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1 @c -*- coding: utf-8; mode: texinfo; -*- | 1 @c -*- coding: utf-8; mode: texinfo; -*- |
2 | 2 |
3 @ignore | 3 @ignore |
4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH | 4 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH |
5 | 5 |
6 When revising a translation, copy the HEAD committish of the | 6 When revising a translation, copy the HEAD committish of the |
7 version that you are working on. For details, see the Contributors' | 7 version that you are working on. For details, see the Contributors' |
8 Guide, node Updating translation committishes.. | 8 Guide, node Updating translation committishes.. |
9 @end ignore | 9 @end ignore |
10 | 10 |
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45 | 45 |
46 | 46 |
47 @node Single staff notation | 47 @node Single staff notation |
48 @section Single staff notation | 48 @section Single staff notation |
49 | 49 |
50 This section introduces common notation that is used for one voice | 50 This section introduces common notation that is used for one voice |
51 on one staff. | 51 on one staff. |
52 | 52 |
53 @menu | 53 @menu |
54 * Bar lines and bar checks:: | 54 * Bar lines and bar checks:: |
55 * Accidentals and key signatures:: | 55 * Pitches and key signatures:: |
56 * Ties and slurs:: | 56 * Ties and slurs:: |
57 * Articulation and dynamics:: | 57 * Articulation and dynamics:: |
58 * Adding text:: | 58 * Adding text:: |
59 * Automatic and manual beams:: | 59 * Automatic and manual beams:: |
60 * Advanced rhythmic commands:: | 60 * Advanced rhythmic commands:: |
61 @end menu | 61 @end menu |
62 | 62 |
63 @node Bar lines and bar checks | 63 @node Bar lines and bar checks |
64 @subsection Bar lines and bar checks | 64 @subsection Bar lines and bar checks |
65 | 65 |
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97 | 97 |
98 @lilypond[verbatim,quote,relative=2] | 98 @lilypond[verbatim,quote,relative=2] |
99 g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 | | 99 g1 | e1 | c2. c'4 | g4 c g e | c4 r r2 | |
100 @end lilypond | 100 @end lilypond |
101 | 101 |
102 @seealso | 102 @seealso |
103 Notation Reference: | 103 Notation Reference: |
104 @ruser{Bar and bar number checks}. | 104 @ruser{Bar and bar number checks}. |
105 | 105 |
106 | 106 |
107 @node Accidentals and key signatures | 107 @node Pitches and key signatures |
108 @subsection Accidentals and key signatures | 108 @subsection Pitches and key signatures |
Keith
2014/12/07 06:41:31
This section doesn't tell us how to enter accident
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109 | 109 |
110 @menu | 110 @menu |
111 * Accidentals:: | 111 * Pitches:: |
Trevor Daniels
2014/12/09 09:25:00
The earlier section, Pitches, in LM 1.2.1, talked
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112 * Key signatures:: | 112 * Key signatures:: |
113 * Warning key signatures and pitches:: | 113 * Warning key signatures and pitches:: |
114 @end menu | 114 @end menu |
115 | 115 |
116 @warning{New users are often confused by these -- please read the | 116 @warning{New users often misunderstand how LilyPond uses the key |
117 warning at the bottom of this page, especially if you are not | 117 signature -- please read the warning at the bottom of this page.} |
118 familiar with music theory!} | |
119 | 118 |
120 @node Accidentals | 119 @node Pitches |
pkx166h
2014/12/09 07:52:26
Problem with calling this node 'Pitches' is that i
dak
2014/12/09 09:18:08
It's also not what this is about. It's more like
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121 @unnumberedsubsubsec Accidentals | 120 @unnumberedsubsubsec Pitches |
122 | 121 |
123 | 122 |
124 @cindex accidentals | 123 @cindex accidentals |
125 @cindex accidentals and key signatures | 124 @cindex natural |
126 @cindex sharp | 125 @cindex sharp |
127 @cindex double sharp | 126 @cindex double sharp |
128 @cindex sharp, double | 127 @cindex sharp, double |
129 @cindex flat | 128 @cindex flat |
130 @cindex double flat | 129 @cindex double flat |
131 @cindex flat, double | 130 @cindex flat, double |
132 | 131 |
133 @funindex es | 132 @funindex es |
134 @funindex is | 133 @funindex is |
135 @funindex eses | 134 @funindex eses |
136 @funindex isis | 135 @funindex isis |
137 | 136 |
138 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, | 137 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, |
139 @rglos{double flat}, @rglos{accidental}. | 138 @rglos{double flat}, @rglos{accidental}. |
140 | 139 |
140 Note-names in LilyPond identify pitches. For example, @code{c} | |
141 always means C-natural, regardless of the key signature. | |
142 | |
141 A @notation{sharp} pitch is made by adding @code{is} to the name, | 143 A @notation{sharp} pitch is made by adding @code{is} to the name, |
142 and a @notation{flat} pitch by adding @code{es}. As you might | 144 and a @notation{flat} pitch by adding @code{es}. As you might |
143 expect, a @notation{double sharp} or @notation{double flat} is | 145 expect, a @notation{double sharp} or @notation{double flat} is |
144 made by adding @code{isis} or @code{eses}. This syntax is derived | 146 made by adding @code{isis} or @code{eses}. This syntax is derived |
145 from note naming conventions in Nordic and Germanic languages, | 147 from note naming conventions in Nordic and Germanic languages, |
146 like German and Dutch. To use other names for | 148 like German and Dutch. To use other names for |
147 @notation{accidentals}, see @ruser{Note names in other languages}. | 149 @notation{alterations}, see @ruser{Note names in other languages}. |
148 | 150 |
149 @lilypond[verbatim,quote,relative=2] | 151 @lilypond[verbatim,quote,relative=2] |
150 cis4 ees fisis, aeses | 152 cis4 ees fisis, aeses |
151 @end lilypond | 153 @end lilypond |
152 | 154 |
153 @cindex key signature, setting | 155 @cindex key signature, setting |
154 | 156 |
155 @node Key signatures | 157 @node Key signatures |
156 @unnumberedsubsubsec Key signatures | 158 @unnumberedsubsubsec Key signatures |
157 | 159 |
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169 @funindex major | 171 @funindex major |
170 @funindex \minor | 172 @funindex \minor |
171 @funindex minor | 173 @funindex minor |
172 | 174 |
173 Music Glossary: @rglos{key signature}, @rglos{major}, | 175 Music Glossary: @rglos{key signature}, @rglos{major}, |
174 @rglos{minor}. | 176 @rglos{minor}. |
175 | 177 |
176 The @notation{key signature} is set with the command @code{\key} | 178 The @notation{key signature} is set with the command @code{\key} |
177 followed by a pitch and @code{\major} or @code{\minor}. | 179 followed by a pitch and @code{\major} or @code{\minor}. |
178 | 180 |
179 @lilypond[verbatim,quote,relative=2] | 181 @lilypond[verbatim,quote,relative=1] |
180 \key d \major | 182 \key d \major |
181 a1 | | 183 d4 fis a c | |
182 \key c \minor | 184 \bar "||" key c \minor |
183 a1 | | 185 c,4 ees g b | |
184 @end lilypond | 186 @end lilypond |
185 | 187 |
186 @smallspace | 188 @smallspace |
187 | 189 |
188 @node Warning key signatures and pitches | 190 @node Warning key signatures and pitches |
189 @unnumberedsubsubsec Warning: key signatures and pitches | 191 @unnumberedsubsubsec Warning: key signatures and pitches |
190 | 192 |
191 | 193 |
192 Music Glossary: @rglos{accidental}, @rglos{key signature}, | 194 Music Glossary: @rglos{accidental}, @rglos{key signature}, |
193 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}, | 195 @rglos{pitch}, @rglos{flat}, @rglos{natural}, @rglos{sharp}, |
194 @rglos{transposition}, @rglos{Pitch names}. | 196 @rglos{transposition}, @rglos{Pitch names}. |
195 | 197 |
196 To determine whether to print an @notation{accidental}, LilyPond | 198 Input such as @code{d4 e fis2} defines the pitches and durations |
197 examines the pitches and the @notation{key signature}. The key | 199 of notes. The command @code{\key} sets the @notation{key |
198 signature only affects the @emph{printed} accidentals, not the | 200 signature}, but does @emph{not} change the pitch assigned to a |
199 note's @notation{pitch}! This is a feature that often causes | 201 note such as @code{c} in the input. LilyPond compares each input |
Keith
2014/12/07 06:41:31
Well, anyone who can read music knows that the key
| |
202 pitch to the key signature to determine whether to print an | |
203 @notation{accidental}. This is a feature that often causes | |
200 confusion to newcomers, so let us explain it in more detail. | 204 confusion to newcomers, so let us explain it in more detail. |
201 | 205 |
202 LilyPond makes a clear distinction between musical content and | 206 LilyPond makes a clear distinction between musical content and |
203 layout. The alteration (@notation{flat}, @notation{natural sign} or | 207 layout. The alteration (@notation{flat}, @notation{natural} or |
204 @notation{sharp}) of a note is part of the pitch, and is therefore | 208 @notation{sharp}) of a note is part of the pitch, and is therefore |
205 musical content. Whether an accidental (a @emph{printed} flat, | 209 musical content. Whether an accidental (a @emph{printed} flat, |
206 natural or sharp sign) is printed in front of the corresponding | 210 natural or sharp sign) is printed in front of the corresponding |
207 note is a question of layout. Layout is something that follows | 211 note is a question of layout. Layout is something that follows |
208 rules, so accidentals are printed automatically according to those | 212 rules, so accidentals are printed automatically according to those |
209 rules. The pitches in your music are works of art, so they will | 213 rules. The pitches in your music are works of art, so they will |
210 not be added automatically, and you must enter what you want to | 214 not be added automatically, and you must enter what you want to |
211 hear. | 215 hear. |
212 | 216 |
213 In this example: | 217 In this example: |
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1533 cross-references at first reading; when you have read all of the | 1537 cross-references at first reading; when you have read all of the |
1534 Learning Manual, you may want to read some sections again and follow | 1538 Learning Manual, you may want to read some sections again and follow |
1535 cross-references for further reading. | 1539 cross-references for further reading. |
1536 | 1540 |
1537 If you have not done so already, @emph{please} read @ref{Overview | 1541 If you have not done so already, @emph{please} read @ref{Overview |
1538 of manuals}. There is a lot of information about LilyPond, so | 1542 of manuals}. There is a lot of information about LilyPond, so |
1539 newcomers often do not know where they should look for help. If | 1543 newcomers often do not know where they should look for help. If |
1540 you spend five minutes reading that section carefully, you might | 1544 you spend five minutes reading that section carefully, you might |
1541 save yourself hours of frustration looking in the wrong places! | 1545 save yourself hours of frustration looking in the wrong places! |
1542 | 1546 |
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