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]
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.
597 * Modal transformations::
601 @unnumberedsubsubsec Octave checks
603 @cindex octave correction
605 @cindex control pitch
608 @funindex \octaveCheck
609 @funindex octaveCheck
610 @funindex controlpitch
612 In relative mode, it is easy to forget an octave changing mark.
613 Octave checks make such errors easier to find by displaying a
614 warning and correcting the octave if a note is found in an
617 To check the octave of a note, specify the absolute octave after
618 the @code{=}@tie{}symbol. This example will generate a warning
619 (and change the pitch) because the second note is the absolute
620 octave @code{d''} instead of @code{d'} as indicated by the octave
623 @lilypond[verbatim,quote]
630 The octave of notes may also be checked with the
631 @code{\octaveCheck@tie{}@var{controlpitch}} command.
632 @code{@var{controlpitch}} is specified in absolute mode. This
633 checks that the interval between the previous note and the
634 @code{@var{controlpitch}} is within a fourth (i.e., the normal
635 calculation of relative mode). If this check fails, a warning is
636 printed, but the previous note is not changed. Future notes are
637 relative to the @code{@var{controlpitch}}.
639 @lilypond[verbatim,quote]
647 Compare the two bars below. The first and third @code{\octaveCheck}
648 checks fail, but the second one does not fail.
650 @lilypond[verbatim,quote]
670 @rinternals{RelativeOctaveCheck}.
674 @unnumberedsubsubsec Transpose
678 @cindex transposition
679 @cindex transposition of pitches
680 @cindex transposition of notes
681 @cindex pitches, transposition of
682 @cindex notes, transposition of
687 A music expression can be transposed with @code{\transpose}. The
691 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
695 This means that @code{@var{musicexpr}} is transposed by the
696 interval between the pitches @code{@var{frompitch}} and
697 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
698 is changed to @code{@var{topitch}} and any other note is
699 transposed by the same interval. Both pitches are entered in
702 @warning{Music inside a @code{@bs{}transpose} block is absolute
703 unless a @code{@bs{}relative} is included in the block.}
705 Consider a piece written in the key of D-major. It can be
706 transposed up to E-major; note that the key signature is
707 automatically transposed as well.
709 @lilypond[verbatim,quote]
718 @cindex transposing instruments
719 @cindex instruments, transposing
721 If a part written in C (normal @notation{concert pitch}) is to be
722 played on the A clarinet (for which an A is notated as a C and
723 thus sounds a minor third lower than notated), the appropriate
724 part will be produced with:
726 @lilypond[verbatim,quote]
736 Note that we specify @w{@code{\key c \major}} explicitly. If we
737 do not specify a key signature, the notes will be transposed but
738 no key signature will be printed.
740 @code{\transpose} distinguishes between enharmonic pitches: both
741 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
742 transpose up a semitone. The first version will print sharps and
743 the notes will remain on the same scale step, the second version
744 will print flats on the scale step above.
746 @lilypond[verbatim,quote]
747 music = \relative c' { c d e f }
749 \transpose c cis { \music }
750 \transpose c des { \music }
755 @code{\transpose} may also be used in a different way, to input
756 written notes for a transposing instrument. The previous examples
757 show how to enter pitches in C (or @notation{concert pitch}) and
758 typeset them for a transposing instrument, but the opposite is
759 also possible if you for example have a set of instrumental parts
760 and want to print a conductor's score. For example, when entering
761 music for a B-flat trumpet that begins on a notated E (concert D),
765 musicInBflat = @{ e4 @dots{} @}
766 \transpose c bes, \musicInBflat
770 To print this music in F (e.g., rearranging to a French horn) you
771 could wrap the existing music with another @code{\transpose}:
774 musicInBflat = @{ e4 @dots{} @}
775 \transpose f c' @{ \transpose c bes, \musicInBflat @}
779 For more information about transposing instruments,
780 see @ref{Instrument transpositions}.
785 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
786 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
791 @ref{Relative octave entry},
792 @ref{Modal transformations},
793 @ref{Instrument transpositions}.
799 @rinternals{TransposedMusic}.
811 The relative conversion will not affect @code{\transpose},
812 @code{\chordmode} or @code{\relative} sections in its argument.
813 To use relative mode within transposed music, an additional
814 @code{\relative} must be placed inside @code{\transpose}.
816 @node Modal transformations
817 @unnumberedsubsubsec Modal transformations
819 @cindex modal transformations
820 @cindex transformations, modal
821 @cindex operations, modal
823 In a musical composition that is based on a scale, a motif is
824 frequently transformed in various ways. It may be
825 @notation{transposed} to start at different places in the scale, it
826 may be @notation{inverted} around a pivot point in the scale, and/or
827 it may be converted to its @notation{retrograde} (written backwards).
829 @warning{Any note that does not lie within the given scale will be
832 @subsubheading Modal transposition
834 @cindex modal transposition
835 @cindex transposition, modal
836 @cindex operation, transposition
837 @funindex \modalTranspose
838 @funindex modalTranspose
840 A motif can be transposed within a given scale with:
843 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
846 The notes of @var{motif} are shifted within the @var{scale} by the
847 number of scale degrees given by the interval between @var{to-pitch}
848 and @var{from-pitch}:
850 @lilypond[verbatim,quote]
851 diatonicScale = \relative c' { c d e f g a b }
852 motif = \relative c' { c8 d e f g a b c }
856 \modalTranspose c f \diatonicScale \motif
857 \modalTranspose c b, \diatonicScale \motif
861 An ascending scale of any length and with any intervals may be
864 @lilypond[verbatim,quote]
865 pentatonicScale = \relative c' { ges aes bes des ees }
866 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
870 \modalTranspose ges ees' \pentatonicScale \motif
874 When used with a chromatic scale @code{\modalTranspose} has a
875 similar effect to @code{\transpose}, but with the ability to
876 specify the names of the notes to be used:
878 @lilypond[verbatim,quote]
879 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
880 motif = \relative c' { c8 d e f g a b c }
884 \transpose c f \motif
885 \modalTranspose c f \chromaticScale \motif
889 @subsubheading Modal inversion
891 @cindex modal inversion
892 @cindex inversion, modal
893 @cindex operation, inversion
894 @funindex \modalInversion
895 @funindex modalInversion
897 A motif can be inverted within a given scale around a given pivot
898 note and transposed in a single operation with:
901 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
904 The notes of @var{motif} are placed the same number of scale degrees
905 from the @var{around-pitch} note within the @var{scale}, but in the
906 opposite direction, and the result is then shifted within the
907 @var{scale} by the number of scale degrees given by the interval between
908 @var{to-pitch} and @var{around-pitch}.
910 So to simply invert around a note in the scale use the same value for
911 @var{around-pitch} and @var{to-pitch}:
913 @lilypond[verbatim,quote]
914 octatonicScale = \relative c' { ees f fis gis a b c d }
915 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
919 \modalInversion fis' fis' \octatonicScale \motif
923 To invert around a pivot between two notes in the scale, invert around
924 one of the notes and then transpose by one scale degree. The two notes
925 specified can be interpreted as bracketing the pivot point:
927 @lilypond[verbatim,quote]
928 scale = \relative c' { c g' }
929 motive = \relative c' { c c g' c, }
933 \modalInversion c' g' \scale \motive
938 @subsubheading Retrograde transformation
940 @cindex retrograde transformation
941 @cindex transformation, retrograde
942 @cindex operation, retrograde
943 @funindex \retrograde
946 A motif can be reversed to produce its retrograde:
948 @lilypond[verbatim,quote]
949 motif = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
957 The combined operation of inversion and retrograde produce the
958 retrograde-inversion:
960 @lilypond[verbatim,quote]
961 octatonicScale = \relative c' { ees f fis gis a b c d }
962 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
966 \retrograde \modalInversion c' c' \octatonicScale \motif
975 Manual ties inside @code{\retrograde} will be broken and
976 generate warnings. Some ties can be generated automatically
977 by enabling @ref{Automatic note splitting}.
980 @node Displaying pitches
981 @subsection Displaying pitches
983 This section discusses how to alter the output of pitches.
989 * Instrument transpositions::
990 * Automatic accidentals::
996 @unnumberedsubsubsec Clef
1007 @cindex soprano clef
1008 @cindex mezzosoprano clef
1009 @cindex baritone clef
1010 @cindex varbaritone clef
1011 @cindex subbass clef
1013 @cindex ancient clef
1014 @cindex clef, ancient
1018 @cindex clef, treble
1019 @cindex clef, violin
1023 @cindex clef, french
1024 @cindex clef, soprano
1025 @cindex clef, mezzosoprano
1026 @cindex clef, baritone
1027 @cindex clef, varbaritone
1028 @cindex clef, subbass
1034 The clef may be altered. Middle C is shown in every example. The
1035 following clef names can (but do not need to) be enclosed in quotes.
1037 @lilypond[verbatim,quote,relative=1]
1048 Other clefs include:
1050 @lilypond[verbatim,quote,relative=1]
1071 \clef G % synonym for treble
1073 \clef F % synonym for bass
1075 \clef C % synonym for alto
1079 @cindex transposing clef
1080 @cindex clef, transposing
1081 @cindex octave transposition
1082 @cindex choral tenor clef
1083 @cindex tenor clef, choral
1085 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1086 clef is transposed one octave down or up respectively,
1087 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1088 Other integers can be used if required. Clef names containing
1089 non-alphabetic characters must be enclosed in quotes
1091 @lilypond[verbatim,quote,relative=1]
1106 Some special purpose clefs are described in @ref{Mensural clefs},
1107 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1112 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1113 {tweaking-clef-properties.ly}
1118 @ref{Mensural clefs},
1119 @ref{Gregorian clefs},
1120 @ref{Default tablatures},
1121 @ref{Custom tablatures}.
1126 Internals Reference:
1127 @rinternals{Clef_engraver},
1129 @rinternals{OctavateEight},
1130 @rinternals{clef-interface}.
1134 @unnumberedsubsubsec Key signature
1136 @cindex key signature
1141 @c duplicated in Key signature and Accidentals
1142 @warning{New users are sometimes confused about accidentals and
1143 key signatures. In LilyPond, note names are the raw input; key
1144 signatures and clefs determine how this raw input is displayed.
1145 An unaltered note like@tie{}@code{c} means @q{C natural},
1146 regardless of the key signature or clef. For more information,
1147 see @rlearning{Accidentals and key signatures}.}
1149 The key signature indicates the tonality in which a piece is
1150 played. It is denoted by a set of alterations (flats or sharps)
1151 at the start of the staff. The key signature may be altered:
1154 \key @var{pitch} @var{mode}
1167 @funindex \mixolydian
1168 @funindex mixolydian
1176 @cindex church modes
1189 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1190 to get a key signature of @code{@var{pitch}}-major or
1191 @code{@var{pitch}}-minor, respectively. You may also use the
1192 standard mode names, also called @notation{church modes}:
1193 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1194 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1196 @lilypond[verbatim,quote,relative=2]
1206 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1207 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1209 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1210 {non-traditional-key-signatures.ly}
1215 @rglos{church mode},
1219 @rlearning{Accidentals and key signatures}.
1224 Internals Reference:
1225 @rinternals{KeyChangeEvent},
1226 @rinternals{Key_engraver},
1227 @rinternals{Key_performer},
1228 @rinternals{KeyCancellation},
1229 @rinternals{KeySignature},
1230 @rinternals{key-cancellation-interface},
1231 @rinternals{key-signature-interface}.
1234 @node Ottava brackets
1235 @unnumberedsubsubsec Ottava brackets
1243 @funindex set-octavation
1247 @notation{Ottava brackets} introduce an extra transposition of an
1248 octave for the staff:
1250 @lilypond[verbatim,quote,relative=2]
1266 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1277 Internals Reference:
1278 @rinternals{Ottava_spanner_engraver},
1279 @rinternals{OttavaBracket},
1280 @rinternals{ottava-bracket-interface}.
1283 @node Instrument transpositions
1284 @unnumberedsubsubsec Instrument transpositions
1286 @cindex transposition, MIDI
1287 @cindex transposition, instrument
1288 @cindex transposing instrument
1290 @cindex MIDI transposition
1292 @funindex \transposition
1293 @funindex transposition
1295 When typesetting scores that involve transposing instruments, some
1296 parts can be typeset in a different pitch than the
1297 @notation{concert pitch}. In these cases, the key of the
1298 @notation{transposing instrument} should be specified; otherwise
1299 the MIDI output and cues in other parts will produce incorrect
1300 pitches. For more information about quotations, see
1301 @ref{Quoting other voices}.
1304 \transposition @var{pitch}
1307 The pitch to use for @code{\transposition} should correspond to
1308 the real sound heard when a@tie{}@code{c'} written on the staff is
1309 played by the transposing instrument. This pitch is entered in
1310 absolute mode, so an instrument that produces a real sound which
1311 is one tone higher than the printed music should use
1312 @w{@code{\transposition d'}}. @code{\transposition} should
1313 @emph{only} be used if the pitches are @emph{not} being entered in
1316 Here are a few notes for violin and B-flat clarinet where the
1317 parts have been entered using the notes and key as they appear in
1318 each part of the conductor's score. The two instruments are
1321 @lilypond[verbatim,quote]
1323 \new Staff = "violin" {
1325 \set Staff.instrumentName = #"Vln"
1326 \set Staff.midiInstrument = #"violin"
1327 % not strictly necessary, but a good reminder
1334 \new Staff = "clarinet" {
1336 \set Staff.instrumentName = \markup { Cl (B\flat) }
1337 \set Staff.midiInstrument = #"clarinet"
1347 The @code{\transposition} may be changed during a piece. For
1348 example, a clarinetist may switch from an A clarinet to a B-flat
1351 @lilypond[verbatim,quote,relative=2]
1352 \set Staff.instrumentName = #"Cl (A)"
1357 s1*0^\markup { Switch to B\flat clarinet }
1368 @rglos{concert pitch},
1369 @rglos{transposing instrument}.
1372 @ref{Quoting other voices},
1379 @node Automatic accidentals
1380 @unnumberedsubsubsec Automatic accidentals
1382 @cindex accidental style
1383 @cindex accidental style, default
1385 @cindex accidentals, automatic
1386 @cindex automatic accidentals
1387 @cindex default accidental style
1389 @funindex set-accidental-style
1393 There are many different conventions on how to typeset
1394 accidentals. LilyPond provides a function to specify which
1395 accidental style to use. This function is called as follows:
1399 #(set-accidental-style 'voice)
1404 The accidental style applies to the current @code{Staff} by
1405 default (with the exception of the styles @code{piano} and
1406 @code{piano-cautionary}, which are explained below). Optionally,
1407 the function can take a second argument that determines in which
1408 scope the style should be changed. For example, to use the same
1409 style in all staves of the current @code{StaffGroup}, use:
1412 #(set-accidental-style 'voice 'StaffGroup)
1415 The following accidental styles are supported. To demonstrate
1416 each style, we use the following example:
1419 @lilypond[verbatim,quote]
1423 cis'8 fis, d'4 <a cis>8 f bis4 |
1437 \voiceTwo \relative c' {
1438 <fis, a cis>8 <fis a cis>
1441 \change Staff = down
1446 \change Staff = down
1447 <fis, a cis>4 gis <f a d>2 |
1454 \context Staff = "up" {
1455 #(set-accidental-style 'default)
1458 \context Staff = "down" {
1459 #(set-accidental-style 'default)
1466 Note that the last lines of this example can be replaced by the
1467 following, as long as the same accidental style should be used in
1473 \context Staff = "up" @{
1474 %%% change the next line as desired:
1475 #(set-accidental-style 'default 'Score)
1478 \context Staff = "down" @{
1486 @c don't use verbatim in this table.
1490 @cindex default accidental style
1491 @cindex accidental style, default
1495 This is the default typesetting behavior. It corresponds to
1496 eighteenth-century common practice: accidentals are remembered to
1497 the end of the measure in which they occur and only in their own
1498 octave. Thus, in the example below, no natural signs are printed
1499 before the@tie{}@code{b} in the second measure or the
1506 cis'8 fis, d'4 <a cis>8 f bis4 |
1520 \voiceTwo \relative c' {
1521 <fis, a cis>8 <fis a cis>
1524 \change Staff = down
1529 \change Staff = down
1530 <fis, a cis>4 gis <f a d>2 |
1537 \context Staff = "up" {
1538 #(set-accidental-style 'default)
1541 \context Staff = "down" {
1542 #(set-accidental-style 'default)
1551 @cindex accidental style, voice
1552 @cindex voice accidental style
1553 @cindex accidental style, modern
1554 @cindex modern accidental style
1555 @cindex accidental style, modern-cautionary
1556 @cindex modern-cautionary accidental style
1560 The normal behavior is to remember the accidentals at
1561 @code{Staff}-level. In this style, however, accidentals are
1562 typeset individually for each voice. Apart from that, the rule is
1563 similar to @code{default}.
1565 As a result, accidentals from one voice do not get canceled in
1566 other voices, which is often an unwanted result: in the following
1567 example, it is hard to determine whether the second@tie{}@code{a}
1568 should be played natural or sharp. The @code{voice} option should
1569 therefore be used only if the voices are to be read solely by
1570 individual musicians. If the staff is to be used by one musician
1571 (e.g., a conductor or in a piano score) then @code{modern} or
1572 @code{modern-cautionary} should be used instead.
1579 cis'8 fis, d'4 <a cis>8 f bis4 |
1593 \voiceTwo \relative c' {
1594 <fis, a cis>8 <fis a cis>
1597 \change Staff = down
1602 \change Staff = down
1603 <fis, a cis>4 gis <f a d>2 |
1610 \context Staff = "up" {
1611 #(set-accidental-style 'voice)
1614 \context Staff = "down" {
1615 #(set-accidental-style 'voice)
1624 @cindex accidentals, modern style
1625 @cindex modern style accidentals
1629 This rule corresponds to the common practice in the twentieth
1630 century. It prints the same accidentals as @code{default}, with
1631 two exceptions that serve to avoid ambiguity: after temporary
1632 accidentals, cancellation marks are printed also in the following
1633 measure (for notes in the same octave) and, in the same measure,
1634 for notes in other octaves. Hence the naturals before
1635 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1642 cis'8 fis, d'4 <a cis>8 f bis4 |
1656 \voiceTwo \relative c' {
1657 <fis, a cis>8 <fis a cis>
1660 \change Staff = down
1665 \change Staff = down
1666 <fis, a cis>4 gis <f a d>2 |
1673 \context Staff = "up" {
1674 #(set-accidental-style 'modern)
1677 \context Staff = "down" {
1678 #(set-accidental-style 'modern)
1685 @item modern-cautionary
1687 @cindex accidentals, modern cautionary style
1688 @cindex modern accidental style
1689 @cindex modern cautionary accidental style
1690 @cindex modern style accidentals
1691 @cindex modern style cautionary accidentals
1693 @funindex modern-cautionary
1695 This rule is similar to @code{modern}, but the @q{extra}
1696 accidentals (the ones not typeset by @code{default}) are typeset
1697 as cautionary accidentals. They are by default printed with
1698 parentheses, but they can also be printed in reduced size by
1699 defining the @code{cautionary-style} property of
1700 @code{AccidentalSuggestion}.
1706 cis'8 fis, d'4 <a cis>8 f bis4 |
1720 \voiceTwo \relative c' {
1721 <fis, a cis>8 <fis a cis>
1724 \change Staff = down
1729 \change Staff = down
1730 <fis, a cis>4 gis <f a d>2 |
1737 \context Staff = "up" {
1738 #(set-accidental-style 'modern-cautionary)
1741 \context Staff = "down" {
1742 #(set-accidental-style 'modern-cautionary)
1751 @cindex accidental style, modern
1752 @cindex accidentals, modern
1753 @cindex accidentals, multivoice
1754 @cindex modern accidental style
1755 @cindex modern accidentals
1756 @cindex multivoice accidentals
1758 @funindex modern-voice
1760 This rule is used for multivoice accidentals to be read both by
1761 musicians playing one voice and musicians playing all voices.
1762 Accidentals are typeset for each voice, but they @emph{are}
1763 canceled across voices in the same @code{Staff}. Hence,
1764 the@tie{}@code{a} in the last measure is canceled because the
1765 previous cancellation was in a different voice, and
1766 the@tie{}@code{d} in the lower staff is canceled because of the
1767 accidental in a different voice in the previous measure:
1773 cis'8 fis, d'4 <a cis>8 f bis4 |
1787 \voiceTwo \relative c' {
1788 <fis, a cis>8 <fis a cis>
1791 \change Staff = down
1796 \change Staff = down
1797 <fis, a cis>4 gis <f a d>2 |
1804 \context Staff = "up" {
1805 #(set-accidental-style 'modern-voice)
1808 \context Staff = "down" {
1809 #(set-accidental-style 'modern-voice)
1816 @cindex accidental style, cautionary, modern voice
1817 @cindex accidental style, modern voice cautionary
1818 @cindex accidental style, voice, modern cautionary
1820 @funindex modern-voice-cautionary
1822 @item modern-voice-cautionary
1824 This rule is the same as @code{modern-voice}, but with the extra
1825 accidentals (the ones not typeset by @code{voice}) typeset as
1826 cautionaries. Even though all accidentals typeset by
1827 @code{default} @emph{are} typeset with this rule, some of them are
1828 typeset as cautionaries.
1834 cis'8 fis, d'4 <a cis>8 f bis4 |
1848 \voiceTwo \relative c' {
1849 <fis, a cis>8 <fis a cis>
1852 \change Staff = down
1857 \change Staff = down
1858 <fis, a cis>4 gis <f a d>2 |
1865 \context Staff = "up" {
1866 #(set-accidental-style 'modern-voice-cautionary)
1869 \context Staff = "down" {
1870 #(set-accidental-style 'modern-voice-cautionary)
1879 @cindex accidental style, piano
1880 @cindex accidentals, piano
1881 @cindex piano accidental style
1882 @cindex piano accidentals
1886 This rule reflects twentieth-century practice for piano notation.
1887 Its behavior is very similar to @code{modern} style, but here
1888 accidentals also get canceled across the staves in the same
1889 @code{GrandStaff} or @code{PianoStaff}, hence all the
1890 cancellations of the final notes.
1892 This accidental style applies to the current @code{GrandStaff} or
1893 @code{PianoStaff} by default.
1899 cis'8 fis, d'4 <a cis>8 f bis4 |
1913 \voiceTwo \relative c' {
1914 <fis, a cis>8 <fis a cis>
1917 \change Staff = down
1922 \change Staff = down
1923 <fis, a cis>4 gis <f a d>2 |
1930 \context Staff = "up" {
1931 #(set-accidental-style 'piano)
1934 \context Staff = "down" {
1941 @item piano-cautionary
1943 @cindex accidentals, piano cautionary
1944 @cindex cautionary accidentals, piano
1945 @cindex piano cautionary accidentals
1946 @cindex accidental style, piano cautionary
1947 @cindex cautionary accidental style, piano
1948 @cindex piano cautionary accidental style
1950 @funindex piano-cautionary
1952 This is the same as @code{piano} but with the extra accidentals
1953 typeset as cautionaries.
1959 cis'8 fis, d'4 <a cis>8 f bis4 |
1973 \voiceTwo \relative c' {
1974 <fis, a cis>8 <fis a cis>
1977 \change Staff = down
1982 \change Staff = down
1983 <fis, a cis>4 gis <f a d>2 |
1990 \context Staff = "up" {
1991 #(set-accidental-style 'piano-cautionary)
1994 \context Staff = "down" {
2004 @cindex neo-modern accidental style
2005 @cindex accidental style, neo-modern
2007 @funindex neo-modern
2009 This rule reproduces a common practice in contemporary music:
2010 accidentals are printed like with @code{modern}, but they are printed
2011 again if the same note appears later in the same measure -- except
2012 if the note is immediately repeated.
2018 cis'8 fis, d'4 <a cis>8 f bis4 |
2032 \voiceTwo \relative c' {
2033 <fis, a cis>8 <fis a cis>
2036 \change Staff = down
2041 \change Staff = down
2042 <fis, a cis>4 gis <f a d>2 |
2049 \context Staff = "up" {
2050 #(set-accidental-style 'neo-modern)
2053 \context Staff = "down" {
2054 #(set-accidental-style 'neo-modern)
2061 @item neo-modern-cautionary
2063 @cindex neo-modern-cautionary accidental style
2064 @cindex accidental style, neo-modern-cautionary
2066 @funindex neo-modern-cautionary
2068 This rule is similar to @code{neo-modern}, but the extra
2069 accidentals are printed as cautionary accidentals.
2075 cis'8 fis, d'4 <a cis>8 f bis4 |
2089 \voiceTwo \relative c' {
2090 <fis, a cis>8 <fis a cis>
2093 \change Staff = down
2098 \change Staff = down
2099 <fis, a cis>4 gis <f a d>2 |
2106 \context Staff = "up" {
2107 #(set-accidental-style 'neo-modern-cautionary)
2110 \context Staff = "down" {
2111 #(set-accidental-style 'neo-modern-cautionary)
2119 @item neo-modern-voice
2121 @cindex neo-modern-voice accidental style
2122 @cindex accidental style, neo-modern-voice
2124 @funindex neo-modern-voice
2126 This rule is used for multivoice accidentals to be read both by
2127 musicians playing one voice and musicians playing all voices.
2128 Accidentals are typeset for each voice as with @code{neo-modern},
2129 but they are canceled across voices in the same @code{Staff}.
2135 cis'8 fis, d'4 <a cis>8 f bis4 |
2149 \voiceTwo \relative c' {
2150 <fis, a cis>8 <fis a cis>
2153 \change Staff = down
2158 \change Staff = down
2159 <fis, a cis>4 gis <f a d>2 |
2166 \context Staff = "up" {
2167 #(set-accidental-style 'neo-modern-voice)
2170 \context Staff = "down" {
2171 #(set-accidental-style 'neo-modern-voice)
2178 @item neo-modern-voice-cautionary
2180 @cindex neo-modern-voice-cautionary accidental style
2181 @cindex accidental style, neo-modern-voice-cautionary
2183 @funindex neo-modern-voice-cautionary
2185 This rule is similar to @code{neo-modern-voice}, but the extra
2186 accidentals are printed as cautionary accidentals.
2192 cis'8 fis, d'4 <a cis>8 f bis4 |
2206 \voiceTwo \relative c' {
2207 <fis, a cis>8 <fis a cis>
2210 \change Staff = down
2215 \change Staff = down
2216 <fis, a cis>4 gis <f a d>2 |
2223 \context Staff = "up" {
2224 #(set-accidental-style 'neo-modern-voice-cautionary)
2227 \context Staff = "down" {
2228 #(set-accidental-style 'neo-modern-voice-cautionary)
2237 @cindex dodecaphonic accidental style
2238 @cindex dodecaphonic style, neo-modern
2240 @funindex dodecaphonic
2242 This rule reflects a practice introduced by composers at
2243 the beginning of the 20th century, in an attempt to
2244 abolish the hierarchy between natural and non-natural notes.
2245 With this style, @emph{every} note gets an accidental sign,
2246 including natural signs.
2252 cis'8 fis, d'4 <a cis>8 f bis4 |
2266 \voiceTwo \relative c' {
2267 <fis, a cis>8 <fis a cis>
2270 \change Staff = down
2275 \change Staff = down
2276 <fis, a cis>4 gis <f a d>2 |
2283 \context Staff = "up" {
2284 #(set-accidental-style 'dodecaphonic)
2287 \context Staff = "down" {
2288 #(set-accidental-style 'dodecaphonic)
2298 @cindex teaching accidental style
2299 @cindex accidental style, teaching
2303 This rule is intended for students, and makes it easy to create
2304 scale sheets with automatically created cautionary accidentals.
2305 Accidentals are printed like with @code{modern}, but cautionary
2306 accidentals are added for all sharp or flat tones specified by the
2307 key signature, except if the note is immediately repeated.
2313 cis'8 fis, d'4 <a cis>8 f bis4 |
2327 \voiceTwo \relative c' {
2328 <fis, a cis>8 <fis a cis>
2331 \change Staff = down
2336 \change Staff = down
2337 <fis, a cis>4 gis <f a d>2 |
2344 \context Staff = "up" {
2346 #(set-accidental-style 'teaching)
2349 \context Staff = "down" {
2351 #(set-accidental-style 'teaching)
2362 @cindex accidental style, no reset
2363 @cindex no reset accidental style
2367 This is the same as @code{default} but with accidentals lasting
2368 @q{forever} and not only within the same measure:
2374 cis'8 fis, d'4 <a cis>8 f bis4 |
2388 \voiceTwo \relative c' {
2389 <fis, a cis>8 <fis a cis>
2392 \change Staff = down
2397 \change Staff = down
2398 <fis, a cis>4 gis <f a d>2 |
2405 \context Staff = "up" {
2406 #(set-accidental-style 'no-reset)
2409 \context Staff = "down" {
2410 #(set-accidental-style 'no-reset)
2419 @cindex forget accidental style
2420 @cindex accidental style, forget
2424 This is the opposite of @code{no-reset}: Accidentals are not
2425 remembered at all -- and hence all accidentals are typeset
2426 relative to the key signature, regardless of what came before in
2427 the music. Unlike @code{dodecaphonic}, this rule never prints
2434 cis'8 fis, d'4 <a cis>8 f bis4 |
2448 \voiceTwo \relative c' {
2449 <fis, a cis>8 <fis a cis>
2452 \change Staff = down
2457 \change Staff = down
2458 <fis, a cis>4 gis <f a d>2 |
2465 \context Staff = "up" {
2466 #(set-accidental-style 'forget)
2469 \context Staff = "down" {
2470 #(set-accidental-style 'forget)
2480 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2481 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2488 Internals Reference:
2489 @rinternals{Accidental},
2490 @rinternals{Accidental_engraver},
2491 @rinternals{GrandStaff},
2492 @rinternals{PianoStaff},
2494 @rinternals{AccidentalSuggestion},
2495 @rinternals{AccidentalPlacement},
2496 @rinternals{accidental-suggestion-interface}.
2499 @cindex accidentals and simultaneous notes
2500 @cindex simultaneous notes and accidentals
2501 @cindex accidentals in chords
2502 @cindex chords, accidentals in
2506 Simultaneous notes are not considered in the automatic
2507 determination of accidentals; only previous notes and the key
2508 signature are considered. Forcing accidentals with@tie{}@code{!}
2509 or@tie{}@code{?} may be required when the same note name occurs
2510 simultaneously with different alterations, as in @samp{<f! fis!>}.
2512 Cautionary cancellation of accidentals is done by looking at previous measure.
2513 However, in the @code{\alternative} block following a @code{\repeat volta N}
2514 section, one would expect the cancellation being calculated using the previous
2515 @emph{played} measure, not previous @emph{printed} measure.
2516 In the following example, the natural @code{c} in the second alternative does
2517 not need a natural sign:
2521 #(set-accidental-style 'modern)
2533 The following work-around can be used: define a function that locally changes
2534 the accidental style to @code{forget}:
2536 @lilypond[verbatim,quote]
2537 forget = #(define-music-function (parser location music) (ly:music?) #{
2538 #(set-accidental-style 'forget)
2540 #(set-accidental-style 'modern)
2543 #(set-accidental-style 'modern)
2556 @unnumberedsubsubsec Ambitus
2559 @cindex range of pitches
2562 The term @notation{ambitus} (pl. ambitus) denotes a range of
2563 pitches for a given voice in a part of music. It may also denote
2564 the pitch range that a musical instrument is capable of playing.
2565 Ambitus are printed on vocal parts so that performers can easily
2566 determine if it matches their capabilities.
2568 Ambitus are denoted at the beginning of a piece near the initial
2569 clef. The range is graphically specified by two note heads that
2570 represent the lowest and highest pitches. Accidentals are only
2571 printed if they are not part of the key signature.
2573 @lilypond[verbatim,quote]
2577 \consists "Ambitus_engraver"
2590 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2591 {adding-ambitus-per-voice.ly}
2593 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2594 {ambitus-with-multiple-voices.ly}
2596 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2597 {changing-the-ambitus-gap.ly}
2607 Internals Reference:
2608 @rinternals{Ambitus_engraver},
2611 @rinternals{Ambitus},
2612 @rinternals{AmbitusAccidental},
2613 @rinternals{AmbitusLine},
2614 @rinternals{AmbitusNoteHead},
2615 @rinternals{ambitus-interface}.
2620 There is no collision handling in the case of multiple per-voice
2625 @subsection Note heads
2627 This section suggests ways of altering note heads.
2630 * Special note heads::
2631 * Easy notation note heads::
2632 * Shape note heads::
2636 @node Special note heads
2637 @unnumberedsubsubsec Special note heads
2639 @cindex note heads, special
2640 @cindex note heads, cross
2641 @cindex note heads, diamond
2642 @cindex note heads, parlato
2643 @cindex note heads, harmonic
2644 @cindex note heads, guitar
2645 @cindex special note heads
2646 @cindex cross note heads
2647 @cindex diamond note heads
2648 @cindex parlato note heads
2649 @cindex harmonic note heads
2650 @cindex guitar note heads
2651 @cindex note head styles
2652 @cindex styles, note heads
2656 The appearance of note heads may be altered:
2658 @lilypond[verbatim,quote,relative=2]
2660 \override NoteHead #'style = #'cross
2662 \revert NoteHead #'style
2664 \override NoteHead #'style = #'harmonic
2666 \revert NoteHead #'style
2670 To see all note head styles, see @ref{Note head styles}.
2672 The @code{cross} style is used to represent a variety of musical
2673 intentions. The following generic predefined commands modify the
2674 note head in both staff and tablature contexts and can be used to
2675 represent any musical meaning:
2677 @lilypond[verbatim,quote,relative=2]
2685 The music function form of this predefined command may be used
2686 inside and outside chords to generate crossed note heads in both
2687 staff and tablature contexts:
2689 @lilypond[verbatim,quote,relative=2]
2692 c b < g \xNote c f > b
2695 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2696 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2697 be used. The term @notation{dead note} is commonly used by guitarists.
2699 There is also a shorthand for diamond shapes which can be used
2702 @lilypond[verbatim,quote,relative=2]
2703 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2718 @ref{Note head styles},
2719 @ref{Chorded notes},
2720 @ref{Indicating harmonics and dampened notes}.
2722 Internals Reference:
2723 @rinternals{note-event},
2724 @rinternals{Note_heads_engraver},
2725 @rinternals{Ledger_line_engraver},
2726 @rinternals{NoteHead},
2727 @rinternals{LedgerLineSpanner},
2728 @rinternals{note-head-interface},
2729 @rinternals{ledger-line-spanner-interface}.
2732 @node Easy notation note heads
2733 @unnumberedsubsubsec Easy notation note heads
2735 @cindex note heads, practice
2736 @cindex practice note heads
2737 @cindex note heads, easy notation
2738 @cindex easy notation
2739 @cindex beginners' music
2740 @cindex music, beginners'
2741 @cindex easy play note heads
2742 @cindex note heads, easy play
2744 @funindex \easyHeadsOn
2745 @funindex easyHeadsOn
2746 @funindex \easyHeadsOff
2747 @funindex easyHeadsOff
2749 The @q{easy play} note head includes a note name inside the head.
2750 It is used in music for beginners. To make the letters readable,
2751 it should be printed in a large font size. To print with a larger
2752 font, see @ref{Setting the staff size}.
2754 @lilypond[verbatim,quote]
2755 #(set-global-staff-size 26)
2767 @code{\easyHeadsOn},
2768 @code{\easyHeadsOff}.
2774 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2775 {numbers-as-easy-note-heads.ly}
2780 @ref{Setting the staff size}.
2785 Internals Reference:
2786 @rinternals{note-event},
2787 @rinternals{Note_heads_engraver},
2788 @rinternals{NoteHead},
2789 @rinternals{note-head-interface}.
2792 @node Shape note heads
2793 @unnumberedsubsubsec Shape note heads
2795 @cindex note heads, shape
2796 @cindex note heads, Aiken
2797 @cindex note heads, sacred harp
2799 @cindex Aiken shape note heads
2800 @cindex sacred harp note heads
2801 @cindex note heads, Southern Harmony
2802 @cindex Southern Harmony note heads
2803 @cindex Funk shape note heads
2804 @cindex note heads, Funk
2805 @cindex note heads, Harmonica Sacra
2806 @cindex Harmonica Sacra note heads
2807 @cindex Christian Harmony note heads
2808 @cindex note heads, Christian Harmony
2809 @cindex Walker shape note heads
2810 @cindex note heads, Walker
2812 @funindex \aikenHeads
2813 @funindex aikenHeads
2814 @funindex \sacredHarpHeads
2815 @funindex sacredHarpHeads
2816 @funindex \southernHarmonyHeads
2817 @funindex southernHarmonyHeads
2818 @funindex \funkHeads
2820 @funindex \walkerHeads
2821 @funindex walkerHeads
2823 In shape note head notation, the shape of the note head
2824 corresponds to the harmonic function of a note in the scale. This
2825 notation was popular in nineteenth-century American song books.
2826 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2827 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2829 @lilypond[verbatim,quote,relative=2]
2831 c, d e f g2 a b1 c \break
2833 c,4 d e f g2 a b1 c \break
2834 \southernHarmonyHeads
2835 c,4 d e f g2 a b1 c \break
2837 c,4 d e f g2 a b1 c \break
2839 c,4 d e f g2 a b1 c \break
2844 @funindex \aikenHeadsMinor
2845 @funindex aikenHeadsMinor
2846 @funindex \sacredHarpHeadsMinor
2847 @funindex sacredHarpHeadsMinor
2848 @funindex \southernHarmonyHeadsMinor
2849 @funindex southernHarmonyHeadsMinor
2850 @funindex \funkHeadsMinor
2851 @funindex funkHeadsMinor
2852 @funindex \walkerHeadsMinor
2853 @funindex walkerHeadsMinor
2855 Shapes are typeset according to the step in the scale, where the base
2856 of the scale is determined by the @code{\key} command. When writing
2857 in a minor key, the scale step can be determined from the relative
2860 @lilypond[verbatim,quote,relative=2]
2863 a b c d e2 f g1 a \break
2865 a,4 b c d e2 f g1 a \break
2866 \sacredHarpHeadsMinor
2868 \southernHarmonyHeadsMinor
2880 @code{\aikenHeadsMinor},
2882 @code{\funkHeadsMinor},
2883 @code{\sacredHarpHeads},
2884 @code{\sacredHarpHeadsMinor},
2885 @code{\southernHarmonyHeads},
2886 @code{\southernHarmonyHeadsMinor},
2887 @code{\walkerHeads},
2888 @code{\walkerHeadsMinor}.
2894 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2895 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2897 To see all note head styles, see @ref{Note head styles}.
2905 @ref{Note head styles}.
2907 Internals Reference:
2908 @rinternals{note-event},
2909 @rinternals{Note_heads_engraver},
2910 @rinternals{NoteHead},
2911 @rinternals{note-head-interface}.
2915 @unnumberedsubsubsec Improvisation
2917 @cindex improvisation
2918 @cindex slashed note heads
2919 @cindex note heads, improvisation
2920 @cindex note heads, slashed
2922 @funindex \improvisationOn
2923 @funindex improvisationOn
2924 @funindex \improvisationOff
2925 @funindex improvisationOff
2927 Improvisation is sometimes denoted with slashed note heads, where
2928 the performer may choose any pitch but should play the specified
2929 rhythm. Such note heads can be created:
2931 @lilypond[verbatim,quote,relative=2]
2933 \consists "Pitch_squash_engraver"
2935 e8 e g a a16( bes) a8 g
2947 @code{\improvisationOn},
2948 @code{\improvisationOff}.
2956 Internals Reference:
2957 @rinternals{Pitch_squash_engraver},
2959 @rinternals{RhythmicStaff}.