From b0988da56371b55b3eb95cf09ea67167626a9ba6 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sun, 20 Jan 2008 17:10:29 -0800 Subject: [PATCH] More pitch corrections. --- Documentation/user/pitches.itely | 153 ++++++++++++++----------------- 1 file changed, 71 insertions(+), 82 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 5554eecfce..205bf7b3be 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -17,10 +17,10 @@ This section discusses how to specify the pitch of notes. There are three steps to this process: input, modifying, and output. @menu -* Writing pitches:: -* Changing multiple pitches:: -* Displaying pitches:: -* Note heads:: +* Writing pitches:: +* Changing multiple pitches:: +* Displaying pitches:: +* Note heads:: @end menu @@ -32,10 +32,10 @@ different ways to place notes in octaves: absolute and relative mode. In most cases, relative mode will be more convient. @menu -* Absolute octave entry:: -* Relative octave entry:: -* Accidentals:: -* Note names in other languages:: +* Absolute octave entry:: +* Relative octave entry:: +* Accidentals:: +* Note names in other languages:: @end menu @@ -90,11 +90,13 @@ Snippets: @lsrdir{Pitches}. @cindex relative octave specification @funindex \relative -The absolute mode requires a lot of octave specifications, which -not only becomes tedious but also easily leads to errors. -Therefore, it is usually more convenient to let notes be entered -relative to the previous note. This is done with the relative -mode. +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, while in +relative mode a single error puts the rest of the piece off by one +octave. @example \relative @var{startpitch} @var{musicexpr} @@ -174,14 +176,6 @@ relative to the preceding one. } @end lilypond -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, 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 E-double-sharp sharp following a B will be placed higher, while an @@ -204,7 +198,7 @@ that each interval contains. Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}. -Notation Reference: @ref{Octave check}. +Notation Reference: @ref{Octave corrections and checks}. Snippets: @lsrdir{Pitches}. @@ -245,8 +239,7 @@ 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] -a2 ais a aes -a2 aisis a aeses +ais1 aes aisis aeses @end lilypond A natural will cancel the effect of an accidental or key @@ -285,11 +278,11 @@ print them manually. A reminder accidental can be forced by adding an exclamation mark@tie{}@code{!} after the pitch. A cautionary accidental (i.e., an accidental within parentheses) can be obtained by adding the question mark@tie{}@code{?} after the -pitch. These extra accidentals can be used to produce natural -signs, too. +pitch. These extra accidentals can also be used to produce +natural signs. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] -cis cis cis! cis? c c? c! c +cis cis cis! cis? c c c! c? @end lilypond Accidentals are only printed on tied notes which begin a new @@ -446,37 +439,30 @@ Snippets: @lsrdir{Pitches}. This section discusses how to modify pitches. @menu -* Octave check:: -* Transpose:: +* Octave corrections and checks:: +* Transpose:: @end menu -@node Octave check -@unnumberedsubsubsec Octave check +@node Octave corrections and checks +@unnumberedsubsubsec Octave corrections and checks +@cindex octave correction @cindex octave check +@funindex = +@funindex \octave In relative mode, it is easy to forget an octave changing mark. -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. +Octave corrections and checks make such errors easier to find +by displaying a warning if a note is found in an unexpected +octave. An octave correction will change the pitch, while an +octave check does not change the pitch. Both commands will print +a warning and change the octave for future notes. -Consider the simple example: - -@lilypond[verbatim,quote,ragged-right,fragment] -\relative c'' { - c2 d - e2 f -} -@end lilypond - -To check the octave of the @code{d} (changing the pitch -automatically if necessary), add @code{=}@var{quotes} after the +To use an octave correction, 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. +be. This example will generate a warning (and change the pitch) +because the second note is the absolute octave @code{d''} instead +of @code{d'} as indicated by the octave correction. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -485,12 +471,12 @@ by the octave check. } @end lilypond -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. +To use an octave check, 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. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -528,7 +514,8 @@ 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: +transposed up to E-major; note that the key signature is +automatically transposed as well. @lilypond[verbatim,quote,ragged-right] \transpose d e { @@ -624,12 +611,12 @@ a @code{\transpose}. This section discusses how to alter the output of pitches. @menu -* Clef:: -* Key signature:: -* Ottava brackets:: -* Instrument transpositions:: -* Automatic accidentals:: -* Ambitus:: +* Clef:: +* Key signature:: +* Ottava brackets:: +* Instrument transpositions:: +* Automatic accidentals:: +* Ambitus:: @end menu @@ -657,16 +644,16 @@ The clef is set with the @code{\clef} @var{clefname} command: @lilypond[verbatim,quote,ragged-right,fragment,relative=1] \clef treble -c1 +c2 c \clef alto -c +c2 c \clef tenor -c +c2 c \clef bass -c +c2 c @end lilypond -Supported clefs include +Supported clefs include: @multitable @columnfractions .4 .6 @headitem Clef @tab Position @@ -742,10 +729,8 @@ see @rlearning{Accidentals and key signatures}.} The key signature indicates the tonality in which a piece is played. It is denoted by a set of alterations (flats or sharps) -at the start of the staff. - -Setting or changing the key signature is done with the @code{\key} -command: +at the start of the staff. Setting or changing the key signature +is done with the @code{\key} command: @example \key @var{pitch} @var{mode} @@ -838,6 +823,7 @@ c' @end lilypond @end ignore +@c FIXME: add this @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] @c {} @@ -891,20 +877,23 @@ playing in unison. \new GrandStaff << \new Staff = "Vln" { \relative c'' { - \transposition c' \set Staff.instrumentName = "Vln" \set Staff.midiInstrument="violin" + % strictly speaking not necessary, but a good reminder + \transposition c' + \key c \major - c4 d e f + g4( c8) r c r c4 } } \new Staff = "clarinet" { \relative c'' { - \transposition bes \set Staff.instrumentName = \markup {Cl (B\flat)} \set Staff.midiInstrument="clarinet" + \transposition bes + \key d \major - d e fis g + a4( d8) r d r d4 } } >> @@ -930,8 +919,8 @@ c2 g @seealso -Music Glossary: @rglos{concert pitch}, @rglos{transposing -instrument}. +Music Glossary: @rglos{concert pitch}, +@rglos{transposing instrument}. Notation Reference: @ref{Quoting other voices}, @ref{Transpose}. @@ -1684,10 +1673,10 @@ ambitus. @subsection Note heads @menu -* Special note heads:: -* Easy notation note heads:: -* Shape note heads:: -* Improvisation:: +* Special note heads:: +* Easy notation note heads:: +* Shape note heads:: +* Improvisation:: @end menu @node Special note heads -- 2.39.5