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::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
98 @node Relative octave entry
99 @unnumberedsubsubsec Relative octave entry
102 @cindex relative octave entry
103 @cindex octave entry, relative
104 @cindex relative octave specification
105 @cindex octave specification, relative
110 When octaves are specified in absolute mode it is easy to
111 accidentally put a pitch in the wrong octave. Relative octave
112 mode reduces these errors since most of the time it is not
113 necessary to indicate any octaves at all. Furthermore, in
114 absolute mode a single mistake may be difficult to spot, while in
115 relative mode a single error puts the rest of the piece off by one
119 \relative @var{startpitch} @var{musicexpr}
122 In relative mode, each note is assumed to be as close to the
123 previous note as possible. This means that the octave of each
124 pitch inside @code{@var{musicexpr}} is calculated as follows:
128 If no octave changing mark is used on a pitch, its octave is
129 calculated so that the interval with the previous note is less
130 than a fifth. This interval is determined without considering
134 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
135 added to respectively raise or lower a pitch by an extra octave,
136 relative to the pitch calculated without an octave mark.
139 Multiple octave changing marks can be used. For example,
140 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
144 The pitch of the first note is relative to
145 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
146 absolute octave mode, and it is recommended that it be a octave of
150 Here is the relative mode shown in action:
152 @lilypond[verbatim,quote]
161 Octave changing marks are used for intervals greater than a
164 @lilypond[verbatim,quote]
171 A note sequence without a single octave mark can nevertheless span
174 @lilypond[verbatim,quote]
181 When @code{\relative} blocks are nested, the innermost
182 @code{\relative} block applies.
184 @lilypond[verbatim,quote]
193 @code{\relative} has no effect on @code{\chordmode} blocks.
195 @lilypond[verbatim,quote]
204 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
206 Music inside a @code{\transpose} block is absolute unless a
207 @code{\relative} is included.
209 @lilypond[verbatim,quote]
222 @cindex chords and relative octave entry
223 @cindex relative octave entry and chords
225 If the preceding item is a chord, the first note of the chord is
226 used as the reference point for the octave placement of a
227 following note or chord. Inside chords, the next note is always
228 relative to the preceding one. Examine the next example
229 carefully, paying attention to the @code{c} notes.
231 @lilypond[verbatim,quote]
240 As explained above, the octave of pitches is calculated only with
241 the note names, regardless of any alterations. Therefore, an
242 E-double-sharp following a B will be placed higher, while an
243 F-double-flat will be placed lower. In other words, a
244 double-augmented fourth is considered a smaller interval than a
245 double-diminished fifth, regardless of the number of semitones
246 that each interval contains.
248 @lilypond[verbatim,quote]
257 One consequence of these rules is that the first note inside
258 @code{@w{\relative f}} music is interpreted just the same as
259 if it was written in absolute pitch mode.
274 @rinternals{RelativeOctaveMusic}.
276 @cindex relative octave entry and transposition
277 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
294 @unnumberedsubsubsec Accidentals
297 @cindex key signature
300 @c duplicated in Key signature and Accidentals
301 @warning{New users are sometimes confused about accidentals and
302 key signatures. In LilyPond, note names are the raw input; key
303 signatures and clefs determine how this raw input is displayed.
304 An unaltered note like@tie{}@code{c} means @q{C natural},
305 regardless of the key signature or clef. For more information,
306 see @rlearning{Accidentals and key signatures}.}
308 @cindex note names, Dutch
309 @cindex note names, default
310 @cindex default note names
314 @cindex sharp, double
318 @cindex natural pitch
320 A @notation{sharp} pitch is made by adding @code{is} to the note
321 name, and a @notation{flat} pitch by adding @code{es}. As you
322 might expect, a @notation{double sharp} or @notation{double flat}
323 is made by adding @code{isis} or @code{eses}. This syntax is
324 derived from Dutch note naming conventions. To use other names
325 for accidentals, see @ref{Note names in other languages}.
327 @lilypond[verbatim,quote,relative=2]
331 A natural will cancel the effect of an accidental or key
332 signature. However, naturals are not encoded into the note name
333 syntax with a suffix; a natural pitch is shown as a simple note
336 @lilypond[verbatim,quote,relative=2]
340 @cindex quarter tones
344 Quarter tones may be added; the following is a series of Cs with
347 @lilypond[verbatim,quote,relative=2]
348 ceseh1 ces ceh c cih cis cisih
353 @cindex accidental, reminder
354 @cindex accidental, cautionary
355 @cindex accidental, parenthesized
356 @cindex reminder accidental
357 @cindex cautionary accidental
358 @cindex parenthesized accidental
364 Normally accidentals are printed automatically, but you may also
365 print them manually. A reminder accidental can be forced by
366 adding an exclamation mark@tie{}@code{!} after the pitch. A
367 cautionary accidental (i.e., an accidental within parentheses) can
368 be obtained by adding the question mark@tie{}@code{?} after the
369 pitch. These extra accidentals can also be used to produce
372 @lilypond[verbatim,quote,relative=2]
373 cis cis cis! cis? c c c! c?
376 @cindex accidental on tied note
377 @cindex tied note, accidental
379 Accidentals on tied notes are only printed at the beginning of a
382 @lilypond[verbatim,quote,relative=2]
391 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
392 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
394 @lilypondfile[verbatim,quote,texidoc,doctitle]
395 {preventing-extra-naturals-from-being-automatically-added.ly}
401 @rglos{double sharp},
404 @rglos{quarter tone}.
407 @rlearning{Accidentals and key signatures}.
410 @ref{Automatic accidentals},
411 @ref{Annotational accidentals (musica ficta)},
412 @ref{Note names in other languages}.
418 @rinternals{Accidental_engraver},
419 @rinternals{Accidental},
420 @rinternals{AccidentalCautionary},
421 @rinternals{accidental-interface}.
423 @cindex accidental, quarter-tone
424 @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
432 @node Note names in other languages
433 @unnumberedsubsubsec Note names in other languages
435 @cindex note names, other languages
436 @cindex pitch names, other languages
437 @cindex language, note names in other
438 @cindex language, pitch names in other
440 There are predefined sets of note and accidental names for various
441 other languages. Selecting the note name language is usually done
442 at the beginning of the file; the following example is written
443 using Italian note names:
445 @lilypond[quote,verbatim]
453 The available languages and the note names they define are:
456 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
459 @item @code{nederlands}
460 @tab c d e f g a bes b
462 @tab do re mi fa sol la sib si
466 @tab c d e f g a bf b
468 @tab do re mi fa sol la sib si
469 @item @code{italiano}
470 @tab do re mi fa sol la sib si
473 @item @code{portugues}
474 @tab do re mi fa sol la sib si
480 @tab do re mi fa sol la sib si
484 In addition to note names, accidental suffixes may
485 also vary depending on the language:
488 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @code{nederlands}
492 @tab -is @tab -es @tab -isis @tab -eses
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @code{italiano}
503 @tab -d @tab -b @tab -dd @tab -bb
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @code{portugues}
508 @tab -s @tab -b @tab -ss @tab -bb
510 @tab -is @tab -es @tab -isis @tab -eses
512 @tab -iss @tab -ess @tab -ississ @tab -essess
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The following table lists note names
538 for quarter-tone accidentals in various languages; here the prefixes
539 @notation{semi-} and @notation{sesqui-} respectively
540 mean @q{half} and @q{one and a half}. Languages that do not
541 appear in this table do not provide special note names yet.
544 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @code{nederlands}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @tab -ih @tab -eh @tab -isih @tab -eseh
553 @tab -qs @tab -qf @tab -tqs @tab -tqf
555 @tab -cs @tab -cb @tab -tcs @tab -tcb
556 @item @code{italiano}
557 @tab -sd @tab -sb @tab -dsd @tab -bsb
558 @item @code{portugues}
559 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
563 Most languages presented here are commonly associated with
564 Western classical music, also referred to as
565 @notation{Common Practice Period}. However, alternate
566 pitches and tuning systems are also supported: see
567 @ref{Common notation for non-Western music}.
572 @rglos{Common Practice Period}.
575 @ref{Common notation for non-Western music}.
578 @file{scm/define-note-names.scm}.
584 @node Changing multiple pitches
585 @subsection Changing multiple pitches
587 This section discusses how to modify pitches.
594 * Modal transformations::
598 @unnumberedsubsubsec Octave checks
600 @cindex octave correction
602 @cindex control pitch
605 @funindex \octaveCheck
606 @funindex octaveCheck
607 @funindex controlpitch
609 In relative mode, it is easy to forget an octave changing mark.
610 Octave checks make such errors easier to find by displaying a
611 warning and correcting the octave if a note is found in an
614 To check the octave of a note, specify the absolute octave after
615 the @code{=}@tie{}symbol. This example will generate a warning
616 (and change the pitch) because the second note is the absolute
617 octave @code{d''} instead of @code{d'} as indicated by the octave
620 @lilypond[verbatim,quote]
627 The octave of notes may also be checked with the
628 @code{\octaveCheck@tie{}@var{controlpitch}} command.
629 @code{@var{controlpitch}} is specified in absolute mode. This
630 checks that the interval between the previous note and the
631 @code{@var{controlpitch}} is within a fourth (i.e., the normal
632 calculation of relative mode). If this check fails, a warning is
633 printed, but the previous note is not changed. Future notes are
634 relative to the @code{@var{controlpitch}}.
636 @lilypond[verbatim,quote]
644 Compare the two bars below. The first and third @code{\octaveCheck}
645 checks fail, but the second one does not fail.
647 @lilypond[verbatim,quote]
666 @rinternals{RelativeOctaveCheck}.
670 @unnumberedsubsubsec Transpose
674 @cindex transposition
675 @cindex transposition of pitches
676 @cindex transposition of notes
677 @cindex pitches, transposition of
678 @cindex notes, transposition of
683 A music expression can be transposed with @code{\transpose}. The
687 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
691 This means that @code{@var{musicexpr}} is transposed by the
692 interval between the pitches @code{@var{frompitch}} and
693 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
694 is changed to @code{@var{topitch}} and any other note is
695 transposed by the same interval. Both pitches are entered in
698 @warning{Music inside a @code{@bs{}transpose} block is absolute
699 unless a @code{@bs{}relative} is included in the block.}
701 Consider a piece written in the key of D-major. It can be
702 transposed up to E-major; note that the key signature is
703 automatically transposed as well.
705 @lilypond[verbatim,quote]
714 @cindex transposing instruments
715 @cindex instruments, transposing
717 If a part written in C (normal @notation{concert pitch}) is to be
718 played on the A clarinet (for which an A is notated as a C and
719 thus sounds a minor third lower than notated), the appropriate
720 part will be produced with:
722 @lilypond[verbatim,quote]
732 Note that we specify @w{@code{\key c \major}} explicitly. If we
733 do not specify a key signature, the notes will be transposed but
734 no key signature will be printed.
736 @code{\transpose} distinguishes between enharmonic pitches: both
737 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
738 transpose up a semitone. The first version will print sharps and
739 the notes will remain on the same scale step, the second version
740 will print flats on the scale step above.
742 @lilypond[verbatim,quote]
743 music = \relative c' { c d e f }
745 \transpose c cis { \music }
746 \transpose c des { \music }
751 @code{\transpose} may also be used in a different way, to input
752 written notes for a transposing instrument. The previous examples
753 show how to enter pitches in C (or @notation{concert pitch}) and
754 typeset them for a transposing instrument, but the opposite is
755 also possible if you for example have a set of instrumental parts
756 and want to print a conductor's score. For example, when entering
757 music for a B-flat trumpet that begins on a notated E (concert D),
761 musicInBflat = @{ e4 @dots{} @}
762 \transpose c bes, \musicInBflat
766 To print this music in F (e.g., rearranging to a French horn) you
767 could wrap the existing music with another @code{\transpose}:
770 musicInBflat = @{ e4 @dots{} @}
771 \transpose f c' @{ \transpose c bes, \musicInBflat @}
775 For more information about transposing instruments,
776 see @ref{Instrument transpositions}.
781 @lilypondfile[verbatim,quote,texidoc,doctitle]
782 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
786 @ref{Instrument transpositions},
788 @ref{Modal transformations},
789 @ref{Relative octave entry},
796 @rinternals{TransposedMusic}.
806 The relative conversion will not affect @code{\transpose},
807 @code{\chordmode} or @code{\relative} sections in its argument. To use
808 relative mode within transposed music, an additional @code{\relative}
809 must be placed inside @code{\transpose}.
811 Triple accidentals will not be printed if using @code{\transpose}. An
812 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
813 rather than e-triple-flat).
817 @unnumberedsubsubsec Inversion
820 @cindex operation, inversion
823 A music expression can be inverted with:
826 \inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
829 The @code{@var{musicexpr}} is inverted interval-by-interval,
830 and then transposed so that @code{@var{from-pitch}} is mapped
831 to @code{@var{to-pitch}}.
833 @lilypond[verbatim,quote]
834 music = \relative c' { c d e f }
837 \inversion d' d' \music
838 \inversion d' ees' \music
844 @ref{Modal transformations},
850 @unnumberedsubsubsec Retrograde
852 @cindex retrograde transformation
853 @cindex transformation, retrograde
854 @cindex operation, retrograde
855 @funindex \retrograde
858 A music expression can be reversed to produce its retrograde:
860 @lilypond[verbatim,quote]
861 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
870 Manual ties inside @code{\retrograde} will be broken and
871 generate warnings. Some ties can be generated automatically
872 by enabling @ref{Automatic note splitting}.
877 @ref{Modal transformations},
881 @node Modal transformations
882 @unnumberedsubsubsec Modal transformations
884 @cindex modal transformations
885 @cindex transformations, modal
886 @cindex operations, modal
888 In a musical composition that is based on a scale, a motif is
889 frequently transformed in various ways. It may be
890 @notation{transposed} to start at different places in the scale or
891 it may be @notation{inverted} around a pivot point in the scale.
892 It may also be reversed to produce its @notation{retrograde}, see
895 @warning{Any note that does not lie within the given scale will be
898 @subsubheading Modal transposition
900 @cindex modal transposition
901 @cindex transposition, modal
902 @cindex operation, transposition
903 @funindex \modalTranspose
904 @funindex modalTranspose
906 A motif can be transposed within a given scale with:
909 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
912 The notes of @var{motif} are shifted within the @var{scale} by the
913 number of scale degrees given by the interval between @var{to-pitch}
914 and @var{from-pitch}:
916 @lilypond[verbatim,quote]
917 diatonicScale = \relative c' { c d e f g a b }
918 motif = \relative c' { c8 d e f g a b c }
922 \modalTranspose c f \diatonicScale \motif
923 \modalTranspose c b, \diatonicScale \motif
927 An ascending scale of any length and with any intervals may be
930 @lilypond[verbatim,quote]
931 pentatonicScale = \relative c' { ges aes bes des ees }
932 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
936 \modalTranspose ges ees' \pentatonicScale \motif
940 When used with a chromatic scale @code{\modalTranspose} has a
941 similar effect to @code{\transpose}, but with the ability to
942 specify the names of the notes to be used:
944 @lilypond[verbatim,quote]
945 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
946 motif = \relative c' { c8 d e f g a b c }
950 \transpose c f \motif
951 \modalTranspose c f \chromaticScale \motif
955 @subsubheading Modal inversion
957 @cindex modal inversion
958 @cindex inversion, modal
959 @cindex operation, modal inversion
960 @funindex \modalInversion
961 @funindex modalInversion
963 A motif can be inverted within a given scale around a given pivot
964 note and transposed in a single operation with:
967 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
970 The notes of @var{motif} are placed the same number of scale degrees
971 from the @var{around-pitch} note within the @var{scale}, but in the
972 opposite direction, and the result is then shifted within the
973 @var{scale} by the number of scale degrees given by the interval between
974 @var{to-pitch} and @var{around-pitch}.
976 So to simply invert around a note in the scale use the same value for
977 @var{around-pitch} and @var{to-pitch}:
979 @lilypond[verbatim,quote]
980 octatonicScale = \relative c' { ees f fis gis a b c d }
981 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
985 \modalInversion fis' fis' \octatonicScale \motif
989 To invert around a pivot between two notes in the scale, invert around
990 one of the notes and then transpose by one scale degree. The two notes
991 specified can be interpreted as bracketing the pivot point:
993 @lilypond[verbatim,quote]
994 scale = \relative c' { c g' }
995 motive = \relative c' { c c g' c, }
999 \modalInversion c' g' \scale \motive
1003 The combined operation of inversion and retrograde produce the
1004 retrograde-inversion:
1006 @lilypond[verbatim,quote]
1007 octatonicScale = \relative c' { ees f fis gis a b c d }
1008 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1012 \retrograde \modalInversion c' c' \octatonicScale \motif
1023 @node Displaying pitches
1024 @subsection Displaying pitches
1026 This section discusses how to alter the output of pitches.
1032 * Instrument transpositions::
1033 * Automatic accidentals::
1039 @unnumberedsubsubsec Clef
1050 @cindex soprano clef
1051 @cindex mezzosoprano clef
1052 @cindex baritone clef
1053 @cindex varbaritone clef
1054 @cindex subbass clef
1056 @cindex ancient clef
1057 @cindex clef, ancient
1061 @cindex clef, treble
1062 @cindex clef, violin
1066 @cindex clef, french
1067 @cindex clef, soprano
1068 @cindex clef, mezzosoprano
1069 @cindex clef, baritone
1070 @cindex clef, varbaritone
1071 @cindex clef, subbass
1077 The clef may be altered. Middle C is shown in every example. The
1078 following clef names can (but do not need to) be enclosed in quotes.
1080 @lilypond[verbatim,quote,relative=1]
1091 Other clefs include:
1093 @lilypond[verbatim,quote,relative=1]
1114 \clef G % synonym for treble
1116 \clef F % synonym for bass
1118 \clef C % synonym for alto
1122 @cindex transposing clef
1123 @cindex clef, transposing
1124 @cindex octave transposition
1125 @cindex choral tenor clef
1126 @cindex tenor clef, choral
1128 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1129 clef is transposed one octave down or up respectively,
1130 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1131 Other integers can be used if required. Clef names containing
1132 non-alphabetic characters must be enclosed in quotes
1134 @lilypond[verbatim,quote,relative=1]
1149 Some special purpose clefs are described in @ref{Mensural clefs},
1150 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1151 tablatures}. For mixing different clefs when using cue notes within a
1152 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1153 in @ref{Formatting cue notes}.
1157 @lilypondfile[verbatim,quote,texidoc,doctitle]
1158 {tweaking-clef-properties.ly}
1162 @ref{Mensural clefs},
1163 @ref{Gregorian clefs},
1164 @ref{Default tablatures},
1165 @ref{Custom tablatures},
1166 @ref{Formatting cue notes}.
1171 Internals Reference:
1172 @rinternals{Clef_engraver},
1174 @rinternals{OctavateEight},
1175 @rinternals{clef-interface}.
1179 @unnumberedsubsubsec Key signature
1181 @cindex key signature
1186 @c duplicated in Key signature and Accidentals
1187 @warning{New users are sometimes confused about accidentals and
1188 key signatures. In LilyPond, note names are the raw input; key
1189 signatures and clefs determine how this raw input is displayed.
1190 An unaltered note like@tie{}@code{c} means @q{C natural},
1191 regardless of the key signature or clef. For more information,
1192 see @rlearning{Accidentals and key signatures}.}
1194 The key signature indicates the tonality in which a piece is
1195 played. It is denoted by a set of alterations (flats or sharps)
1196 at the start of the staff. The key signature may be altered:
1199 \key @var{pitch} @var{mode}
1212 @funindex \mixolydian
1213 @funindex mixolydian
1221 @cindex church modes
1234 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1235 to get a key signature of @code{@var{pitch}}-major or
1236 @code{@var{pitch}}-minor, respectively. You may also use the
1237 standard mode names, also called @notation{church modes}:
1238 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1239 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1241 @lilypond[verbatim,quote,relative=2]
1251 @lilypondfile[verbatim,quote,texidoc,doctitle]
1252 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1254 @lilypondfile[verbatim,quote,texidoc,doctitle]
1255 {non-traditional-key-signatures.ly}
1259 @rglos{church mode},
1263 @rlearning{Accidentals and key signatures}.
1268 Internals Reference:
1269 @rinternals{KeyChangeEvent},
1270 @rinternals{Key_engraver},
1271 @rinternals{Key_performer},
1272 @rinternals{KeyCancellation},
1273 @rinternals{KeySignature},
1274 @rinternals{key-cancellation-interface},
1275 @rinternals{key-signature-interface}.
1278 @node Ottava brackets
1279 @unnumberedsubsubsec Ottava brackets
1287 @funindex set-octavation
1291 @notation{Ottava brackets} introduce an extra transposition of an
1292 octave for the staff:
1294 @lilypond[verbatim,quote,relative=2]
1310 @lilypondfile[verbatim,quote,texidoc,doctitle]
1320 Internals Reference:
1321 @rinternals{Ottava_spanner_engraver},
1322 @rinternals{OttavaBracket},
1323 @rinternals{ottava-bracket-interface}.
1326 @node Instrument transpositions
1327 @unnumberedsubsubsec Instrument transpositions
1329 @cindex transposition, MIDI
1330 @cindex transposition, instrument
1331 @cindex transposing instrument
1333 @cindex MIDI transposition
1335 @funindex \transposition
1336 @funindex transposition
1338 When typesetting scores that involve transposing instruments, some
1339 parts can be typeset in a different pitch than the
1340 @notation{concert pitch}. In these cases, the key of the
1341 @notation{transposing instrument} should be specified; otherwise
1342 the MIDI output and cues in other parts will produce incorrect
1343 pitches. For more information about quotations, see
1344 @ref{Quoting other voices}.
1347 \transposition @var{pitch}
1350 The pitch to use for @code{\transposition} should correspond to
1351 the real sound heard when a@tie{}@code{c'} written on the staff is
1352 played by the transposing instrument. This pitch is entered in
1353 absolute mode, so an instrument that produces a real sound which
1354 is one tone higher than the printed music should use
1355 @w{@code{\transposition d'}}. @code{\transposition} should
1356 @emph{only} be used if the pitches are @emph{not} being entered in
1359 Here are a few notes for violin and B-flat clarinet where the
1360 parts have been entered using the notes and key as they appear in
1361 each part of the conductor's score. The two instruments are
1364 @lilypond[verbatim,quote]
1366 \new Staff = "violin" {
1368 \set Staff.instrumentName = #"Vln"
1369 \set Staff.midiInstrument = #"violin"
1370 % not strictly necessary, but a good reminder
1377 \new Staff = "clarinet" {
1379 \set Staff.instrumentName = \markup { Cl (B\flat) }
1380 \set Staff.midiInstrument = #"clarinet"
1390 The @code{\transposition} may be changed during a piece. For
1391 example, a clarinetist may switch from an A clarinet to a B-flat
1394 @lilypond[verbatim,quote,relative=2]
1395 \set Staff.instrumentName = #"Cl (A)"
1400 s1*0^\markup { Switch to B\flat clarinet }
1410 @rglos{concert pitch},
1411 @rglos{transposing instrument}.
1414 @ref{Quoting other voices},
1421 @node Automatic accidentals
1422 @unnumberedsubsubsec Automatic accidentals
1424 @cindex accidental style
1425 @cindex accidental style, default
1427 @cindex accidentals, automatic
1428 @cindex automatic accidentals
1429 @cindex default accidental style
1431 @funindex \accidentalStyle
1435 There are many different conventions on how to typeset
1436 accidentals. LilyPond provides a function to specify which
1437 accidental style to use. This function is called as follows:
1441 \accidentalStyle "voice"
1446 The accidental style applies to the current @code{Staff} by
1447 default (with the exception of the styles @code{piano} and
1448 @code{piano-cautionary}, which are explained below). Optionally,
1449 the function can take a second argument that determines in which
1450 scope the style should be changed. For example, to use the same
1451 style in all staves of the current @code{StaffGroup}, use:
1454 \accidentalStyle #'StaffGroup "voice"
1457 The following accidental styles are supported. To demonstrate
1458 each style, we use the following example:
1461 @lilypond[verbatim,quote]
1465 cis'8 fis, bes4 <a cis>8 f bis4 |
1479 \voiceTwo \relative c' {
1480 <fis, a cis>8[ <fis a cis>
1483 \change Staff = down
1488 \change Staff = down
1489 <fis, a cis>4 gis <f a d>2 |
1496 \context Staff = "up" {
1497 \accidentalStyle "default"
1500 \context Staff = "down" {
1501 \accidentalStyle "default"
1508 Note that the last lines of this example can be replaced by the
1509 following, as long as the same accidental style should be used in
1515 \context Staff = "up" @{
1516 %%% change the next line as desired:
1517 \accidentalStyle #'Score "default"
1520 \context Staff = "down" @{
1528 @c don't use verbatim in this table.
1532 @cindex default accidental style
1533 @cindex accidental style, default
1537 This is the default typesetting behavior. It corresponds to
1538 eighteenth-century common practice: accidentals are remembered to
1539 the end of the measure in which they occur and only in their own
1540 octave. Thus, in the example below, no natural signs are printed
1541 before the@tie{}@code{b} in the second measure or the
1548 cis'8 fis, bes4 <a cis>8 f bis4 |
1562 \voiceTwo \relative c' {
1563 <fis, a cis>8[ <fis a cis>
1566 \change Staff = down
1571 \change Staff = down
1572 <fis, a cis>4 gis <f a d>2 |
1579 \context Staff = "up" {
1580 \accidentalStyle "default"
1583 \context Staff = "down" {
1584 \accidentalStyle "default"
1593 @cindex accidental style, voice
1594 @cindex voice accidental style
1595 @cindex accidental style, modern
1596 @cindex modern accidental style
1597 @cindex accidental style, modern-cautionary
1598 @cindex modern-cautionary accidental style
1602 The normal behavior is to remember the accidentals at
1603 @code{Staff}-level. In this style, however, accidentals are
1604 typeset individually for each voice. Apart from that, the rule is
1605 similar to @code{default}.
1607 As a result, accidentals from one voice do not get canceled in
1608 other voices, which is often an unwanted result: in the following
1609 example, it is hard to determine whether the second@tie{}@code{a}
1610 should be played natural or sharp. The @code{voice} option should
1611 therefore be used only if the voices are to be read solely by
1612 individual musicians. If the staff is to be used by one musician
1613 (e.g., a conductor or in a piano score) then @code{modern} or
1614 @code{modern-cautionary} should be used instead.
1621 cis'8 fis, bes4 <a cis>8 f bis4 |
1635 \voiceTwo \relative c' {
1636 <fis, a cis>8[ <fis a cis>
1639 \change Staff = down
1644 \change Staff = down
1645 <fis, a cis>4 gis <f a d>2 |
1652 \context Staff = "up" {
1653 \accidentalStyle "voice"
1656 \context Staff = "down" {
1657 \accidentalStyle "voice"
1666 @cindex accidentals, modern style
1667 @cindex modern style accidentals
1671 This rule corresponds to the common practice in the twentieth
1672 century. It omits some extra natural signs, which were
1673 traditionally prefixed to a sharp following a double sharp,
1674 or a flat following a double flat. The @code{modern} rule
1675 prints the same accidentals as @code{default}, with
1676 two additions that serve to avoid ambiguity: after temporary
1677 accidentals, cancellation marks are printed also in the following
1678 measure (for notes in the same octave) and, in the same measure,
1679 for notes in other octaves. Hence the naturals before
1680 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1687 cis'8 fis, bes4 <a cis>8 f bis4 |
1701 \voiceTwo \relative c' {
1702 <fis, a cis>8[ <fis a cis>
1705 \change Staff = down
1710 \change Staff = down
1711 <fis, a cis>4 gis <f a d>2 |
1718 \context Staff = "up" {
1719 \accidentalStyle "modern"
1722 \context Staff = "down" {
1723 \accidentalStyle "modern"
1730 @item modern-cautionary
1732 @cindex accidentals, modern cautionary style
1733 @cindex modern accidental style
1734 @cindex modern cautionary accidental style
1735 @cindex modern style accidentals
1736 @cindex modern style cautionary accidentals
1738 @funindex modern-cautionary
1740 This rule is similar to @code{modern}, but the @q{extra}
1741 accidentals (the ones not typeset by @code{default}) are typeset
1742 as cautionary accidentals. They are by default printed with
1743 parentheses, but they can also be printed in reduced size by
1744 defining the @code{cautionary-style} property of
1745 @code{AccidentalSuggestion}.
1751 cis'8 fis, bes4 <a cis>8 f bis4 |
1765 \voiceTwo \relative c' {
1766 <fis, a cis>8[ <fis a cis>
1769 \change Staff = down
1774 \change Staff = down
1775 <fis, a cis>4 gis <f a d>2 |
1782 \context Staff = "up" {
1783 \accidentalStyle "modern-cautionary"
1786 \context Staff = "down" {
1787 \accidentalStyle "modern-cautionary"
1796 @cindex accidental style, modern
1797 @cindex accidentals, modern
1798 @cindex accidentals, multivoice
1799 @cindex modern accidental style
1800 @cindex modern accidentals
1801 @cindex multivoice accidentals
1803 @funindex modern-voice
1805 This rule is used for multivoice accidentals to be read both by
1806 musicians playing one voice and musicians playing all voices.
1807 Accidentals are typeset for each voice, but they @emph{are}
1808 canceled across voices in the same @code{Staff}. Hence,
1809 the@tie{}@code{a} in the last measure is canceled because the
1810 previous cancellation was in a different voice, and
1811 the@tie{}@code{d} in the lower staff is canceled because of the
1812 accidental in a different voice in the previous measure:
1818 cis'8 fis, bes4 <a cis>8 f bis4 |
1832 \voiceTwo \relative c' {
1833 <fis, a cis>8[ <fis a cis>
1836 \change Staff = down
1841 \change Staff = down
1842 <fis, a cis>4 gis <f a d>2 |
1849 \context Staff = "up" {
1850 \accidentalStyle "modern-voice"
1853 \context Staff = "down" {
1854 \accidentalStyle "modern-voice"
1861 @cindex accidental style, cautionary, modern voice
1862 @cindex accidental style, modern voice cautionary
1863 @cindex accidental style, voice, modern cautionary
1865 @funindex modern-voice-cautionary
1867 @item modern-voice-cautionary
1869 This rule is the same as @code{modern-voice}, but with the extra
1870 accidentals (the ones not typeset by @code{voice}) typeset as
1871 cautionaries. Even though all accidentals typeset by
1872 @code{default} @emph{are} typeset with this rule, some of them are
1873 typeset as cautionaries.
1879 cis'8 fis, bes4 <a cis>8 f bis4 |
1893 \voiceTwo \relative c' {
1894 <fis, a cis>8[ <fis a cis>
1897 \change Staff = down
1902 \change Staff = down
1903 <fis, a cis>4 gis <f a d>2 |
1910 \context Staff = "up" {
1911 \accidentalStyle "modern-voice-cautionary"
1914 \context Staff = "down" {
1915 \accidentalStyle "modern-voice-cautionary"
1924 @cindex accidental style, piano
1925 @cindex accidentals, piano
1926 @cindex piano accidental style
1927 @cindex piano accidentals
1931 This rule reflects twentieth-century practice for piano notation.
1932 Its behavior is very similar to @code{modern} style, but here
1933 accidentals also get canceled across the staves in the same
1934 @code{GrandStaff} or @code{PianoStaff}, hence all the
1935 cancellations of the final notes.
1937 This accidental style applies to the current @code{GrandStaff} or
1938 @code{PianoStaff} by default.
1944 cis'8 fis, bes4 <a cis>8 f bis4 |
1958 \voiceTwo \relative c' {
1959 <fis, a cis>8[ <fis a cis>
1962 \change Staff = down
1967 \change Staff = down
1968 <fis, a cis>4 gis <f a d>2 |
1975 \context Staff = "up" {
1976 \accidentalStyle "piano"
1979 \context Staff = "down" {
1986 @item piano-cautionary
1988 @cindex accidentals, piano cautionary
1989 @cindex cautionary accidentals, piano
1990 @cindex piano cautionary accidentals
1991 @cindex accidental style, piano cautionary
1992 @cindex cautionary accidental style, piano
1993 @cindex piano cautionary accidental style
1995 @funindex piano-cautionary
1997 This is the same as @code{piano} but with the extra accidentals
1998 typeset as cautionaries.
2004 cis'8 fis, bes4 <a cis>8 f bis4 |
2018 \voiceTwo \relative c' {
2019 <fis, a cis>8[ <fis a cis>
2022 \change Staff = down
2027 \change Staff = down
2028 <fis, a cis>4 gis <f a d>2 |
2035 \context Staff = "up" {
2036 \accidentalStyle "piano-cautionary"
2039 \context Staff = "down" {
2049 @cindex neo-modern accidental style
2050 @cindex accidental style, neo-modern
2052 @funindex neo-modern
2054 This rule reproduces a common practice in contemporary music:
2055 accidentals are printed like with @code{modern}, but they are printed
2056 again if the same note appears later in the same measure -- except
2057 if the note is immediately repeated.
2063 cis'8 fis, bes4 <a cis>8 f bis4 |
2077 \voiceTwo \relative c' {
2078 <fis, a cis>8[ <fis a cis>
2081 \change Staff = down
2086 \change Staff = down
2087 <fis, a cis>4 gis <f a d>2 |
2094 \context Staff = "up" {
2095 \accidentalStyle "neo-modern"
2098 \context Staff = "down" {
2099 \accidentalStyle "neo-modern"
2106 @item neo-modern-cautionary
2108 @cindex neo-modern-cautionary accidental style
2109 @cindex accidental style, neo-modern-cautionary
2111 @funindex neo-modern-cautionary
2113 This rule is similar to @code{neo-modern}, but the extra
2114 accidentals are printed as cautionary accidentals.
2120 cis'8 fis, bes4 <a cis>8 f bis4 |
2134 \voiceTwo \relative c' {
2135 <fis, a cis>8[ <fis a cis>
2138 \change Staff = down
2143 \change Staff = down
2144 <fis, a cis>4 gis <f a d>2 |
2151 \context Staff = "up" {
2152 \accidentalStyle "neo-modern-cautionary"
2155 \context Staff = "down" {
2156 \accidentalStyle "neo-modern-cautionary"
2164 @item neo-modern-voice
2166 @cindex neo-modern-voice accidental style
2167 @cindex accidental style, neo-modern-voice
2169 @funindex neo-modern-voice
2171 This rule is used for multivoice accidentals to be read both by
2172 musicians playing one voice and musicians playing all voices.
2173 Accidentals are typeset for each voice as with @code{neo-modern},
2174 but they are canceled across voices in the same @code{Staff}.
2180 cis'8 fis, bes4 <a cis>8 f bis4 |
2194 \voiceTwo \relative c' {
2195 <fis, a cis>8[ <fis a cis>
2198 \change Staff = down
2203 \change Staff = down
2204 <fis, a cis>4 gis <f a d>2 |
2211 \context Staff = "up" {
2212 \accidentalStyle "neo-modern-voice"
2215 \context Staff = "down" {
2216 \accidentalStyle "neo-modern-voice"
2223 @item neo-modern-voice-cautionary
2225 @cindex neo-modern-voice-cautionary accidental style
2226 @cindex accidental style, neo-modern-voice-cautionary
2228 @funindex neo-modern-voice-cautionary
2230 This rule is similar to @code{neo-modern-voice}, but the extra
2231 accidentals are printed as cautionary accidentals.
2237 cis'8 fis, bes4 <a cis>8 f bis4 |
2251 \voiceTwo \relative c' {
2252 <fis, a cis>8[ <fis a cis>
2255 \change Staff = down
2260 \change Staff = down
2261 <fis, a cis>4 gis <f a d>2 |
2268 \context Staff = "up" {
2269 \accidentalStyle "neo-modern-voice-cautionary"
2272 \context Staff = "down" {
2273 \accidentalStyle "neo-modern-voice-cautionary"
2282 @cindex dodecaphonic accidental style
2283 @cindex dodecaphonic style, neo-modern
2285 @funindex dodecaphonic
2287 This rule reflects a practice introduced by composers at
2288 the beginning of the 20th century, in an attempt to
2289 abolish the hierarchy between natural and non-natural notes.
2290 With this style, @emph{every} note gets an accidental sign,
2291 including natural signs.
2297 cis'8 fis, bes4 <a cis>8 f bis4 |
2311 \voiceTwo \relative c' {
2312 <fis, a cis>8[ <fis a cis>
2315 \change Staff = down
2320 \change Staff = down
2321 <fis, a cis>4 gis <f a d>2 |
2328 \context Staff = "up" {
2329 \accidentalStyle "dodecaphonic"
2332 \context Staff = "down" {
2333 \accidentalStyle "dodecaphonic"
2343 @cindex teaching accidental style
2344 @cindex accidental style, teaching
2348 This rule is intended for students, and makes it easy to create
2349 scale sheets with automatically created cautionary accidentals.
2350 Accidentals are printed like with @code{modern}, but cautionary
2351 accidentals are added for all sharp or flat tones specified by the
2352 key signature, except if the note is immediately repeated.
2358 cis'8 fis, bes4 <a cis>8 f bis4 |
2372 \voiceTwo \relative c' {
2373 <fis, a cis>8[ <fis a cis>
2376 \change Staff = down
2381 \change Staff = down
2382 <fis, a cis>4 gis <f a d>2 |
2389 \context Staff = "up" {
2391 \accidentalStyle "teaching"
2394 \context Staff = "down" {
2396 \accidentalStyle "teaching"
2407 @cindex accidental style, no reset
2408 @cindex no reset accidental style
2412 This is the same as @code{default} but with accidentals lasting
2413 @q{forever} and not only within the same measure:
2419 cis'8 fis, bes4 <a cis>8 f bis4 |
2433 \voiceTwo \relative c' {
2434 <fis, a cis>8[ <fis a cis>
2437 \change Staff = down
2442 \change Staff = down
2443 <fis, a cis>4 gis <f a d>2 |
2450 \context Staff = "up" {
2451 \accidentalStyle "no-reset"
2454 \context Staff = "down" {
2455 \accidentalStyle "no-reset"
2464 @cindex forget accidental style
2465 @cindex accidental style, forget
2469 This is the opposite of @code{no-reset}: Accidentals are not
2470 remembered at all -- and hence all accidentals are typeset
2471 relative to the key signature, regardless of what came before in
2478 cis'8 fis, bes4 <a cis>8 f bis4 |
2492 \voiceTwo \relative c' {
2493 <fis, a cis>8[ <fis a cis>
2496 \change Staff = down
2501 \change Staff = down
2502 <fis, a cis>4 gis <f a d>2 |
2509 \context Staff = "up" {
2510 \accidentalStyle "forget"
2513 \context Staff = "down" {
2514 \accidentalStyle "forget"
2526 Internals Reference:
2527 @rinternals{Accidental},
2528 @rinternals{Accidental_engraver},
2529 @rinternals{GrandStaff},
2530 @rinternals{PianoStaff},
2532 @rinternals{AccidentalSuggestion},
2533 @rinternals{AccidentalPlacement},
2534 @rinternals{accidental-suggestion-interface}.
2536 @cindex accidentals and simultaneous notes
2537 @cindex simultaneous notes and accidentals
2538 @cindex accidentals in chords
2539 @cindex chords, accidentals in
2542 Simultaneous notes are not considered in the automatic
2543 determination of accidentals; only previous notes and the key
2544 signature are considered. Forcing accidentals with@tie{}@code{!}
2545 or@tie{}@code{?} may be required when the same note name occurs
2546 simultaneously with different alterations, as in @samp{<f! fis!>}.
2548 Cautionary cancellation of accidentals is done by looking at previous measure.
2549 However, in the @code{\alternative} block following a @code{\repeat volta N}
2550 section, one would expect the cancellation being calculated using the previous
2551 @emph{played} measure, not previous @emph{printed} measure.
2552 In the following example, the natural @code{c} in the second alternative does
2553 not need a natural sign:
2557 \accidentalStyle "modern"
2569 The following work-around can be used: define a function that locally changes
2570 the accidental style to @code{forget}:
2572 @lilypond[verbatim,quote]
2573 forget = #(define-music-function (parser location music) (ly:music?) #{
2574 \accidentalStyle "forget"
2576 \accidentalStyle "modern"
2579 \accidentalStyle "modern"
2593 @unnumberedsubsubsec Ambitus
2596 @cindex range of pitches
2599 The term @notation{ambitus} (pl. ambitus) denotes a range of
2600 pitches for a given voice in a part of music. It may also denote
2601 the pitch range that a musical instrument is capable of playing.
2602 Ambitus are printed on vocal parts so that performers can easily
2603 determine if it matches their capabilities.
2605 Ambitus are denoted at the beginning of a piece near the initial
2606 clef. The range is graphically specified by two note heads that
2607 represent the lowest and highest pitches. Accidentals are only
2608 printed if they are not part of the key signature.
2610 @lilypond[verbatim,quote]
2614 \consists "Ambitus_engraver"
2627 @lilypondfile[verbatim,quote,texidoc,doctitle]
2628 {adding-ambitus-per-voice.ly}
2630 @lilypondfile[verbatim,quote,texidoc,doctitle]
2631 {ambitus-with-multiple-voices.ly}
2633 @lilypondfile[verbatim,quote,texidoc,doctitle]
2634 {changing-the-ambitus-gap.ly}
2643 Internals Reference:
2644 @rinternals{Ambitus_engraver},
2647 @rinternals{Ambitus},
2648 @rinternals{AmbitusAccidental},
2649 @rinternals{AmbitusLine},
2650 @rinternals{AmbitusNoteHead},
2651 @rinternals{ambitus-interface}.
2654 There is no collision handling in the case of multiple per-voice
2659 @subsection Note heads
2661 This section suggests ways of altering note heads.
2664 * Special note heads::
2665 * Easy notation note heads::
2666 * Shape note heads::
2670 @node Special note heads
2671 @unnumberedsubsubsec Special note heads
2673 @cindex note heads, special
2674 @cindex note heads, cross
2675 @cindex note heads, diamond
2676 @cindex note heads, parlato
2677 @cindex note heads, harmonic
2678 @cindex note heads, guitar
2679 @cindex special note heads
2680 @cindex cross note heads
2681 @cindex diamond note heads
2682 @cindex parlato note heads
2683 @cindex harmonic note heads
2684 @cindex guitar note heads
2685 @cindex note head styles
2686 @cindex styles, note heads
2690 The appearance of note heads may be altered:
2692 @lilypond[verbatim,quote,relative=2]
2694 \override NoteHead #'style = #'cross
2696 \revert NoteHead #'style
2698 \override NoteHead #'style = #'harmonic
2700 \revert NoteHead #'style
2704 To see all note head styles, see @ref{Note head styles}.
2706 The @code{cross} style is used to represent a variety of musical
2707 intentions. The following generic predefined commands modify the
2708 note head in both staff and tablature contexts and can be used to
2709 represent any musical meaning:
2711 @lilypond[verbatim,quote,relative=2]
2719 The music function form of this predefined command may be used
2720 inside and outside chords to generate crossed note heads in both
2721 staff and tablature contexts:
2723 @lilypond[verbatim,quote,relative=2]
2726 c b < g \xNote c f > b
2729 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2730 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2731 be used. The term @notation{dead note} is commonly used by guitarists.
2733 There is also a shorthand for diamond shapes which can be used
2736 @lilypond[verbatim,quote,relative=2]
2737 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2752 @ref{Note head styles},
2753 @ref{Chorded notes},
2754 @ref{Indicating harmonics and dampened notes}.
2756 Internals Reference:
2757 @rinternals{note-event},
2758 @rinternals{Note_heads_engraver},
2759 @rinternals{Ledger_line_engraver},
2760 @rinternals{NoteHead},
2761 @rinternals{LedgerLineSpanner},
2762 @rinternals{note-head-interface},
2763 @rinternals{ledger-line-spanner-interface}.
2766 @node Easy notation note heads
2767 @unnumberedsubsubsec Easy notation note heads
2769 @cindex note heads, practice
2770 @cindex practice note heads
2771 @cindex note heads, easy notation
2772 @cindex easy notation
2773 @cindex beginners' music
2774 @cindex music, beginners'
2775 @cindex easy play note heads
2776 @cindex note heads, easy play
2778 @funindex \easyHeadsOn
2779 @funindex easyHeadsOn
2780 @funindex \easyHeadsOff
2781 @funindex easyHeadsOff
2783 The @q{easy play} note head includes a note name inside the head.
2784 It is used in music for beginners. To make the letters readable,
2785 it should be printed in a large font size. To print with a larger
2786 font, see @ref{Setting the staff size}.
2788 @lilypond[verbatim,quote]
2789 #(set-global-staff-size 26)
2801 @code{\easyHeadsOn},
2802 @code{\easyHeadsOff}.
2808 @lilypondfile[verbatim,quote,texidoc,doctitle]
2809 {numbers-as-easy-note-heads.ly}
2813 @ref{Setting the staff size}.
2818 Internals Reference:
2819 @rinternals{note-event},
2820 @rinternals{Note_heads_engraver},
2821 @rinternals{NoteHead},
2822 @rinternals{note-head-interface}.
2825 @node Shape note heads
2826 @unnumberedsubsubsec Shape note heads
2828 @cindex note heads, shape
2829 @cindex note heads, Aiken
2830 @cindex note heads, sacred harp
2832 @cindex Aiken shape note heads
2833 @cindex sacred harp note heads
2834 @cindex note heads, Southern Harmony
2835 @cindex Southern Harmony note heads
2836 @cindex Funk shape note heads
2837 @cindex note heads, Funk
2838 @cindex note heads, Harmonica Sacra
2839 @cindex Harmonica Sacra note heads
2840 @cindex Christian Harmony note heads
2841 @cindex note heads, Christian Harmony
2842 @cindex Walker shape note heads
2843 @cindex note heads, Walker
2845 @funindex \aikenHeads
2846 @funindex aikenHeads
2847 @funindex \sacredHarpHeads
2848 @funindex sacredHarpHeads
2849 @funindex \southernHarmonyHeads
2850 @funindex southernHarmonyHeads
2851 @funindex \funkHeads
2853 @funindex \walkerHeads
2854 @funindex walkerHeads
2856 In shape note head notation, the shape of the note head
2857 corresponds to the harmonic function of a note in the scale. This
2858 notation was popular in nineteenth-century American song books.
2859 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2860 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2862 @lilypond[verbatim,quote,relative=2]
2864 c, d e f g2 a b1 c \break
2866 c,4 d e f g2 a b1 c \break
2867 \southernHarmonyHeads
2868 c,4 d e f g2 a b1 c \break
2870 c,4 d e f g2 a b1 c \break
2872 c,4 d e f g2 a b1 c \break
2877 @funindex \aikenHeadsMinor
2878 @funindex aikenHeadsMinor
2879 @funindex \sacredHarpHeadsMinor
2880 @funindex sacredHarpHeadsMinor
2881 @funindex \southernHarmonyHeadsMinor
2882 @funindex southernHarmonyHeadsMinor
2883 @funindex \funkHeadsMinor
2884 @funindex funkHeadsMinor
2885 @funindex \walkerHeadsMinor
2886 @funindex walkerHeadsMinor
2888 Shapes are typeset according to the step in the scale, where the base
2889 of the scale is determined by the @code{\key} command. When writing
2890 in a minor key, the scale step can be determined from the relative
2893 @lilypond[verbatim,quote,relative=2]
2896 a b c d e2 f g1 a \break
2898 a,4 b c d e2 f g1 a \break
2899 \sacredHarpHeadsMinor
2901 \southernHarmonyHeadsMinor
2913 @code{\aikenHeadsMinor},
2915 @code{\funkHeadsMinor},
2916 @code{\sacredHarpHeads},
2917 @code{\sacredHarpHeadsMinor},
2918 @code{\southernHarmonyHeads},
2919 @code{\southernHarmonyHeadsMinor},
2920 @code{\walkerHeads},
2921 @code{\walkerHeadsMinor}.
2927 @lilypondfile[verbatim,quote,texidoc,doctitle]
2928 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2930 To see all note head styles, see @ref{Note head styles}.
2937 @ref{Note head styles}.
2939 Internals Reference:
2940 @rinternals{note-event},
2941 @rinternals{Note_heads_engraver},
2942 @rinternals{NoteHead},
2943 @rinternals{note-head-interface}.
2947 @unnumberedsubsubsec Improvisation
2949 @cindex improvisation
2950 @cindex slashed note heads
2951 @cindex note heads, improvisation
2952 @cindex note heads, slashed
2954 @funindex \improvisationOn
2955 @funindex improvisationOn
2956 @funindex \improvisationOff
2957 @funindex improvisationOff
2959 Improvisation is sometimes denoted with slashed note heads, where
2960 the performer may choose any pitch but should play the specified
2961 rhythm. Such note heads can be created:
2963 @lilypond[verbatim,quote,relative=2]
2965 \consists "Pitch_squash_engraver"
2967 e8 e g a a16( bes) a8 g
2978 @code{\improvisationOn},
2979 @code{\improvisationOff}.
2986 Internals Reference:
2987 @rinternals{Pitch_squash_engraver},
2989 @rinternals{RhythmicStaff}.