained below). -Optionally, the function can -take a second argument which determines in which scope the style -should be changed. For example, to use the same style in all -staves of the current @code{StaffGroup}, use +@code{piano-cautionary}, which are explained below). Optionally, +the function can take a second argument which determines in which +scope the style should be changed. For example, to use the same +style in all staves of the current @code{StaffGroup}, use @example #(set-accidental-style 'voice 'StaffGroup) -- 2.39.5