1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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]
92 Music can be marked explicitly as being in absolute octave
93 notation by preceding it with @code{\absolute}:
96 \absolute @var{musicexpr}
99 will be interpreted in absolute octave entry mode regardless of
100 the context it appears in.
110 @node Relative octave entry
111 @unnumberedsubsubsec Relative octave entry
114 @cindex relative octave entry
115 @cindex octave entry, relative
116 @cindex relative octave specification
117 @cindex octave specification, relative
122 Absolute octave entry requires specifying the octave for every
123 single note. Relative octave entry, in contrast, specifies each
124 octave in relation to the last note: changing one note's octave
125 will affect all of the following notes.
127 Relative note mode has to be entered explicitly using the
128 @code{\relative} command:
131 \relative @var{startpitch} @var{musicexpr}
134 In relative mode, each note is assumed to be as close to the
135 previous note as possible. This means that the octave of each
136 pitch inside @code{@var{musicexpr}} is calculated as follows:
140 If no octave changing mark is used on a pitch, its octave is
141 calculated so that the interval with the previous note is less
142 than a fifth. This interval is determined without considering
146 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
147 added to respectively raise or lower a pitch by an extra octave,
148 relative to the pitch calculated without an octave mark.
151 Multiple octave changing marks can be used. For example,
152 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
156 The pitch of the first note is relative to
157 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
158 absolute octave mode. Which choices are meaningful?
161 @item an octave of @code{c}
162 Identifying middle C with @code{c'} is quite basic, so finding
163 octaves of @code{c} tends to be straightforward. If your music
164 starts with @code{gis} above @code{c'''}, you'd write something
165 like @code{\relative c''' @{ gis' @dots{} @}}
167 @item an octave of the first note inside
168 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
169 determine the absolute pitch of the first note inside.
171 @item no explicit starting pitch
172 This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
173 viewed as a compact version of the previous option: the first note
174 inside is written in absolute pitch itself. This happens to be
175 equivalent to choosing @code{f} as the reference pitch.
178 The documentation will usually employ the first option.
181 Here is the relative mode shown in action:
183 @lilypond[verbatim,quote]
192 Octave changing marks are used for intervals greater than a
195 @lilypond[verbatim,quote]
202 A note sequence without a single octave mark can nevertheless span
205 @lilypond[verbatim,quote]
212 When @code{\relative} blocks are nested, the innermost
213 @code{\relative} block applies.
215 @lilypond[verbatim,quote]
224 @code{\relative} has no effect on @code{\chordmode} blocks.
226 @lilypond[verbatim,quote]
235 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
237 Music inside a @code{\transpose} block is absolute unless a
238 @code{\relative} is included.
240 @lilypond[verbatim,quote]
253 @cindex chords and relative octave entry
254 @cindex relative octave entry and chords
256 If the preceding item is a chord, the first note of the chord is
257 used as the reference point for the octave placement of a
258 following note or chord. Inside chords, the next note is always
259 relative to the preceding one. Examine the next example
260 carefully, paying attention to the @code{c} notes.
262 @lilypond[verbatim,quote]
271 As explained above, the octave of pitches is calculated only with
272 the note names, regardless of any alterations. Therefore, an
273 E-double-sharp following a B will be placed higher, while an
274 F-double-flat will be placed lower. In other words, a
275 double-augmented fourth is considered a smaller interval than a
276 double-diminished fifth, regardless of the number of semitones
277 that each interval contains.
279 @lilypond[verbatim,quote]
288 One consequence of these rules is that the first note inside
289 @code{@w{\relative f}} music is interpreted just the same as
290 if it was written in absolute pitch mode.
305 @rinternals{RelativeOctaveMusic}.
307 @cindex relative octave entry and transposition
308 @cindex transposition and relative octave entry
319 @unnumberedsubsubsec Accidentals
322 @cindex key signature
325 @c duplicated in Key signature and Accidentals
326 @warning{New users are sometimes confused about accidentals and
327 key signatures. In LilyPond, note names are the raw input; key
328 signatures and clefs determine how this raw input is displayed.
329 An unaltered note like@tie{}@code{c} means @q{C natural},
330 regardless of the key signature or clef. For more information,
331 see @rlearning{Accidentals and key signatures}.}
333 @cindex note names, Dutch
334 @cindex note names, default
335 @cindex default note names
339 @cindex sharp, double
343 @cindex natural pitch
345 A @notation{sharp} pitch is made by adding @code{is} to the note
346 name, and a @notation{flat} pitch by adding @code{es}. As you
347 might expect, a @notation{double sharp} or @notation{double flat}
348 is made by adding @code{isis} or @code{eses}. This syntax is
349 derived from Dutch note naming conventions. To use other names
350 for accidentals, see @ref{Note names in other languages}.
352 @lilypond[verbatim,quote,relative=2]
356 A natural will cancel the effect of an accidental or key
357 signature. However, naturals are not encoded into the note name
358 syntax with a suffix; a natural pitch is shown as a simple note
361 @lilypond[verbatim,quote,relative=2]
365 @cindex quarter tones
369 Quarter tones may be added; the following is a series of Cs with
372 @lilypond[verbatim,quote,relative=2]
373 ceseh1 ces ceh c cih cis cisih
378 @cindex accidental, reminder
379 @cindex accidental, cautionary
380 @cindex accidental, parenthesized
381 @cindex reminder accidental
382 @cindex cautionary accidental
383 @cindex parenthesized accidental
389 Normally accidentals are printed automatically, but you may also
390 print them manually. A reminder accidental can be forced by
391 adding an exclamation mark@tie{}@code{!} after the pitch. A
392 cautionary accidental (i.e., an accidental within parentheses) can
393 be obtained by adding the question mark@tie{}@code{?} after the
394 pitch. These extra accidentals can also be used to produce
397 @lilypond[verbatim,quote,relative=2]
398 cis cis cis! cis? c c c! c?
401 @cindex accidental on tied note
402 @cindex tied note, accidental
404 Accidentals on tied notes are only printed at the beginning of a
407 @lilypond[verbatim,quote,relative=2,ragged-right]
416 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
417 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
419 @lilypondfile[verbatim,quote,texidoc,doctitle]
420 {preventing-extra-naturals-from-being-automatically-added.ly}
426 @rglos{double sharp},
429 @rglos{quarter tone}.
432 @rlearning{Accidentals and key signatures}.
435 @ref{Automatic accidentals},
436 @ref{Annotational accidentals (musica ficta)},
437 @ref{Note names in other languages}.
443 @rinternals{Accidental_engraver},
444 @rinternals{Accidental},
445 @rinternals{AccidentalCautionary},
446 @rinternals{accidental-interface}.
448 @cindex accidental, quarter-tone
449 @cindex quarter-tone accidental
452 There are no generally accepted standards for denoting
453 quarter-tone accidentals, so LilyPond's symbol does not conform to
457 @node Note names in other languages
458 @unnumberedsubsubsec Note names in other languages
460 @cindex note names, other languages
461 @cindex pitch names, other languages
462 @cindex language, note names in other
463 @cindex language, pitch names in other
465 There are predefined sets of note and accidental names for various
466 other languages. Selecting the note name language is usually done
467 at the beginning of the file; the following example is written
468 using Italian note names:
470 @lilypond[quote,verbatim]
478 The available languages and the note names they define are:
481 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
484 @item @code{nederlands}
485 @tab c d e f g a bes b
487 @tab do re mi fa sol la sib si
491 @tab c d e f g a bf b
492 @item @code{espanol} or @code{español}
493 @tab do re mi fa sol la sib si
494 @item @code{italiano} or @code{français}
495 @tab do re mi fa sol la sib si
498 @item @code{portugues}
499 @tab do re mi fa sol la sib si
505 @tab do re mi fa sol la sib si
509 In addition to note names, accidental suffixes may
510 also vary depending on the language:
513 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
515 @tab sharp @tab flat @tab double sharp @tab double flat
516 @item @code{nederlands}
517 @tab -is @tab -es @tab -isis @tab -eses
519 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
521 @tab -is @tab -es @tab -isis @tab -eses
523 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
525 @item @code{espanol} or @code{español}
526 @tab -s @tab -b @tab -ss/-x @tab -bb
527 @item @code{italiano} or @code{français}
528 @tab -d @tab -b @tab -dd @tab -bb
530 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
532 @item @code{portugues}
533 @tab -s @tab -b @tab -ss @tab -bb
535 @tab -is @tab -es @tab -isis @tab -eses
537 @tab -iss @tab -ess @tab -ississ @tab -essess
539 @tab -k @tab -b @tab -kk @tab -bb
543 In Dutch, @code{aes} is contracted to @code{as}, but both forms
544 are accepted in LilyPond. Similarly, both @code{es} and
545 @code{ees} are accepted. This also applies to
546 @code{aeses}@tie{}/@tie{}@code{ases} and
547 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
548 contracted names are defined in the corresponding language files.
550 @lilypond[verbatim,quote,relative=2]
551 a2 as e es a ases e eses
561 Some music uses microtones whose alterations are fractions of a
562 @q{normal} sharp or flat. The following table lists note names
563 for quarter-tone accidentals in various languages; here the prefixes
564 @notation{semi-} and @notation{sesqui-} respectively
565 mean @q{half} and @q{one and a half}. Languages that do not
566 appear in this table do not provide special note names yet.
569 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
571 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
573 @item @code{nederlands}
574 @tab -ih @tab -eh @tab -isih @tab -eseh
576 @tab -ih @tab -eh @tab -isih @tab -eseh
578 @tab -qs @tab -qf @tab -tqs @tab -tqf
579 @item @code{espanol} or @code{español}
580 @tab -cs @tab -cb @tab -tcs @tab -tcb
581 @item @code{italiano} or @code{français}
582 @tab -sd @tab -sb @tab -dsd @tab -bsb
583 @item @code{portugues}
584 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
588 Most languages presented here are commonly associated with
589 Western classical music, also referred to as
590 @notation{Common Practice Period}. However, alternate
591 pitches and tuning systems are also supported: see
592 @ref{Common notation for non-Western music}.
597 @rglos{Common Practice Period}.
600 @ref{Common notation for non-Western music}.
603 @file{scm/define-note-names.scm}.
609 @node Changing multiple pitches
610 @subsection Changing multiple pitches
612 This section discusses how to modify pitches.
619 * Modal transformations::
623 @unnumberedsubsubsec Octave checks
625 @cindex octave correction
627 @cindex control pitch
630 @funindex \octaveCheck
631 @funindex octaveCheck
632 @funindex controlpitch
634 In relative mode, it is easy to forget an octave changing mark.
635 Octave checks make such errors easier to find by displaying a
636 warning and correcting the octave if a note is found in an
639 To check the octave of a note, specify the absolute octave after
640 the @code{=}@tie{}symbol. This example will generate a warning
641 (and change the pitch) because the second note is the absolute
642 octave @code{d''} instead of @code{d'} as indicated by the octave
645 @lilypond[verbatim,quote]
652 The octave of notes may also be checked with the
653 @code{\octaveCheck@tie{}@var{controlpitch}} command.
654 @code{@var{controlpitch}} is specified in absolute mode. This
655 checks that the interval between the previous note and the
656 @code{@var{controlpitch}} is within a fourth (i.e., the normal
657 calculation of relative mode). If this check fails, a warning is
658 printed, but the previous note is not changed. Future notes are
659 relative to the @code{@var{controlpitch}}.
661 @lilypond[verbatim,quote]
669 Compare the two bars below. The first and third @code{\octaveCheck}
670 checks fail, but the second one does not fail.
672 @lilypond[verbatim,quote]
691 @rinternals{RelativeOctaveCheck}.
695 @unnumberedsubsubsec Transpose
699 @cindex transposition
700 @cindex transposition of pitches
701 @cindex transposition of notes
702 @cindex pitches, transposition of
703 @cindex notes, transposition of
708 A music expression can be transposed with @code{\transpose}. The
712 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
716 This means that @code{@var{musicexpr}} is transposed by the
717 interval between the pitches @code{@var{frompitch}} and
718 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
719 is changed to @code{@var{topitch}} and any other note is
720 transposed by the same interval. Both pitches are entered in
723 @warning{Music inside a @code{@bs{}transpose} block is absolute
724 unless a @code{@bs{}relative} is included in the block.}
726 Consider a piece written in the key of D-major. It can be
727 transposed up to E-major; note that the key signature is
728 automatically transposed as well.
730 @lilypond[verbatim,quote]
739 @cindex transposing instruments
740 @cindex instruments, transposing
742 If a part written in C (normal @notation{concert pitch}) is to be
743 played on the A clarinet (for which an A is notated as a C and
744 thus sounds a minor third lower than notated), the appropriate
745 part will be produced with:
747 @lilypond[verbatim,quote]
757 Note that we specify @w{@code{\key c \major}} explicitly. If we
758 do not specify a key signature, the notes will be transposed but
759 no key signature will be printed.
761 @code{\transpose} distinguishes between enharmonic pitches: both
762 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
763 transpose up a semitone. The first version will print sharps and
764 the notes will remain on the same scale step, the second version
765 will print flats on the scale step above.
767 @lilypond[verbatim,quote]
768 music = \relative c' { c d e f }
770 \transpose c cis { \music }
771 \transpose c des { \music }
776 @code{\transpose} may also be used in a different way, to input
777 written notes for a transposing instrument. The previous examples
778 show how to enter pitches in C (or @notation{concert pitch}) and
779 typeset them for a transposing instrument, but the opposite is
780 also possible if you for example have a set of instrumental parts
781 and want to print a conductor's score. For example, when entering
782 music for a B-flat trumpet that begins on a notated E (concert D),
786 musicInBflat = @{ e4 @dots{} @}
787 \transpose c bes, \musicInBflat
791 To print this music in F (e.g., rearranging to a French horn) you
792 could wrap the existing music with another @code{\transpose}:
795 musicInBflat = @{ e4 @dots{} @}
796 \transpose f c' @{ \transpose c bes, \musicInBflat @}
800 For more information about transposing instruments,
801 see @ref{Instrument transpositions}.
806 @lilypondfile[verbatim,quote,texidoc,doctitle]
807 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
811 @ref{Instrument transpositions},
813 @ref{Modal transformations},
814 @ref{Relative octave entry},
821 @rinternals{TransposedMusic}.
831 The relative conversion will not affect @code{\transpose},
832 @code{\chordmode} or @code{\relative} sections in its argument. To use
833 relative mode within transposed music, an additional @code{\relative}
834 must be placed inside @code{\transpose}.
836 Triple accidentals will not be printed if using @code{\transpose}. An
837 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
838 rather than e-triple-flat).
842 @unnumberedsubsubsec Inversion
845 @cindex operation, inversion
848 A music expression can be inverted and transposed in a single
852 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
855 The @code{@var{musicexpr}} is inverted interval-by-interval around
856 @code{@var{around-pitch}}, and then transposed so that
857 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
859 @lilypond[verbatim,quote]
860 music = \relative c' { c d e f }
863 \inversion d' d' \music
864 \inversion d' ees' \music
868 @warning{Motifs to be inverted should be expressed in absolute form
869 or be first converted to absolute form by enclosing them in a
870 @code{\relative} block.}
874 @ref{Modal transformations},
880 @unnumberedsubsubsec Retrograde
882 @cindex retrograde transformation
883 @cindex transformation, retrograde
884 @cindex operation, retrograde
885 @funindex \retrograde
888 A music expression can be reversed to produce its retrograde:
890 @lilypond[verbatim,quote]
891 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
900 Manual ties inside @code{\retrograde} will be broken and
901 generate warnings. Some ties can be generated automatically
902 by enabling @ref{Automatic note splitting}.
907 @ref{Modal transformations},
911 @node Modal transformations
912 @unnumberedsubsubsec Modal transformations
914 @cindex modal transformations
915 @cindex transformations, modal
916 @cindex operations, modal
918 In a musical composition that is based on a scale, a motif is
919 frequently transformed in various ways. It may be
920 @notation{transposed} to start at different places in the scale or
921 it may be @notation{inverted} around a pivot point in the scale.
922 It may also be reversed to produce its @notation{retrograde}, see
925 @warning{Any note that does not lie within the given scale will be
928 @subsubsubheading Modal transposition
930 @cindex modal transposition
931 @cindex transposition, modal
932 @cindex operation, transposition
933 @funindex \modalTranspose
934 @funindex modalTranspose
936 A motif can be transposed within a given scale with:
939 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
942 The notes of @var{motif} are shifted within the @var{scale} by the
943 number of scale degrees given by the interval between @var{to-pitch}
944 and @var{from-pitch}:
946 @lilypond[verbatim,quote]
947 diatonicScale = \relative c' { c d e f g a b }
948 motif = \relative c' { c8 d e f g a b c }
952 \modalTranspose c f \diatonicScale \motif
953 \modalTranspose c b, \diatonicScale \motif
957 An ascending scale of any length and with any intervals may be
960 @lilypond[verbatim,quote]
961 pentatonicScale = \relative c' { ges aes bes des ees }
962 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
966 \modalTranspose ges ees' \pentatonicScale \motif
970 When used with a chromatic scale @code{\modalTranspose} has a
971 similar effect to @code{\transpose}, but with the ability to
972 specify the names of the notes to be used:
974 @lilypond[verbatim,quote]
975 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
976 motif = \relative c' { c8 d e f g a b c }
980 \transpose c f \motif
981 \modalTranspose c f \chromaticScale \motif
985 @subsubsubheading Modal inversion
987 @cindex modal inversion
988 @cindex inversion, modal
989 @cindex operation, modal inversion
990 @funindex \modalInversion
991 @funindex modalInversion
993 A motif can be inverted within a given scale around a given pivot
994 note and transposed in a single operation with:
997 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
1000 The notes of @var{motif} are placed the same number of scale degrees
1001 from the @var{around-pitch} note within the @var{scale}, but in the
1002 opposite direction, and the result is then shifted within the
1003 @var{scale} by the number of scale degrees given by the interval between
1004 @var{to-pitch} and @var{around-pitch}.
1006 So to simply invert around a note in the scale use the same value for
1007 @var{around-pitch} and @var{to-pitch}:
1009 @lilypond[verbatim,quote]
1010 octatonicScale = \relative c' { ees f fis gis a b c d }
1011 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1015 \modalInversion fis' fis' \octatonicScale \motif
1019 To invert around a pivot between two notes in the scale, invert around
1020 one of the notes and then transpose by one scale degree. The two notes
1021 specified can be interpreted as bracketing the pivot point:
1023 @lilypond[verbatim,quote]
1024 scale = \relative c' { c g' }
1025 motive = \relative c' { c c g' c, }
1029 \modalInversion c' g' \scale \motive
1033 The combined operation of inversion and retrograde produce the
1034 retrograde-inversion:
1036 @lilypond[verbatim,quote]
1037 octatonicScale = \relative c' { ees f fis gis a b c d }
1038 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1042 \retrograde \modalInversion c' c' \octatonicScale \motif
1053 @node Displaying pitches
1054 @subsection Displaying pitches
1056 This section discusses how to alter the output of pitches.
1062 * Instrument transpositions::
1063 * Automatic accidentals::
1069 @unnumberedsubsubsec Clef
1080 @cindex soprano clef
1081 @cindex mezzosoprano clef
1082 @cindex baritone clef
1083 @cindex varbaritone clef
1084 @cindex subbass clef
1086 @cindex ancient clef
1087 @cindex clef, ancient
1091 @cindex clef, treble
1092 @cindex clef, violin
1096 @cindex clef, french
1097 @cindex clef, soprano
1098 @cindex clef, mezzosoprano
1099 @cindex clef, baritone
1100 @cindex clef, varbaritone
1101 @cindex clef, subbass
1107 The clef may be altered. Middle C is shown in every example. The
1108 following clef names can (but do not need to) be enclosed in quotes.
1110 @lilypond[verbatim,quote,relative=1]
1121 Other clefs include:
1123 @lilypond[verbatim,quote,relative=1]
1144 \clef G % synonym for treble
1146 \clef F % synonym for bass
1148 \clef C % synonym for alto
1152 @cindex transposing clef
1153 @cindex clef, transposing
1154 @cindex octave transposition
1155 @cindex optional octave transposition
1156 @cindex octave transposition, optional
1157 @cindex choral tenor clef
1158 @cindex tenor clef, choral
1160 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1161 clef is transposed one octave down or up respectively,
1162 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1163 Other integers can be used if required. Clef names containing
1164 non-alphabetic characters must be enclosed in quotes
1166 @lilypond[verbatim,quote,relative=1]
1181 Optional octavation can be obtained by enclosing the numeric
1182 argument in parentheses or brackets:
1184 @lilypond[verbatim,quote,relative=1]
1191 The pitches are displayed as if the numeric argument were
1192 given without parentheses/brackets.
1194 Some special purpose clefs are described in @ref{Mensural clefs},
1195 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1196 tablatures}. For mixing different clefs when using cue notes within a
1197 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1198 in @ref{Formatting cue notes}.
1202 @lilypondfile[verbatim,quote,texidoc,doctitle]
1203 {tweaking-clef-properties.ly}
1207 @ref{Mensural clefs},
1208 @ref{Gregorian clefs},
1209 @ref{Default tablatures},
1210 @ref{Custom tablatures},
1211 @ref{Formatting cue notes}.
1216 Internals Reference:
1217 @rinternals{Clef_engraver},
1219 @rinternals{ClefModifier},
1220 @rinternals{clef-interface}.
1223 Ottavation numbers attached to clefs are treated as separate grobs. So
1224 any @code{\override} done to the @var{Clef} will also need to be
1225 applied, as a separate @code{\override}, to the @var{ClefModifier}
1228 @lilypond[fragment,quote,relative=1]
1230 \override ClefModifier.color = #red
1231 \override Clef.color = #blue
1239 @unnumberedsubsubsec Key signature
1241 @cindex key signature
1246 @c duplicated in Key signature and Accidentals
1247 @warning{New users are sometimes confused about accidentals and
1248 key signatures. In LilyPond, note names are the raw input; key
1249 signatures and clefs determine how this raw input is displayed.
1250 An unaltered note like@tie{}@code{c} means @q{C natural},
1251 regardless of the key signature or clef. For more information,
1252 see @rlearning{Accidentals and key signatures}.}
1254 The key signature indicates the tonality in which a piece is
1255 played. It is denoted by a set of alterations (flats or sharps)
1256 at the start of the staff. The key signature may be altered:
1259 \key @var{pitch} @var{mode}
1272 @funindex \mixolydian
1273 @funindex mixolydian
1281 @cindex church modes
1294 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1295 to get a key signature of @code{@var{pitch}}-major or
1296 @code{@var{pitch}}-minor, respectively. You may also use the
1297 standard mode names, also called @notation{church modes}:
1298 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1299 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1301 @lilypond[verbatim,quote,relative=2]
1308 Additional modes can be defined, by listing the alterations
1309 for each scale step when the mode starts on C.
1311 @lilypond[verbatim,quote]
1312 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1313 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1316 \key c \freygish c4 des e f
1317 \bar "||" \key d \freygish d es fis g
1321 Accidentals in the key signature may be printed in octaves other
1322 than their traditional positions, or in multiple octaves, by
1323 using the @code{flat-positions} and @code{sharp-positions}
1324 properties of @code{KeySignature}. Entries in these properties
1325 specify the range of staff-positions where accidentals will be
1326 printed. If a single position is specified in an entry, the
1327 accidentals are placed within the octave ending at that staff
1330 @lilypond[verbatim, quote,relative=0]
1331 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1332 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1333 \clef bass \key es \major es g bes d
1334 \clef treble \bar "||" \key es \major es g bes d
1336 \override Staff.KeySignature.sharp-positions = #'(2)
1337 \bar "||" \key b \major b fis b2
1342 @lilypondfile[verbatim,quote,texidoc,doctitle]
1343 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1345 @lilypondfile[verbatim,quote,texidoc,doctitle]
1346 {non-traditional-key-signatures.ly}
1350 @rglos{church mode},
1354 @rlearning{Accidentals and key signatures}.
1359 Internals Reference:
1360 @rinternals{KeyChangeEvent},
1361 @rinternals{Key_engraver},
1362 @rinternals{Key_performer},
1363 @rinternals{KeyCancellation},
1364 @rinternals{KeySignature},
1365 @rinternals{key-signature-interface}.
1368 @node Ottava brackets
1369 @unnumberedsubsubsec Ottava brackets
1377 @funindex set-octavation
1381 @notation{Ottava brackets} introduce an extra transposition of an
1382 octave for the staff:
1384 @lilypond[verbatim,quote,relative=2]
1400 @lilypondfile[verbatim,quote,texidoc,doctitle]
1403 @lilypondfile[verbatim,quote,texidoc,doctitle]
1404 {adding-an-ottava-marking-to-a-single-voice.ly}
1413 Internals Reference:
1414 @rinternals{Ottava_spanner_engraver},
1415 @rinternals{OttavaBracket},
1416 @rinternals{ottava-bracket-interface}.
1419 @node Instrument transpositions
1420 @unnumberedsubsubsec Instrument transpositions
1422 @cindex transposition, MIDI
1423 @cindex transposition, instrument
1424 @cindex transposing instrument
1426 @cindex MIDI transposition
1428 @funindex \transposition
1429 @funindex transposition
1431 When typesetting scores that involve transposing instruments, some
1432 parts can be typeset in a different pitch than the
1433 @notation{concert pitch}. In these cases, the key of the
1434 @notation{transposing instrument} should be specified; otherwise
1435 the MIDI output and cues in other parts will produce incorrect
1436 pitches. For more information about quotations, see
1437 @ref{Quoting other voices}.
1440 \transposition @var{pitch}
1443 The pitch to use for @code{\transposition} should correspond to
1444 the real sound heard when a@tie{}@code{c'} written on the staff is
1445 played by the transposing instrument. This pitch is entered in
1446 absolute mode, so an instrument that produces a real sound which
1447 is one tone higher than the printed music should use
1448 @w{@code{\transposition d'}}. @code{\transposition} should
1449 @emph{only} be used if the pitches are @emph{not} being entered in
1452 Here are a few notes for violin and B-flat clarinet where the
1453 parts have been entered using the notes and key as they appear in
1454 each part of the conductor's score. The two instruments are
1457 @lilypond[verbatim,quote]
1459 \new Staff = "violin" {
1461 \set Staff.instrumentName = #"Vln"
1462 \set Staff.midiInstrument = #"violin"
1463 % not strictly necessary, but a good reminder
1470 \new Staff = "clarinet" {
1472 \set Staff.instrumentName = \markup { Cl (B\flat) }
1473 \set Staff.midiInstrument = #"clarinet"
1483 The @code{\transposition} may be changed during a piece. For
1484 example, a clarinetist may be required to switch from an A clarinet
1485 to a B-flat clarinet.
1487 @lilypond[verbatim,quote]
1488 flute = \relative c'' {
1490 \cueDuring #"clarinet" #DOWN {
1491 R1 _\markup\tiny "clarinet"
1493 R1 _\markup\tiny "clarinet"
1496 clarinet = \relative c'' {
1500 R1^\markup { muta in B\flat }
1505 \addQuote "clarinet" \clarinet
1507 \new Staff \with { instrumentName = #"Flute" }
1509 \new Staff \with { instrumentName = #"Cl (A)" }
1516 @rglos{concert pitch},
1517 @rglos{transposing instrument}.
1520 @ref{Quoting other voices},
1527 @node Automatic accidentals
1528 @unnumberedsubsubsec Automatic accidentals
1530 @cindex accidental style
1531 @cindex accidental style, default
1533 @cindex accidentals, automatic
1534 @cindex automatic accidentals
1535 @cindex default accidental style
1537 @funindex \accidentalStyle
1541 There are many different conventions on how to typeset
1542 accidentals. LilyPond provides a function to specify which
1543 accidental style to use. This function is called as follows:
1547 \accidentalStyle voice
1552 The accidental style applies to the current @code{Staff} by
1553 default (with the exception of the styles @code{piano} and
1554 @code{piano-cautionary}, which are explained below). Optionally,
1555 the function can take a second argument that determines in which
1556 scope the style should be changed. For example, to use the same
1557 style in all staves of the current @code{StaffGroup}, use:
1560 \accidentalStyle StaffGroup.voice
1563 The following accidental styles are supported. To demonstrate
1564 each style, we use the following example:
1567 @lilypond[verbatim,quote]
1571 cis'8 fis, bes4 <a cis>8 f bis4 |
1585 \voiceTwo \relative c' {
1586 <fis, a cis>8[ <fis a cis>
1589 \change Staff = down
1594 \change Staff = down
1595 <fis, a cis>4 gis <f a d>2 |
1602 \context Staff = "up" {
1603 \accidentalStyle default
1606 \context Staff = "down" {
1607 \accidentalStyle default
1614 Note that the last lines of this example can be replaced by the
1615 following, as long as the same accidental style should be used in
1621 \context Staff = "up" @{
1622 %%% change the next line as desired:
1623 \accidentalStyle Score.default
1626 \context Staff = "down" @{
1634 @c don't use verbatim in this table.
1638 @cindex default accidental style
1639 @cindex accidental style, default
1643 This is the default typesetting behavior. It corresponds to
1644 eighteenth-century common practice: accidentals are remembered to
1645 the end of the measure in which they occur and only in their own
1646 octave. Thus, in the example below, no natural signs are printed
1647 before the@tie{}@code{b} in the second measure or the
1654 cis'8 fis, bes4 <a cis>8 f bis4 |
1668 \voiceTwo \relative c' {
1669 <fis, a cis>8[ <fis a cis>
1672 \change Staff = down
1677 \change Staff = down
1678 <fis, a cis>4 gis <f a d>2 |
1685 \context Staff = "up" {
1686 \accidentalStyle default
1689 \context Staff = "down" {
1690 \accidentalStyle default
1699 @cindex accidental style, voice
1700 @cindex voice accidental style
1701 @cindex accidental style, modern
1702 @cindex modern accidental style
1703 @cindex accidental style, modern-cautionary
1704 @cindex modern-cautionary accidental style
1708 The normal behavior is to remember the accidentals at
1709 @code{Staff}-level. In this style, however, accidentals are
1710 typeset individually for each voice. Apart from that, the rule is
1711 similar to @code{default}.
1713 As a result, accidentals from one voice do not get canceled in
1714 other voices, which is often an unwanted result: in the following
1715 example, it is hard to determine whether the second@tie{}@code{a}
1716 should be played natural or sharp. The @code{voice} option should
1717 therefore be used only if the voices are to be read solely by
1718 individual musicians. If the staff is to be used by one musician
1719 (e.g., a conductor or in a piano score) then @code{modern} or
1720 @code{modern-cautionary} should be used instead.
1727 cis'8 fis, bes4 <a cis>8 f bis4 |
1741 \voiceTwo \relative c' {
1742 <fis, a cis>8[ <fis a cis>
1745 \change Staff = down
1750 \change Staff = down
1751 <fis, a cis>4 gis <f a d>2 |
1758 \context Staff = "up" {
1759 \accidentalStyle voice
1762 \context Staff = "down" {
1763 \accidentalStyle voice
1772 @cindex accidentals, modern style
1773 @cindex modern style accidentals
1777 This rule corresponds to the common practice in the twentieth
1778 century. It omits some extra natural signs, which were
1779 traditionally prefixed to a sharp following a double sharp,
1780 or a flat following a double flat. The @code{modern} rule
1781 prints the same accidentals as @code{default}, with
1782 two additions that serve to avoid ambiguity: after temporary
1783 accidentals, cancellation marks are printed also in the following
1784 measure (for notes in the same octave) and, in the same measure,
1785 for notes in other octaves. Hence the naturals before
1786 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1793 cis'8 fis, bes4 <a cis>8 f bis4 |
1807 \voiceTwo \relative c' {
1808 <fis, a cis>8[ <fis a cis>
1811 \change Staff = down
1816 \change Staff = down
1817 <fis, a cis>4 gis <f a d>2 |
1824 \context Staff = "up" {
1825 \accidentalStyle modern
1828 \context Staff = "down" {
1829 \accidentalStyle modern
1836 @item modern-cautionary
1838 @cindex accidentals, modern cautionary style
1839 @cindex modern accidental style
1840 @cindex modern cautionary accidental style
1841 @cindex modern style accidentals
1842 @cindex modern style cautionary accidentals
1844 @funindex modern-cautionary
1846 This rule is similar to @code{modern}, but the @q{extra}
1847 accidentals (the ones not typeset by @code{default}) are typeset
1848 as cautionary accidentals. They are by default printed with
1849 parentheses, but they can also be printed in reduced size by
1850 defining the @code{cautionary-style} property of
1851 @code{AccidentalSuggestion}.
1857 cis'8 fis, bes4 <a cis>8 f bis4 |
1871 \voiceTwo \relative c' {
1872 <fis, a cis>8[ <fis a cis>
1875 \change Staff = down
1880 \change Staff = down
1881 <fis, a cis>4 gis <f a d>2 |
1888 \context Staff = "up" {
1889 \accidentalStyle modern-cautionary
1892 \context Staff = "down" {
1893 \accidentalStyle modern-cautionary
1902 @cindex accidental style, modern
1903 @cindex accidentals, modern
1904 @cindex accidentals, multivoice
1905 @cindex modern accidental style
1906 @cindex modern accidentals
1907 @cindex multivoice accidentals
1909 @funindex modern-voice
1911 This rule is used for multivoice accidentals to be read both by
1912 musicians playing one voice and musicians playing all voices.
1913 Accidentals are typeset for each voice, but they @emph{are}
1914 canceled across voices in the same @code{Staff}. Hence,
1915 the@tie{}@code{a} in the last measure is canceled because the
1916 previous cancellation was in a different voice, and
1917 the@tie{}@code{d} in the lower staff is canceled because of the
1918 accidental in a different voice in the previous measure:
1924 cis'8 fis, bes4 <a cis>8 f bis4 |
1938 \voiceTwo \relative c' {
1939 <fis, a cis>8[ <fis a cis>
1942 \change Staff = down
1947 \change Staff = down
1948 <fis, a cis>4 gis <f a d>2 |
1955 \context Staff = "up" {
1956 \accidentalStyle modern-voice
1959 \context Staff = "down" {
1960 \accidentalStyle modern-voice
1967 @cindex accidental style, cautionary, modern voice
1968 @cindex accidental style, modern voice cautionary
1969 @cindex accidental style, voice, modern cautionary
1971 @funindex modern-voice-cautionary
1973 @item modern-voice-cautionary
1975 This rule is the same as @code{modern-voice}, but with the extra
1976 accidentals (the ones not typeset by @code{voice}) typeset as
1977 cautionaries. Even though all accidentals typeset by
1978 @code{default} @emph{are} typeset with this rule, some of them are
1979 typeset as cautionaries.
1985 cis'8 fis, bes4 <a cis>8 f bis4 |
1999 \voiceTwo \relative c' {
2000 <fis, a cis>8[ <fis a cis>
2003 \change Staff = down
2008 \change Staff = down
2009 <fis, a cis>4 gis <f a d>2 |
2016 \context Staff = "up" {
2017 \accidentalStyle modern-voice-cautionary
2020 \context Staff = "down" {
2021 \accidentalStyle modern-voice-cautionary
2030 @cindex accidental style, piano
2031 @cindex accidentals, piano
2032 @cindex piano accidental style
2033 @cindex piano accidentals
2037 This rule reflects twentieth-century practice for piano notation.
2038 Its behavior is very similar to @code{modern} style, but here
2039 accidentals also get canceled across the staves in the same
2040 @code{GrandStaff} or @code{PianoStaff}, hence all the
2041 cancellations of the final notes.
2043 This accidental style applies to the current @code{GrandStaff} or
2044 @code{PianoStaff} by default.
2050 cis'8 fis, bes4 <a cis>8 f bis4 |
2064 \voiceTwo \relative c' {
2065 <fis, a cis>8[ <fis a cis>
2068 \change Staff = down
2073 \change Staff = down
2074 <fis, a cis>4 gis <f a d>2 |
2081 \context Staff = "up" {
2082 \accidentalStyle piano
2085 \context Staff = "down" {
2092 @item piano-cautionary
2094 @cindex accidentals, piano cautionary
2095 @cindex cautionary accidentals, piano
2096 @cindex piano cautionary accidentals
2097 @cindex accidental style, piano cautionary
2098 @cindex cautionary accidental style, piano
2099 @cindex piano cautionary accidental style
2101 @funindex piano-cautionary
2103 This is the same as @code{piano} but with the extra accidentals
2104 typeset as cautionaries.
2110 cis'8 fis, bes4 <a cis>8 f bis4 |
2124 \voiceTwo \relative c' {
2125 <fis, a cis>8[ <fis a cis>
2128 \change Staff = down
2133 \change Staff = down
2134 <fis, a cis>4 gis <f a d>2 |
2141 \context Staff = "up" {
2142 \accidentalStyle piano-cautionary
2145 \context Staff = "down" {
2155 @cindex neo-modern accidental style
2156 @cindex accidental style, neo-modern
2158 @funindex neo-modern
2160 This rule reproduces a common practice in contemporary music:
2161 accidentals are printed like with @code{modern}, but they are printed
2162 again if the same note appears later in the same measure -- except
2163 if the note is immediately repeated.
2169 cis'8 fis, bes4 <a cis>8 f bis4 |
2183 \voiceTwo \relative c' {
2184 <fis, a cis>8[ <fis a cis>
2187 \change Staff = down
2192 \change Staff = down
2193 <fis, a cis>4 gis <f a d>2 |
2200 \context Staff = "up" {
2201 \accidentalStyle neo-modern
2204 \context Staff = "down" {
2205 \accidentalStyle neo-modern
2212 @item neo-modern-cautionary
2214 @cindex neo-modern-cautionary accidental style
2215 @cindex accidental style, neo-modern-cautionary
2217 @funindex neo-modern-cautionary
2219 This rule is similar to @code{neo-modern}, but the extra
2220 accidentals are printed as cautionary accidentals.
2226 cis'8 fis, bes4 <a cis>8 f bis4 |
2240 \voiceTwo \relative c' {
2241 <fis, a cis>8[ <fis a cis>
2244 \change Staff = down
2249 \change Staff = down
2250 <fis, a cis>4 gis <f a d>2 |
2257 \context Staff = "up" {
2258 \accidentalStyle neo-modern-cautionary
2261 \context Staff = "down" {
2262 \accidentalStyle neo-modern-cautionary
2270 @item neo-modern-voice
2272 @cindex neo-modern-voice accidental style
2273 @cindex accidental style, neo-modern-voice
2275 @funindex neo-modern-voice
2277 This rule is used for multivoice accidentals to be read both by
2278 musicians playing one voice and musicians playing all voices.
2279 Accidentals are typeset for each voice as with @code{neo-modern},
2280 but they are canceled across voices in the same @code{Staff}.
2286 cis'8 fis, bes4 <a cis>8 f bis4 |
2300 \voiceTwo \relative c' {
2301 <fis, a cis>8[ <fis a cis>
2304 \change Staff = down
2309 \change Staff = down
2310 <fis, a cis>4 gis <f a d>2 |
2317 \context Staff = "up" {
2318 \accidentalStyle neo-modern-voice
2321 \context Staff = "down" {
2322 \accidentalStyle neo-modern-voice
2329 @item neo-modern-voice-cautionary
2331 @cindex neo-modern-voice-cautionary accidental style
2332 @cindex accidental style, neo-modern-voice-cautionary
2334 @funindex neo-modern-voice-cautionary
2336 This rule is similar to @code{neo-modern-voice}, but the extra
2337 accidentals are printed as cautionary accidentals.
2343 cis'8 fis, bes4 <a cis>8 f bis4 |
2357 \voiceTwo \relative c' {
2358 <fis, a cis>8[ <fis a cis>
2361 \change Staff = down
2366 \change Staff = down
2367 <fis, a cis>4 gis <f a d>2 |
2374 \context Staff = "up" {
2375 \accidentalStyle neo-modern-voice-cautionary
2378 \context Staff = "down" {
2379 \accidentalStyle neo-modern-voice-cautionary
2388 @cindex dodecaphonic accidental style
2389 @cindex dodecaphonic style, neo-modern
2391 @funindex dodecaphonic
2393 This rule reflects a practice introduced by composers at
2394 the beginning of the 20th century, in an attempt to
2395 abolish the hierarchy between natural and non-natural notes.
2396 With this style, @emph{every} note gets an accidental sign,
2397 including natural signs.
2403 cis'8 fis, bes4 <a cis>8 f bis4 |
2417 \voiceTwo \relative c' {
2418 <fis, a cis>8[ <fis a cis>
2421 \change Staff = down
2426 \change Staff = down
2427 <fis, a cis>4 gis <f a d>2 |
2434 \context Staff = "up" {
2435 \accidentalStyle dodecaphonic
2438 \context Staff = "down" {
2439 \accidentalStyle dodecaphonic
2449 @cindex teaching accidental style
2450 @cindex accidental style, teaching
2454 This rule is intended for students, and makes it easy to create
2455 scale sheets with automatically created cautionary accidentals.
2456 Accidentals are printed like with @code{modern}, but cautionary
2457 accidentals are added for all sharp or flat tones specified by the
2458 key signature, except if the note is immediately repeated.
2460 @lilypond[quote,staffsize=18]
2464 cis'8 fis, bes4 <a cis>8 f bis4 |
2478 \voiceTwo \relative c' {
2479 <fis, a cis>8[ <fis a cis>
2482 \change Staff = down
2487 \change Staff = down
2488 <fis, a cis>4 gis <f a d>2 |
2495 \context Staff = "up" {
2497 \accidentalStyle teaching
2500 \context Staff = "down" {
2502 \accidentalStyle teaching
2513 @cindex accidental style, no reset
2514 @cindex no reset accidental style
2518 This is the same as @code{default} but with accidentals lasting
2519 @q{forever} and not only within the same measure:
2525 cis'8 fis, bes4 <a cis>8 f bis4 |
2539 \voiceTwo \relative c' {
2540 <fis, a cis>8[ <fis a cis>
2543 \change Staff = down
2548 \change Staff = down
2549 <fis, a cis>4 gis <f a d>2 |
2556 \context Staff = "up" {
2557 \accidentalStyle no-reset
2560 \context Staff = "down" {
2561 \accidentalStyle no-reset
2570 @cindex forget accidental style
2571 @cindex accidental style, forget
2575 This is the opposite of @code{no-reset}: Accidentals are not
2576 remembered at all -- and hence all accidentals are typeset
2577 relative to the key signature, regardless of what came before in
2584 cis'8 fis, bes4 <a cis>8 f bis4 |
2598 \voiceTwo \relative c' {
2599 <fis, a cis>8[ <fis a cis>
2602 \change Staff = down
2607 \change Staff = down
2608 <fis, a cis>4 gis <f a d>2 |
2615 \context Staff = "up" {
2616 \accidentalStyle forget
2619 \context Staff = "down" {
2620 \accidentalStyle forget
2632 Internals Reference:
2633 @rinternals{Accidental},
2634 @rinternals{Accidental_engraver},
2635 @rinternals{GrandStaff},
2636 @rinternals{PianoStaff},
2638 @rinternals{AccidentalSuggestion},
2639 @rinternals{AccidentalPlacement},
2640 @rinternals{accidental-suggestion-interface}.
2642 @cindex accidentals and simultaneous notes
2643 @cindex simultaneous notes and accidentals
2644 @cindex accidentals in chords
2645 @cindex chords, accidentals in
2648 Simultaneous notes are not considered in the automatic
2649 determination of accidentals; only previous notes and the key
2650 signature are considered. Forcing accidentals with@tie{}@code{!}
2651 or@tie{}@code{?} may be required when the same note name occurs
2652 simultaneously with different alterations, as in @samp{<f! fis!>}.
2654 Cautionary cancellation of accidentals is done by looking at previous measure.
2655 However, in the @code{\alternative} block following a @code{\repeat volta N}
2656 section, one would expect the cancellation being calculated using the previous
2657 @emph{played} measure, not previous @emph{printed} measure.
2658 In the following example, the natural @code{c} in the second alternative does
2659 not need a natural sign:
2663 \accidentalStyle modern
2675 The following work-around can be used: define a function that locally changes
2676 the accidental style to @code{forget}:
2678 @lilypond[verbatim,quote]
2679 forget = #(define-music-function (parser location music) (ly:music?) #{
2680 \accidentalStyle forget
2682 \accidentalStyle modern
2685 \accidentalStyle modern
2699 @unnumberedsubsubsec Ambitus
2702 @cindex range of pitches
2705 The term @notation{ambitus} (pl. ambitus) denotes a range of
2706 pitches for a given voice in a part of music. It may also denote
2707 the pitch range that a musical instrument is capable of playing.
2708 Ambitus are printed on vocal parts so that performers can easily
2709 determine if it matches their capabilities.
2711 Ambitus are denoted at the beginning of a piece near the initial
2712 clef. The range is graphically specified by two note heads that
2713 represent the lowest and highest pitches. Accidentals are only
2714 printed if they are not part of the key signature.
2716 @lilypond[verbatim,quote]
2720 \consists "Ambitus_engraver"
2733 @lilypondfile[verbatim,quote,texidoc,doctitle]
2734 {adding-ambitus-per-voice.ly}
2736 @lilypondfile[verbatim,quote,texidoc,doctitle]
2737 {ambitus-with-multiple-voices.ly}
2739 @lilypondfile[verbatim,quote,texidoc,doctitle]
2740 {changing-the-ambitus-gap.ly}
2749 Internals Reference:
2750 @rinternals{Ambitus_engraver},
2753 @rinternals{Ambitus},
2754 @rinternals{AmbitusAccidental},
2755 @rinternals{AmbitusLine},
2756 @rinternals{AmbitusNoteHead},
2757 @rinternals{ambitus-interface}.
2760 There is no collision handling in the case of multiple per-voice
2765 @subsection Note heads
2767 This section suggests ways of altering note heads.
2770 * Special note heads::
2771 * Easy notation note heads::
2772 * Shape note heads::
2776 @node Special note heads
2777 @unnumberedsubsubsec Special note heads
2779 @cindex note heads, special
2780 @cindex note heads, cross
2781 @cindex note heads, diamond
2782 @cindex note heads, parlato
2783 @cindex note heads, harmonic
2784 @cindex note heads, guitar
2785 @cindex special note heads
2786 @cindex cross note heads
2787 @cindex diamond note heads
2788 @cindex parlato note heads
2789 @cindex harmonic note heads
2790 @cindex guitar note heads
2791 @cindex note head styles
2792 @cindex styles, note heads
2796 The appearance of note heads may be altered:
2798 @lilypond[verbatim,quote,relative=2]
2800 \override NoteHead.style = #'cross
2802 \revert NoteHead.style
2804 \override NoteHead.style = #'harmonic
2806 \revert NoteHead.style
2810 To see all note head styles, see @ref{Note head styles}.
2812 The @code{cross} style is used to represent a variety of musical
2813 intentions. The following generic predefined commands modify the
2814 note head in both staff and tablature contexts and can be used to
2815 represent any musical meaning:
2817 @lilypond[verbatim,quote,relative=2]
2825 The music function form of this predefined command may be used
2826 inside and outside chords to generate crossed note heads in both
2827 staff and tablature contexts:
2829 @lilypond[verbatim,quote,relative=2]
2832 c b < g \xNote c f > b
2835 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2836 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2837 be used. The term @notation{dead note} is commonly used by guitarists.
2839 There is also a similar shorthand for diamond shapes:
2841 @lilypond[verbatim,quote,relative=2]
2842 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
2857 @ref{Note head styles},
2858 @ref{Chorded notes},
2859 @ref{Indicating harmonics and dampened notes}.
2861 Internals Reference:
2862 @rinternals{note-event},
2863 @rinternals{Note_heads_engraver},
2864 @rinternals{Ledger_line_engraver},
2865 @rinternals{NoteHead},
2866 @rinternals{LedgerLineSpanner},
2867 @rinternals{note-head-interface},
2868 @rinternals{ledger-line-spanner-interface}.
2871 @node Easy notation note heads
2872 @unnumberedsubsubsec Easy notation note heads
2874 @cindex note heads, practice
2875 @cindex practice note heads
2876 @cindex note heads, easy notation
2877 @cindex easy notation
2878 @cindex beginners' music
2879 @cindex music, beginners'
2880 @cindex easy play note heads
2881 @cindex note heads, easy play
2883 @funindex \easyHeadsOn
2884 @funindex easyHeadsOn
2885 @funindex \easyHeadsOff
2886 @funindex easyHeadsOff
2888 The @q{easy play} note head includes a note name inside the head.
2889 It is used in music for beginners. To make the letters readable,
2890 it should be printed in a large font size. To print with a larger
2891 font, see @ref{Setting the staff size}.
2893 @lilypond[verbatim,quote]
2894 #(set-global-staff-size 26)
2906 @code{\easyHeadsOn},
2907 @code{\easyHeadsOff}.
2913 @lilypondfile[verbatim,quote,texidoc,doctitle]
2914 {numbers-as-easy-note-heads.ly}
2918 @ref{Setting the staff size}.
2923 Internals Reference:
2924 @rinternals{note-event},
2925 @rinternals{Note_heads_engraver},
2926 @rinternals{NoteHead},
2927 @rinternals{note-head-interface}.
2930 @node Shape note heads
2931 @unnumberedsubsubsec Shape note heads
2933 @cindex note heads, shape
2934 @cindex note heads, Aiken
2935 @cindex note heads, sacred harp
2937 @cindex Aiken shape note heads
2938 @cindex sacred harp note heads
2939 @cindex note heads, Southern Harmony
2940 @cindex Southern Harmony note heads
2941 @cindex Funk shape note heads
2942 @cindex note heads, Funk
2943 @cindex note heads, Harmonica Sacra
2944 @cindex Harmonica Sacra note heads
2945 @cindex Christian Harmony note heads
2946 @cindex note heads, Christian Harmony
2947 @cindex Walker shape note heads
2948 @cindex note heads, Walker
2950 @funindex \aikenHeads
2951 @funindex aikenHeads
2952 @funindex \sacredHarpHeads
2953 @funindex sacredHarpHeads
2954 @funindex \southernHarmonyHeads
2955 @funindex southernHarmonyHeads
2956 @funindex \funkHeads
2958 @funindex \walkerHeads
2959 @funindex walkerHeads
2961 In shape note head notation, the shape of the note head
2962 corresponds to the harmonic function of a note in the scale. This
2963 notation was popular in nineteenth-century American song books.
2964 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2965 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2967 @lilypond[verbatim,quote,relative=2]
2969 c, d e f g2 a b1 c \break
2971 c,4 d e f g2 a b1 c \break
2972 \southernHarmonyHeads
2973 c,4 d e f g2 a b1 c \break
2975 c,4 d e f g2 a b1 c \break
2977 c,4 d e f g2 a b1 c \break
2982 @funindex \aikenHeadsMinor
2983 @funindex aikenHeadsMinor
2984 @funindex \sacredHarpHeadsMinor
2985 @funindex sacredHarpHeadsMinor
2986 @funindex \southernHarmonyHeadsMinor
2987 @funindex southernHarmonyHeadsMinor
2988 @funindex \funkHeadsMinor
2989 @funindex funkHeadsMinor
2990 @funindex \walkerHeadsMinor
2991 @funindex walkerHeadsMinor
2993 Shapes are typeset according to the step in the scale, where the base
2994 of the scale is determined by the @code{\key} command. When writing
2995 in a minor key, the scale step can be determined from the relative
2998 @lilypond[verbatim,quote,relative=2]
3001 a b c d e2 f g1 a \break
3003 a,4 b c d e2 f g1 a \break
3004 \sacredHarpHeadsMinor
3006 \southernHarmonyHeadsMinor
3018 @code{\aikenHeadsMinor},
3020 @code{\funkHeadsMinor},
3021 @code{\sacredHarpHeads},
3022 @code{\sacredHarpHeadsMinor},
3023 @code{\southernHarmonyHeads},
3024 @code{\southernHarmonyHeadsMinor},
3025 @code{\walkerHeads},
3026 @code{\walkerHeadsMinor}.
3032 @lilypondfile[verbatim,quote,texidoc,doctitle]
3033 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3035 To see all note head styles, see @ref{Note head styles}.
3042 @ref{Note head styles}.
3044 Internals Reference:
3045 @rinternals{note-event},
3046 @rinternals{Note_heads_engraver},
3047 @rinternals{NoteHead},
3048 @rinternals{note-head-interface}.
3052 @unnumberedsubsubsec Improvisation
3054 @cindex improvisation
3055 @cindex slashed note heads
3056 @cindex note heads, improvisation
3057 @cindex note heads, slashed
3059 @funindex \improvisationOn
3060 @funindex improvisationOn
3061 @funindex \improvisationOff
3062 @funindex improvisationOff
3064 Improvisation is sometimes denoted with slashed note heads, where
3065 the performer may choose any pitch but should play the specified
3066 rhythm. Such note heads can be created:
3068 @lilypond[verbatim,quote,relative=2]
3070 \consists "Pitch_squash_engraver"
3072 e8 e g a a16( bes) a8 g
3083 @code{\improvisationOn},
3084 @code{\improvisationOff}.
3091 Internals Reference:
3092 @rinternals{Pitch_squash_engraver},
3094 @rinternals{RhythmicStaff}.