1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex octave specification, absolute
51 @cindex absolute octave entry
52 @cindex octave entry, absolute
54 A pitch name is specified using lowercase letters@tie{}@code{a}
55 through@tie{}@code{g}. The note names @code{c} to @code{b} are
56 engraved in the octave below middle C.
59 @lilypond[verbatim,quote,fragment]
66 @cindex octave changing mark
71 Other octaves may be specified with a single quote@tie{}(@code{'})
72 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
73 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
76 @lilypond[verbatim,quote,fragment]
94 @node Relative octave entry
95 @unnumberedsubsubsec Relative octave entry
98 @cindex relative octave entry
99 @cindex octave entry, relative
100 @cindex relative octave specification
101 @cindex ocatve specification, relative
106 When octaves are specified in absolute mode it is easy to
107 accidentally put a pitch in the wrong octave. Relative octave
108 mode reduces these errors since most of the time it is not
109 necessary to indicate any octaves at all. Furthermore, in
110 absolute mode a single mistake may be difficult to spot, while in
111 relative mode a single error puts the rest of the piece off by one
115 \relative @var{startpitch} @var{musicexpr}
118 In relative mode, each note is assumed to be as close to the
119 previous note as possible. This means that the octave of each
120 pitch inside @var{musicexpr} is calculated as follows:
124 If no octave changing mark is used on a pitch, its octave is
125 calculated so that the interval with the previous note is less
126 than a fifth. This interval is determined without considering
130 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
131 added to respectively raise or lower a pitch by an extra octave,
132 relative to the pitch calculated without an octave mark.
135 Multiple octave changing marks can be used. For example,
136 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
140 The pitch of the first note is relative to
141 @code{@var{startpitch}}. @var{startpitch} is specified in
142 absolute octave mode, and it is recommended that it be a octave of
147 Here is the relative mode shown in action:
149 @lilypond[verbatim,quote]
158 Octave changing marks are used for intervals greater than a
161 @lilypond[verbatim,quote]
168 A note sequence without a single octave mark can nevertheless span
171 @lilypond[verbatim,quote]
178 When @code{\relative} blocks are nested, the innermost
179 @code{\relative} block applies.
181 @lilypond[verbatim,quote]
190 @code{\relative} has no effect on @code{\chordmode} blocks.
192 @lilypond[verbatim,quote]
201 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
203 Music inside a @code{\transpose} block is absolute unless a
204 @code{\relative} is included.
206 @lilypond[verbatim,quote]
219 @cindex chords and relative octave entry
220 @cindex relative octave entry and chords
222 If the preceding item is a chord, the first note of the chord is
223 used as the reference point for the octave placement of a
224 following note or chord. Inside chords, the next note is always
225 relative to the preceding one. Examine the next example
226 carefully, paying attention to the @code{c} notes.
228 @lilypond[verbatim,quote]
237 As explained above, the octave of pitches is calculated only with
238 the note names, regardless of any alterations. Therefore, an
239 E-double-sharp following a B will be placed higher, while an
240 F-double-flat will be placed lower. In other words, a
241 double-augmented fourth is considered a smaller interval than a
242 double-diminished fifth, regardless of the number of semitones
243 that each interval contains.
245 @lilypond[verbatim,quote]
268 @rinternals{RelativeOctaveMusic}.
271 @cindex relative octave entry and transposition
272 @cindex transposition and relative octave entry
283 If no @var{startpitch} is specified for @code{\relative},
284 then@tie{}@code{c'} is assumed. However, this is a deprecated
285 option and may disappear in future versions, so its use is
291 @unnumberedsubsubsec Accidentals
294 @cindex key signature
297 @c duplicated in Key signature and Accidentals
298 @warning{New users are sometimes confused about accidentals and
299 key signatures. In LilyPond, note names are the raw input; key
300 signatures and clefs determine how this raw input is displayed.
301 An unaltered note like@tie{}@code{c} means @q{C natural},
302 regardless of the key signature or clef. For more information,
303 see @rlearning{Accidentals and key signatures}.}
305 @cindex note names, Dutch
306 @cindex note names, default
307 @cindex default note names
311 @cindex sharp, double
315 @cindex natural pitch
317 A @notation{sharp} pitch is made by adding @code{is} to the note
318 name, and a @notation{flat} pitch by adding @code{es}. As you
319 might expect, a @notation{double sharp} or @notation{double flat}
320 is made by adding @code{isis} or @code{eses}. This syntax is
321 derived from Dutch note naming conventions. To use other names
322 for accidentals, see @ref{Note names in other languages}.
324 @lilypond[verbatim,quote,relative=2]
328 A natural will cancel the effect of an accidental or key
329 signature. However, naturals are not encoded into the note name
330 syntax with a suffix; a natural pitch is shown as a simple note
333 @lilypond[verbatim,quote,relative=2]
337 @cindex quarter tones
341 Quarter tones may be added; the following is a series of Cs with
344 @lilypond[verbatim,quote,relative=2]
345 ceseh1 ces ceh c cih cis cisih
350 @cindex accidental, reminder
351 @cindex accidental, cautionary
352 @cindex accidental, parenthesized
353 @cindex reminder accidental
354 @cindex cautionary accidental
355 @cindex parenthesized accidental
361 Normally accidentals are printed automatically, but you may also
362 print them manually. A reminder accidental can be forced by
363 adding an exclamation mark@tie{}@code{!} after the pitch. A
364 cautionary accidental (i.e., an accidental within parentheses) can
365 be obtained by adding the question mark@tie{}@code{?} after the
366 pitch. These extra accidentals can also be used to produce
369 @lilypond[verbatim,quote,relative=2]
370 cis cis cis! cis? c c c! c?
373 @cindex accidental on tied note
374 @cindex tied note, accidental
376 Accidentals on tied notes are only printed at the beginning of a
379 @lilypond[verbatim,quote,relative=2]
388 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
389 {preventing-extra-naturals-from-being-automatically-added.ly}
391 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. To use them, include the language-specific init
443 file listed below. For example, to use English note names, add
444 @code{@w{\include "english.ly"}} to the input file.
446 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
447 use default (Nederlands) note names, the @code{@bs{}include}
448 command for the language file should be placed after all other
449 LilyPond distribution files.}
451 The available language files and the note names they define are:
454 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
455 @headitem Language File
457 @item @file{nederlands.ly}
458 @tab c d e f g a bes b
459 @item @file{arabic.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{catalan.ly}
462 @tab do re mi fa sol la sib si
463 @item @file{deutsch.ly}
465 @item @file{english.ly}
466 @tab c d e f g a bf b
467 @item @file{espanol.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{italiano.ly}
470 @tab do re mi fa sol la sib si
471 @item @file{norsk.ly}
473 @item @file{portugues.ly}
474 @tab do re mi fa sol la sib si
475 @item @file{suomi.ly}
477 @item @file{svenska.ly}
479 @item @file{vlaams.ly}
480 @tab do re mi fa sol la sib si
485 and the accidental suffixes they define are:
488 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
489 @headitem Language File
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @file{nederlands.ly}
492 @tab -is @tab -es @tab -isis @tab -eses
493 @item @file{arabic.ly}
494 @tab -d @tab -b @tab -dd @tab -bb
495 @item @file{catalan.ly}
496 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
497 @item @file{deutsch.ly}
498 @tab -is @tab -es @tab -isis @tab -eses
499 @item @file{english.ly}
500 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
502 @item @file{espanol.ly}
503 @tab -s @tab -b @tab -ss/-x @tab -bb
504 @item @file{italiano.ly}
505 @tab -d @tab -b @tab -dd @tab -bb
506 @item @file{norsk.ly}
507 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
509 @item @file{portugues.ly}
510 @tab -s @tab -b @tab -ss @tab -bb
511 @item @file{suomi.ly}
512 @tab -is @tab -es @tab -isis @tab -eses
513 @item @file{svenska.ly}
514 @tab -iss @tab -ess @tab -ississ @tab -essess
515 @item @file{vlaams.ly}
516 @tab -k @tab -b @tab -kk @tab -bb
520 In Dutch, @code{aes} is contracted to @code{as}, but both forms
521 are accepted in LilyPond. Similarly, both @code{es} and
522 @code{ees} are accepted. This also applies to
523 @code{aeses}@tie{}/@tie{}@code{ases} and
524 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
525 contracted names are defined in the corresponding language files.
527 @lilypond[verbatim,quote,relative=2]
528 a2 as e es a ases e eses
538 Some music uses microtones whose alterations are fractions of a
539 @q{normal} sharp or flat. The note names for quarter-tones
540 defined in the various language files are listed in the following
541 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
542 mean @q{half} and @q{one and a half}, respectively. For the other
543 languages, no special names have been defined yet.
546 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
547 @headitem Language File
548 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
550 @item @file{nederlands.ly}
551 @tab -ih @tab -eh @tab -isih @tab -eseh
552 @item @file{arabic.ly}
553 @tab -sd @tab -sb @tab -dsd @tab -bsb
554 @item @file{deutsch.ly}
555 @tab -ih @tab -eh @tab -isih @tab -eseh
556 @item @file{english.ly}
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
558 @item @file{espanol.ly}
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @file{italiano.ly}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @file{portugues.ly}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
576 @node Changing multiple pitches
577 @subsection Changing multiple pitches
579 This section discusses how to modify pitches.
587 @unnumberedsubsubsec Octave checks
589 @cindex octave correction
591 @cindex control pitch
594 @funindex \octaveCheck
595 @funindex octaveCheck
596 @funindex controlpitch
598 In relative mode, it is easy to forget an octave changing mark.
599 Octave checks make such errors easier to find by displaying a
600 warning and correcting the octave if a note is found in an
603 To check the octave of a note, specify the absolute octave after
604 the @code{=}@tie{}symbol. This example will generate a warning
605 (and change the pitch) because the second note is the absolute
606 octave @code{d''} instead of @code{d'} as indicated by the octave
609 @lilypond[verbatim,quote]
616 The octave of notes may also be checked with the
617 @code{\octaveCheck}@tie{}@var{controlpitch} command.
618 @var{controlpitch} is specified in absolute mode. This checks
619 that the interval between the previous note and the
620 @var{controlpitch} is within a fourth (i.e., the normal
621 calculation of relative mode). If this check fails, a warning is
622 printed, but the previous note is not changed. Future notes are
623 relative to the @var{controlpitch}.
625 @lilypond[verbatim,quote]
633 Compare the two bars below. The first and third @code{\octaveCheck}
634 checks fail, but the second one does not fail.
636 @lilypond[verbatim,quote]
656 @rinternals{RelativeOctaveCheck}.
660 @unnumberedsubsubsec Transpose
664 @cindex transposition
665 @cindex transposition of pitches
666 @cindex transposition of notes
667 @cindex pitches, transposition of
668 @cindex notes, transposition of
673 A music expression can be transposed with @code{\transpose}. The
677 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
681 This means that @var{musicexpr} is transposed by the interval
682 between the pitches @var{frompitch} and @var{topitch}: any note
683 with pitch @var{frompitch} is changed to @var{topitch} and any
684 other note is transposed by the same interval. Both pitches are
685 entered in absolute mode.
687 @warning{Music inside a @code{@bs{}transpose} block is absolute
688 unless a @code{@bs{}relative} is included in the block.}
690 Consider a piece written in the key of D-major. It can be
691 transposed up to E-major; note that the key signature is
692 automatically transposed as well.
694 @lilypond[verbatim,quote]
703 @cindex transposing instruments
704 @cindex instruments, transposing
706 If a part written in C (normal @notation{concert pitch}) is to be
707 played on the A clarinet (for which an A is notated as a C and
708 thus sounds a minor third lower than notated), the appropriate
709 part will be produced with:
711 @lilypond[verbatim,quote]
721 Note that we specify @w{@code{\key c \major}} explicitly. If we
722 do not specify a key signature, the notes will be transposed but
723 no key signature will be printed.
725 @code{\transpose} distinguishes between enharmonic pitches: both
726 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
727 transpose up a semitone. The first version will print sharps and
728 the notes will remain on the same scale step, the second version
729 will print flats on the scale step above.
731 @lilypond[verbatim,quote]
732 music = \relative c' { c d e f }
734 \transpose c cis { \music }
735 \transpose c des { \music }
740 @code{\transpose} may also be used in a different way, to input
741 written notes for a transposing instrument. The previous examples
742 show how to enter pitches in C (or @notation{concert pitch}) and
743 typeset them for a transposing instrument, but the opposite is
744 also possible if you for example have a set of instrumental parts
745 and want to print a conductor's score. For example, when entering
746 music for a B-flat trumpet that begins on a notated E (concert D),
750 musicInBflat = @{ e4 @dots{} @}
751 \transpose c bes, \musicInBflat
755 To print this music in F (e.g., rearranging to a French horn) you
756 could wrap the existing music with another @code{\transpose}:
759 musicInBflat = @{ e4 @dots{} @}
760 \transpose f c' @{ \transpose c bes, \musicInBflat @}
764 For more information about transposing instruments,
765 see @ref{Instrument transpositions}.
770 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
771 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
776 @ref{Relative octave entry},
777 @ref{Instrument transpositions}.
783 @rinternals{TransposedMusic}.
795 The relative conversion will not affect @code{\transpose},
796 @code{\chordmode} or @code{\relative} sections in its argument.
797 To use relative mode within transposed music, an additional
798 @code{\relative} must be placed inside @code{\transpose}.
800 @node Displaying pitches
801 @subsection Displaying pitches
803 This section discusses how to alter the output of pitches.
809 * Instrument transpositions::
810 * Automatic accidentals::
816 @unnumberedsubsubsec Clef
828 @cindex mezzosoprano clef
829 @cindex baritone clef
830 @cindex varbaritone clef
834 @cindex clef, ancient
844 @cindex clef, soprano
845 @cindex clef, mezzosoprano
846 @cindex clef, baritone
847 @cindex clef, varbaritone
848 @cindex subbass clef, subbass
853 The clef may be altered. Middle C is shown in every example.
855 @lilypond[verbatim,quote,relative=1]
868 @lilypond[verbatim,quote,relative=1]
890 Further supported clefs are described under @ref{Mensural clefs}
891 and @ref{Gregorian clefs}.
893 @cindex transposing clefs
894 @cindex clef, transposing
895 @cindex octave transposition
896 @cindex choral tenor clef
897 @cindex tenor clef, choral
899 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
900 clef is transposed one octave down or up, respectively,
901 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
902 The clef name must be enclosed in quotes when it contains
903 underscores or digits.
905 @lilypond[verbatim,quote,relative=2]
917 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
918 {tweaking-clef-properties.ly}
923 @ref{Mensural clefs}, @ref{Gregorian clefs}.
929 @rinternals{Clef_engraver},
931 @rinternals{OctavateEight},
932 @rinternals{clef-interface}.
936 @unnumberedsubsubsec Key signature
938 @cindex key signature
943 @c duplicated in Key signature and Accidentals
944 @warning{New users are sometimes confused about accidentals and
945 key signatures. In LilyPond, note names are the raw input; key
946 signatures and clefs determine how this raw input is displayed.
947 An unaltered note like@tie{}@code{c} means @q{C natural},
948 regardless of the key signature or clef. For more information,
949 see @rlearning{Accidentals and key signatures}.}
951 The key signature indicates the tonality in which a piece is
952 played. It is denoted by a set of alterations (flats or sharps)
953 at the start of the staff. The key signature may be altered:
956 \key @var{pitch} @var{mode}
969 @funindex \mixolydian
990 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
991 key signature of @var{pitch}-major or @var{pitch}-minor,
992 respectively. You may also use the standard mode names, also
993 called @notation{church modes}: @code{\ionian}, @code{\dorian},
994 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
995 @code{\aeolian}, and @code{\locrian}.
997 @lilypond[verbatim,quote,relative=2]
1007 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1008 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1010 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1011 {non-traditional-key-signatures.ly}
1016 @rglos{church mode},
1020 @rlearning{Accidentals and key signatures}.
1025 Internals Reference:
1026 @rinternals{KeyChangeEvent},
1027 @rinternals{Key_engraver},
1028 @rinternals{Key_performer},
1029 @rinternals{KeyCancellation},
1030 @rinternals{KeySignature},
1031 @rinternals{key-cancellation-interface},
1032 @rinternals{key-signature-interface}.
1035 @node Ottava brackets
1036 @unnumberedsubsubsec Ottava brackets
1044 @funindex set-octavation
1048 @notation{Ottava brackets} introduce an extra transposition of an
1049 octave for the staff:
1051 @lilypond[verbatim,quote,relative=2]
1059 The @code{ottava} function also takes -1 (for 8va bassa),
1060 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1065 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1076 Internals Reference:
1077 @rinternals{Ottava_spanner_engraver},
1078 @rinternals{OttavaBracket},
1079 @rinternals{ottava-bracket-interface}.
1082 @node Instrument transpositions
1083 @unnumberedsubsubsec Instrument transpositions
1085 @cindex transposition, MIDI
1086 @cindex transposition, instrument
1087 @cindex transposing instrument
1089 @cindex MIDI transposition
1091 @funindex \transposition
1092 @funindex transposition
1094 When typesetting scores that involve transposing instruments, some
1095 parts can be typeset in a different pitch than the
1096 @notation{concert pitch}. In these cases, the key of the
1097 @notation{transposing instrument} should be specified; otherwise
1098 the MIDI output and cues in other parts will produce incorrect
1099 pitches. For more information about quotations, see
1100 @ref{Quoting other voices}.
1103 \transposition @var{pitch}
1106 The pitch to use for @code{\transposition} should correspond to
1107 the real sound heard when a@tie{}@code{c'} written on the staff is
1108 played by the transposing instrument. This pitch is entered in
1109 absolute mode, so an instrument that produces a real sound which
1110 is one tone higher than the printed music should use
1111 @w{@code{\transposition d'}}. @code{\transposition} should
1112 @emph{only} be used if the pitches are @emph{not} being entered in
1115 Here are a few notes for violin and B-flat clarinet where the
1116 parts have been entered using the notes and key as they appear in
1117 each part of the conductor's score. The two instruments are
1120 @lilypond[verbatim,quote]
1122 \new Staff = "violin" {
1124 \set Staff.instrumentName = #"Vln"
1125 \set Staff.midiInstrument = #"violin"
1126 % not strictly necessary, but a good reminder
1133 \new Staff = "clarinet" {
1135 \set Staff.instrumentName = \markup { Cl (B\flat) }
1136 \set Staff.midiInstrument = #"clarinet"
1146 The @code{\transposition} may be changed during a piece. For
1147 example, a clarinetist may switch from an A clarinet to a B-flat
1150 @lilypond[verbatim,quote,relative=2]
1151 \set Staff.instrumentName = #"Cl (A)"
1156 s1*0^\markup { Switch to B\flat clarinet }
1167 @rglos{concert pitch},
1168 @rglos{transposing instrument}.
1171 @ref{Quoting other voices}, @ref{Transpose}.
1177 @node Automatic accidentals
1178 @unnumberedsubsubsec Automatic accidentals
1180 @cindex accidental style
1181 @cindex accidental style, default
1183 @cindex accidentals, automatic
1184 @cindex automatic accidentals
1185 @cindex default accidental style
1187 @funindex set-accidental-style
1191 There are many different conventions on how to typeset
1192 accidentals. LilyPond provides a function to specify which
1193 accidental style to use. This function is called as follows:
1197 #(set-accidental-style 'voice)
1202 The accidental style applies to the current @code{Staff} by
1203 default (with the exception of the styles @code{piano} and
1204 @code{piano-cautionary}, which are explained below). Optionally,
1205 the function can take a second argument that determines in which
1206 scope the style should be changed. For example, to use the same
1207 style in all staves of the current @code{StaffGroup}, use:
1210 #(set-accidental-style 'voice 'StaffGroup)
1213 The following accidental styles are supported. To demonstrate
1214 each style, we use the following example:
1217 @lilypond[verbatim,quote]
1221 cis'8 fis, d'4 <a cis>8 f bis4 |
1235 \voiceTwo \relative c' {
1239 \change Staff = down
1243 \change Staff = down
1244 <fis, a cis>4 gis <f a d>2 |
1251 \context Staff = "up" {
1252 #(set-accidental-style 'default)
1255 \context Staff = "down" {
1256 #(set-accidental-style 'default)
1263 Note that the last lines of this example can be replaced by the
1264 following, as long as the same accidental style should be used in
1270 \context Staff = "up" @{
1271 %%% change the next line as desired:
1272 #(set-accidental-style 'default 'Score)
1275 \context Staff = "down" @{
1283 @c don't use verbatim in this table.
1287 @cindex default accidental style
1288 @cindex accidental style, default
1292 This is the default typesetting behavior. It corresponds to
1293 eighteenth-century common practice: accidentals are remembered to
1294 the end of the measure in which they occur and only in their own
1295 octave. Thus, in the example below, no natural signs are printed
1296 before the@tie{}@code{b} in the second measure or the
1303 cis'8 fis, d'4 <a cis>8 f bis4 |
1317 \voiceTwo \relative c' {
1321 \change Staff = down
1325 \change Staff = down
1326 <fis, a cis>4 gis <f a d>2 |
1333 \context Staff = "up" {
1334 #(set-accidental-style 'default)
1337 \context Staff = "down" {
1338 #(set-accidental-style 'default)
1347 @cindex accidental style, voice
1348 @cindex voice accidental style
1349 @cindex accidental style, modern
1350 @cindex modern accidental style
1351 @cindex accidental style, modern-cautionary
1352 @cindex modern-cautionary accidental style
1356 The normal behavior is to remember the accidentals at
1357 @code{Staff}-level. In this style, however, accidentals are
1358 typeset individually for each voice. Apart from that, the rule is
1359 similar to @code{default}.
1361 As a result, accidentals from one voice do not get canceled in
1362 other voices, which is often an unwanted result: in the following
1363 example, it is hard to determine whether the second@tie{}@code{a}
1364 should be played natural or sharp. The @code{voice} option should
1365 therefore be used only if the voices are to be read solely by
1366 individual musicians. If the staff is to be used by one musician
1367 (e.g., a conductor or in a piano score) then @code{modern} or
1368 @code{modern-cautionary} should be used instead.
1375 cis'8 fis, d'4 <a cis>8 f bis4 |
1389 \voiceTwo \relative c' {
1393 \change Staff = down
1397 \change Staff = down
1398 <fis, a cis>4 gis <f a d>2 |
1405 \context Staff = "up" {
1406 #(set-accidental-style 'voice)
1409 \context Staff = "down" {
1410 #(set-accidental-style 'voice)
1419 @cindex accidentals, modern style
1420 @cindex modern style accidentals
1424 This rule corresponds to the common practice in the twentieth
1425 century. It prints the same accidentals as @code{default}, with
1426 two exceptions that serve to avoid ambiguity: after temporary
1427 accidentals, cancellation marks are printed also in the following
1428 measure (for notes in the same octave) and, in the same measure,
1429 for notes in other octaves. Hence the naturals before
1430 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1437 cis'8 fis, d'4 <a cis>8 f bis4 |
1451 \voiceTwo \relative c' {
1455 \change Staff = down
1459 \change Staff = down
1460 <fis, a cis>4 gis <f a d>2 |
1467 \context Staff = "up" {
1468 #(set-accidental-style 'modern)
1471 \context Staff = "down" {
1472 #(set-accidental-style 'modern)
1479 @item modern-cautionary
1481 @cindex accidentals, modern cautionary style
1482 @cindex modern accidental style
1483 @cindex modern cautionary accidental style
1484 @cindex modern style accidentals
1485 @cindex modern style cautionary accidentals
1487 @funindex modern-cautionary
1489 This rule is similar to @code{modern}, but the @q{extra}
1490 accidentals (the ones not typeset by @code{default}) are typeset
1491 as cautionary accidentals. They are by default printed with
1492 parentheses, but they can also be printed in reduced size by
1493 defining the @code{cautionary-style} property of
1494 @code{AccidentalSuggestion}.
1500 cis'8 fis, d'4 <a cis>8 f bis4 |
1514 \voiceTwo \relative c' {
1518 \change Staff = down
1522 \change Staff = down
1523 <fis, a cis>4 gis <f a d>2 |
1530 \context Staff = "up" {
1531 #(set-accidental-style 'modern-cautionary)
1534 \context Staff = "down" {
1535 #(set-accidental-style 'modern-cautionary)
1544 @cindex accidental style, modern
1545 @cindex accidentals, modern
1546 @cindex accidentals, multivoice
1547 @cindex modern accidental style
1548 @cindex modern accidentals
1549 @cindex multivoice accidentals
1551 @funindex modern-voice
1553 This rule is used for multivoice accidentals to be read both by
1554 musicians playing one voice and musicians playing all voices.
1555 Accidentals are typeset for each voice, but they @emph{are}
1556 canceled across voices in the same @code{Staff}. Hence,
1557 the@tie{}@code{a} in the last measure is canceled because the
1558 previous cancellation was in a different voice, and
1559 the@tie{}@code{d} in the lower staff is canceled because of the
1560 accidental in a different voice in the previous measure:
1566 cis'8 fis, d'4 <a cis>8 f bis4 |
1580 \voiceTwo \relative c' {
1584 \change Staff = down
1588 \change Staff = down
1589 <fis, a cis>4 gis <f a d>2 |
1596 \context Staff = "up" {
1597 #(set-accidental-style 'modern-voice)
1600 \context Staff = "down" {
1601 #(set-accidental-style 'modern-voice)
1608 @cindex accidental style, cautionary, modern voice
1609 @cindex accidental style, modern voice cautionary
1610 @cindex accidental style, voice, modern cautionary
1612 @funindex modern-voice-cautionary
1614 @item modern-voice-cautionary
1616 This rule is the same as @code{modern-voice}, but with the extra
1617 accidentals (the ones not typeset by @code{voice}) typeset as
1618 cautionaries. Even though all accidentals typeset by
1619 @code{default} @emph{are} typeset with this rule, some of them are
1620 typeset as cautionaries.
1626 cis'8 fis, d'4 <a cis>8 f bis4 |
1640 \voiceTwo \relative c' {
1644 \change Staff = down
1648 \change Staff = down
1649 <fis, a cis>4 gis <f a d>2 |
1656 \context Staff = "up" {
1657 #(set-accidental-style 'modern-voice-cautionary)
1660 \context Staff = "down" {
1661 #(set-accidental-style 'modern-voice-cautionary)
1670 @cindex accidental style, piano
1671 @cindex accidentals, piano
1672 @cindex piano accidental style
1673 @cindex piano accidentals
1677 This rule reflects twentieth-century practice for piano notation.
1678 Its behavior is very similar to @code{modern} style, but here
1679 accidentals also get canceled across the staves in the same
1680 @code{GrandStaff} or @code{PianoStaff}, hence all the
1681 cancellations of the final notes.
1683 This accidental style applies to the current @code{GrandStaff} or
1684 @code{PianoStaff} by default.
1690 cis'8 fis, d'4 <a cis>8 f bis4 |
1704 \voiceTwo \relative c' {
1708 \change Staff = down
1712 \change Staff = down
1713 <fis, a cis>4 gis <f a d>2 |
1720 \context Staff = "up" {
1721 #(set-accidental-style 'piano)
1724 \context Staff = "down" {
1731 @item piano-cautionary
1733 @cindex accidentals, piano cautionary
1734 @cindex cautionary accidentals, piano
1735 @cindex piano cautionary accidentals
1736 @cindex accidental style, piano cautionary
1737 @cindex cautionary accidental style, piano
1738 @cindex piano cautionary accidental style
1740 @funindex piano-cautionary
1742 This is the same as @code{piano} but with the extra accidentals
1743 typeset as cautionaries.
1749 cis'8 fis, d'4 <a cis>8 f bis4 |
1763 \voiceTwo \relative c' {
1767 \change Staff = down
1771 \change Staff = down
1772 <fis, a cis>4 gis <f a d>2 |
1779 \context Staff = "up" {
1780 #(set-accidental-style 'piano-cautionary)
1783 \context Staff = "down" {
1793 @cindex neo-modern accidental style
1794 @cindex accidental style, neo-modern
1796 @funindex neo-modern
1798 This rule reproduces a common practice in contemporary music:
1799 accidentals are printed like with @code{modern}, but they are printed
1800 again if the same note appears later in the same measure -- except
1801 if the note is immediately repeated.
1807 cis'8 fis, d'4 <a cis>8 f bis4 |
1821 \voiceTwo \relative c' {
1825 \change Staff = down
1829 \change Staff = down
1830 <fis, a cis>4 gis <f a d>2 |
1837 \context Staff = "up" {
1838 #(set-accidental-style 'neo-modern)
1841 \context Staff = "down" {
1842 #(set-accidental-style 'neo-modern)
1849 @item neo-modern-cautionary
1851 @cindex neo-modern-cautionary accidental style
1852 @cindex accidental style, neo-modern-cautionary
1854 @funindex neo-modern-cautionary
1856 This rule is similar to @code{neo-modern}, but the extra
1857 accidentals are printed as cautionary accidentals.
1863 cis'8 fis, d'4 <a cis>8 f bis4 |
1877 \voiceTwo \relative c' {
1881 \change Staff = down
1885 \change Staff = down
1886 <fis, a cis>4 gis <f a d>2 |
1893 \context Staff = "up" {
1894 #(set-accidental-style 'neo-modern-cautionary)
1897 \context Staff = "down" {
1898 #(set-accidental-style 'neo-modern-cautionary)
1908 @cindex dodecaphonic accidental style
1909 @cindex dodecaphonic style, neo-modern
1911 @funindex dodecaphonic
1913 This rule reflects a practice introduced by composers at
1914 the beginning of the 20th century, in an attempt to
1915 abolish the hierarchy between natural and non-natural notes.
1916 With this style, @emph{every} note gets an accidental sign,
1917 including natural signs.
1923 cis'8 fis, d'4 <a cis>8 f bis4 |
1937 \voiceTwo \relative c' {
1941 \change Staff = down
1945 \change Staff = down
1946 <fis, a cis>4 gis <f a d>2 |
1953 \context Staff = "up" {
1954 #(set-accidental-style 'dodecaphonic)
1957 \context Staff = "down" {
1958 #(set-accidental-style 'dodecaphonic)
1968 @cindex teaching accidental style
1969 @cindex accidental style, teaching
1973 This rule is intended for students, and makes it easy to create
1974 scale sheets with automagically created cautionary accidentals.
1975 Accidentals are printed like with @code{modern}, but cautionary
1976 accidentals are added for all sharp or flat tones specified by the
1977 key signature, except if the note is immediately repeated.
1983 cis'8 fis, d'4 <a cis>8 f bis4 |
1997 \voiceTwo \relative c' {
2001 \change Staff = down
2005 \change Staff = down
2006 <fis, a cis>4 gis <f a d>2 |
2013 \context Staff = "up" {
2015 #(set-accidental-style 'teaching)
2018 \context Staff = "down" {
2020 #(set-accidental-style 'teaching)
2031 @cindex accidental style, no reset
2032 @cindex no reset accidental style
2036 This is the same as @code{default} but with accidentals lasting
2037 @q{forever} and not only within the same measure:
2043 cis'8 fis, d'4 <a cis>8 f bis4 |
2057 \voiceTwo \relative c' {
2061 \change Staff = down
2065 \change Staff = down
2066 <fis, a cis>4 gis <f a d>2 |
2073 \context Staff = "up" {
2074 #(set-accidental-style 'no-reset)
2077 \context Staff = "down" {
2078 #(set-accidental-style 'no-reset)
2087 @cindex forget accidental style
2088 @cindex accidental style, forget
2092 This is the opposite of @code{no-reset}: Accidentals are not
2093 remembered at all -- and hence all accidentals are typeset
2094 relative to the key signature, regardless of what came before in
2095 the music. Unlike @code{dodecaphonic}, this rule never prints
2102 cis'8 fis, d'4 <a cis>8 f bis4 |
2116 \voiceTwo \relative c' {
2120 \change Staff = down
2124 \change Staff = down
2125 <fis, a cis>4 gis <f a d>2 |
2132 \context Staff = "up" {
2133 #(set-accidental-style 'forget)
2136 \context Staff = "down" {
2137 #(set-accidental-style 'forget)
2147 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2148 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2155 Internals Reference:
2156 @rinternals{Accidental},
2157 @rinternals{Accidental_engraver},
2158 @rinternals{GrandStaff} and
2159 @rinternals{PianoStaff},
2161 @rinternals{AccidentalSuggestion},
2162 @rinternals{AccidentalPlacement},
2163 @rinternals{accidental-suggestion-interface}.
2166 @cindex accidentals and simultaneous notes
2167 @cindex simultaneous notes and accidentals
2168 @cindex accidentals in chords
2169 @cindex chords, accidentals in
2173 Simultaneous notes are considered to be entered in sequential
2174 mode. This means that in a chord the accidentals are typeset as
2175 if the notes in the chord happen one at a time, in the order in
2176 which they appear in the input file. This is a problem when
2177 accidentals in a chord depend on each other, which does not happen
2178 for the default accidental style. The problem can be solved by
2179 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2184 @unnumberedsubsubsec Ambitus
2187 @cindex range of pitches
2190 The term @notation{ambitus} (pl. ambitus) denotes a range of
2191 pitches for a given voice in a part of music. It may also denote
2192 the pitch range that a musical instrument is capable of playing.
2193 Ambitus are printed on vocal parts so that performers can easily
2194 determine if it matches their capabilities.
2196 Ambitus are denoted at the beginning of a piece near the initial
2197 clef. The range is graphically specified by two note heads that
2198 represent the lowest and highest pitches. Accidentals are only
2199 printed if they are not part of the key signature.
2201 @lilypond[verbatim,quote]
2205 \consists "Ambitus_engraver"
2218 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2219 {adding-ambitus-per-voice.ly}
2221 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2222 {ambitus-with-multiple-voices.ly}
2232 Internals Reference:
2233 @rinternals{Ambitus_engraver},
2236 @rinternals{Ambitus},
2237 @rinternals{AmbitusAccidental},
2238 @rinternals{AmbitusLine},
2239 @rinternals{AmbitusNoteHead},
2240 @rinternals{ambitus-interface}.
2245 There is no collision handling in the case of multiple per-voice
2250 @subsection Note heads
2252 This section suggests ways of altering note heads.
2255 * Special note heads::
2256 * Easy notation note heads::
2257 * Shape note heads::
2261 @node Special note heads
2262 @unnumberedsubsubsec Special note heads
2264 @cindex note heads, special
2265 @cindex note heads, cross
2266 @cindex note heads, diamond
2267 @cindex note heads, parlato
2268 @cindex note heads, harmonic
2269 @cindex note heads, guitar
2270 @cindex special note heads
2271 @cindex cross note heads
2272 @cindex diamond note heads
2273 @cindex parlato note heads
2274 @cindex harmonic note heads
2275 @cindex guitar note heads
2276 @cindex note head styles
2277 @cindex styles, note heads
2281 Note heads may be altered:
2283 @lilypond[verbatim,quote,relative=2]
2285 \override NoteHead #'style = #'cross
2287 \revert NoteHead #'style
2291 There is a shorthand for diamond shapes which can only be used
2294 @lilypond[verbatim,quote,relative=2]
2295 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2299 To see all note head styles, see @ref{Note head styles}.
2307 @ref{Note head styles},
2308 @ref{Chorded notes}.
2310 Internals Reference:
2311 @rinternals{note-event},
2312 @rinternals{Note_heads_engraver},
2313 @rinternals{Ledger_line_engraver},
2314 @rinternals{NoteHead},
2315 @rinternals{LedgerLineSpanner},
2316 @rinternals{note-head-interface},
2317 @rinternals{ledger-line-spanner-interface}.
2320 @node Easy notation note heads
2321 @unnumberedsubsubsec Easy notation note heads
2323 @cindex note heads, practice
2324 @cindex practice note heads
2325 @cindex note heads, easy notation
2326 @cindex easy notation
2328 @cindex beginners' music
2329 @cindex music, beginners'
2330 @cindex easy play note heads
2331 @cindex note heads, easy play
2333 @funindex \easyHeadsOn
2334 @funindex easyHeadsOn
2335 @funindex \easyHeadsOff
2336 @funindex easyHeadsOff
2338 The @q{easy play} note head includes a note name inside the head.
2339 It is used in music for beginners. To make the letters readable,
2340 it should be printed in a large font size. To print with a larger
2341 font, see @ref{Setting the staff size}.
2343 @lilypond[verbatim,quote]
2344 #(set-global-staff-size 26)
2356 @code{\easyHeadsOn},
2357 @code{\easyHeadsOff}.
2363 @ref{Setting the staff size}.
2368 Internals Reference:
2369 @rinternals{note-event},
2370 @rinternals{Note_heads_engraver},
2371 @rinternals{NoteHead},
2372 @rinternals{note-head-interface}.
2375 @node Shape note heads
2376 @unnumberedsubsubsec Shape note heads
2378 @cindex note heads, shape
2379 @cindex note heads, Aiken
2380 @cindex note heads, sacred harp
2382 @cindex Aiken shape note heads
2383 @cindex sacred harp note heads
2387 @funindex \aikenHeads
2388 @funindex aikenHeads
2389 @funindex \sacredHarpHeads
2390 @funindex sacredHarpHeads
2392 In shape note head notation, the shape of the note head
2393 corresponds to the harmonic function of a note in the scale. This
2394 notation was popular in nineteenth-century American song books.
2395 Shape note heads can be produced:
2397 @lilypond[verbatim,quote,relative=2]
2404 Shapes are typeset according to the step in the scale, where the
2405 base of the scale is determined by the @code{\key} command.
2410 @code{\sacredHarpHeads}.
2416 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2417 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2420 To see all note head styles, see @ref{Note head styles}.
2428 @ref{Note head styles}.
2430 Internals Reference:
2431 @rinternals{note-event},
2432 @rinternals{Note_heads_engraver},
2433 @rinternals{NoteHead},
2434 @rinternals{note-head-interface}.
2438 @unnumberedsubsubsec Improvisation
2440 @cindex improvisation
2441 @cindex slashed note heads
2442 @cindex note heads, improvisation
2443 @cindex note heads, slashed
2445 @funindex \improvisationOn
2446 @funindex improvisationOn
2447 @funindex \improvisationOff
2448 @funindex improvisationOff
2450 Improvisation is sometimes denoted with slashed note heads, where
2451 the performer may choose any pitch but should play the specified
2452 rhythm. Such note heads can be created:
2454 @lilypond[verbatim,quote,relative=2]
2456 \consists "Pitch_squash_engraver"
2458 e8 e g a a16( bes) a8 g
2470 @code{\improvisationOn},
2471 @code{\improvisationOff}.
2479 Internals Reference:
2480 @rinternals{Pitch_squash_engraver},
2482 @rinternals{RhythmicStaff}.