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. For details, see the Contributors'
7 Guide, node Updating translation committishes..
16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
41 * Non-Western note names and accidentals::
45 @node Absolute octave entry
46 @unnumberedsubsubsec Absolute octave entry
51 @cindex absolute octave specification
52 @cindex octave specification, absolute
53 @cindex absolute octave entry
54 @cindex octave entry, absolute
56 A pitch name is specified using lowercase letters@tie{}@code{a}
57 through@tie{}@code{g}. The note names @code{c} to @code{b} are
58 engraved in the octave below middle C.
61 @lilypond[verbatim,quote,fragment]
68 @cindex octave changing mark
73 Other octaves may be specified with a single quote@tie{}(@code{'})
74 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
75 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
78 @lilypond[verbatim,quote,fragment]
96 @node Relative octave entry
97 @unnumberedsubsubsec Relative octave entry
100 @cindex relative octave entry
101 @cindex octave entry, relative
102 @cindex relative octave specification
103 @cindex octave specification, relative
108 When octaves are specified in absolute mode it is easy to
109 accidentally put a pitch in the wrong octave. Relative octave
110 mode reduces these errors since most of the time it is not
111 necessary to indicate any octaves at all. Furthermore, in
112 absolute mode a single mistake may be difficult to spot, while in
113 relative mode a single error puts the rest of the piece off by one
117 \relative @var{startpitch} @var{musicexpr}
120 In relative mode, each note is assumed to be as close to the
121 previous note as possible. This means that the octave of each
122 pitch inside @code{@var{musicexpr}} is calculated as follows:
126 If no octave changing mark is used on a pitch, its octave is
127 calculated so that the interval with the previous note is less
128 than a fifth. This interval is determined without considering
132 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
133 added to respectively raise or lower a pitch by an extra octave,
134 relative to the pitch calculated without an octave mark.
137 Multiple octave changing marks can be used. For example,
138 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
142 The pitch of the first note is relative to
143 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
144 absolute octave mode, and it is recommended that it be a octave of
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote]
159 Octave changing marks are used for intervals greater than a
162 @lilypond[verbatim,quote]
169 A note sequence without a single octave mark can nevertheless span
172 @lilypond[verbatim,quote]
179 When @code{\relative} blocks are nested, the innermost
180 @code{\relative} block applies.
182 @lilypond[verbatim,quote]
191 @code{\relative} has no effect on @code{\chordmode} blocks.
193 @lilypond[verbatim,quote]
202 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
204 Music inside a @code{\transpose} block is absolute unless a
205 @code{\relative} is included.
207 @lilypond[verbatim,quote]
220 @cindex chords and relative octave entry
221 @cindex relative octave entry and chords
223 If the preceding item is a chord, the first note of the chord is
224 used as the reference point for the octave placement of a
225 following note or chord. Inside chords, the next note is always
226 relative to the preceding one. Examine the next example
227 carefully, paying attention to the @code{c} notes.
229 @lilypond[verbatim,quote]
238 As explained above, the octave of pitches is calculated only with
239 the note names, regardless of any alterations. Therefore, an
240 E-double-sharp following a B will be placed higher, while an
241 F-double-flat will be placed lower. In other words, a
242 double-augmented fourth is considered a smaller interval than a
243 double-diminished fifth, regardless of the number of semitones
244 that each interval contains.
246 @lilypond[verbatim,quote]
269 @rinternals{RelativeOctaveMusic}.
272 @cindex relative octave entry and transposition
273 @cindex transposition and relative octave entry
284 If no @code{@var{startpitch}} is specified for @code{\relative},
285 then@tie{}@code{c'} is assumed. However, this is a deprecated
286 option and may disappear in future versions, so its use is
292 @unnumberedsubsubsec Accidentals
295 @cindex key signature
298 @c duplicated in Key signature and Accidentals
299 @warning{New users are sometimes confused about accidentals and
300 key signatures. In LilyPond, note names are the raw input; key
301 signatures and clefs determine how this raw input is displayed.
302 An unaltered note like@tie{}@code{c} means @q{C natural},
303 regardless of the key signature or clef. For more information,
304 see @rlearning{Accidentals and key signatures}.}
306 @cindex note names, Dutch
307 @cindex note names, default
308 @cindex default note names
312 @cindex sharp, double
316 @cindex natural pitch
318 A @notation{sharp} pitch is made by adding @code{is} to the note
319 name, and a @notation{flat} pitch by adding @code{es}. As you
320 might expect, a @notation{double sharp} or @notation{double flat}
321 is made by adding @code{isis} or @code{eses}. This syntax is
322 derived from Dutch note naming conventions. To use other names
323 for accidentals, see @ref{Note names in other languages}.
325 @lilypond[verbatim,quote,relative=2]
329 A natural will cancel the effect of an accidental or key
330 signature. However, naturals are not encoded into the note name
331 syntax with a suffix; a natural pitch is shown as a simple note
334 @lilypond[verbatim,quote,relative=2]
338 @cindex quarter tones
342 Quarter tones may be added; the following is a series of Cs with
345 @lilypond[verbatim,quote,relative=2]
346 ceseh1 ces ceh c cih cis cisih
351 @cindex accidental, reminder
352 @cindex accidental, cautionary
353 @cindex accidental, parenthesized
354 @cindex reminder accidental
355 @cindex cautionary accidental
356 @cindex parenthesized accidental
362 Normally accidentals are printed automatically, but you may also
363 print them manually. A reminder accidental can be forced by
364 adding an exclamation mark@tie{}@code{!} after the pitch. A
365 cautionary accidental (i.e., an accidental within parentheses) can
366 be obtained by adding the question mark@tie{}@code{?} after the
367 pitch. These extra accidentals can also be used to produce
370 @lilypond[verbatim,quote,relative=2]
371 cis cis cis! cis? c c c! c?
374 @cindex accidental on tied note
375 @cindex tied note, accidental
377 Accidentals on tied notes are only printed at the beginning of a
380 @lilypond[verbatim,quote,relative=2]
389 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
390 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
393 {preventing-extra-naturals-from-being-automatically-added.ly}
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 Non-Western note names and accidentals
577 @unnumberedsubsubsec Non-Western note names and accidentals
579 Many non-Western musics (and some Western folk and
580 traditional musics) employ alternative or extended tuning
581 systems that do not fit readily into standard classical
584 In some cases standard notation is still used, with the
585 pitch differences being implicit. For example, Arabic
586 music is notated with standard semitone and quarter-tone
587 accidentals, with the precise pitch alterations being
588 determined by context. Others require extended or unique
591 @notation{Turkish classical music}, or Ottoman music,
592 employs melodic forms known as @notation{makamlar}, whose
593 intervals are based on 1/9 divisions of the whole tone.
594 From a modern notational point of view, it is convenient
595 to use the standard Western staff notes (c, d, e, ...)
596 with special accidentals unique to Turkish music. These
597 accidentals are defined in @file{makam.ly} (to locate this
598 file on your system, see
599 @rlearning{Other sources of information}). The following
600 table gives their names, the accidental suffix that must
601 be added to notes, and their pitch alteration as a
602 fraction of one whole tone.
604 @c TODO: can we include the actual accidentals in this table?
606 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
607 @headitem Accidental name
608 @tab suffix @tab pitch alteration
610 @item büyük mücenneb (sharp)
612 @item kücük mücenneb (sharp)
623 @item kücük mücenneb (flat)
625 @item büyük mücenneb (flat)
630 For further information on Turkish classical music and
631 makamlar, see @ref{Turkish classical music}.
636 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
640 @node Changing multiple pitches
641 @subsection Changing multiple pitches
643 This section discusses how to modify pitches.
651 @unnumberedsubsubsec Octave checks
653 @cindex octave correction
655 @cindex control pitch
658 @funindex \octaveCheck
659 @funindex octaveCheck
660 @funindex controlpitch
662 In relative mode, it is easy to forget an octave changing mark.
663 Octave checks make such errors easier to find by displaying a
664 warning and correcting the octave if a note is found in an
667 To check the octave of a note, specify the absolute octave after
668 the @code{=}@tie{}symbol. This example will generate a warning
669 (and change the pitch) because the second note is the absolute
670 octave @code{d''} instead of @code{d'} as indicated by the octave
673 @lilypond[verbatim,quote]
680 The octave of notes may also be checked with the
681 @code{\octaveCheck@tie{}@var{controlpitch}} command.
682 @code{@var{controlpitch}} is specified in absolute mode. This
683 checks that the interval between the previous note and the
684 @code{@var{controlpitch}} is within a fourth (i.e., the normal
685 calculation of relative mode). If this check fails, a warning is
686 printed, but the previous note is not changed. Future notes are
687 relative to the @code{@var{controlpitch}}.
689 @lilypond[verbatim,quote]
697 Compare the two bars below. The first and third @code{\octaveCheck}
698 checks fail, but the second one does not fail.
700 @lilypond[verbatim,quote]
720 @rinternals{RelativeOctaveCheck}.
724 @unnumberedsubsubsec Transpose
728 @cindex transposition
729 @cindex transposition of pitches
730 @cindex transposition of notes
731 @cindex pitches, transposition of
732 @cindex notes, transposition of
737 A music expression can be transposed with @code{\transpose}. The
741 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
745 This means that @code{@var{musicexpr}} is transposed by the
746 interval between the pitches @code{@var{frompitch}} and
747 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
748 is changed to @code{@var{topitch}} and any other note is
749 transposed by the same interval. Both pitches are entered in
752 @warning{Music inside a @code{@bs{}transpose} block is absolute
753 unless a @code{@bs{}relative} is included in the block.}
755 Consider a piece written in the key of D-major. It can be
756 transposed up to E-major; note that the key signature is
757 automatically transposed as well.
759 @lilypond[verbatim,quote]
768 @cindex transposing instruments
769 @cindex instruments, transposing
771 If a part written in C (normal @notation{concert pitch}) is to be
772 played on the A clarinet (for which an A is notated as a C and
773 thus sounds a minor third lower than notated), the appropriate
774 part will be produced with:
776 @lilypond[verbatim,quote]
786 Note that we specify @w{@code{\key c \major}} explicitly. If we
787 do not specify a key signature, the notes will be transposed but
788 no key signature will be printed.
790 @code{\transpose} distinguishes between enharmonic pitches: both
791 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
792 transpose up a semitone. The first version will print sharps and
793 the notes will remain on the same scale step, the second version
794 will print flats on the scale step above.
796 @lilypond[verbatim,quote]
797 music = \relative c' { c d e f }
799 \transpose c cis { \music }
800 \transpose c des { \music }
805 @code{\transpose} may also be used in a different way, to input
806 written notes for a transposing instrument. The previous examples
807 show how to enter pitches in C (or @notation{concert pitch}) and
808 typeset them for a transposing instrument, but the opposite is
809 also possible if you for example have a set of instrumental parts
810 and want to print a conductor's score. For example, when entering
811 music for a B-flat trumpet that begins on a notated E (concert D),
815 musicInBflat = @{ e4 @dots{} @}
816 \transpose c bes, \musicInBflat
820 To print this music in F (e.g., rearranging to a French horn) you
821 could wrap the existing music with another @code{\transpose}:
824 musicInBflat = @{ e4 @dots{} @}
825 \transpose f c' @{ \transpose c bes, \musicInBflat @}
829 For more information about transposing instruments,
830 see @ref{Instrument transpositions}.
835 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
836 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
841 @ref{Relative octave entry},
842 @ref{Instrument transpositions}.
848 @rinternals{TransposedMusic}.
860 The relative conversion will not affect @code{\transpose},
861 @code{\chordmode} or @code{\relative} sections in its argument.
862 To use relative mode within transposed music, an additional
863 @code{\relative} must be placed inside @code{\transpose}.
865 @node Displaying pitches
866 @subsection Displaying pitches
868 This section discusses how to alter the output of pitches.
874 * Instrument transpositions::
875 * Automatic accidentals::
881 @unnumberedsubsubsec Clef
893 @cindex mezzosoprano clef
894 @cindex baritone clef
895 @cindex varbaritone clef
899 @cindex clef, ancient
909 @cindex clef, soprano
910 @cindex clef, mezzosoprano
911 @cindex clef, baritone
912 @cindex clef, varbaritone
913 @cindex clef, subbass
919 The clef may be altered. Middle C is shown in every example. The
920 following clef names can (but do not need to) be enclosed in quotes.
922 @lilypond[verbatim,quote,relative=1]
935 @lilypond[verbatim,quote,relative=1]
956 \clef G % synonym for treble
958 \clef F % synonym for bass
960 \clef C % synonym for alto
964 @cindex transposing clef
965 @cindex clef, transposing
966 @cindex octave transposition
967 @cindex choral tenor clef
968 @cindex tenor clef, choral
970 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
971 clef is transposed one octave down or up respectively,
972 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
973 Other integers can be used if required. Clef names containing
974 non-alphabetic characters must be enclosed in quotes
976 @lilypond[verbatim,quote,relative=1]
991 Some special purpose clefs are described in @ref{Mensural clefs},
992 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
997 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
998 {tweaking-clef-properties.ly}
1003 @ref{Mensural clefs},
1004 @ref{Gregorian clefs},
1005 @ref{Default tablatures},
1006 @ref{Custom tablatures}.
1011 Internals Reference:
1012 @rinternals{Clef_engraver},
1014 @rinternals{OctavateEight},
1015 @rinternals{clef-interface}.
1019 @unnumberedsubsubsec Key signature
1021 @cindex key signature
1026 @c duplicated in Key signature and Accidentals
1027 @warning{New users are sometimes confused about accidentals and
1028 key signatures. In LilyPond, note names are the raw input; key
1029 signatures and clefs determine how this raw input is displayed.
1030 An unaltered note like@tie{}@code{c} means @q{C natural},
1031 regardless of the key signature or clef. For more information,
1032 see @rlearning{Accidentals and key signatures}.}
1034 The key signature indicates the tonality in which a piece is
1035 played. It is denoted by a set of alterations (flats or sharps)
1036 at the start of the staff. The key signature may be altered:
1039 \key @var{pitch} @var{mode}
1052 @funindex \mixolydian
1053 @funindex mixolydian
1061 @cindex church modes
1074 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1075 to get a key signature of @code{@var{pitch}}-major or
1076 @code{@var{pitch}}-minor, respectively. You may also use the
1077 standard mode names, also called @notation{church modes}:
1078 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1079 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1081 @lilypond[verbatim,quote,relative=2]
1091 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1092 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1094 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1095 {non-traditional-key-signatures.ly}
1100 @rglos{church mode},
1104 @rlearning{Accidentals and key signatures}.
1109 Internals Reference:
1110 @rinternals{KeyChangeEvent},
1111 @rinternals{Key_engraver},
1112 @rinternals{Key_performer},
1113 @rinternals{KeyCancellation},
1114 @rinternals{KeySignature},
1115 @rinternals{key-cancellation-interface},
1116 @rinternals{key-signature-interface}.
1119 @node Ottava brackets
1120 @unnumberedsubsubsec Ottava brackets
1128 @funindex set-octavation
1132 @notation{Ottava brackets} introduce an extra transposition of an
1133 octave for the staff:
1135 @lilypond[verbatim,quote,relative=2]
1151 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1162 Internals Reference:
1163 @rinternals{Ottava_spanner_engraver},
1164 @rinternals{OttavaBracket},
1165 @rinternals{ottava-bracket-interface}.
1168 @node Instrument transpositions
1169 @unnumberedsubsubsec Instrument transpositions
1171 @cindex transposition, MIDI
1172 @cindex transposition, instrument
1173 @cindex transposing instrument
1175 @cindex MIDI transposition
1177 @funindex \transposition
1178 @funindex transposition
1180 When typesetting scores that involve transposing instruments, some
1181 parts can be typeset in a different pitch than the
1182 @notation{concert pitch}. In these cases, the key of the
1183 @notation{transposing instrument} should be specified; otherwise
1184 the MIDI output and cues in other parts will produce incorrect
1185 pitches. For more information about quotations, see
1186 @ref{Quoting other voices}.
1189 \transposition @var{pitch}
1192 The pitch to use for @code{\transposition} should correspond to
1193 the real sound heard when a@tie{}@code{c'} written on the staff is
1194 played by the transposing instrument. This pitch is entered in
1195 absolute mode, so an instrument that produces a real sound which
1196 is one tone higher than the printed music should use
1197 @w{@code{\transposition d'}}. @code{\transposition} should
1198 @emph{only} be used if the pitches are @emph{not} being entered in
1201 Here are a few notes for violin and B-flat clarinet where the
1202 parts have been entered using the notes and key as they appear in
1203 each part of the conductor's score. The two instruments are
1206 @lilypond[verbatim,quote]
1208 \new Staff = "violin" {
1210 \set Staff.instrumentName = #"Vln"
1211 \set Staff.midiInstrument = #"violin"
1212 % not strictly necessary, but a good reminder
1219 \new Staff = "clarinet" {
1221 \set Staff.instrumentName = \markup { Cl (B\flat) }
1222 \set Staff.midiInstrument = #"clarinet"
1232 The @code{\transposition} may be changed during a piece. For
1233 example, a clarinetist may switch from an A clarinet to a B-flat
1236 @lilypond[verbatim,quote,relative=2]
1237 \set Staff.instrumentName = #"Cl (A)"
1242 s1*0^\markup { Switch to B\flat clarinet }
1253 @rglos{concert pitch},
1254 @rglos{transposing instrument}.
1257 @ref{Quoting other voices},
1264 @node Automatic accidentals
1265 @unnumberedsubsubsec Automatic accidentals
1267 @cindex accidental style
1268 @cindex accidental style, default
1270 @cindex accidentals, automatic
1271 @cindex automatic accidentals
1272 @cindex default accidental style
1274 @funindex set-accidental-style
1278 There are many different conventions on how to typeset
1279 accidentals. LilyPond provides a function to specify which
1280 accidental style to use. This function is called as follows:
1284 #(set-accidental-style 'voice)
1289 The accidental style applies to the current @code{Staff} by
1290 default (with the exception of the styles @code{piano} and
1291 @code{piano-cautionary}, which are explained below). Optionally,
1292 the function can take a second argument that determines in which
1293 scope the style should be changed. For example, to use the same
1294 style in all staves of the current @code{StaffGroup}, use:
1297 #(set-accidental-style 'voice 'StaffGroup)
1300 The following accidental styles are supported. To demonstrate
1301 each style, we use the following example:
1304 @lilypond[verbatim,quote]
1308 cis'8 fis, d'4 <a cis>8 f bis4 |
1322 \voiceTwo \relative c' {
1323 <fis, a cis>8 <fis a cis>
1326 \change Staff = down
1331 \change Staff = down
1332 <fis, a cis>4 gis <f a d>2 |
1339 \context Staff = "up" {
1340 #(set-accidental-style 'default)
1343 \context Staff = "down" {
1344 #(set-accidental-style 'default)
1351 Note that the last lines of this example can be replaced by the
1352 following, as long as the same accidental style should be used in
1358 \context Staff = "up" @{
1359 %%% change the next line as desired:
1360 #(set-accidental-style 'default 'Score)
1363 \context Staff = "down" @{
1371 @c don't use verbatim in this table.
1375 @cindex default accidental style
1376 @cindex accidental style, default
1380 This is the default typesetting behavior. It corresponds to
1381 eighteenth-century common practice: accidentals are remembered to
1382 the end of the measure in which they occur and only in their own
1383 octave. Thus, in the example below, no natural signs are printed
1384 before the@tie{}@code{b} in the second measure or the
1391 cis'8 fis, d'4 <a cis>8 f bis4 |
1405 \voiceTwo \relative c' {
1406 <fis, a cis>8 <fis a cis>
1409 \change Staff = down
1414 \change Staff = down
1415 <fis, a cis>4 gis <f a d>2 |
1422 \context Staff = "up" {
1423 #(set-accidental-style 'default)
1426 \context Staff = "down" {
1427 #(set-accidental-style 'default)
1436 @cindex accidental style, voice
1437 @cindex voice accidental style
1438 @cindex accidental style, modern
1439 @cindex modern accidental style
1440 @cindex accidental style, modern-cautionary
1441 @cindex modern-cautionary accidental style
1445 The normal behavior is to remember the accidentals at
1446 @code{Staff}-level. In this style, however, accidentals are
1447 typeset individually for each voice. Apart from that, the rule is
1448 similar to @code{default}.
1450 As a result, accidentals from one voice do not get canceled in
1451 other voices, which is often an unwanted result: in the following
1452 example, it is hard to determine whether the second@tie{}@code{a}
1453 should be played natural or sharp. The @code{voice} option should
1454 therefore be used only if the voices are to be read solely by
1455 individual musicians. If the staff is to be used by one musician
1456 (e.g., a conductor or in a piano score) then @code{modern} or
1457 @code{modern-cautionary} should be used instead.
1464 cis'8 fis, d'4 <a cis>8 f bis4 |
1478 \voiceTwo \relative c' {
1479 <fis, a cis>8 <fis a cis>
1482 \change Staff = down
1487 \change Staff = down
1488 <fis, a cis>4 gis <f a d>2 |
1495 \context Staff = "up" {
1496 #(set-accidental-style 'voice)
1499 \context Staff = "down" {
1500 #(set-accidental-style 'voice)
1509 @cindex accidentals, modern style
1510 @cindex modern style accidentals
1514 This rule corresponds to the common practice in the twentieth
1515 century. It prints the same accidentals as @code{default}, with
1516 two exceptions that serve to avoid ambiguity: after temporary
1517 accidentals, cancellation marks are printed also in the following
1518 measure (for notes in the same octave) and, in the same measure,
1519 for notes in other octaves. Hence the naturals before
1520 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1527 cis'8 fis, d'4 <a cis>8 f bis4 |
1541 \voiceTwo \relative c' {
1542 <fis, a cis>8 <fis a cis>
1545 \change Staff = down
1550 \change Staff = down
1551 <fis, a cis>4 gis <f a d>2 |
1558 \context Staff = "up" {
1559 #(set-accidental-style 'modern)
1562 \context Staff = "down" {
1563 #(set-accidental-style 'modern)
1570 @item modern-cautionary
1572 @cindex accidentals, modern cautionary style
1573 @cindex modern accidental style
1574 @cindex modern cautionary accidental style
1575 @cindex modern style accidentals
1576 @cindex modern style cautionary accidentals
1578 @funindex modern-cautionary
1580 This rule is similar to @code{modern}, but the @q{extra}
1581 accidentals (the ones not typeset by @code{default}) are typeset
1582 as cautionary accidentals. They are by default printed with
1583 parentheses, but they can also be printed in reduced size by
1584 defining the @code{cautionary-style} property of
1585 @code{AccidentalSuggestion}.
1591 cis'8 fis, d'4 <a cis>8 f bis4 |
1605 \voiceTwo \relative c' {
1606 <fis, a cis>8 <fis a cis>
1609 \change Staff = down
1614 \change Staff = down
1615 <fis, a cis>4 gis <f a d>2 |
1622 \context Staff = "up" {
1623 #(set-accidental-style 'modern-cautionary)
1626 \context Staff = "down" {
1627 #(set-accidental-style 'modern-cautionary)
1636 @cindex accidental style, modern
1637 @cindex accidentals, modern
1638 @cindex accidentals, multivoice
1639 @cindex modern accidental style
1640 @cindex modern accidentals
1641 @cindex multivoice accidentals
1643 @funindex modern-voice
1645 This rule is used for multivoice accidentals to be read both by
1646 musicians playing one voice and musicians playing all voices.
1647 Accidentals are typeset for each voice, but they @emph{are}
1648 canceled across voices in the same @code{Staff}. Hence,
1649 the@tie{}@code{a} in the last measure is canceled because the
1650 previous cancellation was in a different voice, and
1651 the@tie{}@code{d} in the lower staff is canceled because of the
1652 accidental in a different voice in the previous measure:
1658 cis'8 fis, d'4 <a cis>8 f bis4 |
1672 \voiceTwo \relative c' {
1673 <fis, a cis>8 <fis a cis>
1676 \change Staff = down
1681 \change Staff = down
1682 <fis, a cis>4 gis <f a d>2 |
1689 \context Staff = "up" {
1690 #(set-accidental-style 'modern-voice)
1693 \context Staff = "down" {
1694 #(set-accidental-style 'modern-voice)
1701 @cindex accidental style, cautionary, modern voice
1702 @cindex accidental style, modern voice cautionary
1703 @cindex accidental style, voice, modern cautionary
1705 @funindex modern-voice-cautionary
1707 @item modern-voice-cautionary
1709 This rule is the same as @code{modern-voice}, but with the extra
1710 accidentals (the ones not typeset by @code{voice}) typeset as
1711 cautionaries. Even though all accidentals typeset by
1712 @code{default} @emph{are} typeset with this rule, some of them are
1713 typeset as cautionaries.
1719 cis'8 fis, d'4 <a cis>8 f bis4 |
1733 \voiceTwo \relative c' {
1734 <fis, a cis>8 <fis a cis>
1737 \change Staff = down
1742 \change Staff = down
1743 <fis, a cis>4 gis <f a d>2 |
1750 \context Staff = "up" {
1751 #(set-accidental-style 'modern-voice-cautionary)
1754 \context Staff = "down" {
1755 #(set-accidental-style 'modern-voice-cautionary)
1764 @cindex accidental style, piano
1765 @cindex accidentals, piano
1766 @cindex piano accidental style
1767 @cindex piano accidentals
1771 This rule reflects twentieth-century practice for piano notation.
1772 Its behavior is very similar to @code{modern} style, but here
1773 accidentals also get canceled across the staves in the same
1774 @code{GrandStaff} or @code{PianoStaff}, hence all the
1775 cancellations of the final notes.
1777 This accidental style applies to the current @code{GrandStaff} or
1778 @code{PianoStaff} by default.
1784 cis'8 fis, d'4 <a cis>8 f bis4 |
1798 \voiceTwo \relative c' {
1799 <fis, a cis>8 <fis a cis>
1802 \change Staff = down
1807 \change Staff = down
1808 <fis, a cis>4 gis <f a d>2 |
1815 \context Staff = "up" {
1816 #(set-accidental-style 'piano)
1819 \context Staff = "down" {
1826 @item piano-cautionary
1828 @cindex accidentals, piano cautionary
1829 @cindex cautionary accidentals, piano
1830 @cindex piano cautionary accidentals
1831 @cindex accidental style, piano cautionary
1832 @cindex cautionary accidental style, piano
1833 @cindex piano cautionary accidental style
1835 @funindex piano-cautionary
1837 This is the same as @code{piano} but with the extra accidentals
1838 typeset as cautionaries.
1844 cis'8 fis, d'4 <a cis>8 f bis4 |
1858 \voiceTwo \relative c' {
1859 <fis, a cis>8 <fis a cis>
1862 \change Staff = down
1867 \change Staff = down
1868 <fis, a cis>4 gis <f a d>2 |
1875 \context Staff = "up" {
1876 #(set-accidental-style 'piano-cautionary)
1879 \context Staff = "down" {
1889 @cindex neo-modern accidental style
1890 @cindex accidental style, neo-modern
1892 @funindex neo-modern
1894 This rule reproduces a common practice in contemporary music:
1895 accidentals are printed like with @code{modern}, but they are printed
1896 again if the same note appears later in the same measure -- except
1897 if the note is immediately repeated.
1903 cis'8 fis, d'4 <a cis>8 f bis4 |
1917 \voiceTwo \relative c' {
1918 <fis, a cis>8 <fis a cis>
1921 \change Staff = down
1926 \change Staff = down
1927 <fis, a cis>4 gis <f a d>2 |
1934 \context Staff = "up" {
1935 #(set-accidental-style 'neo-modern)
1938 \context Staff = "down" {
1939 #(set-accidental-style 'neo-modern)
1946 @item neo-modern-cautionary
1948 @cindex neo-modern-cautionary accidental style
1949 @cindex accidental style, neo-modern-cautionary
1951 @funindex neo-modern-cautionary
1953 This rule is similar to @code{neo-modern}, but the extra
1954 accidentals are printed as cautionary accidentals.
1960 cis'8 fis, d'4 <a cis>8 f bis4 |
1974 \voiceTwo \relative c' {
1975 <fis, a cis>8 <fis a cis>
1978 \change Staff = down
1983 \change Staff = down
1984 <fis, a cis>4 gis <f a d>2 |
1991 \context Staff = "up" {
1992 #(set-accidental-style 'neo-modern-cautionary)
1995 \context Staff = "down" {
1996 #(set-accidental-style 'neo-modern-cautionary)
2004 @item neo-modern-voice
2006 @cindex neo-modern-voice accidental style
2007 @cindex accidental style, neo-modern-voice
2009 @funindex neo-modern-voice
2011 This rule is used for multivoice accidentals to be read both by
2012 musicians playing one voice and musicians playing all voices.
2013 Accidentals are typeset for each voice as with @code{neo-modern},
2014 but they are canceled across voices in the same @code{Staff}.
2020 cis'8 fis, d'4 <a cis>8 f bis4 |
2034 \voiceTwo \relative c' {
2035 <fis, a cis>8 <fis a cis>
2038 \change Staff = down
2043 \change Staff = down
2044 <fis, a cis>4 gis <f a d>2 |
2051 \context Staff = "up" {
2052 #(set-accidental-style 'neo-modern-voice)
2055 \context Staff = "down" {
2056 #(set-accidental-style 'neo-modern-voice)
2063 @item neo-modern-voice-cautionary
2065 @cindex neo-modern-voice-cautionary accidental style
2066 @cindex accidental style, neo-modern-voice-cautionary
2068 @funindex neo-modern-voice-cautionary
2070 This rule is similar to @code{neo-modern-voice}, but the extra
2071 accidentals are printed as cautionary accidentals.
2077 cis'8 fis, d'4 <a cis>8 f bis4 |
2091 \voiceTwo \relative c' {
2092 <fis, a cis>8 <fis a cis>
2095 \change Staff = down
2100 \change Staff = down
2101 <fis, a cis>4 gis <f a d>2 |
2108 \context Staff = "up" {
2109 #(set-accidental-style 'neo-modern-voice-cautionary)
2112 \context Staff = "down" {
2113 #(set-accidental-style 'neo-modern-voice-cautionary)
2122 @cindex dodecaphonic accidental style
2123 @cindex dodecaphonic style, neo-modern
2125 @funindex dodecaphonic
2127 This rule reflects a practice introduced by composers at
2128 the beginning of the 20th century, in an attempt to
2129 abolish the hierarchy between natural and non-natural notes.
2130 With this style, @emph{every} note gets an accidental sign,
2131 including natural signs.
2137 cis'8 fis, d'4 <a cis>8 f bis4 |
2151 \voiceTwo \relative c' {
2152 <fis, a cis>8 <fis a cis>
2155 \change Staff = down
2160 \change Staff = down
2161 <fis, a cis>4 gis <f a d>2 |
2168 \context Staff = "up" {
2169 #(set-accidental-style 'dodecaphonic)
2172 \context Staff = "down" {
2173 #(set-accidental-style 'dodecaphonic)
2183 @cindex teaching accidental style
2184 @cindex accidental style, teaching
2188 This rule is intended for students, and makes it easy to create
2189 scale sheets with automagically created cautionary accidentals.
2190 Accidentals are printed like with @code{modern}, but cautionary
2191 accidentals are added for all sharp or flat tones specified by the
2192 key signature, except if the note is immediately repeated.
2198 cis'8 fis, d'4 <a cis>8 f bis4 |
2212 \voiceTwo \relative c' {
2213 <fis, a cis>8 <fis a cis>
2216 \change Staff = down
2221 \change Staff = down
2222 <fis, a cis>4 gis <f a d>2 |
2229 \context Staff = "up" {
2231 #(set-accidental-style 'teaching)
2234 \context Staff = "down" {
2236 #(set-accidental-style 'teaching)
2247 @cindex accidental style, no reset
2248 @cindex no reset accidental style
2252 This is the same as @code{default} but with accidentals lasting
2253 @q{forever} and not only within the same measure:
2259 cis'8 fis, d'4 <a cis>8 f bis4 |
2273 \voiceTwo \relative c' {
2274 <fis, a cis>8 <fis a cis>
2277 \change Staff = down
2282 \change Staff = down
2283 <fis, a cis>4 gis <f a d>2 |
2290 \context Staff = "up" {
2291 #(set-accidental-style 'no-reset)
2294 \context Staff = "down" {
2295 #(set-accidental-style 'no-reset)
2304 @cindex forget accidental style
2305 @cindex accidental style, forget
2309 This is the opposite of @code{no-reset}: Accidentals are not
2310 remembered at all -- and hence all accidentals are typeset
2311 relative to the key signature, regardless of what came before in
2312 the music. Unlike @code{dodecaphonic}, this rule never prints
2319 cis'8 fis, d'4 <a cis>8 f bis4 |
2333 \voiceTwo \relative c' {
2334 <fis, a cis>8 <fis a cis>
2337 \change Staff = down
2342 \change Staff = down
2343 <fis, a cis>4 gis <f a d>2 |
2350 \context Staff = "up" {
2351 #(set-accidental-style 'forget)
2354 \context Staff = "down" {
2355 #(set-accidental-style 'forget)
2365 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2366 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2373 Internals Reference:
2374 @rinternals{Accidental},
2375 @rinternals{Accidental_engraver},
2376 @rinternals{GrandStaff},
2377 @rinternals{PianoStaff},
2379 @rinternals{AccidentalSuggestion},
2380 @rinternals{AccidentalPlacement},
2381 @rinternals{accidental-suggestion-interface}.
2384 @cindex accidentals and simultaneous notes
2385 @cindex simultaneous notes and accidentals
2386 @cindex accidentals in chords
2387 @cindex chords, accidentals in
2391 Simultaneous notes are considered to be entered in sequential
2392 mode. This means that in a chord the accidentals are typeset as
2393 if the notes in the chord happen one at a time, in the order in
2394 which they appear in the input file. This is a problem when
2395 accidentals in a chord depend on each other, which does not happen
2396 for the default accidental style. The problem can be solved by
2397 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2401 Cautionary cancellation of accidentals is done by looking at previous measure.
2402 However, in the @code{\alternative} block following a @code{\repeat volta N}
2403 section, one would expect the cancellation being calculated using the previous
2404 @emph{played} measure, not previous @emph{printed} measure.
2405 In the following example, the natural @code{c} in the second alternative does
2406 not need a natural sign:
2410 #(set-accidental-style 'modern)
2422 The following work-around can be used: define a function that locally changes
2423 the accidental style to @code{forget}:
2425 @lilypond[verbatim,quote]
2426 forget = #(define-music-function (parser location music) (ly:music?) #{
2427 #(set-accidental-style 'forget)
2429 #(set-accidental-style 'modern)
2432 #(set-accidental-style 'modern)
2445 @unnumberedsubsubsec Ambitus
2448 @cindex range of pitches
2451 The term @notation{ambitus} (pl. ambitus) denotes a range of
2452 pitches for a given voice in a part of music. It may also denote
2453 the pitch range that a musical instrument is capable of playing.
2454 Ambitus are printed on vocal parts so that performers can easily
2455 determine if it matches their capabilities.
2457 Ambitus are denoted at the beginning of a piece near the initial
2458 clef. The range is graphically specified by two note heads that
2459 represent the lowest and highest pitches. Accidentals are only
2460 printed if they are not part of the key signature.
2462 @lilypond[verbatim,quote]
2466 \consists "Ambitus_engraver"
2479 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2480 {adding-ambitus-per-voice.ly}
2482 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2483 {ambitus-with-multiple-voices.ly}
2485 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2486 {changing-the-ambitus-gap.ly}
2496 Internals Reference:
2497 @rinternals{Ambitus_engraver},
2500 @rinternals{Ambitus},
2501 @rinternals{AmbitusAccidental},
2502 @rinternals{AmbitusLine},
2503 @rinternals{AmbitusNoteHead},
2504 @rinternals{ambitus-interface}.
2509 There is no collision handling in the case of multiple per-voice
2514 @subsection Note heads
2516 This section suggests ways of altering note heads.
2519 * Special note heads::
2520 * Easy notation note heads::
2521 * Shape note heads::
2525 @node Special note heads
2526 @unnumberedsubsubsec Special note heads
2528 @cindex note heads, special
2529 @cindex note heads, cross
2530 @cindex note heads, diamond
2531 @cindex note heads, parlato
2532 @cindex note heads, harmonic
2533 @cindex note heads, guitar
2534 @cindex special note heads
2535 @cindex cross note heads
2536 @cindex diamond note heads
2537 @cindex parlato note heads
2538 @cindex harmonic note heads
2539 @cindex guitar note heads
2540 @cindex note head styles
2541 @cindex styles, note heads
2545 The appearance of note heads may be altered:
2547 @lilypond[verbatim,quote,relative=2]
2549 \override NoteHead #'style = #'cross
2551 \revert NoteHead #'style
2553 \override NoteHead #'style = #'harmonic
2555 \revert NoteHead #'style
2559 To see all note head styles, see @ref{Note head styles}.
2561 The @code{cross} style is used to represent a variety of musical
2562 intentions. The following generic predefined commands modify the
2563 note head in both staff and tablature contexts and can be used to
2564 represent any musical meaning:
2566 @lilypond[verbatim,quote,relative=2]
2574 The music function form of this predefined command may be used
2575 inside and outside chords to generate crossed note heads in both
2576 staff and tablature contexts:
2578 @lilypond[verbatim,quote,relative=2]
2581 c b < g \xNote c f > b
2584 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2585 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2586 be used. The term @notation{dead note} is commonly used by guitarists.
2588 There is also a shorthand for diamond shapes which can be used
2591 @lilypond[verbatim,quote,relative=2]
2592 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2607 @ref{Note head styles},
2608 @ref{Chorded notes},
2609 @ref{Indicating harmonics and dampened notes}.
2611 Internals Reference:
2612 @rinternals{note-event},
2613 @rinternals{Note_heads_engraver},
2614 @rinternals{Ledger_line_engraver},
2615 @rinternals{NoteHead},
2616 @rinternals{LedgerLineSpanner},
2617 @rinternals{note-head-interface},
2618 @rinternals{ledger-line-spanner-interface}.
2621 @node Easy notation note heads
2622 @unnumberedsubsubsec Easy notation note heads
2624 @cindex note heads, practice
2625 @cindex practice note heads
2626 @cindex note heads, easy notation
2627 @cindex easy notation
2628 @cindex beginners' music
2629 @cindex music, beginners'
2630 @cindex easy play note heads
2631 @cindex note heads, easy play
2633 @funindex \easyHeadsOn
2634 @funindex easyHeadsOn
2635 @funindex \easyHeadsOff
2636 @funindex easyHeadsOff
2638 The @q{easy play} note head includes a note name inside the head.
2639 It is used in music for beginners. To make the letters readable,
2640 it should be printed in a large font size. To print with a larger
2641 font, see @ref{Setting the staff size}.
2643 @lilypond[verbatim,quote]
2644 #(set-global-staff-size 26)
2656 @code{\easyHeadsOn},
2657 @code{\easyHeadsOff}.
2663 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2664 {numbers-as-easy-note-heads.ly}
2669 @ref{Setting the staff size}.
2674 Internals Reference:
2675 @rinternals{note-event},
2676 @rinternals{Note_heads_engraver},
2677 @rinternals{NoteHead},
2678 @rinternals{note-head-interface}.
2681 @node Shape note heads
2682 @unnumberedsubsubsec Shape note heads
2684 @cindex note heads, shape
2685 @cindex note heads, Aiken
2686 @cindex note heads, sacred harp
2688 @cindex Aiken shape note heads
2689 @cindex sacred harp note heads
2690 @cindex note heads, Southern Harmony
2691 @cindex Southern Harmony note heads
2692 @cindex Funk shape note heads
2693 @cindex note heads, Funk
2694 @cindex note heads, Harmonica Sacra
2695 @cindex Harmonica Sacra note heads
2696 @cindex Christian Harmony note heads
2697 @cindex note heads, Christian Harmony
2698 @cindex Walker shape note heads
2699 @cindex note heads, Walker
2701 @funindex \aikenHeads
2702 @funindex aikenHeads
2703 @funindex \sacredHarpHeads
2704 @funindex sacredHarpHeads
2705 @funindex \southernHarmonyHeads
2706 @funindex southernHarmonyHeads
2707 @funindex \funkHeads
2709 @funindex \walkerHeads
2710 @funindex walkerHeads
2712 In shape note head notation, the shape of the note head
2713 corresponds to the harmonic function of a note in the scale. This
2714 notation was popular in nineteenth-century American song books.
2715 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2716 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2718 @lilypond[verbatim,quote,relative=2]
2720 c, d e f g2 a b1 c \break
2722 c,4 d e f g2 a b1 c \break
2723 \southernHarmonyHeads
2724 c,4 d e f g2 a b1 c \break
2726 c,4 d e f g2 a b1 c \break
2728 c,4 d e f g2 a b1 c \break
2733 @funindex \aikenHeadsMinor
2734 @funindex aikenHeadsMinor
2735 @funindex \sacredHarpHeadsMinor
2736 @funindex sacredHarpHeadsMinor
2737 @funindex \southernHarmonyHeadsMinor
2738 @funindex southernHarmonyHeadsMinor
2739 @funindex \funkHeadsMinor
2740 @funindex funkHeadsMinor
2741 @funindex \walkerHeadsMinor
2742 @funindex walkerHeadsMinor
2744 Shapes are typeset according to the step in the scale, where the base
2745 of the scale is determined by the @code{\key} command. When writing
2746 in a minor key, the scale step can be determined from the relative
2749 @lilypond[verbatim,quote,relative=2]
2752 a b c d e2 f g1 a \break
2754 a,4 b c d e2 f g1 a \break
2755 \sacredHarpHeadsMinor
2757 \southernHarmonyHeadsMinor
2769 @code{\aikenHeadsMinor},
2771 @code{\funkHeadsMinor},
2772 @code{\sacredHarpHeads},
2773 @code{\sacredHarpHeadsMinor},
2774 @code{\southernHarmonyHeads},
2775 @code{\southernHarmonyHeadsMinor},
2776 @code{\walkerHeads},
2777 @code{\walkerHeadsMinor}.
2783 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2784 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2786 To see all note head styles, see @ref{Note head styles}.
2794 @ref{Note head styles}.
2796 Internals Reference:
2797 @rinternals{note-event},
2798 @rinternals{Note_heads_engraver},
2799 @rinternals{NoteHead},
2800 @rinternals{note-head-interface}.
2804 @unnumberedsubsubsec Improvisation
2806 @cindex improvisation
2807 @cindex slashed note heads
2808 @cindex note heads, improvisation
2809 @cindex note heads, slashed
2811 @funindex \improvisationOn
2812 @funindex improvisationOn
2813 @funindex \improvisationOff
2814 @funindex improvisationOff
2816 Improvisation is sometimes denoted with slashed note heads, where
2817 the performer may choose any pitch but should play the specified
2818 rhythm. Such note heads can be created:
2820 @lilypond[verbatim,quote,relative=2]
2822 \consists "Pitch_squash_engraver"
2824 e8 e g a a16( bes) a8 g
2836 @code{\improvisationOn},
2837 @code{\improvisationOff}.
2845 Internals Reference:
2846 @rinternals{Pitch_squash_engraver},
2848 @rinternals{RhythmicStaff}.