From db34083fdc4efc378d3c1c9289601ca3615bb4df Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 5 Oct 2007 17:56:18 -0700 Subject: [PATCH] Pitches from Eyolf; thanks! --- Documentation/user/pitches.itely | 292 +++++++++++++++++-------------- 1 file changed, 163 insertions(+), 129 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index bdd1baaadc..01e2b651c0 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -25,10 +25,11 @@ This section discusses how to specify the pitch of notes. @node Writing pitches @subsection Writing pitches -Into text. +Intro text. @menu * Normal pitches:: +* Relative octaves:: * Accidentals:: * Note names in other languages:: @end menu @@ -48,7 +49,14 @@ A pitch name is specified using lowercase letters @code{a} through c d e f g a b c' @end lilypond -The note name @code{c} is engraved one octave below middle C. +There are two different ways to enter these note names with regard +to octave placement: absolute and relative. The relative mode will +in most cases be the most convenient, but since the absolute mode +is most fundamental, it will be presented first. + +In absolute mode, the note name @code{c} is engraved one octave +below middle C, and each note up to @code{b} in the octave above, +as in the previous example. @lilypond[quote,fragment,verbatim,ragged-right] \clef treble @@ -60,10 +68,11 @@ c1 @funindex ' @funindex , -The optional octave specification takes the form of a series of -single quote (@samp{'}) characters or a series of comma (@samp{,}) -characters. Each @samp{'} raises the pitch by one octave; each -@samp{,} lowers the pitch by an octave. +If a note should be in another octave than this, an octave +specification can be given. It takes the form of a series of +single quote (@samp{'}) or comma (@samp{,}) characters. Each +@samp{'} raises the pitch by one octave; each @samp{,} lowers the +pitch by an octave. @lilypond[quote,ragged-right,fragment,verbatim] \clef treble @@ -82,6 +91,114 @@ octaves}. Snippets: @lsrdir{pitch} + +@node Relative octaves +@unnumberedsubsubsec Relative octaves + +@cindex Relative +@cindex Relative octave specification +@funindex \relative + +When octaves are specified as above by adding @code{'} and +@code{,} to pitch names, it is easy to accidentally put a pitch in +the wrong octave. The relative octave mode prevents 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. + +@example +\relative @var{startpitch} @var{musicexpr} +@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: + +@itemize +@item +The pitch of the first note is relative to @code{\relative +@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. + +@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 @code{'} and @code{,} can be added to +raise or lower the pitch by an extra octave from the basic +interval. + +@item +Multiple octave changing marks can be used. @code{''} will raise +the pitch by two octaves. + +@end itemize + +Here is the relative mode shown in action: + +@lilypond[quote,fragment,ragged-right,verbatim] +\relative c'' { + b c d c b c bes a +} +@end lilypond + +Octave changing marks are used for intervals greater than a +fourth: + +@lilypond[quote,ragged-right,fragment,verbatim] +\relative c'' { + c g c f, c' a, e'' +} +@end lilypond + +If the preceding item is a chord, the first note of the chord is +used as the reference point for the octave placement of a +following note or chord: + +@lilypond[quote,ragged-right,fragment,verbatim] +\relative c' { + c + + +} +@end lilypond + +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 @code{c} in various octave positions. + + +@seealso + +Snippets: @lsrdir{pitch} + + +@refbugs + +The relative conversion will not affect @code{\transpose}, +@code{\chordmode} or @code{\relative} sections in its argument. +To use relative within transposed music, an additional +@code{\relative} must be placed inside @code{\transpose}. + +@c DEPRECATED +If no @var{startpitch} is specified for @code{\relative}, then +@code{c'} is assumed. However, this is a deprecated option and +may disappear in future versions, so its use is discouraged. + + + + @node Accidentals @unnumberedsubsubsec Accidentals @@ -213,7 +330,7 @@ input file. The available language files and the note names they define are @cindex note names, other languages -@c put the rest of the old table into this new format. + @example @multitable @columnfractions .2 .6 .05 .05 .05 .05 @headitem Language @@ -222,30 +339,32 @@ define are @item netherlands.ly @tab c d e f g a bes b @tab -is @tab -es @tab -isis @tab -eses -@c new stuff here: - - +@item english.ly + @tab c d e f g a bf b + @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp + @tab -ff/-flatflat +@item deutsch.ly + @tab c d e f g a b h + @tab -is @tab -es @tab -isis @tab -eses +@item norsk.ly + @tab c d e f g a b h + @tab -iss/-is @tab -ess/-es @tab -ississ/-isis + @tab -essess/-eses +@item svenska.ly + @tab c d e f g a b h + @tab -iss @tab -ess @tab -ississ @tab -essess +@item italiano.ly + @tab do re mi fa sol la sib si + @tab -d @tab -b @tab -dd @tab -bb +@item catalan.ly + @tab do re mi fa sol la sib si + @tab -d/-s @tab -b @tab -dd/-ss @tab -bb +@item espanol.ly + @tab do re mi fa sol la sib si + @tab -s @tab -b @tab -ss @tab -bb @end multitable @end example -@c old table -@ignore -@example - Note Names sharp flat double double - sharp flat - -nederlands.ly c d e f g a bes b -is -es -isis -eses -english.ly c d e f g a bf b -s/-sharp -f/-flat -ss/-x/ -ff/ - -sharpsharp -flatflat -deutsch.ly c d e f g a b h -is -es -isis -eses -norsk.ly c d e f g a b h -iss/-is -ess/-es -ississ/-isis -essess/-eses -svenska.ly c d e f g a b h -iss -ess -ississ -essess -italiano.ly do re mi fa sol la sib si -d -b -dd -bb -catalan.ly do re mi fa sol la sib si -d/-s -b -dd/-ss -bb -espanol.ly do re mi fa sol la sib si -s -b -ss -bb -@end example -@end ignore - @noindent Note that in Dutch, German, Norwegian, and Swedish, the flat alterations of @samp{a} like for example @code{aes} and @@ -255,13 +374,14 @@ names are defined in the corresponding language files (this also applies to the suffixes for quartertones below). @noindent -Some music uses microtones whose alterations are fractions of a -@q{regular} sharp or flat. The note names for quartertones +Some music uses microtones whose alterations are fractions of +a @q{regular} sharp or flat. The note names for quartertones defined in the various language files are listed in the following table. Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and @q{one and a half}, respectively. For Norwegian, Swedish, Catalan and Spanish no special names have been defined yet. + @c What about Turkish Maquam music and similar microtonal systems? @c @c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code @@ -287,102 +407,10 @@ espanol.ly do re mi fa sol la sib si @subsection Changing multiple pitches @menu -* Relative octaves:: * Octave check:: * Transpose:: @end menu -@node Relative octaves -@unnumberedsubsubsec Relative octaves - -@cindex Relative -@cindex Relative octave specification -@funindex \relative - -Octaves are specified by adding @code{'} and @code{,} to pitch -names. When you copy existing music, it is easy to accidentally -put a pitch in the wrong octave and hard to find such an error. -The relative octave mode prevents these errors by making the -mistakes much larger: a single error puts the rest of the piece -off by one octave - -@example -\relative @var{startpitch} @var{musicexpr} -@end example - -The octave of notes that appear in @var{musicexpr} are calculated -as follows: - -@itemize -@item -If no octave changing marks are used, the basic interval between -this and the last note is always taken to be a fourth or less. - -@item -This distance is determined without regarding alterations; 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 @code{'} and @code{,} can be added to -raise or lower the pitch by an extra octave from the basic -interval. - -@item -Multiple octave changing marks can be used. @code{''} will raise -the pitch by two octaves. - -@item -The pitch of the first note is relative to @code{\relative -@var{startpitch} }. - -@end itemize - -Here is the relative mode shown in action - -@lilypond[quote,fragment,ragged-right,verbatim] -\relative c'' { - b c d c b c bes a -} -@end lilypond - -Octave changing marks are used for intervals greater than a fourth - -@lilypond[quote,ragged-right,fragment,verbatim] -\relative c'' { - c g c f, c' a, e'' -} -@end lilypond - -If the preceding item is a chord, the first note of the chord is -used to determine the first note of the next chord - -@lilypond[quote,ragged-right,fragment,verbatim] -\relative c' { - c - - -} -@end lilypond - -The pitch after @code{\relative} contains a note name. - -@refbugs - -The relative conversion will not affect @code{\transpose}, -@code{\chordmode} or @code{\relative} sections in its argument. -To use relative within transposed music, an additional -@code{\relative} must be placed inside @code{\transpose}. - -@c DEPRECATED -If no @var{startpitch} is specified for @code{\relative}, then -@code{c'} is assumed. However, this is a deprecated option and -may disappear in future versions, so its use is discouraged. - - @node Octave check @unnumberedsubsubsec Octave check @@ -683,13 +711,19 @@ also use the standard mode names (also called @q{church modes}): @code{\dorian}. This command sets the context property @code{Staff.keySignature}. -Non-standard key signatures can be specified by setting this -property directly. - -Accidentals and key signatures often confuse new users, because -unaltered notes get natural signs depending on the key signature. -For more information, see @ref{Accidentals}, or -@rlearning{Accidentals and key signatures}. +on-standard key signatures can be specified by setting this +property directly. See @internalsref{Key_engraver}, and for an +example TODO. +@c TODO: LSR snippet 248. leave this here for now -gp + +@warning{The relationship between accidentals and key signatures can +be confusing to new users who think of the note letters as scale +steps and not as absolute pitches. The note names that are +entered in a music expression are the raw material; key signatures +and clefs decide how this raw material is displayed. Thus, +unaltered notes may get natural signs depending on the key +signature. For more information, see @ref{Accidentals} and +@rlearning{Accidentals and key signatures}.} @lilypond[quote,ragged-right,verbatim,relative=2,fragment] \key g \major -- 2.39.5