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
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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]
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]
272 @rinternals{RelativeOctaveMusic}.
275 @cindex relative octave entry and transposition
276 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
295 @unnumberedsubsubsec Accidentals
298 @cindex key signature
301 @c duplicated in Key signature and Accidentals
302 @warning{New users are sometimes confused about accidentals and
303 key signatures. In LilyPond, note names are the raw input; key
304 signatures and clefs determine how this raw input is displayed.
305 An unaltered note like@tie{}@code{c} means @q{C natural},
306 regardless of the key signature or clef. For more information,
307 see @rlearning{Accidentals and key signatures}.}
309 @cindex note names, Dutch
310 @cindex note names, default
311 @cindex default note names
315 @cindex sharp, double
319 @cindex natural pitch
321 A @notation{sharp} pitch is made by adding @code{is} to the note
322 name, and a @notation{flat} pitch by adding @code{es}. As you
323 might expect, a @notation{double sharp} or @notation{double flat}
324 is made by adding @code{isis} or @code{eses}. This syntax is
325 derived from Dutch note naming conventions. To use other names
326 for accidentals, see @ref{Note names in other languages}.
328 @lilypond[verbatim,quote,relative=2]
332 A natural will cancel the effect of an accidental or key
333 signature. However, naturals are not encoded into the note name
334 syntax with a suffix; a natural pitch is shown as a simple note
337 @lilypond[verbatim,quote,relative=2]
341 @cindex quarter tones
345 Quarter tones may be added; the following is a series of Cs with
348 @lilypond[verbatim,quote,relative=2]
349 ceseh1 ces ceh c cih cis cisih
354 @cindex accidental, reminder
355 @cindex accidental, cautionary
356 @cindex accidental, parenthesized
357 @cindex reminder accidental
358 @cindex cautionary accidental
359 @cindex parenthesized accidental
365 Normally accidentals are printed automatically, but you may also
366 print them manually. A reminder accidental can be forced by
367 adding an exclamation mark@tie{}@code{!} after the pitch. A
368 cautionary accidental (i.e., an accidental within parentheses) can
369 be obtained by adding the question mark@tie{}@code{?} after the
370 pitch. These extra accidentals can also be used to produce
373 @lilypond[verbatim,quote,relative=2]
374 cis cis cis! cis? c c c! c?
377 @cindex accidental on tied note
378 @cindex tied note, accidental
380 Accidentals on tied notes are only printed at the beginning of a
383 @lilypond[verbatim,quote,relative=2]
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
393 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
395 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
396 {preventing-extra-naturals-from-being-automatically-added.ly}
402 @rglos{double sharp},
405 @rglos{quarter tone}.
408 @rlearning{Accidentals and key signatures}.
411 @ref{Automatic accidentals},
412 @ref{Annotational accidentals (musica ficta)},
413 @ref{Note names in other languages}.
419 @rinternals{Accidental_engraver},
420 @rinternals{Accidental},
421 @rinternals{AccidentalCautionary},
422 @rinternals{accidental-interface}.
425 @cindex accidental, quarter-tone
426 @cindex quarter-tone accidental
430 There are no generally accepted standards for denoting
431 quarter-tone accidentals, so LilyPond's symbol does not conform to
436 @node Note names in other languages
437 @unnumberedsubsubsec Note names in other languages
439 @cindex note names, other languages
440 @cindex pitch names, other languages
441 @cindex language, note names in other
442 @cindex language, pitch names in other
444 There are predefined sets of note and accidental names for various
445 other languages. Selecting the note name language is usually done
446 at the beginning of the file; the following example is written
447 using Italian note names:
449 @lilypond[quote,verbatim]
457 The available languages and the note names they define are:
460 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
463 @item @code{nederlands}
464 @tab c d e f g a bes b
466 @tab do re mi fa sol la sib si
470 @tab c d e f g a bf b
472 @tab do re mi fa sol la sib si
473 @item @code{italiano}
474 @tab do re mi fa sol la sib si
477 @item @code{portugues}
478 @tab do re mi fa sol la sib si
484 @tab do re mi fa sol la sib si
488 In addition to note names, accidental suffixes may
489 also vary depending on the language:
492 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
494 @tab sharp @tab flat @tab double sharp @tab double flat
495 @item @code{nederlands}
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
500 @tab -is @tab -es @tab -isis @tab -eses
502 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
505 @tab -s @tab -b @tab -ss/-x @tab -bb
506 @item @code{italiano}
507 @tab -d @tab -b @tab -dd @tab -bb
509 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
511 @item @code{portugues}
512 @tab -s @tab -b @tab -ss @tab -bb
514 @tab -is @tab -es @tab -isis @tab -eses
516 @tab -iss @tab -ess @tab -ississ @tab -essess
518 @tab -k @tab -b @tab -kk @tab -bb
522 In Dutch, @code{aes} is contracted to @code{as}, but both forms
523 are accepted in LilyPond. Similarly, both @code{es} and
524 @code{ees} are accepted. This also applies to
525 @code{aeses}@tie{}/@tie{}@code{ases} and
526 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
527 contracted names are defined in the corresponding language files.
529 @lilypond[verbatim,quote,relative=2]
530 a2 as e es a ases e eses
540 Some music uses microtones whose alterations are fractions of a
541 @q{normal} sharp or flat. The following table lists note names
542 for quarter-tone accidentals in various languages; here the prefixes
543 @notation{semi-} and @notation{sesqui-} respectively
544 mean @q{half} and @q{one and a half}. Languages that do not
545 appear in this table do not provide special note names yet.
548 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
550 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
552 @item @code{nederlands}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
555 @tab -ih @tab -eh @tab -isih @tab -eseh
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @code{italiano}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @code{portugues}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
567 Most languages presented here are commonly associated with
568 Western classical music, also referred to as
569 @notation{Common Practice Period}. However, alternate
570 pitches and tuning systems are also supported: see
571 @ref{Common notation for non-Western music}.
577 @rglos{Common Practice Period}.
580 @ref{Common notation for non-Western music}.
583 @file{scm/define-note-names.scm}.
589 @node Changing multiple pitches
590 @subsection Changing multiple pitches
592 This section discusses how to modify pitches.
598 * Modal transformations::
602 @unnumberedsubsubsec Octave checks
604 @cindex octave correction
606 @cindex control pitch
609 @funindex \octaveCheck
610 @funindex octaveCheck
611 @funindex controlpitch
613 In relative mode, it is easy to forget an octave changing mark.
614 Octave checks make such errors easier to find by displaying a
615 warning and correcting the octave if a note is found in an
618 To check the octave of a note, specify the absolute octave after
619 the @code{=}@tie{}symbol. This example will generate a warning
620 (and change the pitch) because the second note is the absolute
621 octave @code{d''} instead of @code{d'} as indicated by the octave
624 @lilypond[verbatim,quote]
631 The octave of notes may also be checked with the
632 @code{\octaveCheck@tie{}@var{controlpitch}} command.
633 @code{@var{controlpitch}} is specified in absolute mode. This
634 checks that the interval between the previous note and the
635 @code{@var{controlpitch}} is within a fourth (i.e., the normal
636 calculation of relative mode). If this check fails, a warning is
637 printed, but the previous note is not changed. Future notes are
638 relative to the @code{@var{controlpitch}}.
640 @lilypond[verbatim,quote]
648 Compare the two bars below. The first and third @code{\octaveCheck}
649 checks fail, but the second one does not fail.
651 @lilypond[verbatim,quote]
671 @rinternals{RelativeOctaveCheck}.
675 @unnumberedsubsubsec Transpose
679 @cindex transposition
680 @cindex transposition of pitches
681 @cindex transposition of notes
682 @cindex pitches, transposition of
683 @cindex notes, transposition of
688 A music expression can be transposed with @code{\transpose}. The
692 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
696 This means that @code{@var{musicexpr}} is transposed by the
697 interval between the pitches @code{@var{frompitch}} and
698 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
699 is changed to @code{@var{topitch}} and any other note is
700 transposed by the same interval. Both pitches are entered in
703 @warning{Music inside a @code{@bs{}transpose} block is absolute
704 unless a @code{@bs{}relative} is included in the block.}
706 Consider a piece written in the key of D-major. It can be
707 transposed up to E-major; note that the key signature is
708 automatically transposed as well.
710 @lilypond[verbatim,quote]
719 @cindex transposing instruments
720 @cindex instruments, transposing
722 If a part written in C (normal @notation{concert pitch}) is to be
723 played on the A clarinet (for which an A is notated as a C and
724 thus sounds a minor third lower than notated), the appropriate
725 part will be produced with:
727 @lilypond[verbatim,quote]
737 Note that we specify @w{@code{\key c \major}} explicitly. If we
738 do not specify a key signature, the notes will be transposed but
739 no key signature will be printed.
741 @code{\transpose} distinguishes between enharmonic pitches: both
742 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
743 transpose up a semitone. The first version will print sharps and
744 the notes will remain on the same scale step, the second version
745 will print flats on the scale step above.
747 @lilypond[verbatim,quote]
748 music = \relative c' { c d e f }
750 \transpose c cis { \music }
751 \transpose c des { \music }
756 @code{\transpose} may also be used in a different way, to input
757 written notes for a transposing instrument. The previous examples
758 show how to enter pitches in C (or @notation{concert pitch}) and
759 typeset them for a transposing instrument, but the opposite is
760 also possible if you for example have a set of instrumental parts
761 and want to print a conductor's score. For example, when entering
762 music for a B-flat trumpet that begins on a notated E (concert D),
766 musicInBflat = @{ e4 @dots{} @}
767 \transpose c bes, \musicInBflat
771 To print this music in F (e.g., rearranging to a French horn) you
772 could wrap the existing music with another @code{\transpose}:
775 musicInBflat = @{ e4 @dots{} @}
776 \transpose f c' @{ \transpose c bes, \musicInBflat @}
780 For more information about transposing instruments,
781 see @ref{Instrument transpositions}.
786 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
787 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
792 @ref{Relative octave entry},
793 @ref{Modal transformations},
794 @ref{Instrument transpositions}.
800 @rinternals{TransposedMusic}.
812 The relative conversion will not affect @code{\transpose},
813 @code{\chordmode} or @code{\relative} sections in its argument.
814 To use relative mode within transposed music, an additional
815 @code{\relative} must be placed inside @code{\transpose}.
818 @unnumberedsubsubsec Inversion
822 A music expression can be inverted with @code{\inversion}.
825 \inversion @var{frompitch} @var{topitch} @var{musicexpr}
829 This means that @code{@var{musicexpr}} is inverted
830 interval-by-interval, and transposition is chosen so that
831 @code{@var{frompitch}} is mapped to @code{@var{topitch}}.
833 @node Modal transformations
834 @unnumberedsubsubsec Modal transformations
836 @cindex modal transformations
837 @cindex transformations, modal
838 @cindex operations, modal
840 In a musical composition that is based on a scale, a motif is
841 frequently transformed in various ways. It may be
842 @notation{transposed} to start at different places in the scale, it
843 may be @notation{inverted} around a pivot point in the scale, and/or
844 it may be converted to its @notation{retrograde} (written backwards).
846 @warning{Any note that does not lie within the given scale will be
849 @subsubheading Modal transposition
851 @cindex modal transposition
852 @cindex transposition, modal
853 @cindex operation, transposition
854 @funindex \modalTranspose
855 @funindex modalTranspose
857 A motif can be transposed within a given scale with:
860 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
863 The notes of @var{motif} are shifted within the @var{scale} by the
864 number of scale degrees given by the interval between @var{to-pitch}
865 and @var{from-pitch}:
867 @lilypond[verbatim,quote]
868 diatonicScale = \relative c' { c d e f g a b }
869 motif = \relative c' { c8 d e f g a b c }
873 \modalTranspose c f \diatonicScale \motif
874 \modalTranspose c b, \diatonicScale \motif
878 An ascending scale of any length and with any intervals may be
881 @lilypond[verbatim,quote]
882 pentatonicScale = \relative c' { ges aes bes des ees }
883 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
887 \modalTranspose ges ees' \pentatonicScale \motif
891 When used with a chromatic scale @code{\modalTranspose} has a
892 similar effect to @code{\transpose}, but with the ability to
893 specify the names of the notes to be used:
895 @lilypond[verbatim,quote]
896 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
897 motif = \relative c' { c8 d e f g a b c }
901 \transpose c f \motif
902 \modalTranspose c f \chromaticScale \motif
906 @subsubheading Modal inversion
908 @cindex modal inversion
909 @cindex inversion, modal
910 @cindex operation, inversion
911 @funindex \modalInversion
912 @funindex modalInversion
914 A motif can be inverted within a given scale around a given pivot
915 note and transposed in a single operation with:
918 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
921 The notes of @var{motif} are placed the same number of scale degrees
922 from the @var{around-pitch} note within the @var{scale}, but in the
923 opposite direction, and the result is then shifted within the
924 @var{scale} by the number of scale degrees given by the interval between
925 @var{to-pitch} and @var{around-pitch}.
927 So to simply invert around a note in the scale use the same value for
928 @var{around-pitch} and @var{to-pitch}:
930 @lilypond[verbatim,quote]
931 octatonicScale = \relative c' { ees f fis gis a b c d }
932 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
936 \modalInversion fis' fis' \octatonicScale \motif
940 To invert around a pivot between two notes in the scale, invert around
941 one of the notes and then transpose by one scale degree. The two notes
942 specified can be interpreted as bracketing the pivot point:
944 @lilypond[verbatim,quote]
945 scale = \relative c' { c g' }
946 motive = \relative c' { c c g' c, }
950 \modalInversion c' g' \scale \motive
955 @subsubheading Retrograde transformation
957 @cindex retrograde transformation
958 @cindex transformation, retrograde
959 @cindex operation, retrograde
960 @funindex \retrograde
963 A motif can be reversed to produce its retrograde:
965 @lilypond[verbatim,quote]
966 motif = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
974 The combined operation of inversion and retrograde produce the
975 retrograde-inversion:
977 @lilypond[verbatim,quote]
978 octatonicScale = \relative c' { ees f fis gis a b c d }
979 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
983 \retrograde \modalInversion c' c' \octatonicScale \motif
992 Manual ties inside @code{\retrograde} will be broken and
993 generate warnings. Some ties can be generated automatically
994 by enabling @ref{Automatic note splitting}.
997 @node Displaying pitches
998 @subsection Displaying pitches
1000 This section discusses how to alter the output of pitches.
1006 * Instrument transpositions::
1007 * Automatic accidentals::
1013 @unnumberedsubsubsec Clef
1024 @cindex soprano clef
1025 @cindex mezzosoprano clef
1026 @cindex baritone clef
1027 @cindex varbaritone clef
1028 @cindex subbass clef
1030 @cindex ancient clef
1031 @cindex clef, ancient
1035 @cindex clef, treble
1036 @cindex clef, violin
1040 @cindex clef, french
1041 @cindex clef, soprano
1042 @cindex clef, mezzosoprano
1043 @cindex clef, baritone
1044 @cindex clef, varbaritone
1045 @cindex clef, subbass
1051 The clef may be altered. Middle C is shown in every example. The
1052 following clef names can (but do not need to) be enclosed in quotes.
1054 @lilypond[verbatim,quote,relative=1]
1065 Other clefs include:
1067 @lilypond[verbatim,quote,relative=1]
1088 \clef G % synonym for treble
1090 \clef F % synonym for bass
1092 \clef C % synonym for alto
1096 @cindex transposing clef
1097 @cindex clef, transposing
1098 @cindex octave transposition
1099 @cindex choral tenor clef
1100 @cindex tenor clef, choral
1102 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1103 clef is transposed one octave down or up respectively,
1104 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1105 Other integers can be used if required. Clef names containing
1106 non-alphabetic characters must be enclosed in quotes
1108 @lilypond[verbatim,quote,relative=1]
1123 Some special purpose clefs are described in @ref{Mensural clefs},
1124 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1129 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1130 {tweaking-clef-properties.ly}
1135 @ref{Mensural clefs},
1136 @ref{Gregorian clefs},
1137 @ref{Default tablatures},
1138 @ref{Custom tablatures}.
1143 Internals Reference:
1144 @rinternals{Clef_engraver},
1146 @rinternals{OctavateEight},
1147 @rinternals{clef-interface}.
1151 @unnumberedsubsubsec Key signature
1153 @cindex key signature
1158 @c duplicated in Key signature and Accidentals
1159 @warning{New users are sometimes confused about accidentals and
1160 key signatures. In LilyPond, note names are the raw input; key
1161 signatures and clefs determine how this raw input is displayed.
1162 An unaltered note like@tie{}@code{c} means @q{C natural},
1163 regardless of the key signature or clef. For more information,
1164 see @rlearning{Accidentals and key signatures}.}
1166 The key signature indicates the tonality in which a piece is
1167 played. It is denoted by a set of alterations (flats or sharps)
1168 at the start of the staff. The key signature may be altered:
1171 \key @var{pitch} @var{mode}
1184 @funindex \mixolydian
1185 @funindex mixolydian
1193 @cindex church modes
1206 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1207 to get a key signature of @code{@var{pitch}}-major or
1208 @code{@var{pitch}}-minor, respectively. You may also use the
1209 standard mode names, also called @notation{church modes}:
1210 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1211 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1213 @lilypond[verbatim,quote,relative=2]
1223 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1224 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1226 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1227 {non-traditional-key-signatures.ly}
1232 @rglos{church mode},
1236 @rlearning{Accidentals and key signatures}.
1241 Internals Reference:
1242 @rinternals{KeyChangeEvent},
1243 @rinternals{Key_engraver},
1244 @rinternals{Key_performer},
1245 @rinternals{KeyCancellation},
1246 @rinternals{KeySignature},
1247 @rinternals{key-cancellation-interface},
1248 @rinternals{key-signature-interface}.
1251 @node Ottava brackets
1252 @unnumberedsubsubsec Ottava brackets
1260 @funindex set-octavation
1264 @notation{Ottava brackets} introduce an extra transposition of an
1265 octave for the staff:
1267 @lilypond[verbatim,quote,relative=2]
1283 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1294 Internals Reference:
1295 @rinternals{Ottava_spanner_engraver},
1296 @rinternals{OttavaBracket},
1297 @rinternals{ottava-bracket-interface}.
1300 @node Instrument transpositions
1301 @unnumberedsubsubsec Instrument transpositions
1303 @cindex transposition, MIDI
1304 @cindex transposition, instrument
1305 @cindex transposing instrument
1307 @cindex MIDI transposition
1309 @funindex \transposition
1310 @funindex transposition
1312 When typesetting scores that involve transposing instruments, some
1313 parts can be typeset in a different pitch than the
1314 @notation{concert pitch}. In these cases, the key of the
1315 @notation{transposing instrument} should be specified; otherwise
1316 the MIDI output and cues in other parts will produce incorrect
1317 pitches. For more information about quotations, see
1318 @ref{Quoting other voices}.
1321 \transposition @var{pitch}
1324 The pitch to use for @code{\transposition} should correspond to
1325 the real sound heard when a@tie{}@code{c'} written on the staff is
1326 played by the transposing instrument. This pitch is entered in
1327 absolute mode, so an instrument that produces a real sound which
1328 is one tone higher than the printed music should use
1329 @w{@code{\transposition d'}}. @code{\transposition} should
1330 @emph{only} be used if the pitches are @emph{not} being entered in
1333 Here are a few notes for violin and B-flat clarinet where the
1334 parts have been entered using the notes and key as they appear in
1335 each part of the conductor's score. The two instruments are
1338 @lilypond[verbatim,quote]
1340 \new Staff = "violin" {
1342 \set Staff.instrumentName = #"Vln"
1343 \set Staff.midiInstrument = #"violin"
1344 % not strictly necessary, but a good reminder
1351 \new Staff = "clarinet" {
1353 \set Staff.instrumentName = \markup { Cl (B\flat) }
1354 \set Staff.midiInstrument = #"clarinet"
1364 The @code{\transposition} may be changed during a piece. For
1365 example, a clarinetist may switch from an A clarinet to a B-flat
1368 @lilypond[verbatim,quote,relative=2]
1369 \set Staff.instrumentName = #"Cl (A)"
1374 s1*0^\markup { Switch to B\flat clarinet }
1385 @rglos{concert pitch},
1386 @rglos{transposing instrument}.
1389 @ref{Quoting other voices},
1396 @node Automatic accidentals
1397 @unnumberedsubsubsec Automatic accidentals
1399 @cindex accidental style
1400 @cindex accidental style, default
1402 @cindex accidentals, automatic
1403 @cindex automatic accidentals
1404 @cindex default accidental style
1406 @funindex set-accidental-style
1410 There are many different conventions on how to typeset
1411 accidentals. LilyPond provides a function to specify which
1412 accidental style to use. This function is called as follows:
1416 #(set-accidental-style 'voice)
1421 The accidental style applies to the current @code{Staff} by
1422 default (with the exception of the styles @code{piano} and
1423 @code{piano-cautionary}, which are explained below). Optionally,
1424 the function can take a second argument that determines in which
1425 scope the style should be changed. For example, to use the same
1426 style in all staves of the current @code{StaffGroup}, use:
1429 #(set-accidental-style 'voice 'StaffGroup)
1432 The following accidental styles are supported. To demonstrate
1433 each style, we use the following example:
1436 @lilypond[verbatim,quote]
1440 cis'8 fis, d'4 <a cis>8 f bis4 |
1454 \voiceTwo \relative c' {
1455 <fis, a cis>8 <fis a cis>
1458 \change Staff = down
1463 \change Staff = down
1464 <fis, a cis>4 gis <f a d>2 |
1471 \context Staff = "up" {
1472 #(set-accidental-style 'default)
1475 \context Staff = "down" {
1476 #(set-accidental-style 'default)
1483 Note that the last lines of this example can be replaced by the
1484 following, as long as the same accidental style should be used in
1490 \context Staff = "up" @{
1491 %%% change the next line as desired:
1492 #(set-accidental-style 'default 'Score)
1495 \context Staff = "down" @{
1503 @c don't use verbatim in this table.
1507 @cindex default accidental style
1508 @cindex accidental style, default
1512 This is the default typesetting behavior. It corresponds to
1513 eighteenth-century common practice: accidentals are remembered to
1514 the end of the measure in which they occur and only in their own
1515 octave. Thus, in the example below, no natural signs are printed
1516 before the@tie{}@code{b} in the second measure or the
1523 cis'8 fis, d'4 <a cis>8 f bis4 |
1537 \voiceTwo \relative c' {
1538 <fis, a cis>8 <fis a cis>
1541 \change Staff = down
1546 \change Staff = down
1547 <fis, a cis>4 gis <f a d>2 |
1554 \context Staff = "up" {
1555 #(set-accidental-style 'default)
1558 \context Staff = "down" {
1559 #(set-accidental-style 'default)
1568 @cindex accidental style, voice
1569 @cindex voice accidental style
1570 @cindex accidental style, modern
1571 @cindex modern accidental style
1572 @cindex accidental style, modern-cautionary
1573 @cindex modern-cautionary accidental style
1577 The normal behavior is to remember the accidentals at
1578 @code{Staff}-level. In this style, however, accidentals are
1579 typeset individually for each voice. Apart from that, the rule is
1580 similar to @code{default}.
1582 As a result, accidentals from one voice do not get canceled in
1583 other voices, which is often an unwanted result: in the following
1584 example, it is hard to determine whether the second@tie{}@code{a}
1585 should be played natural or sharp. The @code{voice} option should
1586 therefore be used only if the voices are to be read solely by
1587 individual musicians. If the staff is to be used by one musician
1588 (e.g., a conductor or in a piano score) then @code{modern} or
1589 @code{modern-cautionary} should be used instead.
1596 cis'8 fis, d'4 <a cis>8 f bis4 |
1610 \voiceTwo \relative c' {
1611 <fis, a cis>8 <fis a cis>
1614 \change Staff = down
1619 \change Staff = down
1620 <fis, a cis>4 gis <f a d>2 |
1627 \context Staff = "up" {
1628 #(set-accidental-style 'voice)
1631 \context Staff = "down" {
1632 #(set-accidental-style 'voice)
1641 @cindex accidentals, modern style
1642 @cindex modern style accidentals
1646 This rule corresponds to the common practice in the twentieth
1647 century. It prints the same accidentals as @code{default}, with
1648 two exceptions that serve to avoid ambiguity: after temporary
1649 accidentals, cancellation marks are printed also in the following
1650 measure (for notes in the same octave) and, in the same measure,
1651 for notes in other octaves. Hence the naturals before
1652 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1659 cis'8 fis, d'4 <a cis>8 f bis4 |
1673 \voiceTwo \relative c' {
1674 <fis, a cis>8 <fis a cis>
1677 \change Staff = down
1682 \change Staff = down
1683 <fis, a cis>4 gis <f a d>2 |
1690 \context Staff = "up" {
1691 #(set-accidental-style 'modern)
1694 \context Staff = "down" {
1695 #(set-accidental-style 'modern)
1702 @item modern-cautionary
1704 @cindex accidentals, modern cautionary style
1705 @cindex modern accidental style
1706 @cindex modern cautionary accidental style
1707 @cindex modern style accidentals
1708 @cindex modern style cautionary accidentals
1710 @funindex modern-cautionary
1712 This rule is similar to @code{modern}, but the @q{extra}
1713 accidentals (the ones not typeset by @code{default}) are typeset
1714 as cautionary accidentals. They are by default printed with
1715 parentheses, but they can also be printed in reduced size by
1716 defining the @code{cautionary-style} property of
1717 @code{AccidentalSuggestion}.
1723 cis'8 fis, d'4 <a cis>8 f bis4 |
1737 \voiceTwo \relative c' {
1738 <fis, a cis>8 <fis a cis>
1741 \change Staff = down
1746 \change Staff = down
1747 <fis, a cis>4 gis <f a d>2 |
1754 \context Staff = "up" {
1755 #(set-accidental-style 'modern-cautionary)
1758 \context Staff = "down" {
1759 #(set-accidental-style 'modern-cautionary)
1768 @cindex accidental style, modern
1769 @cindex accidentals, modern
1770 @cindex accidentals, multivoice
1771 @cindex modern accidental style
1772 @cindex modern accidentals
1773 @cindex multivoice accidentals
1775 @funindex modern-voice
1777 This rule is used for multivoice accidentals to be read both by
1778 musicians playing one voice and musicians playing all voices.
1779 Accidentals are typeset for each voice, but they @emph{are}
1780 canceled across voices in the same @code{Staff}. Hence,
1781 the@tie{}@code{a} in the last measure is canceled because the
1782 previous cancellation was in a different voice, and
1783 the@tie{}@code{d} in the lower staff is canceled because of the
1784 accidental in a different voice in the previous measure:
1790 cis'8 fis, d'4 <a cis>8 f bis4 |
1804 \voiceTwo \relative c' {
1805 <fis, a cis>8 <fis a cis>
1808 \change Staff = down
1813 \change Staff = down
1814 <fis, a cis>4 gis <f a d>2 |
1821 \context Staff = "up" {
1822 #(set-accidental-style 'modern-voice)
1825 \context Staff = "down" {
1826 #(set-accidental-style 'modern-voice)
1833 @cindex accidental style, cautionary, modern voice
1834 @cindex accidental style, modern voice cautionary
1835 @cindex accidental style, voice, modern cautionary
1837 @funindex modern-voice-cautionary
1839 @item modern-voice-cautionary
1841 This rule is the same as @code{modern-voice}, but with the extra
1842 accidentals (the ones not typeset by @code{voice}) typeset as
1843 cautionaries. Even though all accidentals typeset by
1844 @code{default} @emph{are} typeset with this rule, some of them are
1845 typeset as cautionaries.
1851 cis'8 fis, d'4 <a cis>8 f bis4 |
1865 \voiceTwo \relative c' {
1866 <fis, a cis>8 <fis a cis>
1869 \change Staff = down
1874 \change Staff = down
1875 <fis, a cis>4 gis <f a d>2 |
1882 \context Staff = "up" {
1883 #(set-accidental-style 'modern-voice-cautionary)
1886 \context Staff = "down" {
1887 #(set-accidental-style 'modern-voice-cautionary)
1896 @cindex accidental style, piano
1897 @cindex accidentals, piano
1898 @cindex piano accidental style
1899 @cindex piano accidentals
1903 This rule reflects twentieth-century practice for piano notation.
1904 Its behavior is very similar to @code{modern} style, but here
1905 accidentals also get canceled across the staves in the same
1906 @code{GrandStaff} or @code{PianoStaff}, hence all the
1907 cancellations of the final notes.
1909 This accidental style applies to the current @code{GrandStaff} or
1910 @code{PianoStaff} by default.
1916 cis'8 fis, d'4 <a cis>8 f bis4 |
1930 \voiceTwo \relative c' {
1931 <fis, a cis>8 <fis a cis>
1934 \change Staff = down
1939 \change Staff = down
1940 <fis, a cis>4 gis <f a d>2 |
1947 \context Staff = "up" {
1948 #(set-accidental-style 'piano)
1951 \context Staff = "down" {
1958 @item piano-cautionary
1960 @cindex accidentals, piano cautionary
1961 @cindex cautionary accidentals, piano
1962 @cindex piano cautionary accidentals
1963 @cindex accidental style, piano cautionary
1964 @cindex cautionary accidental style, piano
1965 @cindex piano cautionary accidental style
1967 @funindex piano-cautionary
1969 This is the same as @code{piano} but with the extra accidentals
1970 typeset as cautionaries.
1976 cis'8 fis, d'4 <a cis>8 f bis4 |
1990 \voiceTwo \relative c' {
1991 <fis, a cis>8 <fis a cis>
1994 \change Staff = down
1999 \change Staff = down
2000 <fis, a cis>4 gis <f a d>2 |
2007 \context Staff = "up" {
2008 #(set-accidental-style 'piano-cautionary)
2011 \context Staff = "down" {
2021 @cindex neo-modern accidental style
2022 @cindex accidental style, neo-modern
2024 @funindex neo-modern
2026 This rule reproduces a common practice in contemporary music:
2027 accidentals are printed like with @code{modern}, but they are printed
2028 again if the same note appears later in the same measure -- except
2029 if the note is immediately repeated.
2035 cis'8 fis, d'4 <a cis>8 f bis4 |
2049 \voiceTwo \relative c' {
2050 <fis, a cis>8 <fis a cis>
2053 \change Staff = down
2058 \change Staff = down
2059 <fis, a cis>4 gis <f a d>2 |
2066 \context Staff = "up" {
2067 #(set-accidental-style 'neo-modern)
2070 \context Staff = "down" {
2071 #(set-accidental-style 'neo-modern)
2078 @item neo-modern-cautionary
2080 @cindex neo-modern-cautionary accidental style
2081 @cindex accidental style, neo-modern-cautionary
2083 @funindex neo-modern-cautionary
2085 This rule is similar to @code{neo-modern}, but the extra
2086 accidentals are printed as cautionary accidentals.
2092 cis'8 fis, d'4 <a cis>8 f bis4 |
2106 \voiceTwo \relative c' {
2107 <fis, a cis>8 <fis a cis>
2110 \change Staff = down
2115 \change Staff = down
2116 <fis, a cis>4 gis <f a d>2 |
2123 \context Staff = "up" {
2124 #(set-accidental-style 'neo-modern-cautionary)
2127 \context Staff = "down" {
2128 #(set-accidental-style 'neo-modern-cautionary)
2136 @item neo-modern-voice
2138 @cindex neo-modern-voice accidental style
2139 @cindex accidental style, neo-modern-voice
2141 @funindex neo-modern-voice
2143 This rule is used for multivoice accidentals to be read both by
2144 musicians playing one voice and musicians playing all voices.
2145 Accidentals are typeset for each voice as with @code{neo-modern},
2146 but they are canceled across voices in the same @code{Staff}.
2152 cis'8 fis, d'4 <a cis>8 f bis4 |
2166 \voiceTwo \relative c' {
2167 <fis, a cis>8 <fis a cis>
2170 \change Staff = down
2175 \change Staff = down
2176 <fis, a cis>4 gis <f a d>2 |
2183 \context Staff = "up" {
2184 #(set-accidental-style 'neo-modern-voice)
2187 \context Staff = "down" {
2188 #(set-accidental-style 'neo-modern-voice)
2195 @item neo-modern-voice-cautionary
2197 @cindex neo-modern-voice-cautionary accidental style
2198 @cindex accidental style, neo-modern-voice-cautionary
2200 @funindex neo-modern-voice-cautionary
2202 This rule is similar to @code{neo-modern-voice}, but the extra
2203 accidentals are printed as cautionary accidentals.
2209 cis'8 fis, d'4 <a cis>8 f bis4 |
2223 \voiceTwo \relative c' {
2224 <fis, a cis>8 <fis a cis>
2227 \change Staff = down
2232 \change Staff = down
2233 <fis, a cis>4 gis <f a d>2 |
2240 \context Staff = "up" {
2241 #(set-accidental-style 'neo-modern-voice-cautionary)
2244 \context Staff = "down" {
2245 #(set-accidental-style 'neo-modern-voice-cautionary)
2254 @cindex dodecaphonic accidental style
2255 @cindex dodecaphonic style, neo-modern
2257 @funindex dodecaphonic
2259 This rule reflects a practice introduced by composers at
2260 the beginning of the 20th century, in an attempt to
2261 abolish the hierarchy between natural and non-natural notes.
2262 With this style, @emph{every} note gets an accidental sign,
2263 including natural signs.
2269 cis'8 fis, d'4 <a cis>8 f bis4 |
2283 \voiceTwo \relative c' {
2284 <fis, a cis>8 <fis a cis>
2287 \change Staff = down
2292 \change Staff = down
2293 <fis, a cis>4 gis <f a d>2 |
2300 \context Staff = "up" {
2301 #(set-accidental-style 'dodecaphonic)
2304 \context Staff = "down" {
2305 #(set-accidental-style 'dodecaphonic)
2315 @cindex teaching accidental style
2316 @cindex accidental style, teaching
2320 This rule is intended for students, and makes it easy to create
2321 scale sheets with automatically created cautionary accidentals.
2322 Accidentals are printed like with @code{modern}, but cautionary
2323 accidentals are added for all sharp or flat tones specified by the
2324 key signature, except if the note is immediately repeated.
2330 cis'8 fis, d'4 <a cis>8 f bis4 |
2344 \voiceTwo \relative c' {
2345 <fis, a cis>8 <fis a cis>
2348 \change Staff = down
2353 \change Staff = down
2354 <fis, a cis>4 gis <f a d>2 |
2361 \context Staff = "up" {
2363 #(set-accidental-style 'teaching)
2366 \context Staff = "down" {
2368 #(set-accidental-style 'teaching)
2379 @cindex accidental style, no reset
2380 @cindex no reset accidental style
2384 This is the same as @code{default} but with accidentals lasting
2385 @q{forever} and not only within the same measure:
2391 cis'8 fis, d'4 <a cis>8 f bis4 |
2405 \voiceTwo \relative c' {
2406 <fis, a cis>8 <fis a cis>
2409 \change Staff = down
2414 \change Staff = down
2415 <fis, a cis>4 gis <f a d>2 |
2422 \context Staff = "up" {
2423 #(set-accidental-style 'no-reset)
2426 \context Staff = "down" {
2427 #(set-accidental-style 'no-reset)
2436 @cindex forget accidental style
2437 @cindex accidental style, forget
2441 This is the opposite of @code{no-reset}: Accidentals are not
2442 remembered at all -- and hence all accidentals are typeset
2443 relative to the key signature, regardless of what came before in
2444 the music. Unlike @code{dodecaphonic}, this rule never prints
2451 cis'8 fis, d'4 <a cis>8 f bis4 |
2465 \voiceTwo \relative c' {
2466 <fis, a cis>8 <fis a cis>
2469 \change Staff = down
2474 \change Staff = down
2475 <fis, a cis>4 gis <f a d>2 |
2482 \context Staff = "up" {
2483 #(set-accidental-style 'forget)
2486 \context Staff = "down" {
2487 #(set-accidental-style 'forget)
2497 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2498 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2505 Internals Reference:
2506 @rinternals{Accidental},
2507 @rinternals{Accidental_engraver},
2508 @rinternals{GrandStaff},
2509 @rinternals{PianoStaff},
2511 @rinternals{AccidentalSuggestion},
2512 @rinternals{AccidentalPlacement},
2513 @rinternals{accidental-suggestion-interface}.
2516 @cindex accidentals and simultaneous notes
2517 @cindex simultaneous notes and accidentals
2518 @cindex accidentals in chords
2519 @cindex chords, accidentals in
2523 Simultaneous notes are not considered in the automatic
2524 determination of accidentals; only previous notes and the key
2525 signature are considered. Forcing accidentals with@tie{}@code{!}
2526 or@tie{}@code{?} may be required when the same note name occurs
2527 simultaneously with different alterations, as in @samp{<f! fis!>}.
2529 Cautionary cancellation of accidentals is done by looking at previous measure.
2530 However, in the @code{\alternative} block following a @code{\repeat volta N}
2531 section, one would expect the cancellation being calculated using the previous
2532 @emph{played} measure, not previous @emph{printed} measure.
2533 In the following example, the natural @code{c} in the second alternative does
2534 not need a natural sign:
2538 #(set-accidental-style 'modern)
2550 The following work-around can be used: define a function that locally changes
2551 the accidental style to @code{forget}:
2553 @lilypond[verbatim,quote]
2554 forget = #(define-music-function (parser location music) (ly:music?) #{
2555 #(set-accidental-style 'forget)
2557 #(set-accidental-style 'modern)
2560 #(set-accidental-style 'modern)
2573 @unnumberedsubsubsec Ambitus
2576 @cindex range of pitches
2579 The term @notation{ambitus} (pl. ambitus) denotes a range of
2580 pitches for a given voice in a part of music. It may also denote
2581 the pitch range that a musical instrument is capable of playing.
2582 Ambitus are printed on vocal parts so that performers can easily
2583 determine if it matches their capabilities.
2585 Ambitus are denoted at the beginning of a piece near the initial
2586 clef. The range is graphically specified by two note heads that
2587 represent the lowest and highest pitches. Accidentals are only
2588 printed if they are not part of the key signature.
2590 @lilypond[verbatim,quote]
2594 \consists "Ambitus_engraver"
2607 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2608 {adding-ambitus-per-voice.ly}
2610 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2611 {ambitus-with-multiple-voices.ly}
2613 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2614 {changing-the-ambitus-gap.ly}
2624 Internals Reference:
2625 @rinternals{Ambitus_engraver},
2628 @rinternals{Ambitus},
2629 @rinternals{AmbitusAccidental},
2630 @rinternals{AmbitusLine},
2631 @rinternals{AmbitusNoteHead},
2632 @rinternals{ambitus-interface}.
2637 There is no collision handling in the case of multiple per-voice
2642 @subsection Note heads
2644 This section suggests ways of altering note heads.
2647 * Special note heads::
2648 * Easy notation note heads::
2649 * Shape note heads::
2653 @node Special note heads
2654 @unnumberedsubsubsec Special note heads
2656 @cindex note heads, special
2657 @cindex note heads, cross
2658 @cindex note heads, diamond
2659 @cindex note heads, parlato
2660 @cindex note heads, harmonic
2661 @cindex note heads, guitar
2662 @cindex special note heads
2663 @cindex cross note heads
2664 @cindex diamond note heads
2665 @cindex parlato note heads
2666 @cindex harmonic note heads
2667 @cindex guitar note heads
2668 @cindex note head styles
2669 @cindex styles, note heads
2673 The appearance of note heads may be altered:
2675 @lilypond[verbatim,quote,relative=2]
2677 \override NoteHead #'style = #'cross
2679 \revert NoteHead #'style
2681 \override NoteHead #'style = #'harmonic
2683 \revert NoteHead #'style
2687 To see all note head styles, see @ref{Note head styles}.
2689 The @code{cross} style is used to represent a variety of musical
2690 intentions. The following generic predefined commands modify the
2691 note head in both staff and tablature contexts and can be used to
2692 represent any musical meaning:
2694 @lilypond[verbatim,quote,relative=2]
2702 The music function form of this predefined command may be used
2703 inside and outside chords to generate crossed note heads in both
2704 staff and tablature contexts:
2706 @lilypond[verbatim,quote,relative=2]
2709 c b < g \xNote c f > b
2712 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2713 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2714 be used. The term @notation{dead note} is commonly used by guitarists.
2716 There is also a shorthand for diamond shapes which can be used
2719 @lilypond[verbatim,quote,relative=2]
2720 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2735 @ref{Note head styles},
2736 @ref{Chorded notes},
2737 @ref{Indicating harmonics and dampened notes}.
2739 Internals Reference:
2740 @rinternals{note-event},
2741 @rinternals{Note_heads_engraver},
2742 @rinternals{Ledger_line_engraver},
2743 @rinternals{NoteHead},
2744 @rinternals{LedgerLineSpanner},
2745 @rinternals{note-head-interface},
2746 @rinternals{ledger-line-spanner-interface}.
2749 @node Easy notation note heads
2750 @unnumberedsubsubsec Easy notation note heads
2752 @cindex note heads, practice
2753 @cindex practice note heads
2754 @cindex note heads, easy notation
2755 @cindex easy notation
2756 @cindex beginners' music
2757 @cindex music, beginners'
2758 @cindex easy play note heads
2759 @cindex note heads, easy play
2761 @funindex \easyHeadsOn
2762 @funindex easyHeadsOn
2763 @funindex \easyHeadsOff
2764 @funindex easyHeadsOff
2766 The @q{easy play} note head includes a note name inside the head.
2767 It is used in music for beginners. To make the letters readable,
2768 it should be printed in a large font size. To print with a larger
2769 font, see @ref{Setting the staff size}.
2771 @lilypond[verbatim,quote]
2772 #(set-global-staff-size 26)
2784 @code{\easyHeadsOn},
2785 @code{\easyHeadsOff}.
2791 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2792 {numbers-as-easy-note-heads.ly}
2797 @ref{Setting the staff size}.
2802 Internals Reference:
2803 @rinternals{note-event},
2804 @rinternals{Note_heads_engraver},
2805 @rinternals{NoteHead},
2806 @rinternals{note-head-interface}.
2809 @node Shape note heads
2810 @unnumberedsubsubsec Shape note heads
2812 @cindex note heads, shape
2813 @cindex note heads, Aiken
2814 @cindex note heads, sacred harp
2816 @cindex Aiken shape note heads
2817 @cindex sacred harp note heads
2818 @cindex note heads, Southern Harmony
2819 @cindex Southern Harmony note heads
2820 @cindex Funk shape note heads
2821 @cindex note heads, Funk
2822 @cindex note heads, Harmonica Sacra
2823 @cindex Harmonica Sacra note heads
2824 @cindex Christian Harmony note heads
2825 @cindex note heads, Christian Harmony
2826 @cindex Walker shape note heads
2827 @cindex note heads, Walker
2829 @funindex \aikenHeads
2830 @funindex aikenHeads
2831 @funindex \sacredHarpHeads
2832 @funindex sacredHarpHeads
2833 @funindex \southernHarmonyHeads
2834 @funindex southernHarmonyHeads
2835 @funindex \funkHeads
2837 @funindex \walkerHeads
2838 @funindex walkerHeads
2840 In shape note head notation, the shape of the note head
2841 corresponds to the harmonic function of a note in the scale. This
2842 notation was popular in nineteenth-century American song books.
2843 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2844 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2846 @lilypond[verbatim,quote,relative=2]
2848 c, d e f g2 a b1 c \break
2850 c,4 d e f g2 a b1 c \break
2851 \southernHarmonyHeads
2852 c,4 d e f g2 a b1 c \break
2854 c,4 d e f g2 a b1 c \break
2856 c,4 d e f g2 a b1 c \break
2861 @funindex \aikenHeadsMinor
2862 @funindex aikenHeadsMinor
2863 @funindex \sacredHarpHeadsMinor
2864 @funindex sacredHarpHeadsMinor
2865 @funindex \southernHarmonyHeadsMinor
2866 @funindex southernHarmonyHeadsMinor
2867 @funindex \funkHeadsMinor
2868 @funindex funkHeadsMinor
2869 @funindex \walkerHeadsMinor
2870 @funindex walkerHeadsMinor
2872 Shapes are typeset according to the step in the scale, where the base
2873 of the scale is determined by the @code{\key} command. When writing
2874 in a minor key, the scale step can be determined from the relative
2877 @lilypond[verbatim,quote,relative=2]
2880 a b c d e2 f g1 a \break
2882 a,4 b c d e2 f g1 a \break
2883 \sacredHarpHeadsMinor
2885 \southernHarmonyHeadsMinor
2897 @code{\aikenHeadsMinor},
2899 @code{\funkHeadsMinor},
2900 @code{\sacredHarpHeads},
2901 @code{\sacredHarpHeadsMinor},
2902 @code{\southernHarmonyHeads},
2903 @code{\southernHarmonyHeadsMinor},
2904 @code{\walkerHeads},
2905 @code{\walkerHeadsMinor}.
2911 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2912 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2914 To see all note head styles, see @ref{Note head styles}.
2922 @ref{Note head styles}.
2924 Internals Reference:
2925 @rinternals{note-event},
2926 @rinternals{Note_heads_engraver},
2927 @rinternals{NoteHead},
2928 @rinternals{note-head-interface}.
2932 @unnumberedsubsubsec Improvisation
2934 @cindex improvisation
2935 @cindex slashed note heads
2936 @cindex note heads, improvisation
2937 @cindex note heads, slashed
2939 @funindex \improvisationOn
2940 @funindex improvisationOn
2941 @funindex \improvisationOff
2942 @funindex improvisationOff
2944 Improvisation is sometimes denoted with slashed note heads, where
2945 the performer may choose any pitch but should play the specified
2946 rhythm. Such note heads can be created:
2948 @lilypond[verbatim,quote,relative=2]
2950 \consists "Pitch_squash_engraver"
2952 e8 e g a a16( bes) a8 g
2964 @code{\improvisationOn},
2965 @code{\improvisationOff}.
2973 Internals Reference:
2974 @rinternals{Pitch_squash_engraver},
2976 @rinternals{RhythmicStaff}.