1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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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]
98 @node Relative octave entry
99 @unnumberedsubsubsec Relative octave entry
102 @cindex relative octave entry
103 @cindex octave entry, relative
104 @cindex relative octave specification
105 @cindex octave specification, relative
110 When octaves are specified in absolute mode it is easy to
111 accidentally put a pitch in the wrong octave. Relative octave
112 mode reduces these errors since most of the time it is not
113 necessary to indicate any octaves at all. Furthermore, in
114 absolute mode a single mistake may be difficult to spot, while in
115 relative mode a single error puts the rest of the piece off by one
119 \relative @var{startpitch} @var{musicexpr}
122 In relative mode, each note is assumed to be as close to the
123 previous note as possible. This means that the octave of each
124 pitch inside @code{@var{musicexpr}} is calculated as follows:
128 If no octave changing mark is used on a pitch, its octave is
129 calculated so that the interval with the previous note is less
130 than a fifth. This interval is determined without considering
134 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
135 added to respectively raise or lower a pitch by an extra octave,
136 relative to the pitch calculated without an octave mark.
139 Multiple octave changing marks can be used. For example,
140 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
144 The pitch of the first note is relative to
145 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
146 absolute octave mode, and it is recommended that it be a octave of
150 Here is the relative mode shown in action:
152 @lilypond[verbatim,quote]
161 Octave changing marks are used for intervals greater than a
164 @lilypond[verbatim,quote]
171 A note sequence without a single octave mark can nevertheless span
174 @lilypond[verbatim,quote]
181 When @code{\relative} blocks are nested, the innermost
182 @code{\relative} block applies.
184 @lilypond[verbatim,quote]
193 @code{\relative} has no effect on @code{\chordmode} blocks.
195 @lilypond[verbatim,quote]
204 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
206 Music inside a @code{\transpose} block is absolute unless a
207 @code{\relative} is included.
209 @lilypond[verbatim,quote]
222 @cindex chords and relative octave entry
223 @cindex relative octave entry and chords
225 If the preceding item is a chord, the first note of the chord is
226 used as the reference point for the octave placement of a
227 following note or chord. Inside chords, the next note is always
228 relative to the preceding one. Examine the next example
229 carefully, paying attention to the @code{c} notes.
231 @lilypond[verbatim,quote]
240 As explained above, the octave of pitches is calculated only with
241 the note names, regardless of any alterations. Therefore, an
242 E-double-sharp following a B will be placed higher, while an
243 F-double-flat will be placed lower. In other words, a
244 double-augmented fourth is considered a smaller interval than a
245 double-diminished fifth, regardless of the number of semitones
246 that each interval contains.
248 @lilypond[verbatim,quote]
257 One consequence of these rules is that the first note inside
258 @code{@w{\relative f}} music is interpreted just the same as
259 if it was written in absolute pitch mode.
274 @rinternals{RelativeOctaveMusic}.
276 @cindex relative octave entry and transposition
277 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
294 @unnumberedsubsubsec Accidentals
297 @cindex key signature
300 @c duplicated in Key signature and Accidentals
301 @warning{New users are sometimes confused about accidentals and
302 key signatures. In LilyPond, note names are the raw input; key
303 signatures and clefs determine how this raw input is displayed.
304 An unaltered note like@tie{}@code{c} means @q{C natural},
305 regardless of the key signature or clef. For more information,
306 see @rlearning{Accidentals and key signatures}.}
308 @cindex note names, Dutch
309 @cindex note names, default
310 @cindex default note names
314 @cindex sharp, double
318 @cindex natural pitch
320 A @notation{sharp} pitch is made by adding @code{is} to the note
321 name, and a @notation{flat} pitch by adding @code{es}. As you
322 might expect, a @notation{double sharp} or @notation{double flat}
323 is made by adding @code{isis} or @code{eses}. This syntax is
324 derived from Dutch note naming conventions. To use other names
325 for accidentals, see @ref{Note names in other languages}.
327 @lilypond[verbatim,quote,relative=2]
331 A natural will cancel the effect of an accidental or key
332 signature. However, naturals are not encoded into the note name
333 syntax with a suffix; a natural pitch is shown as a simple note
336 @lilypond[verbatim,quote,relative=2]
340 @cindex quarter tones
344 Quarter tones may be added; the following is a series of Cs with
347 @lilypond[verbatim,quote,relative=2]
348 ceseh1 ces ceh c cih cis cisih
353 @cindex accidental, reminder
354 @cindex accidental, cautionary
355 @cindex accidental, parenthesized
356 @cindex reminder accidental
357 @cindex cautionary accidental
358 @cindex parenthesized accidental
364 Normally accidentals are printed automatically, but you may also
365 print them manually. A reminder accidental can be forced by
366 adding an exclamation mark@tie{}@code{!} after the pitch. A
367 cautionary accidental (i.e., an accidental within parentheses) can
368 be obtained by adding the question mark@tie{}@code{?} after the
369 pitch. These extra accidentals can also be used to produce
372 @lilypond[verbatim,quote,relative=2]
373 cis cis cis! cis? c c c! c?
376 @cindex accidental on tied note
377 @cindex tied note, accidental
379 Accidentals on tied notes are only printed at the beginning of a
382 @lilypond[verbatim,quote,relative=2]
391 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
392 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
394 @lilypondfile[verbatim,quote,texidoc,doctitle]
395 {preventing-extra-naturals-from-being-automatically-added.ly}
401 @rglos{double sharp},
404 @rglos{quarter tone}.
407 @rlearning{Accidentals and key signatures}.
410 @ref{Automatic accidentals},
411 @ref{Annotational accidentals (musica ficta)},
412 @ref{Note names in other languages}.
418 @rinternals{Accidental_engraver},
419 @rinternals{Accidental},
420 @rinternals{AccidentalCautionary},
421 @rinternals{accidental-interface}.
423 @cindex accidental, quarter-tone
424 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
432 @node Note names in other languages
433 @unnumberedsubsubsec Note names in other languages
435 @cindex note names, other languages
436 @cindex pitch names, other languages
437 @cindex language, note names in other
438 @cindex language, pitch names in other
440 There are predefined sets of note and accidental names for various
441 other languages. Selecting the note name language is usually done
442 at the beginning of the file; the following example is written
443 using Italian note names:
445 @lilypond[quote,verbatim]
453 The available languages and the note names they define are:
456 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
459 @item @code{nederlands}
460 @tab c d e f g a bes b
462 @tab do re mi fa sol la sib si
466 @tab c d e f g a bf b
467 @item @code{espanol} or @code{español}
468 @tab do re mi fa sol la sib si
469 @item @code{italiano} or @code{français}
470 @tab do re mi fa sol la sib si
473 @item @code{portugues}
474 @tab do re mi fa sol la sib si
480 @tab do re mi fa sol la sib si
484 In addition to note names, accidental suffixes may
485 also vary depending on the language:
488 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @code{nederlands}
492 @tab -is @tab -es @tab -isis @tab -eses
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
500 @item @code{espanol} or @code{español}
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @code{italiano} or @code{français}
503 @tab -d @tab -b @tab -dd @tab -bb
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @code{portugues}
508 @tab -s @tab -b @tab -ss @tab -bb
510 @tab -is @tab -es @tab -isis @tab -eses
512 @tab -iss @tab -ess @tab -ississ @tab -essess
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The following table lists note names
538 for quarter-tone accidentals in various languages; here the prefixes
539 @notation{semi-} and @notation{sesqui-} respectively
540 mean @q{half} and @q{one and a half}. Languages that do not
541 appear in this table do not provide special note names yet.
544 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @code{nederlands}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @tab -ih @tab -eh @tab -isih @tab -eseh
553 @tab -qs @tab -qf @tab -tqs @tab -tqf
554 @item @code{espanol} or @code{español}
555 @tab -cs @tab -cb @tab -tcs @tab -tcb
556 @item @code{italiano} or @code{français}
557 @tab -sd @tab -sb @tab -dsd @tab -bsb
558 @item @code{portugues}
559 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
563 Most languages presented here are commonly associated with
564 Western classical music, also referred to as
565 @notation{Common Practice Period}. However, alternate
566 pitches and tuning systems are also supported: see
567 @ref{Common notation for non-Western music}.
572 @rglos{Common Practice Period}.
575 @ref{Common notation for non-Western music}.
578 @file{scm/define-note-names.scm}.
584 @node Changing multiple pitches
585 @subsection Changing multiple pitches
587 This section discusses how to modify pitches.
594 * Modal transformations::
598 @unnumberedsubsubsec Octave checks
600 @cindex octave correction
602 @cindex control pitch
605 @funindex \octaveCheck
606 @funindex octaveCheck
607 @funindex controlpitch
609 In relative mode, it is easy to forget an octave changing mark.
610 Octave checks make such errors easier to find by displaying a
611 warning and correcting the octave if a note is found in an
614 To check the octave of a note, specify the absolute octave after
615 the @code{=}@tie{}symbol. This example will generate a warning
616 (and change the pitch) because the second note is the absolute
617 octave @code{d''} instead of @code{d'} as indicated by the octave
620 @lilypond[verbatim,quote]
627 The octave of notes may also be checked with the
628 @code{\octaveCheck@tie{}@var{controlpitch}} command.
629 @code{@var{controlpitch}} is specified in absolute mode. This
630 checks that the interval between the previous note and the
631 @code{@var{controlpitch}} is within a fourth (i.e., the normal
632 calculation of relative mode). If this check fails, a warning is
633 printed, but the previous note is not changed. Future notes are
634 relative to the @code{@var{controlpitch}}.
636 @lilypond[verbatim,quote]
644 Compare the two bars below. The first and third @code{\octaveCheck}
645 checks fail, but the second one does not fail.
647 @lilypond[verbatim,quote]
666 @rinternals{RelativeOctaveCheck}.
670 @unnumberedsubsubsec Transpose
674 @cindex transposition
675 @cindex transposition of pitches
676 @cindex transposition of notes
677 @cindex pitches, transposition of
678 @cindex notes, transposition of
683 A music expression can be transposed with @code{\transpose}. The
687 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
691 This means that @code{@var{musicexpr}} is transposed by the
692 interval between the pitches @code{@var{frompitch}} and
693 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
694 is changed to @code{@var{topitch}} and any other note is
695 transposed by the same interval. Both pitches are entered in
698 @warning{Music inside a @code{@bs{}transpose} block is absolute
699 unless a @code{@bs{}relative} is included in the block.}
701 Consider a piece written in the key of D-major. It can be
702 transposed up to E-major; note that the key signature is
703 automatically transposed as well.
705 @lilypond[verbatim,quote]
714 @cindex transposing instruments
715 @cindex instruments, transposing
717 If a part written in C (normal @notation{concert pitch}) is to be
718 played on the A clarinet (for which an A is notated as a C and
719 thus sounds a minor third lower than notated), the appropriate
720 part will be produced with:
722 @lilypond[verbatim,quote]
732 Note that we specify @w{@code{\key c \major}} explicitly. If we
733 do not specify a key signature, the notes will be transposed but
734 no key signature will be printed.
736 @code{\transpose} distinguishes between enharmonic pitches: both
737 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
738 transpose up a semitone. The first version will print sharps and
739 the notes will remain on the same scale step, the second version
740 will print flats on the scale step above.
742 @lilypond[verbatim,quote]
743 music = \relative c' { c d e f }
745 \transpose c cis { \music }
746 \transpose c des { \music }
751 @code{\transpose} may also be used in a different way, to input
752 written notes for a transposing instrument. The previous examples
753 show how to enter pitches in C (or @notation{concert pitch}) and
754 typeset them for a transposing instrument, but the opposite is
755 also possible if you for example have a set of instrumental parts
756 and want to print a conductor's score. For example, when entering
757 music for a B-flat trumpet that begins on a notated E (concert D),
761 musicInBflat = @{ e4 @dots{} @}
762 \transpose c bes, \musicInBflat
766 To print this music in F (e.g., rearranging to a French horn) you
767 could wrap the existing music with another @code{\transpose}:
770 musicInBflat = @{ e4 @dots{} @}
771 \transpose f c' @{ \transpose c bes, \musicInBflat @}
775 For more information about transposing instruments,
776 see @ref{Instrument transpositions}.
781 @lilypondfile[verbatim,quote,texidoc,doctitle]
782 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
786 @ref{Instrument transpositions},
788 @ref{Modal transformations},
789 @ref{Relative octave entry},
796 @rinternals{TransposedMusic}.
806 The relative conversion will not affect @code{\transpose},
807 @code{\chordmode} or @code{\relative} sections in its argument. To use
808 relative mode within transposed music, an additional @code{\relative}
809 must be placed inside @code{\transpose}.
811 Triple accidentals will not be printed if using @code{\transpose}. An
812 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
813 rather than e-triple-flat).
817 @unnumberedsubsubsec Inversion
820 @cindex operation, inversion
823 A music expression can be inverted and transposed in a single
827 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
830 The @code{@var{musicexpr}} is inverted interval-by-interval around
831 @code{@var{around-pitch}}, and then transposed so that
832 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
834 @lilypond[verbatim,quote]
835 music = \relative c' { c d e f }
838 \inversion d' d' \music
839 \inversion d' ees' \music
843 @warning{Motifs to be inverted should be expressed in absolute form
844 or be first converted to absolute form by enclosing them in a
845 @code{\relative} block.}
849 @ref{Modal transformations},
855 @unnumberedsubsubsec Retrograde
857 @cindex retrograde transformation
858 @cindex transformation, retrograde
859 @cindex operation, retrograde
860 @funindex \retrograde
863 A music expression can be reversed to produce its retrograde:
865 @lilypond[verbatim,quote]
866 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
875 Manual ties inside @code{\retrograde} will be broken and
876 generate warnings. Some ties can be generated automatically
877 by enabling @ref{Automatic note splitting}.
882 @ref{Modal transformations},
886 @node Modal transformations
887 @unnumberedsubsubsec Modal transformations
889 @cindex modal transformations
890 @cindex transformations, modal
891 @cindex operations, modal
893 In a musical composition that is based on a scale, a motif is
894 frequently transformed in various ways. It may be
895 @notation{transposed} to start at different places in the scale or
896 it may be @notation{inverted} around a pivot point in the scale.
897 It may also be reversed to produce its @notation{retrograde}, see
900 @warning{Any note that does not lie within the given scale will be
903 @subsubsubheading Modal transposition
905 @cindex modal transposition
906 @cindex transposition, modal
907 @cindex operation, transposition
908 @funindex \modalTranspose
909 @funindex modalTranspose
911 A motif can be transposed within a given scale with:
914 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
917 The notes of @var{motif} are shifted within the @var{scale} by the
918 number of scale degrees given by the interval between @var{to-pitch}
919 and @var{from-pitch}:
921 @lilypond[verbatim,quote]
922 diatonicScale = \relative c' { c d e f g a b }
923 motif = \relative c' { c8 d e f g a b c }
927 \modalTranspose c f \diatonicScale \motif
928 \modalTranspose c b, \diatonicScale \motif
932 An ascending scale of any length and with any intervals may be
935 @lilypond[verbatim,quote]
936 pentatonicScale = \relative c' { ges aes bes des ees }
937 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
941 \modalTranspose ges ees' \pentatonicScale \motif
945 When used with a chromatic scale @code{\modalTranspose} has a
946 similar effect to @code{\transpose}, but with the ability to
947 specify the names of the notes to be used:
949 @lilypond[verbatim,quote]
950 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
951 motif = \relative c' { c8 d e f g a b c }
955 \transpose c f \motif
956 \modalTranspose c f \chromaticScale \motif
960 @subsubsubheading Modal inversion
962 @cindex modal inversion
963 @cindex inversion, modal
964 @cindex operation, modal inversion
965 @funindex \modalInversion
966 @funindex modalInversion
968 A motif can be inverted within a given scale around a given pivot
969 note and transposed in a single operation with:
972 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
975 The notes of @var{motif} are placed the same number of scale degrees
976 from the @var{around-pitch} note within the @var{scale}, but in the
977 opposite direction, and the result is then shifted within the
978 @var{scale} by the number of scale degrees given by the interval between
979 @var{to-pitch} and @var{around-pitch}.
981 So to simply invert around a note in the scale use the same value for
982 @var{around-pitch} and @var{to-pitch}:
984 @lilypond[verbatim,quote]
985 octatonicScale = \relative c' { ees f fis gis a b c d }
986 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
990 \modalInversion fis' fis' \octatonicScale \motif
994 To invert around a pivot between two notes in the scale, invert around
995 one of the notes and then transpose by one scale degree. The two notes
996 specified can be interpreted as bracketing the pivot point:
998 @lilypond[verbatim,quote]
999 scale = \relative c' { c g' }
1000 motive = \relative c' { c c g' c, }
1004 \modalInversion c' g' \scale \motive
1008 The combined operation of inversion and retrograde produce the
1009 retrograde-inversion:
1011 @lilypond[verbatim,quote]
1012 octatonicScale = \relative c' { ees f fis gis a b c d }
1013 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1017 \retrograde \modalInversion c' c' \octatonicScale \motif
1028 @node Displaying pitches
1029 @subsection Displaying pitches
1031 This section discusses how to alter the output of pitches.
1037 * Instrument transpositions::
1038 * Automatic accidentals::
1044 @unnumberedsubsubsec Clef
1055 @cindex soprano clef
1056 @cindex mezzosoprano clef
1057 @cindex baritone clef
1058 @cindex varbaritone clef
1059 @cindex subbass clef
1061 @cindex ancient clef
1062 @cindex clef, ancient
1066 @cindex clef, treble
1067 @cindex clef, violin
1071 @cindex clef, french
1072 @cindex clef, soprano
1073 @cindex clef, mezzosoprano
1074 @cindex clef, baritone
1075 @cindex clef, varbaritone
1076 @cindex clef, subbass
1082 The clef may be altered. Middle C is shown in every example. The
1083 following clef names can (but do not need to) be enclosed in quotes.
1085 @lilypond[verbatim,quote,relative=1]
1096 Other clefs include:
1098 @lilypond[verbatim,quote,relative=1]
1119 \clef G % synonym for treble
1121 \clef F % synonym for bass
1123 \clef C % synonym for alto
1127 @cindex transposing clef
1128 @cindex clef, transposing
1129 @cindex octave transposition
1130 @cindex optional octave transposition
1131 @cindex octave transposition, optional
1132 @cindex choral tenor clef
1133 @cindex tenor clef, choral
1135 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1136 clef is transposed one octave down or up respectively,
1137 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1138 Other integers can be used if required. Clef names containing
1139 non-alphabetic characters must be enclosed in quotes
1141 @lilypond[verbatim,quote,relative=1]
1156 Optional octavation can be obtained by enclosing the numeric
1157 argument in parentheses or brackets:
1159 @lilypond[verbatim,quote,relative=1]
1166 The pitches are displayed as if the numeric argument were
1167 given without parentheses/brackets.
1169 Some special purpose clefs are described in @ref{Mensural clefs},
1170 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1171 tablatures}. For mixing different clefs when using cue notes within a
1172 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1173 in @ref{Formatting cue notes}.
1177 @lilypondfile[verbatim,quote,texidoc,doctitle]
1178 {tweaking-clef-properties.ly}
1182 @ref{Mensural clefs},
1183 @ref{Gregorian clefs},
1184 @ref{Default tablatures},
1185 @ref{Custom tablatures},
1186 @ref{Formatting cue notes}.
1191 Internals Reference:
1192 @rinternals{Clef_engraver},
1194 @rinternals{OctavateEight},
1195 @rinternals{clef-interface}.
1198 Ottavation numbers attached to clefs are treated as separate grobs. So
1199 any @code{\override} done to the @var{Clef} will also need to be
1200 applied, as a separate @code{\override}, to the @var{OctavateEight}
1203 @lilypond[fragment,quote,relative=1]
1205 \override OctavateEight.color = #red
1206 \override Clef.color = #blue
1214 @unnumberedsubsubsec Key signature
1216 @cindex key signature
1221 @c duplicated in Key signature and Accidentals
1222 @warning{New users are sometimes confused about accidentals and
1223 key signatures. In LilyPond, note names are the raw input; key
1224 signatures and clefs determine how this raw input is displayed.
1225 An unaltered note like@tie{}@code{c} means @q{C natural},
1226 regardless of the key signature or clef. For more information,
1227 see @rlearning{Accidentals and key signatures}.}
1229 The key signature indicates the tonality in which a piece is
1230 played. It is denoted by a set of alterations (flats or sharps)
1231 at the start of the staff. The key signature may be altered:
1234 \key @var{pitch} @var{mode}
1247 @funindex \mixolydian
1248 @funindex mixolydian
1256 @cindex church modes
1269 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1270 to get a key signature of @code{@var{pitch}}-major or
1271 @code{@var{pitch}}-minor, respectively. You may also use the
1272 standard mode names, also called @notation{church modes}:
1273 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1274 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1276 @lilypond[verbatim,quote,relative=2]
1283 Additional modes can be defined, by listing the alterations
1284 for each scale step when the mode starts on C.
1286 @lilypond[verbatim,quote]
1287 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1288 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1291 \key c\freygish c4 des e f
1292 \bar "||" \key d\freygish d es fis g
1296 Accidentals in the key signature may be printed in octaves other
1297 than their traditional positions, or in multiple octaves, by
1298 using the @code{flat-positions} and @code{sharp-positions}
1299 properties of @code{KeySignature}. Entries in these properties
1300 specify the range of staff-positions where accidentals will be
1301 printed. If a single position is specified in an entry, the
1302 accidentals are placed within the octave ending at that staff
1305 @lilypond[verbatim, quote,relative=0]
1306 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1307 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1308 \clef bass \key es\major es g bes d
1309 \clef treble \bar "||" \key es\major es g bes d
1311 \override Staff.KeySignature.sharp-positions = #'(2)
1312 \bar "||" \key b\major b fis b2
1317 @lilypondfile[verbatim,quote,texidoc,doctitle]
1318 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1320 @lilypondfile[verbatim,quote,texidoc,doctitle]
1321 {non-traditional-key-signatures.ly}
1325 @rglos{church mode},
1329 @rlearning{Accidentals and key signatures}.
1334 Internals Reference:
1335 @rinternals{KeyChangeEvent},
1336 @rinternals{Key_engraver},
1337 @rinternals{Key_performer},
1338 @rinternals{KeyCancellation},
1339 @rinternals{KeySignature},
1340 @rinternals{key-signature-interface}.
1343 @node Ottava brackets
1344 @unnumberedsubsubsec Ottava brackets
1352 @funindex set-octavation
1356 @notation{Ottava brackets} introduce an extra transposition of an
1357 octave for the staff:
1359 @lilypond[verbatim,quote,relative=2]
1375 @lilypondfile[verbatim,quote,texidoc,doctitle]
1385 Internals Reference:
1386 @rinternals{Ottava_spanner_engraver},
1387 @rinternals{OttavaBracket},
1388 @rinternals{ottava-bracket-interface}.
1391 @node Instrument transpositions
1392 @unnumberedsubsubsec Instrument transpositions
1394 @cindex transposition, MIDI
1395 @cindex transposition, instrument
1396 @cindex transposing instrument
1398 @cindex MIDI transposition
1400 @funindex \transposition
1401 @funindex transposition
1403 When typesetting scores that involve transposing instruments, some
1404 parts can be typeset in a different pitch than the
1405 @notation{concert pitch}. In these cases, the key of the
1406 @notation{transposing instrument} should be specified; otherwise
1407 the MIDI output and cues in other parts will produce incorrect
1408 pitches. For more information about quotations, see
1409 @ref{Quoting other voices}.
1412 \transposition @var{pitch}
1415 The pitch to use for @code{\transposition} should correspond to
1416 the real sound heard when a@tie{}@code{c'} written on the staff is
1417 played by the transposing instrument. This pitch is entered in
1418 absolute mode, so an instrument that produces a real sound which
1419 is one tone higher than the printed music should use
1420 @w{@code{\transposition d'}}. @code{\transposition} should
1421 @emph{only} be used if the pitches are @emph{not} being entered in
1424 Here are a few notes for violin and B-flat clarinet where the
1425 parts have been entered using the notes and key as they appear in
1426 each part of the conductor's score. The two instruments are
1429 @lilypond[verbatim,quote]
1431 \new Staff = "violin" {
1433 \set Staff.instrumentName = #"Vln"
1434 \set Staff.midiInstrument = #"violin"
1435 % not strictly necessary, but a good reminder
1442 \new Staff = "clarinet" {
1444 \set Staff.instrumentName = \markup { Cl (B\flat) }
1445 \set Staff.midiInstrument = #"clarinet"
1455 The @code{\transposition} may be changed during a piece. For
1456 example, a clarinetist may switch from an A clarinet to a B-flat
1459 @lilypond[verbatim,quote,relative=2]
1460 \set Staff.instrumentName = #"Cl (A)"
1465 <>^\markup { Switch to B\flat clarinet }
1475 @rglos{concert pitch},
1476 @rglos{transposing instrument}.
1479 @ref{Quoting other voices},
1486 @node Automatic accidentals
1487 @unnumberedsubsubsec Automatic accidentals
1489 @cindex accidental style
1490 @cindex accidental style, default
1492 @cindex accidentals, automatic
1493 @cindex automatic accidentals
1494 @cindex default accidental style
1496 @funindex \accidentalStyle
1500 There are many different conventions on how to typeset
1501 accidentals. LilyPond provides a function to specify which
1502 accidental style to use. This function is called as follows:
1506 \accidentalStyle voice
1511 The accidental style applies to the current @code{Staff} by
1512 default (with the exception of the styles @code{piano} and
1513 @code{piano-cautionary}, which are explained below). Optionally,
1514 the function can take a second argument that determines in which
1515 scope the style should be changed. For example, to use the same
1516 style in all staves of the current @code{StaffGroup}, use:
1519 \accidentalStyle StaffGroup.voice
1522 The following accidental styles are supported. To demonstrate
1523 each style, we use the following example:
1526 @lilypond[verbatim,quote]
1530 cis'8 fis, bes4 <a cis>8 f bis4 |
1544 \voiceTwo \relative c' {
1545 <fis, a cis>8[ <fis a cis>
1548 \change Staff = down
1553 \change Staff = down
1554 <fis, a cis>4 gis <f a d>2 |
1561 \context Staff = "up" {
1562 \accidentalStyle default
1565 \context Staff = "down" {
1566 \accidentalStyle default
1573 Note that the last lines of this example can be replaced by the
1574 following, as long as the same accidental style should be used in
1580 \context Staff = "up" @{
1581 %%% change the next line as desired:
1582 \accidentalStyle Score.default
1585 \context Staff = "down" @{
1593 @c don't use verbatim in this table.
1597 @cindex default accidental style
1598 @cindex accidental style, default
1602 This is the default typesetting behavior. It corresponds to
1603 eighteenth-century common practice: accidentals are remembered to
1604 the end of the measure in which they occur and only in their own
1605 octave. Thus, in the example below, no natural signs are printed
1606 before the@tie{}@code{b} in the second measure or the
1613 cis'8 fis, bes4 <a cis>8 f bis4 |
1627 \voiceTwo \relative c' {
1628 <fis, a cis>8[ <fis a cis>
1631 \change Staff = down
1636 \change Staff = down
1637 <fis, a cis>4 gis <f a d>2 |
1644 \context Staff = "up" {
1645 \accidentalStyle default
1648 \context Staff = "down" {
1649 \accidentalStyle default
1658 @cindex accidental style, voice
1659 @cindex voice accidental style
1660 @cindex accidental style, modern
1661 @cindex modern accidental style
1662 @cindex accidental style, modern-cautionary
1663 @cindex modern-cautionary accidental style
1667 The normal behavior is to remember the accidentals at
1668 @code{Staff}-level. In this style, however, accidentals are
1669 typeset individually for each voice. Apart from that, the rule is
1670 similar to @code{default}.
1672 As a result, accidentals from one voice do not get canceled in
1673 other voices, which is often an unwanted result: in the following
1674 example, it is hard to determine whether the second@tie{}@code{a}
1675 should be played natural or sharp. The @code{voice} option should
1676 therefore be used only if the voices are to be read solely by
1677 individual musicians. If the staff is to be used by one musician
1678 (e.g., a conductor or in a piano score) then @code{modern} or
1679 @code{modern-cautionary} should be used instead.
1686 cis'8 fis, bes4 <a cis>8 f bis4 |
1700 \voiceTwo \relative c' {
1701 <fis, a cis>8[ <fis a cis>
1704 \change Staff = down
1709 \change Staff = down
1710 <fis, a cis>4 gis <f a d>2 |
1717 \context Staff = "up" {
1718 \accidentalStyle voice
1721 \context Staff = "down" {
1722 \accidentalStyle voice
1731 @cindex accidentals, modern style
1732 @cindex modern style accidentals
1736 This rule corresponds to the common practice in the twentieth
1737 century. It omits some extra natural signs, which were
1738 traditionally prefixed to a sharp following a double sharp,
1739 or a flat following a double flat. The @code{modern} rule
1740 prints the same accidentals as @code{default}, with
1741 two additions that serve to avoid ambiguity: after temporary
1742 accidentals, cancellation marks are printed also in the following
1743 measure (for notes in the same octave) and, in the same measure,
1744 for notes in other octaves. Hence the naturals before
1745 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1752 cis'8 fis, bes4 <a cis>8 f bis4 |
1766 \voiceTwo \relative c' {
1767 <fis, a cis>8[ <fis a cis>
1770 \change Staff = down
1775 \change Staff = down
1776 <fis, a cis>4 gis <f a d>2 |
1783 \context Staff = "up" {
1784 \accidentalStyle modern
1787 \context Staff = "down" {
1788 \accidentalStyle modern
1795 @item modern-cautionary
1797 @cindex accidentals, modern cautionary style
1798 @cindex modern accidental style
1799 @cindex modern cautionary accidental style
1800 @cindex modern style accidentals
1801 @cindex modern style cautionary accidentals
1803 @funindex modern-cautionary
1805 This rule is similar to @code{modern}, but the @q{extra}
1806 accidentals (the ones not typeset by @code{default}) are typeset
1807 as cautionary accidentals. They are by default printed with
1808 parentheses, but they can also be printed in reduced size by
1809 defining the @code{cautionary-style} property of
1810 @code{AccidentalSuggestion}.
1816 cis'8 fis, bes4 <a cis>8 f bis4 |
1830 \voiceTwo \relative c' {
1831 <fis, a cis>8[ <fis a cis>
1834 \change Staff = down
1839 \change Staff = down
1840 <fis, a cis>4 gis <f a d>2 |
1847 \context Staff = "up" {
1848 \accidentalStyle modern-cautionary
1851 \context Staff = "down" {
1852 \accidentalStyle modern-cautionary
1861 @cindex accidental style, modern
1862 @cindex accidentals, modern
1863 @cindex accidentals, multivoice
1864 @cindex modern accidental style
1865 @cindex modern accidentals
1866 @cindex multivoice accidentals
1868 @funindex modern-voice
1870 This rule is used for multivoice accidentals to be read both by
1871 musicians playing one voice and musicians playing all voices.
1872 Accidentals are typeset for each voice, but they @emph{are}
1873 canceled across voices in the same @code{Staff}. Hence,
1874 the@tie{}@code{a} in the last measure is canceled because the
1875 previous cancellation was in a different voice, and
1876 the@tie{}@code{d} in the lower staff is canceled because of the
1877 accidental in a different voice in the previous measure:
1883 cis'8 fis, bes4 <a cis>8 f bis4 |
1897 \voiceTwo \relative c' {
1898 <fis, a cis>8[ <fis a cis>
1901 \change Staff = down
1906 \change Staff = down
1907 <fis, a cis>4 gis <f a d>2 |
1914 \context Staff = "up" {
1915 \accidentalStyle modern-voice
1918 \context Staff = "down" {
1919 \accidentalStyle modern-voice
1926 @cindex accidental style, cautionary, modern voice
1927 @cindex accidental style, modern voice cautionary
1928 @cindex accidental style, voice, modern cautionary
1930 @funindex modern-voice-cautionary
1932 @item modern-voice-cautionary
1934 This rule is the same as @code{modern-voice}, but with the extra
1935 accidentals (the ones not typeset by @code{voice}) typeset as
1936 cautionaries. Even though all accidentals typeset by
1937 @code{default} @emph{are} typeset with this rule, some of them are
1938 typeset as cautionaries.
1944 cis'8 fis, bes4 <a cis>8 f bis4 |
1958 \voiceTwo \relative c' {
1959 <fis, a cis>8[ <fis a cis>
1962 \change Staff = down
1967 \change Staff = down
1968 <fis, a cis>4 gis <f a d>2 |
1975 \context Staff = "up" {
1976 \accidentalStyle modern-voice-cautionary
1979 \context Staff = "down" {
1980 \accidentalStyle modern-voice-cautionary
1989 @cindex accidental style, piano
1990 @cindex accidentals, piano
1991 @cindex piano accidental style
1992 @cindex piano accidentals
1996 This rule reflects twentieth-century practice for piano notation.
1997 Its behavior is very similar to @code{modern} style, but here
1998 accidentals also get canceled across the staves in the same
1999 @code{GrandStaff} or @code{PianoStaff}, hence all the
2000 cancellations of the final notes.
2002 This accidental style applies to the current @code{GrandStaff} or
2003 @code{PianoStaff} by default.
2009 cis'8 fis, bes4 <a cis>8 f bis4 |
2023 \voiceTwo \relative c' {
2024 <fis, a cis>8[ <fis a cis>
2027 \change Staff = down
2032 \change Staff = down
2033 <fis, a cis>4 gis <f a d>2 |
2040 \context Staff = "up" {
2041 \accidentalStyle piano
2044 \context Staff = "down" {
2051 @item piano-cautionary
2053 @cindex accidentals, piano cautionary
2054 @cindex cautionary accidentals, piano
2055 @cindex piano cautionary accidentals
2056 @cindex accidental style, piano cautionary
2057 @cindex cautionary accidental style, piano
2058 @cindex piano cautionary accidental style
2060 @funindex piano-cautionary
2062 This is the same as @code{piano} but with the extra accidentals
2063 typeset as cautionaries.
2069 cis'8 fis, bes4 <a cis>8 f bis4 |
2083 \voiceTwo \relative c' {
2084 <fis, a cis>8[ <fis a cis>
2087 \change Staff = down
2092 \change Staff = down
2093 <fis, a cis>4 gis <f a d>2 |
2100 \context Staff = "up" {
2101 \accidentalStyle piano-cautionary
2104 \context Staff = "down" {
2114 @cindex neo-modern accidental style
2115 @cindex accidental style, neo-modern
2117 @funindex neo-modern
2119 This rule reproduces a common practice in contemporary music:
2120 accidentals are printed like with @code{modern}, but they are printed
2121 again if the same note appears later in the same measure -- except
2122 if the note is immediately repeated.
2128 cis'8 fis, bes4 <a cis>8 f bis4 |
2142 \voiceTwo \relative c' {
2143 <fis, a cis>8[ <fis a cis>
2146 \change Staff = down
2151 \change Staff = down
2152 <fis, a cis>4 gis <f a d>2 |
2159 \context Staff = "up" {
2160 \accidentalStyle neo-modern
2163 \context Staff = "down" {
2164 \accidentalStyle neo-modern
2171 @item neo-modern-cautionary
2173 @cindex neo-modern-cautionary accidental style
2174 @cindex accidental style, neo-modern-cautionary
2176 @funindex neo-modern-cautionary
2178 This rule is similar to @code{neo-modern}, but the extra
2179 accidentals are printed as cautionary accidentals.
2185 cis'8 fis, bes4 <a cis>8 f bis4 |
2199 \voiceTwo \relative c' {
2200 <fis, a cis>8[ <fis a cis>
2203 \change Staff = down
2208 \change Staff = down
2209 <fis, a cis>4 gis <f a d>2 |
2216 \context Staff = "up" {
2217 \accidentalStyle neo-modern-cautionary
2220 \context Staff = "down" {
2221 \accidentalStyle neo-modern-cautionary
2229 @item neo-modern-voice
2231 @cindex neo-modern-voice accidental style
2232 @cindex accidental style, neo-modern-voice
2234 @funindex neo-modern-voice
2236 This rule is used for multivoice accidentals to be read both by
2237 musicians playing one voice and musicians playing all voices.
2238 Accidentals are typeset for each voice as with @code{neo-modern},
2239 but they are canceled across voices in the same @code{Staff}.
2245 cis'8 fis, bes4 <a cis>8 f bis4 |
2259 \voiceTwo \relative c' {
2260 <fis, a cis>8[ <fis a cis>
2263 \change Staff = down
2268 \change Staff = down
2269 <fis, a cis>4 gis <f a d>2 |
2276 \context Staff = "up" {
2277 \accidentalStyle neo-modern-voice
2280 \context Staff = "down" {
2281 \accidentalStyle neo-modern-voice
2288 @item neo-modern-voice-cautionary
2290 @cindex neo-modern-voice-cautionary accidental style
2291 @cindex accidental style, neo-modern-voice-cautionary
2293 @funindex neo-modern-voice-cautionary
2295 This rule is similar to @code{neo-modern-voice}, but the extra
2296 accidentals are printed as cautionary accidentals.
2302 cis'8 fis, bes4 <a cis>8 f bis4 |
2316 \voiceTwo \relative c' {
2317 <fis, a cis>8[ <fis a cis>
2320 \change Staff = down
2325 \change Staff = down
2326 <fis, a cis>4 gis <f a d>2 |
2333 \context Staff = "up" {
2334 \accidentalStyle neo-modern-voice-cautionary
2337 \context Staff = "down" {
2338 \accidentalStyle neo-modern-voice-cautionary
2347 @cindex dodecaphonic accidental style
2348 @cindex dodecaphonic style, neo-modern
2350 @funindex dodecaphonic
2352 This rule reflects a practice introduced by composers at
2353 the beginning of the 20th century, in an attempt to
2354 abolish the hierarchy between natural and non-natural notes.
2355 With this style, @emph{every} note gets an accidental sign,
2356 including natural signs.
2362 cis'8 fis, bes4 <a cis>8 f bis4 |
2376 \voiceTwo \relative c' {
2377 <fis, a cis>8[ <fis a cis>
2380 \change Staff = down
2385 \change Staff = down
2386 <fis, a cis>4 gis <f a d>2 |
2393 \context Staff = "up" {
2394 \accidentalStyle dodecaphonic
2397 \context Staff = "down" {
2398 \accidentalStyle dodecaphonic
2408 @cindex teaching accidental style
2409 @cindex accidental style, teaching
2413 This rule is intended for students, and makes it easy to create
2414 scale sheets with automatically created cautionary accidentals.
2415 Accidentals are printed like with @code{modern}, but cautionary
2416 accidentals are added for all sharp or flat tones specified by the
2417 key signature, except if the note is immediately repeated.
2419 @lilypond[quote,staffsize=18]
2423 cis'8 fis, bes4 <a cis>8 f bis4 |
2437 \voiceTwo \relative c' {
2438 <fis, a cis>8[ <fis a cis>
2441 \change Staff = down
2446 \change Staff = down
2447 <fis, a cis>4 gis <f a d>2 |
2454 \context Staff = "up" {
2456 \accidentalStyle teaching
2459 \context Staff = "down" {
2461 \accidentalStyle teaching
2472 @cindex accidental style, no reset
2473 @cindex no reset accidental style
2477 This is the same as @code{default} but with accidentals lasting
2478 @q{forever} and not only within the same measure:
2484 cis'8 fis, bes4 <a cis>8 f bis4 |
2498 \voiceTwo \relative c' {
2499 <fis, a cis>8[ <fis a cis>
2502 \change Staff = down
2507 \change Staff = down
2508 <fis, a cis>4 gis <f a d>2 |
2515 \context Staff = "up" {
2516 \accidentalStyle no-reset
2519 \context Staff = "down" {
2520 \accidentalStyle no-reset
2529 @cindex forget accidental style
2530 @cindex accidental style, forget
2534 This is the opposite of @code{no-reset}: Accidentals are not
2535 remembered at all -- and hence all accidentals are typeset
2536 relative to the key signature, regardless of what came before in
2543 cis'8 fis, bes4 <a cis>8 f bis4 |
2557 \voiceTwo \relative c' {
2558 <fis, a cis>8[ <fis a cis>
2561 \change Staff = down
2566 \change Staff = down
2567 <fis, a cis>4 gis <f a d>2 |
2574 \context Staff = "up" {
2575 \accidentalStyle forget
2578 \context Staff = "down" {
2579 \accidentalStyle forget
2591 Internals Reference:
2592 @rinternals{Accidental},
2593 @rinternals{Accidental_engraver},
2594 @rinternals{GrandStaff},
2595 @rinternals{PianoStaff},
2597 @rinternals{AccidentalSuggestion},
2598 @rinternals{AccidentalPlacement},
2599 @rinternals{accidental-suggestion-interface}.
2601 @cindex accidentals and simultaneous notes
2602 @cindex simultaneous notes and accidentals
2603 @cindex accidentals in chords
2604 @cindex chords, accidentals in
2607 Simultaneous notes are not considered in the automatic
2608 determination of accidentals; only previous notes and the key
2609 signature are considered. Forcing accidentals with@tie{}@code{!}
2610 or@tie{}@code{?} may be required when the same note name occurs
2611 simultaneously with different alterations, as in @samp{<f! fis!>}.
2613 Cautionary cancellation of accidentals is done by looking at previous measure.
2614 However, in the @code{\alternative} block following a @code{\repeat volta N}
2615 section, one would expect the cancellation being calculated using the previous
2616 @emph{played} measure, not previous @emph{printed} measure.
2617 In the following example, the natural @code{c} in the second alternative does
2618 not need a natural sign:
2622 \accidentalStyle modern
2634 The following work-around can be used: define a function that locally changes
2635 the accidental style to @code{forget}:
2637 @lilypond[verbatim,quote]
2638 forget = #(define-music-function (parser location music) (ly:music?) #{
2639 \accidentalStyle forget
2641 \accidentalStyle modern
2644 \accidentalStyle modern
2658 @unnumberedsubsubsec Ambitus
2661 @cindex range of pitches
2664 The term @notation{ambitus} (pl. ambitus) denotes a range of
2665 pitches for a given voice in a part of music. It may also denote
2666 the pitch range that a musical instrument is capable of playing.
2667 Ambitus are printed on vocal parts so that performers can easily
2668 determine if it matches their capabilities.
2670 Ambitus are denoted at the beginning of a piece near the initial
2671 clef. The range is graphically specified by two note heads that
2672 represent the lowest and highest pitches. Accidentals are only
2673 printed if they are not part of the key signature.
2675 @lilypond[verbatim,quote]
2679 \consists "Ambitus_engraver"
2692 @lilypondfile[verbatim,quote,texidoc,doctitle]
2693 {adding-ambitus-per-voice.ly}
2695 @lilypondfile[verbatim,quote,texidoc,doctitle]
2696 {ambitus-with-multiple-voices.ly}
2698 @lilypondfile[verbatim,quote,texidoc,doctitle]
2699 {changing-the-ambitus-gap.ly}
2708 Internals Reference:
2709 @rinternals{Ambitus_engraver},
2712 @rinternals{Ambitus},
2713 @rinternals{AmbitusAccidental},
2714 @rinternals{AmbitusLine},
2715 @rinternals{AmbitusNoteHead},
2716 @rinternals{ambitus-interface}.
2719 There is no collision handling in the case of multiple per-voice
2724 @subsection Note heads
2726 This section suggests ways of altering note heads.
2729 * Special note heads::
2730 * Easy notation note heads::
2731 * Shape note heads::
2735 @node Special note heads
2736 @unnumberedsubsubsec Special note heads
2738 @cindex note heads, special
2739 @cindex note heads, cross
2740 @cindex note heads, diamond
2741 @cindex note heads, parlato
2742 @cindex note heads, harmonic
2743 @cindex note heads, guitar
2744 @cindex special note heads
2745 @cindex cross note heads
2746 @cindex diamond note heads
2747 @cindex parlato note heads
2748 @cindex harmonic note heads
2749 @cindex guitar note heads
2750 @cindex note head styles
2751 @cindex styles, note heads
2755 The appearance of note heads may be altered:
2757 @lilypond[verbatim,quote,relative=2]
2759 \override NoteHead.style = #'cross
2761 \revert NoteHead.style
2763 \override NoteHead.style = #'harmonic
2765 \revert NoteHead.style
2769 To see all note head styles, see @ref{Note head styles}.
2771 The @code{cross} style is used to represent a variety of musical
2772 intentions. The following generic predefined commands modify the
2773 note head in both staff and tablature contexts and can be used to
2774 represent any musical meaning:
2776 @lilypond[verbatim,quote,relative=2]
2784 The music function form of this predefined command may be used
2785 inside and outside chords to generate crossed note heads in both
2786 staff and tablature contexts:
2788 @lilypond[verbatim,quote,relative=2]
2791 c b < g \xNote c f > b
2794 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2795 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2796 be used. The term @notation{dead note} is commonly used by guitarists.
2798 There is also a shorthand for diamond shapes which can be used
2801 @lilypond[verbatim,quote,relative=2]
2802 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2817 @ref{Note head styles},
2818 @ref{Chorded notes},
2819 @ref{Indicating harmonics and dampened notes}.
2821 Internals Reference:
2822 @rinternals{note-event},
2823 @rinternals{Note_heads_engraver},
2824 @rinternals{Ledger_line_engraver},
2825 @rinternals{NoteHead},
2826 @rinternals{LedgerLineSpanner},
2827 @rinternals{note-head-interface},
2828 @rinternals{ledger-line-spanner-interface}.
2831 @node Easy notation note heads
2832 @unnumberedsubsubsec Easy notation note heads
2834 @cindex note heads, practice
2835 @cindex practice note heads
2836 @cindex note heads, easy notation
2837 @cindex easy notation
2838 @cindex beginners' music
2839 @cindex music, beginners'
2840 @cindex easy play note heads
2841 @cindex note heads, easy play
2843 @funindex \easyHeadsOn
2844 @funindex easyHeadsOn
2845 @funindex \easyHeadsOff
2846 @funindex easyHeadsOff
2848 The @q{easy play} note head includes a note name inside the head.
2849 It is used in music for beginners. To make the letters readable,
2850 it should be printed in a large font size. To print with a larger
2851 font, see @ref{Setting the staff size}.
2853 @lilypond[verbatim,quote]
2854 #(set-global-staff-size 26)
2866 @code{\easyHeadsOn},
2867 @code{\easyHeadsOff}.
2873 @lilypondfile[verbatim,quote,texidoc,doctitle]
2874 {numbers-as-easy-note-heads.ly}
2878 @ref{Setting the staff size}.
2883 Internals Reference:
2884 @rinternals{note-event},
2885 @rinternals{Note_heads_engraver},
2886 @rinternals{NoteHead},
2887 @rinternals{note-head-interface}.
2890 @node Shape note heads
2891 @unnumberedsubsubsec Shape note heads
2893 @cindex note heads, shape
2894 @cindex note heads, Aiken
2895 @cindex note heads, sacred harp
2897 @cindex Aiken shape note heads
2898 @cindex sacred harp note heads
2899 @cindex note heads, Southern Harmony
2900 @cindex Southern Harmony note heads
2901 @cindex Funk shape note heads
2902 @cindex note heads, Funk
2903 @cindex note heads, Harmonica Sacra
2904 @cindex Harmonica Sacra note heads
2905 @cindex Christian Harmony note heads
2906 @cindex note heads, Christian Harmony
2907 @cindex Walker shape note heads
2908 @cindex note heads, Walker
2910 @funindex \aikenHeads
2911 @funindex aikenHeads
2912 @funindex \sacredHarpHeads
2913 @funindex sacredHarpHeads
2914 @funindex \southernHarmonyHeads
2915 @funindex southernHarmonyHeads
2916 @funindex \funkHeads
2918 @funindex \walkerHeads
2919 @funindex walkerHeads
2921 In shape note head notation, the shape of the note head
2922 corresponds to the harmonic function of a note in the scale. This
2923 notation was popular in nineteenth-century American song books.
2924 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2925 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2927 @lilypond[verbatim,quote,relative=2]
2929 c, d e f g2 a b1 c \break
2931 c,4 d e f g2 a b1 c \break
2932 \southernHarmonyHeads
2933 c,4 d e f g2 a b1 c \break
2935 c,4 d e f g2 a b1 c \break
2937 c,4 d e f g2 a b1 c \break
2942 @funindex \aikenHeadsMinor
2943 @funindex aikenHeadsMinor
2944 @funindex \sacredHarpHeadsMinor
2945 @funindex sacredHarpHeadsMinor
2946 @funindex \southernHarmonyHeadsMinor
2947 @funindex southernHarmonyHeadsMinor
2948 @funindex \funkHeadsMinor
2949 @funindex funkHeadsMinor
2950 @funindex \walkerHeadsMinor
2951 @funindex walkerHeadsMinor
2953 Shapes are typeset according to the step in the scale, where the base
2954 of the scale is determined by the @code{\key} command. When writing
2955 in a minor key, the scale step can be determined from the relative
2958 @lilypond[verbatim,quote,relative=2]
2961 a b c d e2 f g1 a \break
2963 a,4 b c d e2 f g1 a \break
2964 \sacredHarpHeadsMinor
2966 \southernHarmonyHeadsMinor
2978 @code{\aikenHeadsMinor},
2980 @code{\funkHeadsMinor},
2981 @code{\sacredHarpHeads},
2982 @code{\sacredHarpHeadsMinor},
2983 @code{\southernHarmonyHeads},
2984 @code{\southernHarmonyHeadsMinor},
2985 @code{\walkerHeads},
2986 @code{\walkerHeadsMinor}.
2992 @lilypondfile[verbatim,quote,texidoc,doctitle]
2993 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2995 To see all note head styles, see @ref{Note head styles}.
3002 @ref{Note head styles}.
3004 Internals Reference:
3005 @rinternals{note-event},
3006 @rinternals{Note_heads_engraver},
3007 @rinternals{NoteHead},
3008 @rinternals{note-head-interface}.
3012 @unnumberedsubsubsec Improvisation
3014 @cindex improvisation
3015 @cindex slashed note heads
3016 @cindex note heads, improvisation
3017 @cindex note heads, slashed
3019 @funindex \improvisationOn
3020 @funindex improvisationOn
3021 @funindex \improvisationOff
3022 @funindex improvisationOff
3024 Improvisation is sometimes denoted with slashed note heads, where
3025 the performer may choose any pitch but should play the specified
3026 rhythm. Such note heads can be created:
3028 @lilypond[verbatim,quote,relative=2]
3030 \consists "Pitch_squash_engraver"
3032 e8 e g a a16( bes) a8 g
3043 @code{\improvisationOn},
3044 @code{\improvisationOff}.
3051 Internals Reference:
3052 @rinternals{Pitch_squash_engraver},
3054 @rinternals{RhythmicStaff}.