From e961c9b2d2672c74960af81a6d45d9e05f2374ed Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 12 Oct 2007 14:31:05 -0700 Subject: [PATCH] Misc updates. --- Documentation/user/pitches.itely | 245 +++++++++++++++---------------- Documentation/user/rhythms.itely | 4 +- 2 files changed, 117 insertions(+), 132 deletions(-) diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index 13b127ba43..5aa116e742 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -42,6 +42,8 @@ This section discusses how to input pitches. @cindex Pitch names @cindex pitches +@c don't use @samp here because that might get confused with +@c octave marks A pitch name is specified using lowercase letters @code{a} through @code{g}. An ascending C-major scale is engraved with @@ -58,6 +60,8 @@ is more fundamental and will be presented first. @cindex Absolute @cindex Absolute octave specification +@c don't use @samp here because that might get confused with +@c octave marks In absolute mode, every note is placed explicitly in a certain octave. The note names @code{c} to @code{b} are engraved in the octave below middle C, as in the previous example. @@ -74,8 +78,8 @@ c1 If a note should be in another octave than this, an octave specification must 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 +single quote (@code{'}) or comma (@code{,}) characters. Each +@code{'} raises the pitch by one octave; each @code{,} lowers the pitch by an octave. @lilypond[quote,ragged-right,fragment,verbatim] @@ -213,19 +217,23 @@ may disappear in future versions, so its use is discouraged. @node Accidentals @unnumberedsubsubsec Accidentals +@warning{New users are sometimes confused about accidentals and +key signatures. In LilyPond, note names are the raw input; key +signatures and clefs determine how this raw input is displayed. +An unaltered note like @code{c} means @q{C natural}, regardless of +the key signature or clef. For more information, see +@rlearning{Accidentals and key signatures}.} + @cindex note names, Dutch @cindex note names, default -@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}. This syntax derived from note naming -conventions in Nordic and Germanic languages, like German and -Dutch. To use other names for accidentals, see @ref{Note names -in other languages}. +A @notation{sharp} pitch is made by adding @code{is} to the name, +and a @notation{flat} pitch by adding @code{es}. As you might +expect, a @notation{double sharp} or @notation{double flat} is +made by adding @code{isis} or @code{eses}. This syntax derived +from note naming conventions in Nordic and Germanic languages, +like German and Dutch. To use other names for accidentals, see +@ref{Note names in other languages}. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] a2 ais a aes @@ -250,19 +258,6 @@ name: a4 aes a2 @end lilypond -The input @code{d e f} is interpreted as @q{print a D-natural, -E-natural, and an F-natural,} regardless of the key signature. -For more information about the distinction between musical content -and the presentation of that content, see @rlearning{Accidentals -and key signatures}. - -@lilypond[fragment,quote,ragged-right,verbatim,relative] -\key d \major -d e f g -d e fis g -@end lilypond - - @cindex accidental, reminder @cindex accidental, cautionary @@ -277,7 +272,7 @@ Normally accidentals are printed automatically, but you may also print them manually. A reminder accidental can be forced by adding an exclamation mark @code{!} after the pitch. A cautionary accidental (i.e., an accidental within parentheses) can be -obtained by adding the question mark @samp{?} after the pitch. +obtained by adding the question mark @code{?} after the pitch. These extra accidentals can be used to produce natural signs, too. @lilypond[quote,ragged-right,fragment,verbatim,relative=1] @@ -288,8 +283,8 @@ cis cis cis! cis? c c? c! c @cindex quarter tones @cindex semi-flats, semi-sharps -Half-flats and half-sharps are formed by adding @code{-eh} and -@code{-ih}; the following is a series of Cs with increasing +Half-flats and half-sharps are formed by adding @code{eh} and +@code{ih}; the following is a series of Cs with increasing pitches @lilypond[verbatim,ragged-right,quote,relative=2,fragment] @@ -304,8 +299,7 @@ Micro tones are also exported to the MIDI file. In accordance with standard typesetting rules, a natural sign is printed before a sharp or flat if a previous accidental needs to -be cancelled. To change this behavior, use @code{\set -Staff.extraNatural = ##f} +be cancelled. To change this behavior, use @lilypond[fragment,quote,ragged-right,verbatim,relative=2] ceses4 ces cis c @@ -316,13 +310,11 @@ ceses4 ces cis c @seealso -The automatic production of accidentals can be tuned in many ways -concerning for how long an accidental is considered to last. For -more information, see @ref{Automatic accidentals}. +Music glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, +@rglos{double flat}. -For @emph{musica ficta}, editorial accidentals placed above the -staff commonly used in editions of early music, see @ref{Musica -ficta accidentals}. +User manual: @ref{Automatic accidentals}, @ref{Musica ficta +accidentals}. Snippets: @lsrdir{pitch} @@ -385,7 +377,7 @@ define are: @noindent Note that in Dutch, German, Norwegian, and Swedish, the flat -alterations of @samp{a} like for example @code{aes} and +alterations of @code{a} like for example @code{aes} and @code{aeses} are usually contracted to @code{as} and @code{ases} (or more commonly @code{asas}). Sometimes only these contracted names are defined in the corresponding language files (this also @@ -393,11 +385,11 @@ 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 -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. +@q{normal} 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? @@ -535,8 +527,8 @@ syntax is 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} and any other note is -transposed by the same interval. +@var{from} is changed to @var{to} and any other note is transposed +by the same interval. 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 @@ -595,7 +587,7 @@ B-flat trumpet which begins on concert D, one would write To print this music in B-flat again (i.e., producing a trumpet part, instead of a concert pitch conductor's score) you would wrap -the existing music with another @code{transpose} +the existing music with another @code{\transpose} @example \transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @} @@ -740,35 +732,33 @@ For example, @commonprop -When a clef change takes place at a line break the new clef -symbol is printed at both the end of the previous line and the -beginning of the new line by default. -If the warning clef at the end -of the previous line in not required it can be suppressed -by setting the @code{explicitClefVisibility} Staff property -to the value @var{end-of-line-invisible}: -@code{\set Staff.explicitClefVisibility = #end-of-line-invisible} -The default behaviour can be recovered with -@code{\unset Staff.explicitClefVisibility} +When a clef change takes place at a line break the new clef symbol +is printed at both the end of the previous line and the beginning +of the new line by default. If the warning clef at the end of the +previous line in not required it can be suppressed by setting the +@code{explicitClefVisibility} Staff property to the value +@var{end-of-line-invisible}: @code{\set +Staff.explicitClefVisibility = #end-of-line-invisible} The default +behaviour can be recovered with @code{\unset +Staff.explicitClefVisibility} The command @code{\clef "treble_8"} is equivalent to setting @code{clefGlyph}, @code{clefPosition} (which controls the Y position of the clef), @code{middleCPosition} and @code{clefOctavation}. A clef is printed when either the @code{clefGlyph}, @code{clefPosition} or @code{clefOctavation} -properties are changed. Note that changing the glyph, the +properties are changed. Note that changing the glyph, the position of the clef, or the octavation, does not in itself change the position of subsequent notes on the staff: the position of middle C must also be specified to do this. The positional -parameters are relative to the staff centre line, positive -numbers displacing upwards, counting 1 for each line and -space. The clefOctavation value would normally be set to -7, -7, 15 or -15, but other values are not invalid. +parameters are relative to the staff centre line, positive numbers +displacing upwards, counting 1 for each line and space. The +clefOctavation value would normally be set to 7, -7, 15 or -15, +but other values are not invalid. -The following examples show the possibilities -when setting these properties manually. First some -manual changes which preserve the standard relative -positioning of clefs and notes: +The following examples show the possibilities when setting these +properties manually. First some manual changes which preserve the +standard relative positioning of clefs and notes: @lilypond[quote,ragged-right,verbatim] { @@ -827,12 +817,20 @@ Snippets: @lsrdir{pitch} Program reference: @internalsref{Clef}. + @node Key signature @unnumberedsubsubsec Key signature @cindex Key signature @funindex \key +@warning{New users are sometimes confused about accidentals and +key signatures. In LilyPond, note names are the raw input; key +signatures and clefs determine how this raw input is displayed. +An unaltered note like @code{c} means @q{C natural}, regardless of +the key signature or clef. For more information, 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. @@ -841,7 +839,7 @@ Setting or changing the key signature is done with the @code{\key} command: @example -@code{\key} @var{pitch} @var{type} +\key @var{pitch} @var{type} @end example @funindex \minor @@ -861,16 +859,7 @@ Here, @var{type} should be @code{\major} or @code{\minor} to get also use the standard mode names (also called @q{church modes}): @code{\ionian}, @code{\locrian}, @code{\aeolian}, @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and -@code{\dorian}. See @rglos{church mode}. - -@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}.} +@code{\dorian}. @lilypond[quote,ragged-right,verbatim,relative=2,fragment] \key g \major @@ -878,11 +867,11 @@ f1 fis @end lilypond + @commonprop A natural sign is printed to cancel any previous accidentals. -This can be suppressed by setting the -@code{Staff.printKeyCancellation} property. +This may be altered: @lilypond[quote,fragment,ragged-right,verbatim,relative=2] \key d \major @@ -896,18 +885,16 @@ a b cis d a bes c d @end lilypond -The @code{\key} command sets the context property -@code{Staff.keySignature}. -Non-standard key signatures can be specified by setting this -property directly. The format of this command is -@code{\set Staff.keySignature} = -#'((@var{octave} . @var{step}) . @var{alter}) -where @var{octave} specifies the octave (0 being the octave -from middle C to the B above), @var{step} specifies the note -within the octave (0 means C and 6 means B), and @var{alter} -is ,SHARP ,FLAT ,DOUBLE-SHARP etc. (Note the leading comma.) -Here is an example of a possible key -signature for generating a whole-tone scale: +The @code{\key} command sets the context property +@code{Staff.keySignature}. Non-standard key signatures can be +specified by setting this property directly. The format of this +command is @code{\set Staff.keySignature} = #'((@var{octave} . +@var{step}) . @var{alter}) where @var{octave} specifies the octave +(0 being the octave from middle C to the B above), @var{step} +specifies the note within the octave (0 means C and 6 means B), +and @var{alter} is ,SHARP ,FLAT ,DOUBLE-SHARP etc. (Note the +leading comma.) Here is an example of a possible key signature for +generating a whole-tone scale: @lilypond[quote,ragged-right,verbatim] \relative c' @@ -920,9 +907,11 @@ signature for generating a whole-tone scale: @seealso +Music glossary: @rglos{Church mode}, @rglos{scordatura}. + Snippets: @lsrdir{pitch} -@c Link to snippet 248 +FIXME Link to snippet 248 (maybe) Another example of using @code{keySignature} can be found in @lsrdir{scordatura} @@ -933,16 +922,15 @@ Program reference: @internalsref{KeyCancellation}, @node Ottava brackets @unnumberedsubsubsec Ottava brackets -@q{Ottava} brackets introduce an extra transposition of an octave -for the staff. They are created by invoking the function -@code{set-octavation} - @cindex ottava @cindex 15ma @cindex 8va @cindex 8ve @cindex octavation +@notation{Ottava brackets} introduce an extra transposition of an +octave for the staff: + @lilypond[quote,ragged-right,verbatim,fragment] \relative c''' { a2 b @@ -988,43 +976,43 @@ during an octavation bracket. @cindex transposition, MIDI @cindex transposition, instrument -The key of a 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). +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). The transposition is entered with the command -@code{\transposition} @var{pitch} where @var{pitch} specifies -the key in which the instrument plays: @example -\transposition bes %% B-flat clarinet +\transposition @var{pitch} @end example @noindent +where @var{pitch} specifies the key in which the instrument plays. +For example, a part for B-flat clarinet would include + +@example +\transposition bes +@end example + This command sets the property @code{instrumentTransposition}. The value of this property is used for MIDI output and quotations. -MIDI output is transposed to play at concert pitch, and cue -notes and quotations are automatically transposed to the -key of the instrument in which they are quoted. -See @ref{Quoting other voices}. -The value does not affect how notes are printed in the -current staff; to change the printed output, see @ref{Transpose}. +MIDI output is transposed to play at concert pitch, and cue notes +and quotations are automatically transposed to the key of the +instrument in which they are quoted. The pitch to use for @code{\transposition} should correspond to the real sound heard when a @code{c'} written on the staff is -played by the transposing instrument. The command -@code{\transposition} @var{pitch} should be used when the music -is entered from an orchestral part written for the instrument. -For example, in -classical horn parts, the tuning of the instrument is often -changed during a piece. Here are a few notes for a violin -and a B-flat clarinet where the parts have been entered -using the notes and key as they appear in each part or the -conductor's score: +played by the transposing instrument. @code{\transposition} +should be used when the music is entered from an orchestral part +written for the instrument. For example, in classical horn parts, +the tuning of the instrument is often changed during a piece. +Here are a few notes for a violin and a B-flat clarinet where the +parts have been entered using the notes and key as they appear in +each part or the conductor's score: @lilypond[quote,ragged-right,verbatim] -\score { - \new GrandStaff << +\new GrandStaff << \new Staff = "Violin I" { \set Staff.instrumentName = "Vln" \set Staff.midiInstrument="violin" @@ -1039,19 +1027,16 @@ conductor's score: \transposition bes a'4( d''8) r d'' r d''4 } - >> - \layout { } - \midi { } -} +>> @end lilypond -Without the @code{\transposition} command the midi output of this -would play the notes a tone apart; with it the notes are played -correctly in unison. +Without the @code{\transposition} command the midi output of this +music would play the notes a tone apart; with it the notes are +played correctly in unison. -However, when entering the notes of -a score in concert pitch, when all voices are entered in C, -they may be prefaced by (the default) @code{\transposition c'}: +However, when entering the notes of a score in concert pitch, when +all voices are entered in C, they may be prefaced by (the default) +@code{\transposition c'}: @example clarinet = @{ @@ -1065,12 +1050,12 @@ saxophone = @{ @end example @noindent -to serve as a reminder -that these parts are written in C. +to serve as a reminder that these parts are written in C. @seealso -Snippets: @lsrdir{pitch} +User manual: @ref{Quoting other voices}, @ref{Transpose}. +Snippets: @lsrdir{pitch} diff --git a/Documentation/user/rhythms.itely b/Documentation/user/rhythms.itely index 57b8cd2e1e..931a57759b 100644 --- a/Documentation/user/rhythms.itely +++ b/Documentation/user/rhythms.itely @@ -9,11 +9,11 @@ @node Rhythms @section Rhythms -This section discusses rhythms, durations, and bars. - @lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote] {rhythms-headword.ly} +This section discusses rhythms, durations, and bars. + @menu * Writing rhythms:: * Writing rests:: -- 2.39.2