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1 @c -*- coding: utf-8; mode: texinfo; -*- | 1 @c -*- coding: utf-8; mode: texinfo; -*- |
2 @ignore | 2 @ignore |
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH | 3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH |
4 | 4 |
5 When revising a translation, copy the HEAD committish of the | 5 When revising a translation, copy the HEAD committish of the |
6 version that you are working on. For details, see the Contributors' | 6 version that you are working on. For details, see the Contributors' |
7 Guide, node Updating translation committishes.. | 7 Guide, node Updating translation committishes.. |
8 @end ignore | 8 @end ignore |
9 | 9 |
10 @c \version "2.19.21" | 10 @c \version "2.19.21" |
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168 @item | 168 @item |
169 The pitch of the first note is relative to | 169 The pitch of the first note is relative to |
170 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in | 170 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in |
171 absolute octave mode. Which choices are meaningful? | 171 absolute octave mode. Which choices are meaningful? |
172 | 172 |
173 @table @asis | 173 @table @asis |
174 @item an octave of @code{c} | 174 @item an octave of @code{c} |
175 Identifying middle C with @code{c'} is quite basic, so finding | 175 Identifying middle C with @code{c'} is quite basic, so finding |
176 octaves of @code{c} tends to be straightforward. If your music | 176 octaves of @code{c} tends to be straightforward. If your music |
177 starts with @code{gis} above @code{c'''}, you'd write something | 177 starts with @code{gis} above @code{c'''}, you'd write something |
178 like @code{\relative @{ gis''' @dots{} @}} | 178 like @code{\relative c''' @{ gis' @dots{} @}} |
179 | 179 |
180 @item an octave of the first note inside | 180 @item an octave of the first note inside |
181 Writing @code{\relative @{ gis''' @dots{} @}} makes it easy to | 181 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to |
182 determine the absolute pitch of the first note inside. | 182 determine the absolute pitch of the first note inside. |
183 | 183 |
184 @item no explicit starting pitch | 184 @item no explicit starting pitch |
185 This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be | 185 The form @code{\relative @{ gis''' @dots{} @}}) serves |
186 viewed as a compact version of the previous option: the first note | 186 as a compact version of the previous option: the first note |
187 inside is written in absolute pitch itself. This happens to be | 187 inside is written in absolute pitch itself. (This happens to be |
188 equivalent to choosing @code{f} as the reference pitch. | 188 equivalent to choosing @code{f} as the reference pitch.) |
189 @end table | 189 @end table |
190 | 190 |
191 The documentation will usually employ the first option. | 191 The documentation will usually employ the last option. |
192 @end itemize | 192 @end itemize |
193 | 193 |
194 Here is the relative mode shown in action: | 194 Here is the relative mode shown in action: |
195 | 195 |
196 @lilypond[verbatim,quote] | 196 @lilypond[verbatim,quote] |
197 \relative { | 197 \relative { |
198 \clef bass | 198 \clef bass |
199 c d e f | 199 c d e f |
200 g a b c | 200 g a b c |
201 d e f g | 201 d e f g |
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216 large intervals: | 216 large intervals: |
217 | 217 |
218 @lilypond[verbatim,quote] | 218 @lilypond[verbatim,quote] |
219 \relative { | 219 \relative { |
220 c f b e | 220 c f b e |
221 a d g c | 221 a d g c |
222 } | 222 } |
223 @end lilypond | 223 @end lilypond |
224 | 224 |
225 When @code{\relative} blocks are nested, the innermost | 225 When @code{\relative} blocks are nested, the innermost |
226 @code{\relative} block applies. | 226 @code{\relative} block starts with its own reference pitch |
| 227 independently of the outer @code{\relative}. |
227 | 228 |
228 @lilypond[verbatim,quote] | 229 @lilypond[verbatim,quote] |
229 \relative { | 230 \relative { |
230 c' d e f | 231 c' d e f |
231 \relative { | 232 \relative { |
232 c'' d e f | 233 c'' d e f |
233 } | 234 } |
234 } | 235 } |
235 @end lilypond | 236 @end lilypond |
236 | 237 |
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292 @lilypond[verbatim,quote] | 293 @lilypond[verbatim,quote] |
293 \relative { | 294 \relative { |
294 c''2 fis | 295 c''2 fis |
295 c2 ges | 296 c2 ges |
296 b2 eisis | 297 b2 eisis |
297 b2 feses | 298 b2 feses |
298 } | 299 } |
299 @end lilypond | 300 @end lilypond |
300 | 301 |
301 One consequence of these rules is that the first note inside | 302 One consequence of these rules is that the first note inside |
302 @code{@w{\relative f}} music is interpreted just the same as | 303 @code{@w{\relative}} is interpreted just the same as |
303 if it was written in absolute pitch mode. | 304 if it was written in absolute pitch mode. |
304 | 305 |
305 @seealso | 306 @seealso |
306 Music Glossary: | 307 Music Glossary: |
307 @rglos{fifth}, | 308 @rglos{fifth}, |
308 @rglos{interval}, | 309 @rglos{interval}, |
309 @rglos{Pitch names}. | 310 @rglos{Pitch names}. |
310 | 311 |
311 Notation Reference: | 312 Notation Reference: |
312 @ref{Octave checks}. | 313 @ref{Octave checks}. |
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3256 @endpredefined | 3257 @endpredefined |
3257 | 3258 |
3258 @seealso | 3259 @seealso |
3259 Snippets: | 3260 Snippets: |
3260 @rlsr{Pitches}. | 3261 @rlsr{Pitches}. |
3261 | 3262 |
3262 Internals Reference: | 3263 Internals Reference: |
3263 @rinternals{Pitch_squash_engraver}, | 3264 @rinternals{Pitch_squash_engraver}, |
3264 @rinternals{Voice}, | 3265 @rinternals{Voice}, |
3265 @rinternals{RhythmicStaff}. | 3266 @rinternals{RhythmicStaff}. |
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