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]
99 @node Relative octave entry
100 @unnumberedsubsubsec Relative octave entry
103 @cindex relative octave entry
104 @cindex octave entry, relative
105 @cindex relative octave specification
106 @cindex octave specification, relative
111 When octaves are specified in absolute mode it is easy to
112 accidentally put a pitch in the wrong octave. Relative octave
113 mode reduces these errors since most of the time it is not
114 necessary to indicate any octaves at all. Furthermore, in
115 absolute mode a single mistake may be difficult to spot, while in
116 relative mode a single error puts the rest of the piece off by one
120 \relative @var{startpitch} @var{musicexpr}
123 In relative mode, each note is assumed to be as close to the
124 previous note as possible. This means that the octave of each
125 pitch inside @code{@var{musicexpr}} is calculated as follows:
129 If no octave changing mark is used on a pitch, its octave is
130 calculated so that the interval with the previous note is less
131 than a fifth. This interval is determined without considering
135 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
136 added to respectively raise or lower a pitch by an extra octave,
137 relative to the pitch calculated without an octave mark.
140 Multiple octave changing marks can be used. For example,
141 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
145 The pitch of the first note is relative to
146 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
147 absolute octave mode, and it is recommended that it be a octave of
151 Here is the relative mode shown in action:
153 @lilypond[verbatim,quote]
162 Octave changing marks are used for intervals greater than a
165 @lilypond[verbatim,quote]
172 A note sequence without a single octave mark can nevertheless span
175 @lilypond[verbatim,quote]
182 When @code{\relative} blocks are nested, the innermost
183 @code{\relative} block applies.
185 @lilypond[verbatim,quote]
194 @code{\relative} has no effect on @code{\chordmode} blocks.
196 @lilypond[verbatim,quote]
205 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
207 Music inside a @code{\transpose} block is absolute unless a
208 @code{\relative} is included.
210 @lilypond[verbatim,quote]
223 @cindex chords and relative octave entry
224 @cindex relative octave entry and chords
226 If the preceding item is a chord, the first note of the chord is
227 used as the reference point for the octave placement of a
228 following note or chord. Inside chords, the next note is always
229 relative to the preceding one. Examine the next example
230 carefully, paying attention to the @code{c} notes.
232 @lilypond[verbatim,quote]
241 As explained above, the octave of pitches is calculated only with
242 the note names, regardless of any alterations. Therefore, an
243 E-double-sharp following a B will be placed higher, while an
244 F-double-flat will be placed lower. In other words, a
245 double-augmented fourth is considered a smaller interval than a
246 double-diminished fifth, regardless of the number of semitones
247 that each interval contains.
249 @lilypond[verbatim,quote]
258 One consequence of these rules is that the first note inside
259 @code{@w{\relative f}} music is interpreted just the same as
260 if it was written in absolute pitch mode.
275 @rinternals{RelativeOctaveMusic}.
278 @cindex relative octave entry and transposition
279 @cindex transposition and relative octave entry
290 If no @code{@var{startpitch}} is specified for @code{\relative},
291 then@tie{}@code{c'} is assumed. However, this is a deprecated
292 option and may disappear in future versions, so its use is
298 @unnumberedsubsubsec Accidentals
301 @cindex key signature
304 @c duplicated in Key signature and Accidentals
305 @warning{New users are sometimes confused about accidentals and
306 key signatures. In LilyPond, note names are the raw input; key
307 signatures and clefs determine how this raw input is displayed.
308 An unaltered note like@tie{}@code{c} means @q{C natural},
309 regardless of the key signature or clef. For more information,
310 see @rlearning{Accidentals and key signatures}.}
312 @cindex note names, Dutch
313 @cindex note names, default
314 @cindex default note names
318 @cindex sharp, double
322 @cindex natural pitch
324 A @notation{sharp} pitch is made by adding @code{is} to the note
325 name, and a @notation{flat} pitch by adding @code{es}. As you
326 might expect, a @notation{double sharp} or @notation{double flat}
327 is made by adding @code{isis} or @code{eses}. This syntax is
328 derived from Dutch note naming conventions. To use other names
329 for accidentals, see @ref{Note names in other languages}.
331 @lilypond[verbatim,quote,relative=2]
335 A natural will cancel the effect of an accidental or key
336 signature. However, naturals are not encoded into the note name
337 syntax with a suffix; a natural pitch is shown as a simple note
340 @lilypond[verbatim,quote,relative=2]
344 @cindex quarter tones
348 Quarter tones may be added; the following is a series of Cs with
351 @lilypond[verbatim,quote,relative=2]
352 ceseh1 ces ceh c cih cis cisih
357 @cindex accidental, reminder
358 @cindex accidental, cautionary
359 @cindex accidental, parenthesized
360 @cindex reminder accidental
361 @cindex cautionary accidental
362 @cindex parenthesized accidental
368 Normally accidentals are printed automatically, but you may also
369 print them manually. A reminder accidental can be forced by
370 adding an exclamation mark@tie{}@code{!} after the pitch. A
371 cautionary accidental (i.e., an accidental within parentheses) can
372 be obtained by adding the question mark@tie{}@code{?} after the
373 pitch. These extra accidentals can also be used to produce
376 @lilypond[verbatim,quote,relative=2]
377 cis cis cis! cis? c c c! c?
380 @cindex accidental on tied note
381 @cindex tied note, accidental
383 Accidentals on tied notes are only printed at the beginning of a
386 @lilypond[verbatim,quote,relative=2]
395 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
396 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
398 @lilypondfile[verbatim,quote,texidoc,doctitle]
399 {preventing-extra-naturals-from-being-automatically-added.ly}
405 @rglos{double sharp},
408 @rglos{quarter tone}.
411 @rlearning{Accidentals and key signatures}.
414 @ref{Automatic accidentals},
415 @ref{Annotational accidentals (musica ficta)},
416 @ref{Note names in other languages}.
422 @rinternals{Accidental_engraver},
423 @rinternals{Accidental},
424 @rinternals{AccidentalCautionary},
425 @rinternals{accidental-interface}.
428 @cindex accidental, quarter-tone
429 @cindex quarter-tone accidental
433 There are no generally accepted standards for denoting
434 quarter-tone accidentals, so LilyPond's symbol does not conform to
439 @node Note names in other languages
440 @unnumberedsubsubsec Note names in other languages
442 @cindex note names, other languages
443 @cindex pitch names, other languages
444 @cindex language, note names in other
445 @cindex language, pitch names in other
447 There are predefined sets of note and accidental names for various
448 other languages. Selecting the note name language is usually done
449 at the beginning of the file; the following example is written
450 using Italian note names:
452 @lilypond[quote,verbatim]
460 The available languages and the note names they define are:
463 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
466 @item @code{nederlands}
467 @tab c d e f g a bes b
469 @tab do re mi fa sol la sib si
473 @tab c d e f g a bf b
475 @tab do re mi fa sol la sib si
476 @item @code{italiano}
477 @tab do re mi fa sol la sib si
480 @item @code{portugues}
481 @tab do re mi fa sol la sib si
487 @tab do re mi fa sol la sib si
491 In addition to note names, accidental suffixes may
492 also vary depending on the language:
495 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
497 @tab sharp @tab flat @tab double sharp @tab double flat
498 @item @code{nederlands}
499 @tab -is @tab -es @tab -isis @tab -eses
501 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
503 @tab -is @tab -es @tab -isis @tab -eses
505 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
508 @tab -s @tab -b @tab -ss/-x @tab -bb
509 @item @code{italiano}
510 @tab -d @tab -b @tab -dd @tab -bb
512 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
514 @item @code{portugues}
515 @tab -s @tab -b @tab -ss @tab -bb
517 @tab -is @tab -es @tab -isis @tab -eses
519 @tab -iss @tab -ess @tab -ississ @tab -essess
521 @tab -k @tab -b @tab -kk @tab -bb
525 In Dutch, @code{aes} is contracted to @code{as}, but both forms
526 are accepted in LilyPond. Similarly, both @code{es} and
527 @code{ees} are accepted. This also applies to
528 @code{aeses}@tie{}/@tie{}@code{ases} and
529 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
530 contracted names are defined in the corresponding language files.
532 @lilypond[verbatim,quote,relative=2]
533 a2 as e es a ases e eses
543 Some music uses microtones whose alterations are fractions of a
544 @q{normal} sharp or flat. The following table lists note names
545 for quarter-tone accidentals in various languages; here the prefixes
546 @notation{semi-} and @notation{sesqui-} respectively
547 mean @q{half} and @q{one and a half}. Languages that do not
548 appear in this table do not provide special note names yet.
551 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
553 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
555 @item @code{nederlands}
556 @tab -ih @tab -eh @tab -isih @tab -eseh
558 @tab -ih @tab -eh @tab -isih @tab -eseh
560 @tab -qs @tab -qf @tab -tqs @tab -tqf
562 @tab -cs @tab -cb @tab -tcs @tab -tcb
563 @item @code{italiano}
564 @tab -sd @tab -sb @tab -dsd @tab -bsb
565 @item @code{portugues}
566 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
570 Most languages presented here are commonly associated with
571 Western classical music, also referred to as
572 @notation{Common Practice Period}. However, alternate
573 pitches and tuning systems are also supported: see
574 @ref{Common notation for non-Western music}.
580 @rglos{Common Practice Period}.
583 @ref{Common notation for non-Western music}.
586 @file{scm/define-note-names.scm}.
592 @node Changing multiple pitches
593 @subsection Changing multiple pitches
595 This section discusses how to modify pitches.
602 * Modal transformations::
606 @unnumberedsubsubsec Octave checks
608 @cindex octave correction
610 @cindex control pitch
613 @funindex \octaveCheck
614 @funindex octaveCheck
615 @funindex controlpitch
617 In relative mode, it is easy to forget an octave changing mark.
618 Octave checks make such errors easier to find by displaying a
619 warning and correcting the octave if a note is found in an
622 To check the octave of a note, specify the absolute octave after
623 the @code{=}@tie{}symbol. This example will generate a warning
624 (and change the pitch) because the second note is the absolute
625 octave @code{d''} instead of @code{d'} as indicated by the octave
628 @lilypond[verbatim,quote]
635 The octave of notes may also be checked with the
636 @code{\octaveCheck@tie{}@var{controlpitch}} command.
637 @code{@var{controlpitch}} is specified in absolute mode. This
638 checks that the interval between the previous note and the
639 @code{@var{controlpitch}} is within a fourth (i.e., the normal
640 calculation of relative mode). If this check fails, a warning is
641 printed, but the previous note is not changed. Future notes are
642 relative to the @code{@var{controlpitch}}.
644 @lilypond[verbatim,quote]
652 Compare the two bars below. The first and third @code{\octaveCheck}
653 checks fail, but the second one does not fail.
655 @lilypond[verbatim,quote]
675 @rinternals{RelativeOctaveCheck}.
679 @unnumberedsubsubsec Transpose
683 @cindex transposition
684 @cindex transposition of pitches
685 @cindex transposition of notes
686 @cindex pitches, transposition of
687 @cindex notes, transposition of
692 A music expression can be transposed with @code{\transpose}. The
696 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
700 This means that @code{@var{musicexpr}} is transposed by the
701 interval between the pitches @code{@var{frompitch}} and
702 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
703 is changed to @code{@var{topitch}} and any other note is
704 transposed by the same interval. Both pitches are entered in
707 @warning{Music inside a @code{@bs{}transpose} block is absolute
708 unless a @code{@bs{}relative} is included in the block.}
710 Consider a piece written in the key of D-major. It can be
711 transposed up to E-major; note that the key signature is
712 automatically transposed as well.
714 @lilypond[verbatim,quote]
723 @cindex transposing instruments
724 @cindex instruments, transposing
726 If a part written in C (normal @notation{concert pitch}) is to be
727 played on the A clarinet (for which an A is notated as a C and
728 thus sounds a minor third lower than notated), the appropriate
729 part will be produced with:
731 @lilypond[verbatim,quote]
741 Note that we specify @w{@code{\key c \major}} explicitly. If we
742 do not specify a key signature, the notes will be transposed but
743 no key signature will be printed.
745 @code{\transpose} distinguishes between enharmonic pitches: both
746 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
747 transpose up a semitone. The first version will print sharps and
748 the notes will remain on the same scale step, the second version
749 will print flats on the scale step above.
751 @lilypond[verbatim,quote]
752 music = \relative c' { c d e f }
754 \transpose c cis { \music }
755 \transpose c des { \music }
760 @code{\transpose} may also be used in a different way, to input
761 written notes for a transposing instrument. The previous examples
762 show how to enter pitches in C (or @notation{concert pitch}) and
763 typeset them for a transposing instrument, but the opposite is
764 also possible if you for example have a set of instrumental parts
765 and want to print a conductor's score. For example, when entering
766 music for a B-flat trumpet that begins on a notated E (concert D),
770 musicInBflat = @{ e4 @dots{} @}
771 \transpose c bes, \musicInBflat
775 To print this music in F (e.g., rearranging to a French horn) you
776 could wrap the existing music with another @code{\transpose}:
779 musicInBflat = @{ e4 @dots{} @}
780 \transpose f c' @{ \transpose c bes, \musicInBflat @}
784 For more information about transposing instruments,
785 see @ref{Instrument transpositions}.
790 @lilypondfile[verbatim,quote,texidoc,doctitle]
791 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
796 @ref{Instrument transpositions},
798 @ref{Modal transformations},
799 @ref{Relative octave entry},
806 @rinternals{TransposedMusic}.
818 The relative conversion will not affect @code{\transpose},
819 @code{\chordmode} or @code{\relative} sections in its argument. To use
820 relative mode within transposed music, an additional @code{\relative}
821 must be placed inside @code{\transpose}.
823 Triple accidentals will not be printed if using @code{\transpose}. An
824 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
825 rather than e-triple-flat).
829 @unnumberedsubsubsec Inversion
832 @cindex operation, inversion
835 A music expression can be inverted with:
838 \inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
841 The @code{@var{musicexpr}} is inverted interval-by-interval,
842 and then transposed so that @code{@var{from-pitch}} is mapped
843 to @code{@var{to-pitch}}.
845 @lilypond[verbatim,quote]
846 music = \relative c' { c d e f }
849 \inversion d' d' \music
850 \inversion d' ees' \music
856 @ref{Modal transformations},
862 @unnumberedsubsubsec Retrograde
864 @cindex retrograde transformation
865 @cindex transformation, retrograde
866 @cindex operation, retrograde
867 @funindex \retrograde
870 A music expression can be reversed to produce its retrograde:
872 @lilypond[verbatim,quote]
873 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
882 Manual ties inside @code{\retrograde} will be broken and
883 generate warnings. Some ties can be generated automatically
884 by enabling @ref{Automatic note splitting}.
889 @ref{Modal transformations},
893 @node Modal transformations
894 @unnumberedsubsubsec Modal transformations
896 @cindex modal transformations
897 @cindex transformations, modal
898 @cindex operations, modal
900 In a musical composition that is based on a scale, a motif is
901 frequently transformed in various ways. It may be
902 @notation{transposed} to start at different places in the scale or
903 it may be @notation{inverted} around a pivot point in the scale.
904 It may also be reversed to produce its @notation{retrograde}, see
907 @warning{Any note that does not lie within the given scale will be
910 @subsubheading Modal transposition
912 @cindex modal transposition
913 @cindex transposition, modal
914 @cindex operation, transposition
915 @funindex \modalTranspose
916 @funindex modalTranspose
918 A motif can be transposed within a given scale with:
921 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
924 The notes of @var{motif} are shifted within the @var{scale} by the
925 number of scale degrees given by the interval between @var{to-pitch}
926 and @var{from-pitch}:
928 @lilypond[verbatim,quote]
929 diatonicScale = \relative c' { c d e f g a b }
930 motif = \relative c' { c8 d e f g a b c }
934 \modalTranspose c f \diatonicScale \motif
935 \modalTranspose c b, \diatonicScale \motif
939 An ascending scale of any length and with any intervals may be
942 @lilypond[verbatim,quote]
943 pentatonicScale = \relative c' { ges aes bes des ees }
944 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
948 \modalTranspose ges ees' \pentatonicScale \motif
952 When used with a chromatic scale @code{\modalTranspose} has a
953 similar effect to @code{\transpose}, but with the ability to
954 specify the names of the notes to be used:
956 @lilypond[verbatim,quote]
957 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
958 motif = \relative c' { c8 d e f g a b c }
962 \transpose c f \motif
963 \modalTranspose c f \chromaticScale \motif
967 @subsubheading Modal inversion
969 @cindex modal inversion
970 @cindex inversion, modal
971 @cindex operation, modal inversion
972 @funindex \modalInversion
973 @funindex modalInversion
975 A motif can be inverted within a given scale around a given pivot
976 note and transposed in a single operation with:
979 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
982 The notes of @var{motif} are placed the same number of scale degrees
983 from the @var{around-pitch} note within the @var{scale}, but in the
984 opposite direction, and the result is then shifted within the
985 @var{scale} by the number of scale degrees given by the interval between
986 @var{to-pitch} and @var{around-pitch}.
988 So to simply invert around a note in the scale use the same value for
989 @var{around-pitch} and @var{to-pitch}:
991 @lilypond[verbatim,quote]
992 octatonicScale = \relative c' { ees f fis gis a b c d }
993 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
997 \modalInversion fis' fis' \octatonicScale \motif
1001 To invert around a pivot between two notes in the scale, invert around
1002 one of the notes and then transpose by one scale degree. The two notes
1003 specified can be interpreted as bracketing the pivot point:
1005 @lilypond[verbatim,quote]
1006 scale = \relative c' { c g' }
1007 motive = \relative c' { c c g' c, }
1011 \modalInversion c' g' \scale \motive
1015 The combined operation of inversion and retrograde produce the
1016 retrograde-inversion:
1018 @lilypond[verbatim,quote]
1019 octatonicScale = \relative c' { ees f fis gis a b c d }
1020 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1024 \retrograde \modalInversion c' c' \octatonicScale \motif
1035 @node Displaying pitches
1036 @subsection Displaying pitches
1038 This section discusses how to alter the output of pitches.
1044 * Instrument transpositions::
1045 * Automatic accidentals::
1051 @unnumberedsubsubsec Clef
1062 @cindex soprano clef
1063 @cindex mezzosoprano clef
1064 @cindex baritone clef
1065 @cindex varbaritone clef
1066 @cindex subbass clef
1068 @cindex ancient clef
1069 @cindex clef, ancient
1073 @cindex clef, treble
1074 @cindex clef, violin
1078 @cindex clef, french
1079 @cindex clef, soprano
1080 @cindex clef, mezzosoprano
1081 @cindex clef, baritone
1082 @cindex clef, varbaritone
1083 @cindex clef, subbass
1089 The clef may be altered. Middle C is shown in every example. The
1090 following clef names can (but do not need to) be enclosed in quotes.
1092 @lilypond[verbatim,quote,relative=1]
1103 Other clefs include:
1105 @lilypond[verbatim,quote,relative=1]
1126 \clef G % synonym for treble
1128 \clef F % synonym for bass
1130 \clef C % synonym for alto
1134 @cindex transposing clef
1135 @cindex clef, transposing
1136 @cindex octave transposition
1137 @cindex choral tenor clef
1138 @cindex tenor clef, choral
1140 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1141 clef is transposed one octave down or up respectively,
1142 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1143 Other integers can be used if required. Clef names containing
1144 non-alphabetic characters must be enclosed in quotes
1146 @lilypond[verbatim,quote,relative=1]
1161 Some special purpose clefs are described in @ref{Mensural clefs},
1162 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1163 tablatures}. For mixing different clefs when using cue notes within a
1164 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1165 in @ref{Formatting cue notes}.
1169 @lilypondfile[verbatim,quote,texidoc,doctitle]
1170 {tweaking-clef-properties.ly}
1174 @ref{Mensural clefs},
1175 @ref{Gregorian clefs},
1176 @ref{Default tablatures},
1177 @ref{Custom tablatures},
1178 @ref{Formatting cue notes}.
1183 Internals Reference:
1184 @rinternals{Clef_engraver},
1186 @rinternals{OctavateEight},
1187 @rinternals{clef-interface}.
1191 @unnumberedsubsubsec Key signature
1193 @cindex key signature
1198 @c duplicated in Key signature and Accidentals
1199 @warning{New users are sometimes confused about accidentals and
1200 key signatures. In LilyPond, note names are the raw input; key
1201 signatures and clefs determine how this raw input is displayed.
1202 An unaltered note like@tie{}@code{c} means @q{C natural},
1203 regardless of the key signature or clef. For more information,
1204 see @rlearning{Accidentals and key signatures}.}
1206 The key signature indicates the tonality in which a piece is
1207 played. It is denoted by a set of alterations (flats or sharps)
1208 at the start of the staff. The key signature may be altered:
1211 \key @var{pitch} @var{mode}
1224 @funindex \mixolydian
1225 @funindex mixolydian
1233 @cindex church modes
1246 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1247 to get a key signature of @code{@var{pitch}}-major or
1248 @code{@var{pitch}}-minor, respectively. You may also use the
1249 standard mode names, also called @notation{church modes}:
1250 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1251 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1253 @lilypond[verbatim,quote,relative=2]
1263 @lilypondfile[verbatim,quote,texidoc,doctitle]
1264 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1266 @lilypondfile[verbatim,quote,texidoc,doctitle]
1267 {non-traditional-key-signatures.ly}
1272 @rglos{church mode},
1276 @rlearning{Accidentals and key signatures}.
1281 Internals Reference:
1282 @rinternals{KeyChangeEvent},
1283 @rinternals{Key_engraver},
1284 @rinternals{Key_performer},
1285 @rinternals{KeyCancellation},
1286 @rinternals{KeySignature},
1287 @rinternals{key-cancellation-interface},
1288 @rinternals{key-signature-interface}.
1291 @node Ottava brackets
1292 @unnumberedsubsubsec Ottava brackets
1300 @funindex set-octavation
1304 @notation{Ottava brackets} introduce an extra transposition of an
1305 octave for the staff:
1307 @lilypond[verbatim,quote,relative=2]
1323 @lilypondfile[verbatim,quote,texidoc,doctitle]
1334 Internals Reference:
1335 @rinternals{Ottava_spanner_engraver},
1336 @rinternals{OttavaBracket},
1337 @rinternals{ottava-bracket-interface}.
1340 @node Instrument transpositions
1341 @unnumberedsubsubsec Instrument transpositions
1343 @cindex transposition, MIDI
1344 @cindex transposition, instrument
1345 @cindex transposing instrument
1347 @cindex MIDI transposition
1349 @funindex \transposition
1350 @funindex transposition
1352 When typesetting scores that involve transposing instruments, some
1353 parts can be typeset in a different pitch than the
1354 @notation{concert pitch}. In these cases, the key of the
1355 @notation{transposing instrument} should be specified; otherwise
1356 the MIDI output and cues in other parts will produce incorrect
1357 pitches. For more information about quotations, see
1358 @ref{Quoting other voices}.
1361 \transposition @var{pitch}
1364 The pitch to use for @code{\transposition} should correspond to
1365 the real sound heard when a@tie{}@code{c'} written on the staff is
1366 played by the transposing instrument. This pitch is entered in
1367 absolute mode, so an instrument that produces a real sound which
1368 is one tone higher than the printed music should use
1369 @w{@code{\transposition d'}}. @code{\transposition} should
1370 @emph{only} be used if the pitches are @emph{not} being entered in
1373 Here are a few notes for violin and B-flat clarinet where the
1374 parts have been entered using the notes and key as they appear in
1375 each part of the conductor's score. The two instruments are
1378 @lilypond[verbatim,quote]
1380 \new Staff = "violin" {
1382 \set Staff.instrumentName = #"Vln"
1383 \set Staff.midiInstrument = #"violin"
1384 % not strictly necessary, but a good reminder
1391 \new Staff = "clarinet" {
1393 \set Staff.instrumentName = \markup { Cl (B\flat) }
1394 \set Staff.midiInstrument = #"clarinet"
1404 The @code{\transposition} may be changed during a piece. For
1405 example, a clarinetist may switch from an A clarinet to a B-flat
1408 @lilypond[verbatim,quote,relative=2]
1409 \set Staff.instrumentName = #"Cl (A)"
1414 s1*0^\markup { Switch to B\flat clarinet }
1425 @rglos{concert pitch},
1426 @rglos{transposing instrument}.
1429 @ref{Quoting other voices},
1436 @node Automatic accidentals
1437 @unnumberedsubsubsec Automatic accidentals
1439 @cindex accidental style
1440 @cindex accidental style, default
1442 @cindex accidentals, automatic
1443 @cindex automatic accidentals
1444 @cindex default accidental style
1446 @funindex \accidentalStyle
1450 There are many different conventions on how to typeset
1451 accidentals. LilyPond provides a function to specify which
1452 accidental style to use. This function is called as follows:
1456 \accidentalStyle "voice"
1461 The accidental style applies to the current @code{Staff} by
1462 default (with the exception of the styles @code{piano} and
1463 @code{piano-cautionary}, which are explained below). Optionally,
1464 the function can take a second argument that determines in which
1465 scope the style should be changed. For example, to use the same
1466 style in all staves of the current @code{StaffGroup}, use:
1469 \accidentalStyle #'StaffGroup "voice"
1472 The following accidental styles are supported. To demonstrate
1473 each style, we use the following example:
1476 @lilypond[verbatim,quote]
1480 cis'8 fis, bes4 <a cis>8 f bis4 |
1494 \voiceTwo \relative c' {
1495 <fis, a cis>8 <fis a cis>
1498 \change Staff = down
1503 \change Staff = down
1504 <fis, a cis>4 gis <f a d>2 |
1511 \context Staff = "up" {
1512 \accidentalStyle "default"
1515 \context Staff = "down" {
1516 \accidentalStyle "default"
1523 Note that the last lines of this example can be replaced by the
1524 following, as long as the same accidental style should be used in
1530 \context Staff = "up" @{
1531 %%% change the next line as desired:
1532 \accidentalStyle #'Score "default"
1535 \context Staff = "down" @{
1543 @c don't use verbatim in this table.
1547 @cindex default accidental style
1548 @cindex accidental style, default
1552 This is the default typesetting behavior. It corresponds to
1553 eighteenth-century common practice: accidentals are remembered to
1554 the end of the measure in which they occur and only in their own
1555 octave. Thus, in the example below, no natural signs are printed
1556 before the@tie{}@code{b} in the second measure or the
1563 cis'8 fis, bes4 <a cis>8 f bis4 |
1577 \voiceTwo \relative c' {
1578 <fis, a cis>8 <fis a cis>
1581 \change Staff = down
1586 \change Staff = down
1587 <fis, a cis>4 gis <f a d>2 |
1594 \context Staff = "up" {
1595 \accidentalStyle "default"
1598 \context Staff = "down" {
1599 \accidentalStyle "default"
1608 @cindex accidental style, voice
1609 @cindex voice accidental style
1610 @cindex accidental style, modern
1611 @cindex modern accidental style
1612 @cindex accidental style, modern-cautionary
1613 @cindex modern-cautionary accidental style
1617 The normal behavior is to remember the accidentals at
1618 @code{Staff}-level. In this style, however, accidentals are
1619 typeset individually for each voice. Apart from that, the rule is
1620 similar to @code{default}.
1622 As a result, accidentals from one voice do not get canceled in
1623 other voices, which is often an unwanted result: in the following
1624 example, it is hard to determine whether the second@tie{}@code{a}
1625 should be played natural or sharp. The @code{voice} option should
1626 therefore be used only if the voices are to be read solely by
1627 individual musicians. If the staff is to be used by one musician
1628 (e.g., a conductor or in a piano score) then @code{modern} or
1629 @code{modern-cautionary} should be used instead.
1636 cis'8 fis, bes4 <a cis>8 f bis4 |
1650 \voiceTwo \relative c' {
1651 <fis, a cis>8 <fis a cis>
1654 \change Staff = down
1659 \change Staff = down
1660 <fis, a cis>4 gis <f a d>2 |
1667 \context Staff = "up" {
1668 \accidentalStyle "voice"
1671 \context Staff = "down" {
1672 \accidentalStyle "voice"
1681 @cindex accidentals, modern style
1682 @cindex modern style accidentals
1686 This rule corresponds to the common practice in the twentieth
1687 century. It omits some extra natural signs, which were
1688 traditionally prefixed to a sharp following a double sharp,
1689 or a flat following a double flat. The @code{modern} rule
1690 prints the same accidentals as @code{default}, with
1691 two additions that serve to avoid ambiguity: after temporary
1692 accidentals, cancellation marks are printed also in the following
1693 measure (for notes in the same octave) and, in the same measure,
1694 for notes in other octaves. Hence the naturals before
1695 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1702 cis'8 fis, bes4 <a cis>8 f bis4 |
1716 \voiceTwo \relative c' {
1717 <fis, a cis>8 <fis a cis>
1720 \change Staff = down
1725 \change Staff = down
1726 <fis, a cis>4 gis <f a d>2 |
1733 \context Staff = "up" {
1734 \accidentalStyle "modern"
1737 \context Staff = "down" {
1738 \accidentalStyle "modern"
1745 @item modern-cautionary
1747 @cindex accidentals, modern cautionary style
1748 @cindex modern accidental style
1749 @cindex modern cautionary accidental style
1750 @cindex modern style accidentals
1751 @cindex modern style cautionary accidentals
1753 @funindex modern-cautionary
1755 This rule is similar to @code{modern}, but the @q{extra}
1756 accidentals (the ones not typeset by @code{default}) are typeset
1757 as cautionary accidentals. They are by default printed with
1758 parentheses, but they can also be printed in reduced size by
1759 defining the @code{cautionary-style} property of
1760 @code{AccidentalSuggestion}.
1766 cis'8 fis, bes4 <a cis>8 f bis4 |
1780 \voiceTwo \relative c' {
1781 <fis, a cis>8 <fis a cis>
1784 \change Staff = down
1789 \change Staff = down
1790 <fis, a cis>4 gis <f a d>2 |
1797 \context Staff = "up" {
1798 \accidentalStyle "modern-cautionary"
1801 \context Staff = "down" {
1802 \accidentalStyle "modern-cautionary"
1811 @cindex accidental style, modern
1812 @cindex accidentals, modern
1813 @cindex accidentals, multivoice
1814 @cindex modern accidental style
1815 @cindex modern accidentals
1816 @cindex multivoice accidentals
1818 @funindex modern-voice
1820 This rule is used for multivoice accidentals to be read both by
1821 musicians playing one voice and musicians playing all voices.
1822 Accidentals are typeset for each voice, but they @emph{are}
1823 canceled across voices in the same @code{Staff}. Hence,
1824 the@tie{}@code{a} in the last measure is canceled because the
1825 previous cancellation was in a different voice, and
1826 the@tie{}@code{d} in the lower staff is canceled because of the
1827 accidental in a different voice in the previous measure:
1833 cis'8 fis, bes4 <a cis>8 f bis4 |
1847 \voiceTwo \relative c' {
1848 <fis, a cis>8 <fis a cis>
1851 \change Staff = down
1856 \change Staff = down
1857 <fis, a cis>4 gis <f a d>2 |
1864 \context Staff = "up" {
1865 \accidentalStyle "modern-voice"
1868 \context Staff = "down" {
1869 \accidentalStyle "modern-voice"
1876 @cindex accidental style, cautionary, modern voice
1877 @cindex accidental style, modern voice cautionary
1878 @cindex accidental style, voice, modern cautionary
1880 @funindex modern-voice-cautionary
1882 @item modern-voice-cautionary
1884 This rule is the same as @code{modern-voice}, but with the extra
1885 accidentals (the ones not typeset by @code{voice}) typeset as
1886 cautionaries. Even though all accidentals typeset by
1887 @code{default} @emph{are} typeset with this rule, some of them are
1888 typeset as cautionaries.
1894 cis'8 fis, bes4 <a cis>8 f bis4 |
1908 \voiceTwo \relative c' {
1909 <fis, a cis>8 <fis a cis>
1912 \change Staff = down
1917 \change Staff = down
1918 <fis, a cis>4 gis <f a d>2 |
1925 \context Staff = "up" {
1926 \accidentalStyle "modern-voice-cautionary"
1929 \context Staff = "down" {
1930 \accidentalStyle "modern-voice-cautionary"
1939 @cindex accidental style, piano
1940 @cindex accidentals, piano
1941 @cindex piano accidental style
1942 @cindex piano accidentals
1946 This rule reflects twentieth-century practice for piano notation.
1947 Its behavior is very similar to @code{modern} style, but here
1948 accidentals also get canceled across the staves in the same
1949 @code{GrandStaff} or @code{PianoStaff}, hence all the
1950 cancellations of the final notes.
1952 This accidental style applies to the current @code{GrandStaff} or
1953 @code{PianoStaff} by default.
1959 cis'8 fis, bes4 <a cis>8 f bis4 |
1973 \voiceTwo \relative c' {
1974 <fis, a cis>8 <fis a cis>
1977 \change Staff = down
1982 \change Staff = down
1983 <fis, a cis>4 gis <f a d>2 |
1990 \context Staff = "up" {
1991 \accidentalStyle "piano"
1994 \context Staff = "down" {
2001 @item piano-cautionary
2003 @cindex accidentals, piano cautionary
2004 @cindex cautionary accidentals, piano
2005 @cindex piano cautionary accidentals
2006 @cindex accidental style, piano cautionary
2007 @cindex cautionary accidental style, piano
2008 @cindex piano cautionary accidental style
2010 @funindex piano-cautionary
2012 This is the same as @code{piano} but with the extra accidentals
2013 typeset as cautionaries.
2019 cis'8 fis, bes4 <a cis>8 f bis4 |
2033 \voiceTwo \relative c' {
2034 <fis, a cis>8 <fis a cis>
2037 \change Staff = down
2042 \change Staff = down
2043 <fis, a cis>4 gis <f a d>2 |
2050 \context Staff = "up" {
2051 \accidentalStyle "piano-cautionary"
2054 \context Staff = "down" {
2064 @cindex neo-modern accidental style
2065 @cindex accidental style, neo-modern
2067 @funindex neo-modern
2069 This rule reproduces a common practice in contemporary music:
2070 accidentals are printed like with @code{modern}, but they are printed
2071 again if the same note appears later in the same measure -- except
2072 if the note is immediately repeated.
2078 cis'8 fis, bes4 <a cis>8 f bis4 |
2092 \voiceTwo \relative c' {
2093 <fis, a cis>8 <fis a cis>
2096 \change Staff = down
2101 \change Staff = down
2102 <fis, a cis>4 gis <f a d>2 |
2109 \context Staff = "up" {
2110 \accidentalStyle "neo-modern"
2113 \context Staff = "down" {
2114 \accidentalStyle "neo-modern"
2121 @item neo-modern-cautionary
2123 @cindex neo-modern-cautionary accidental style
2124 @cindex accidental style, neo-modern-cautionary
2126 @funindex neo-modern-cautionary
2128 This rule is similar to @code{neo-modern}, but the extra
2129 accidentals are printed as cautionary accidentals.
2135 cis'8 fis, bes4 <a cis>8 f bis4 |
2149 \voiceTwo \relative c' {
2150 <fis, a cis>8 <fis a cis>
2153 \change Staff = down
2158 \change Staff = down
2159 <fis, a cis>4 gis <f a d>2 |
2166 \context Staff = "up" {
2167 \accidentalStyle "neo-modern-cautionary"
2170 \context Staff = "down" {
2171 \accidentalStyle "neo-modern-cautionary"
2179 @item neo-modern-voice
2181 @cindex neo-modern-voice accidental style
2182 @cindex accidental style, neo-modern-voice
2184 @funindex neo-modern-voice
2186 This rule is used for multivoice accidentals to be read both by
2187 musicians playing one voice and musicians playing all voices.
2188 Accidentals are typeset for each voice as with @code{neo-modern},
2189 but they are canceled across voices in the same @code{Staff}.
2195 cis'8 fis, bes4 <a cis>8 f bis4 |
2209 \voiceTwo \relative c' {
2210 <fis, a cis>8 <fis a cis>
2213 \change Staff = down
2218 \change Staff = down
2219 <fis, a cis>4 gis <f a d>2 |
2226 \context Staff = "up" {
2227 \accidentalStyle "neo-modern-voice"
2230 \context Staff = "down" {
2231 \accidentalStyle "neo-modern-voice"
2238 @item neo-modern-voice-cautionary
2240 @cindex neo-modern-voice-cautionary accidental style
2241 @cindex accidental style, neo-modern-voice-cautionary
2243 @funindex neo-modern-voice-cautionary
2245 This rule is similar to @code{neo-modern-voice}, but the extra
2246 accidentals are printed as cautionary accidentals.
2252 cis'8 fis, bes4 <a cis>8 f bis4 |
2266 \voiceTwo \relative c' {
2267 <fis, a cis>8 <fis a cis>
2270 \change Staff = down
2275 \change Staff = down
2276 <fis, a cis>4 gis <f a d>2 |
2283 \context Staff = "up" {
2284 \accidentalStyle "neo-modern-voice-cautionary"
2287 \context Staff = "down" {
2288 \accidentalStyle "neo-modern-voice-cautionary"
2297 @cindex dodecaphonic accidental style
2298 @cindex dodecaphonic style, neo-modern
2300 @funindex dodecaphonic
2302 This rule reflects a practice introduced by composers at
2303 the beginning of the 20th century, in an attempt to
2304 abolish the hierarchy between natural and non-natural notes.
2305 With this style, @emph{every} note gets an accidental sign,
2306 including natural signs.
2312 cis'8 fis, bes4 <a cis>8 f bis4 |
2326 \voiceTwo \relative c' {
2327 <fis, a cis>8 <fis a cis>
2330 \change Staff = down
2335 \change Staff = down
2336 <fis, a cis>4 gis <f a d>2 |
2343 \context Staff = "up" {
2344 \accidentalStyle "dodecaphonic"
2347 \context Staff = "down" {
2348 \accidentalStyle "dodecaphonic"
2358 @cindex teaching accidental style
2359 @cindex accidental style, teaching
2363 This rule is intended for students, and makes it easy to create
2364 scale sheets with automatically created cautionary accidentals.
2365 Accidentals are printed like with @code{modern}, but cautionary
2366 accidentals are added for all sharp or flat tones specified by the
2367 key signature, except if the note is immediately repeated.
2373 cis'8 fis, bes4 <a cis>8 f bis4 |
2387 \voiceTwo \relative c' {
2388 <fis, a cis>8 <fis a cis>
2391 \change Staff = down
2396 \change Staff = down
2397 <fis, a cis>4 gis <f a d>2 |
2404 \context Staff = "up" {
2406 \accidentalStyle "teaching"
2409 \context Staff = "down" {
2411 \accidentalStyle "teaching"
2422 @cindex accidental style, no reset
2423 @cindex no reset accidental style
2427 This is the same as @code{default} but with accidentals lasting
2428 @q{forever} and not only within the same measure:
2434 cis'8 fis, bes4 <a cis>8 f bis4 |
2448 \voiceTwo \relative c' {
2449 <fis, a cis>8 <fis a cis>
2452 \change Staff = down
2457 \change Staff = down
2458 <fis, a cis>4 gis <f a d>2 |
2465 \context Staff = "up" {
2466 \accidentalStyle "no-reset"
2469 \context Staff = "down" {
2470 \accidentalStyle "no-reset"
2479 @cindex forget accidental style
2480 @cindex accidental style, forget
2484 This is the opposite of @code{no-reset}: Accidentals are not
2485 remembered at all -- and hence all accidentals are typeset
2486 relative to the key signature, regardless of what came before in
2493 cis'8 fis, bes4 <a cis>8 f bis4 |
2507 \voiceTwo \relative c' {
2508 <fis, a cis>8 <fis a cis>
2511 \change Staff = down
2516 \change Staff = down
2517 <fis, a cis>4 gis <f a d>2 |
2524 \context Staff = "up" {
2525 \accidentalStyle "forget"
2528 \context Staff = "down" {
2529 \accidentalStyle "forget"
2541 Internals Reference:
2542 @rinternals{Accidental},
2543 @rinternals{Accidental_engraver},
2544 @rinternals{GrandStaff},
2545 @rinternals{PianoStaff},
2547 @rinternals{AccidentalSuggestion},
2548 @rinternals{AccidentalPlacement},
2549 @rinternals{accidental-suggestion-interface}.
2552 @cindex accidentals and simultaneous notes
2553 @cindex simultaneous notes and accidentals
2554 @cindex accidentals in chords
2555 @cindex chords, accidentals in
2559 Simultaneous notes are not considered in the automatic
2560 determination of accidentals; only previous notes and the key
2561 signature are considered. Forcing accidentals with@tie{}@code{!}
2562 or@tie{}@code{?} may be required when the same note name occurs
2563 simultaneously with different alterations, as in @samp{<f! fis!>}.
2565 Cautionary cancellation of accidentals is done by looking at previous measure.
2566 However, in the @code{\alternative} block following a @code{\repeat volta N}
2567 section, one would expect the cancellation being calculated using the previous
2568 @emph{played} measure, not previous @emph{printed} measure.
2569 In the following example, the natural @code{c} in the second alternative does
2570 not need a natural sign:
2574 \accidentalStyle "modern"
2586 The following work-around can be used: define a function that locally changes
2587 the accidental style to @code{forget}:
2589 @lilypond[verbatim,quote]
2590 forget = #(define-music-function (parser location music) (ly:music?) #{
2591 \accidentalStyle "forget"
2593 \accidentalStyle "modern"
2596 \accidentalStyle "modern"
2609 @unnumberedsubsubsec Ambitus
2612 @cindex range of pitches
2615 The term @notation{ambitus} (pl. ambitus) denotes a range of
2616 pitches for a given voice in a part of music. It may also denote
2617 the pitch range that a musical instrument is capable of playing.
2618 Ambitus are printed on vocal parts so that performers can easily
2619 determine if it matches their capabilities.
2621 Ambitus are denoted at the beginning of a piece near the initial
2622 clef. The range is graphically specified by two note heads that
2623 represent the lowest and highest pitches. Accidentals are only
2624 printed if they are not part of the key signature.
2626 @lilypond[verbatim,quote]
2630 \consists "Ambitus_engraver"
2643 @lilypondfile[verbatim,quote,texidoc,doctitle]
2644 {adding-ambitus-per-voice.ly}
2646 @lilypondfile[verbatim,quote,texidoc,doctitle]
2647 {ambitus-with-multiple-voices.ly}
2649 @lilypondfile[verbatim,quote,texidoc,doctitle]
2650 {changing-the-ambitus-gap.ly}
2660 Internals Reference:
2661 @rinternals{Ambitus_engraver},
2664 @rinternals{Ambitus},
2665 @rinternals{AmbitusAccidental},
2666 @rinternals{AmbitusLine},
2667 @rinternals{AmbitusNoteHead},
2668 @rinternals{ambitus-interface}.
2673 There is no collision handling in the case of multiple per-voice
2678 @subsection Note heads
2680 This section suggests ways of altering note heads.
2683 * Special note heads::
2684 * Easy notation note heads::
2685 * Shape note heads::
2689 @node Special note heads
2690 @unnumberedsubsubsec Special note heads
2692 @cindex note heads, special
2693 @cindex note heads, cross
2694 @cindex note heads, diamond
2695 @cindex note heads, parlato
2696 @cindex note heads, harmonic
2697 @cindex note heads, guitar
2698 @cindex special note heads
2699 @cindex cross note heads
2700 @cindex diamond note heads
2701 @cindex parlato note heads
2702 @cindex harmonic note heads
2703 @cindex guitar note heads
2704 @cindex note head styles
2705 @cindex styles, note heads
2709 The appearance of note heads may be altered:
2711 @lilypond[verbatim,quote,relative=2]
2713 \override NoteHead #'style = #'cross
2715 \revert NoteHead #'style
2717 \override NoteHead #'style = #'harmonic
2719 \revert NoteHead #'style
2723 To see all note head styles, see @ref{Note head styles}.
2725 The @code{cross} style is used to represent a variety of musical
2726 intentions. The following generic predefined commands modify the
2727 note head in both staff and tablature contexts and can be used to
2728 represent any musical meaning:
2730 @lilypond[verbatim,quote,relative=2]
2738 The music function form of this predefined command may be used
2739 inside and outside chords to generate crossed note heads in both
2740 staff and tablature contexts:
2742 @lilypond[verbatim,quote,relative=2]
2745 c b < g \xNote c f > b
2748 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2749 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2750 be used. The term @notation{dead note} is commonly used by guitarists.
2752 There is also a shorthand for diamond shapes which can be used
2755 @lilypond[verbatim,quote,relative=2]
2756 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2771 @ref{Note head styles},
2772 @ref{Chorded notes},
2773 @ref{Indicating harmonics and dampened notes}.
2775 Internals Reference:
2776 @rinternals{note-event},
2777 @rinternals{Note_heads_engraver},
2778 @rinternals{Ledger_line_engraver},
2779 @rinternals{NoteHead},
2780 @rinternals{LedgerLineSpanner},
2781 @rinternals{note-head-interface},
2782 @rinternals{ledger-line-spanner-interface}.
2785 @node Easy notation note heads
2786 @unnumberedsubsubsec Easy notation note heads
2788 @cindex note heads, practice
2789 @cindex practice note heads
2790 @cindex note heads, easy notation
2791 @cindex easy notation
2792 @cindex beginners' music
2793 @cindex music, beginners'
2794 @cindex easy play note heads
2795 @cindex note heads, easy play
2797 @funindex \easyHeadsOn
2798 @funindex easyHeadsOn
2799 @funindex \easyHeadsOff
2800 @funindex easyHeadsOff
2802 The @q{easy play} note head includes a note name inside the head.
2803 It is used in music for beginners. To make the letters readable,
2804 it should be printed in a large font size. To print with a larger
2805 font, see @ref{Setting the staff size}.
2807 @lilypond[verbatim,quote]
2808 #(set-global-staff-size 26)
2820 @code{\easyHeadsOn},
2821 @code{\easyHeadsOff}.
2827 @lilypondfile[verbatim,quote,texidoc,doctitle]
2828 {numbers-as-easy-note-heads.ly}
2833 @ref{Setting the staff size}.
2838 Internals Reference:
2839 @rinternals{note-event},
2840 @rinternals{Note_heads_engraver},
2841 @rinternals{NoteHead},
2842 @rinternals{note-head-interface}.
2845 @node Shape note heads
2846 @unnumberedsubsubsec Shape note heads
2848 @cindex note heads, shape
2849 @cindex note heads, Aiken
2850 @cindex note heads, sacred harp
2852 @cindex Aiken shape note heads
2853 @cindex sacred harp note heads
2854 @cindex note heads, Southern Harmony
2855 @cindex Southern Harmony note heads
2856 @cindex Funk shape note heads
2857 @cindex note heads, Funk
2858 @cindex note heads, Harmonica Sacra
2859 @cindex Harmonica Sacra note heads
2860 @cindex Christian Harmony note heads
2861 @cindex note heads, Christian Harmony
2862 @cindex Walker shape note heads
2863 @cindex note heads, Walker
2865 @funindex \aikenHeads
2866 @funindex aikenHeads
2867 @funindex \sacredHarpHeads
2868 @funindex sacredHarpHeads
2869 @funindex \southernHarmonyHeads
2870 @funindex southernHarmonyHeads
2871 @funindex \funkHeads
2873 @funindex \walkerHeads
2874 @funindex walkerHeads
2876 In shape note head notation, the shape of the note head
2877 corresponds to the harmonic function of a note in the scale. This
2878 notation was popular in nineteenth-century American song books.
2879 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2880 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2882 @lilypond[verbatim,quote,relative=2]
2884 c, d e f g2 a b1 c \break
2886 c,4 d e f g2 a b1 c \break
2887 \southernHarmonyHeads
2888 c,4 d e f g2 a b1 c \break
2890 c,4 d e f g2 a b1 c \break
2892 c,4 d e f g2 a b1 c \break
2897 @funindex \aikenHeadsMinor
2898 @funindex aikenHeadsMinor
2899 @funindex \sacredHarpHeadsMinor
2900 @funindex sacredHarpHeadsMinor
2901 @funindex \southernHarmonyHeadsMinor
2902 @funindex southernHarmonyHeadsMinor
2903 @funindex \funkHeadsMinor
2904 @funindex funkHeadsMinor
2905 @funindex \walkerHeadsMinor
2906 @funindex walkerHeadsMinor
2908 Shapes are typeset according to the step in the scale, where the base
2909 of the scale is determined by the @code{\key} command. When writing
2910 in a minor key, the scale step can be determined from the relative
2913 @lilypond[verbatim,quote,relative=2]
2916 a b c d e2 f g1 a \break
2918 a,4 b c d e2 f g1 a \break
2919 \sacredHarpHeadsMinor
2921 \southernHarmonyHeadsMinor
2933 @code{\aikenHeadsMinor},
2935 @code{\funkHeadsMinor},
2936 @code{\sacredHarpHeads},
2937 @code{\sacredHarpHeadsMinor},
2938 @code{\southernHarmonyHeads},
2939 @code{\southernHarmonyHeadsMinor},
2940 @code{\walkerHeads},
2941 @code{\walkerHeadsMinor}.
2947 @lilypondfile[verbatim,quote,texidoc,doctitle]
2948 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2950 To see all note head styles, see @ref{Note head styles}.
2958 @ref{Note head styles}.
2960 Internals Reference:
2961 @rinternals{note-event},
2962 @rinternals{Note_heads_engraver},
2963 @rinternals{NoteHead},
2964 @rinternals{note-head-interface}.
2968 @unnumberedsubsubsec Improvisation
2970 @cindex improvisation
2971 @cindex slashed note heads
2972 @cindex note heads, improvisation
2973 @cindex note heads, slashed
2975 @funindex \improvisationOn
2976 @funindex improvisationOn
2977 @funindex \improvisationOff
2978 @funindex improvisationOff
2980 Improvisation is sometimes denoted with slashed note heads, where
2981 the performer may choose any pitch but should play the specified
2982 rhythm. Such note heads can be created:
2984 @lilypond[verbatim,quote,relative=2]
2986 \consists "Pitch_squash_engraver"
2988 e8 e g a a16( bes) a8 g
3000 @code{\improvisationOn},
3001 @code{\improvisationOff}.
3009 Internals Reference:
3010 @rinternals{Pitch_squash_engraver},
3012 @rinternals{RhythmicStaff}.