From df9112198bc2440558ef1a5517543494305dca9a Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Wed, 26 Sep 2007 23:32:12 -0700 Subject: [PATCH] Updates from Michael Rasmussen: removed superfulous "For example" in first Transposition example. Changed paragraph describing relative to bulleted list for easier scanning/readability. Paragraph describing -es and -is suffixes changed to match form used elsewhere. --- Documentation/user/pitches.itely | 62 ++++++++++++++++++++++---------- 1 file changed, 43 insertions(+), 19 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 11c6cd600b..caa1d3fc72 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -86,10 +86,16 @@ octaves}. @cindex note names, Dutch @cindex note names, default -A sharp is formed by adding @code{-is} to the end of a pitch name -and a flat is formed by adding @code{-es}. Double sharps and -double flats are obtained by adding @code{-isis} or @code{-eses} -to a note name. +@c following paragraph changed to match Tutorial and Accidental +@c and Key Signature pages. + +A @rglos{sharp} pitch is made by adding @samp{is} to the name, and +a @rglos{flat} pitch by adding @samp{es}. As you might expect, a +@rglos{double sharp} or @rglos{double flat} is made by adding +@samp{isis} or @samp{eses}@footnote{This syntax derived from note +naming conventions in Nordic and Germanic languages, like German +and Dutch. To use other names for accidentals, see @ruser{Note +names in other languages}.} @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a2 ais a aes @@ -320,23 +326,41 @@ or @code{c'} is used as the default if no starting pitch is defined. The octave of notes that appear in @var{musicexpr} are calculated -as follows: 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. 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 +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. Upon entering -relative mode, an absolute starting pitch can be specified that -will act as the predecessor of the first note of @var{musicexpr}. -If no starting pitch is specified, then middle C is used as a -start. +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} }. + +@item +If you do not specify @var{startpitch} then middle C is used. + +@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 @@ -452,9 +476,9 @@ This means that @var{musicexpr} is transposed by the interval between the pitches @var{from} and @var{to}: any note with pitch @code{from} is changed to @code{to}. -For example, consider a piece written in the key of D-major. If -this piece is a little too low for its performer, it can be -transposed up to E-major with +Consider a piece written in the key of D-major. If this piece is +a little too low for its performer, it can be transposed up to +E-major with @example \transpose d e @dots{} -- 2.39.5