1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
92 Common octave marks can be entered just once on a reference pitch
93 after @code{\fixed} placed before the music. Pitches inside
94 @code{\fixed} only need @code{'} or@tie{}@code{,} marks
95 when they are above or below the octave of the reference pitch.
97 @lilypond[verbatim,quote]
112 Pitches in the music expression following @code{\fixed} are
113 unaffected by any enclosing @code{\relative}, discussed next.
123 @node Relative octave entry
124 @unnumberedsubsubsec Relative octave entry
127 @cindex relative octave entry
128 @cindex octave entry, relative
129 @cindex relative octave specification
130 @cindex octave specification, relative
135 Absolute octave entry requires specifying the octave for every
136 single note. Relative octave entry, in contrast, specifies each
137 octave in relation to the last note: changing one note's octave
138 will affect all of the following notes.
140 Relative note mode has to be entered explicitly using the
141 @code{\relative} command:
144 \relative @var{startpitch} @var{musicexpr}
147 In relative mode, each note is assumed to be as close to the
148 previous note as possible. This means that the octave of each
149 pitch inside @code{@var{musicexpr}} is calculated as follows:
153 If no octave changing mark is used on a pitch, its octave is
154 calculated so that the interval with the previous note is less
155 than a fifth. This interval is determined without considering
159 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
160 added to respectively raise or lower a pitch by an extra octave,
161 relative to the pitch calculated without an octave mark.
164 Multiple octave changing marks can be used. For example,
165 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
169 The pitch of the first note is relative to
170 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
171 absolute octave mode. Which choices are meaningful?
174 @item an octave of @code{c}
175 Identifying middle C with @code{c'} is quite basic, so finding
176 octaves of @code{c} tends to be straightforward. If your music
177 starts with @code{gis} above @code{c'''}, you'd write something
178 like @code{\relative c''' @{ gis' @dots{} @}}
180 @item an octave of the first note inside
181 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
182 determine the absolute pitch of the first note inside.
184 @item no explicit starting pitch
185 The form @code{\relative @{ gis''' @dots{} @}} serves
186 as a compact version of the previous option: the first note
187 inside is written in absolute pitch itself. (This happens to be
188 equivalent to choosing @code{f} as the reference pitch.)
191 The documentation will usually employ the last option.
194 Here is the relative mode shown in action:
196 @lilypond[verbatim,quote]
205 Octave changing marks are used for intervals greater than a
208 @lilypond[verbatim,quote]
215 A note sequence without a single octave mark can nevertheless span
218 @lilypond[verbatim,quote]
225 When @code{\relative} blocks are nested, the innermost
226 @code{\relative} block starts with its own reference pitch
227 independently of the outer @code{\relative}.
229 @lilypond[verbatim,quote]
238 @code{\relative} has no effect on @code{\chordmode} blocks.
240 @lilypond[verbatim,quote]
249 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
251 Music inside a @code{\transpose} block is absolute unless a
252 @code{\relative} is included.
254 @lilypond[verbatim,quote]
267 @cindex chords and relative octave entry
268 @cindex relative octave entry and chords
270 If the preceding item is a chord, the first note of the chord is
271 used as the reference point for the octave placement of a
272 following note or chord. Inside chords, the next note is always
273 relative to the preceding one. Examine the next example
274 carefully, paying attention to the @code{c} notes.
276 @lilypond[verbatim,quote]
285 As explained above, the octave of pitches is calculated only with
286 the note names, regardless of any alterations. Therefore, an
287 E-double-sharp following a B will be placed higher, while an
288 F-double-flat will be placed lower. In other words, a
289 double-augmented fourth is considered a smaller interval than a
290 double-diminished fifth, regardless of the number of semitones
291 that each interval contains.
293 @lilypond[verbatim,quote]
316 @rinternals{RelativeOctaveMusic}.
318 @cindex relative octave entry and transposition
319 @cindex transposition and relative octave entry
330 @unnumberedsubsubsec Accidentals
333 @cindex key signature
336 @c duplicated in Key signature and Accidentals
337 @warning{New users are sometimes confused about accidentals and
338 key signatures. In LilyPond, note names specify pitches; key
339 signatures and clefs determine how these pitches are displayed.
340 An unaltered note like@tie{}@code{c} means @q{C natural},
341 regardless of the key signature or clef. For more information,
342 see @rlearning{Pitches and key signatures}.}
344 @cindex note names, Dutch
345 @cindex note names, default
346 @cindex default note names
350 @cindex sharp, double
354 @cindex natural pitch
356 A @notation{sharp} pitch is made by adding @code{is} to the note
357 name, and a @notation{flat} pitch by adding @code{es}. As you
358 might expect, a @notation{double sharp} or @notation{double flat}
359 is made by adding @code{isis} or @code{eses}. This syntax is
360 derived from Dutch note naming conventions. To use other names
361 for accidentals, see @ref{Note names in other languages}.
363 @lilypond[verbatim,quote,fragment]
364 \relative c'' { ais1 aes aisis aeses }
367 A natural pitch is entered as a simple note name; no suffix is
368 required. A natural sign will be printed when needed to cancel
369 the effect of an earlier accidental or key signature.
371 @lilypond[verbatim,quote,fragment]
372 \relative c'' { a4 aes a2 }
375 @cindex quarter tones
379 Quarter tones may be added; the following is a series of Cs with
382 @lilypond[verbatim,quote,fragment]
383 \relative c'' { ceseh1 ces ceh c cih cis cisih }
388 @cindex accidental, reminder
389 @cindex accidental, cautionary
390 @cindex accidental, parenthesized
391 @cindex reminder accidental
392 @cindex cautionary accidental
393 @cindex parenthesized accidental
399 Normally accidentals are printed automatically, but you may also
400 print them manually. A reminder accidental can be forced by
401 adding an exclamation mark@tie{}@code{!} after the pitch. A
402 cautionary accidental (i.e., an accidental within parentheses) can
403 be obtained by adding the question mark@tie{}@code{?} after the
406 @lilypond[verbatim,quote,fragment]
407 \relative c'' { cis cis cis! cis? c c c! c? }
410 @cindex accidental on tied note
411 @cindex tied note, accidental
413 Accidentals on tied notes are only printed at the beginning of a
416 @lilypond[verbatim,quote,fragment,ragged-right]
427 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
428 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
430 @lilypondfile[verbatim,quote,texidoc,doctitle]
431 {preventing-extra-naturals-from-being-automatically-added.ly}
437 @rglos{double sharp},
440 @rglos{quarter tone}.
443 @rlearning{Pitches and key signatures}.
446 @ref{Automatic accidentals},
447 @ref{Annotational accidentals (musica ficta)},
448 @ref{Note names in other languages}.
454 @rinternals{Accidental_engraver},
455 @rinternals{Accidental},
456 @rinternals{AccidentalCautionary},
457 @rinternals{accidental-interface}.
459 @cindex accidental, quarter-tone
460 @cindex quarter-tone accidental
463 There are no generally accepted standards for denoting
464 quarter-tone accidentals, so LilyPond's symbol does not conform to
468 @node Note names in other languages
469 @unnumberedsubsubsec Note names in other languages
471 @cindex note names, other languages
472 @cindex pitch names, other languages
473 @cindex language, note names in other
474 @cindex language, pitch names in other
476 There are predefined sets of note and accidental names for various
477 other languages. Selecting the note name language is usually done
478 at the beginning of the file; the following example is written
479 using Italian note names:
481 @lilypond[quote,verbatim]
489 The available languages and the note names they define are:
492 @multitable {@code{nederlands}} {do re/re mi fa sol la sib si}
495 @item @code{nederlands}
496 @tab c d e f g a bes b
498 @tab do re mi fa sol la sib si
502 @tab c d e f g a bf b
503 @item @code{espanol} or @code{español}
504 @tab do re mi fa sol la sib si
505 @item @code{français}
506 @tab do ré/re mi fa sol la sib si
507 @item @code{italiano}
508 @tab do re mi fa sol la sib si
511 @item @code{portugues}
512 @tab do re mi fa sol la sib si
518 @tab do re mi fa sol la sib si
522 In addition to note names, accidental suffixes may
523 also vary depending on the language:
526 @multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{ess}/-@code{es}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{essess}/-@code{eses}}
528 @tab sharp @tab flat @tab double sharp @tab double flat
529 @item @code{nederlands}
530 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
532 @tab -@code{d}/-@code{s} @tab -@code{b} @tab -@code{dd}/-@code{ss} @tab -@code{bb}
534 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
536 @tab -@code{s}/-@code{-sharp} @tab -@code{f}/-@code{-flat} @tab -@code{ss}/-@code{x}/-@code{-sharpsharp}
537 @tab -@code{ff}/-@code{-flatflat}
538 @item @code{espanol} or @code{español}
539 @tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb}
540 @item @code{français}
541 @tab -@code{d} @tab -@code{b} @tab -@code{dd}/-@code{x} @tab -@code{bb}
542 @item @code{italiano}
543 @tab -@code{d} @tab -@code{b} @tab -@code{dd} @tab -@code{bb}
545 @tab -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis}
546 @tab -@code{essess}/-@code{eses}
547 @item @code{portugues}
548 @tab -@code{s} @tab -@code{b} @tab -@code{ss} @tab -@code{bb}
550 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
552 @tab -@code{iss} @tab -@code{ess} @tab -@code{ississ} @tab -@code{essess}
554 @tab -@code{k} @tab -@code{b} @tab -@code{kk} @tab -@code{bb}
558 In Dutch, @code{aes} is contracted to @code{as}, but both forms
559 are accepted in LilyPond. Similarly, both @code{es} and
560 @code{ees} are accepted. This also applies to
561 @code{aeses}@tie{}/@tie{}@code{ases} and
562 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
563 contracted names are defined in the corresponding language files.
565 @lilypond[verbatim,quote,fragment]
566 \relative c'' { a2 as e es a ases e eses }
576 Some music uses microtones whose alterations are fractions of a
577 @q{normal} sharp or flat. The following table lists note names
578 for quarter-tone accidentals in various languages; here the prefixes
579 @notation{semi-} and @notation{sesqui-} respectively
580 mean @q{half} and @q{one and a half}. Languages that do not
581 appear in this table do not provide special note names yet.
584 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
586 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
588 @item @code{nederlands}
589 @tab -ih @tab -eh @tab -isih @tab -eseh
591 @tab -ih @tab -eh @tab -isih @tab -eseh
593 @tab -qs @tab -qf @tab -tqs @tab -tqf
594 @item @code{espanol} or @code{español}
595 @tab -cs @tab -cb @tab -tcs @tab -tcb
596 @item @code{français}
597 @tab -sd @tab -sb @tab -dsd @tab -bsb
598 @item @code{italiano}
599 @tab -sd @tab -sb @tab -dsd @tab -bsb
600 @item @code{portugues}
601 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
605 Most languages presented here are commonly associated with
606 Western classical music, also referred to as
607 @notation{Common Practice Period}. However, alternate
608 pitches and tuning systems are also supported: see
609 @ref{Common notation for non-Western music}.
614 @rglos{Common Practice Period}.
617 @ref{Common notation for non-Western music}.
620 @file{scm/define-note-names.scm}.
626 @node Changing multiple pitches
627 @subsection Changing multiple pitches
629 This section discusses how to modify pitches.
636 * Modal transformations::
640 @unnumberedsubsubsec Octave checks
642 @cindex octave correction
644 @cindex control pitch
647 @funindex \octaveCheck
648 @funindex octaveCheck
649 @funindex controlpitch
651 In relative mode, it is easy to forget an octave changing mark.
652 Octave checks make such errors easier to find by displaying a
653 warning and correcting the octave if a note is found in an
656 To check the octave of a note, specify the absolute octave after
657 the @code{=}@tie{}symbol. This example will generate a warning
658 (and change the pitch) because the second note is the absolute
659 octave @code{d''} instead of @code{d'} as indicated by the octave
662 @lilypond[verbatim,quote]
669 The octave of notes may also be checked with the
670 @code{\octaveCheck@tie{}@var{controlpitch}} command.
671 @code{@var{controlpitch}} is specified in absolute mode. This
672 checks that the interval between the previous note and the
673 @code{@var{controlpitch}} is within a fourth (i.e., the normal
674 calculation of relative mode). If this check fails, a warning is
675 printed. While the previous note itself is not changed, future
676 notes are relative to the corrected value.
678 @lilypond[verbatim,quote]
686 Compare the two bars below. The first and third @code{\octaveCheck}
687 checks fail, but the second one does not fail.
689 @lilypond[verbatim,quote]
708 @rinternals{RelativeOctaveCheck}.
712 @unnumberedsubsubsec Transpose
716 @cindex transposition
717 @cindex transposition of pitches
718 @cindex transposition of notes
719 @cindex pitches, transposition of
720 @cindex notes, transposition of
725 A music expression can be transposed with @code{\transpose}. The
729 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
733 This means that @code{@var{musicexpr}} is transposed by the
734 interval between the pitches @code{@var{frompitch}} and
735 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
736 is changed to @code{@var{topitch}} and any other note is
737 transposed by the same interval. Both pitches are entered in
740 @warning{Music inside a @code{@bs{}transpose} block is absolute
741 unless a @code{@bs{}relative} is included in the block.}
743 Consider a piece written in the key of D-major. It can be
744 transposed up to E-major; note that the key signature is
745 automatically transposed as well.
747 @lilypond[verbatim,quote]
756 @cindex transposing instruments
757 @cindex instruments, transposing
759 If a part written in C (normal @notation{concert pitch}) is to be
760 played on the A clarinet (for which an A is notated as a C and
761 thus sounds a minor third lower than notated), the appropriate
762 part will be produced with:
764 @lilypond[verbatim,quote]
774 Note that we specify @w{@code{\key c \major}} explicitly. If we
775 do not specify a key signature, the notes will be transposed but
776 no key signature will be printed.
778 @code{\transpose} distinguishes between enharmonic pitches: both
779 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
780 transpose up a semitone. The first version will print sharps and
781 the notes will remain on the same scale step, the second version
782 will print flats on the scale step above.
784 @lilypond[verbatim,quote]
785 music = \relative { c' d e f }
787 \transpose c cis { \music }
788 \transpose c des { \music }
793 @code{\transpose} may also be used in a different way, to input
794 written notes for a transposing instrument. The previous examples
795 show how to enter pitches in C (or @notation{concert pitch}) and
796 typeset them for a transposing instrument, but the opposite is
797 also possible if you for example have a set of instrumental parts
798 and want to print a conductor's score. For example, when entering
799 music for a B-flat trumpet that begins on a notated E (concert D),
803 musicInBflat = @{ e4 @dots{} @}
804 \transpose c bes, \musicInBflat
808 To print this music in F (e.g., rearranging to a French horn) you
809 could wrap the existing music with another @code{\transpose}:
812 musicInBflat = @{ e4 @dots{} @}
813 \transpose f c' @{ \transpose c bes, \musicInBflat @}
817 For more information about transposing instruments,
818 see @ref{Instrument transpositions}.
823 @lilypondfile[verbatim,quote,texidoc,doctitle]
824 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
828 @ref{Instrument transpositions},
830 @ref{Modal transformations},
831 @ref{Relative octave entry},
838 @rinternals{TransposedMusic}.
848 The relative conversion will not affect @code{\transpose},
849 @code{\chordmode} or @code{\relative} sections in its argument. To use
850 relative mode within transposed music, an additional @code{\relative}
851 must be placed inside @code{\transpose}.
853 Triple accidentals will not be printed if using @code{\transpose}. An
854 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
855 rather than e-triple-flat).
859 @unnumberedsubsubsec Inversion
862 @cindex operation, inversion
865 A music expression can be inverted and transposed in a single
869 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
872 The @code{@var{musicexpr}} is inverted interval-by-interval around
873 @code{@var{around-pitch}}, and then transposed so that
874 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
876 @lilypond[verbatim,quote]
877 music = \relative { c' d e f }
880 \inversion d' d' \music
881 \inversion d' ees' \music
885 @warning{Motifs to be inverted should be expressed in absolute form
886 or be first converted to absolute form by enclosing them in a
887 @code{\relative} block.}
891 @ref{Modal transformations},
897 @unnumberedsubsubsec Retrograde
899 @cindex retrograde transformation
900 @cindex transformation, retrograde
901 @cindex operation, retrograde
902 @funindex \retrograde
905 A music expression can be reversed to produce its retrograde:
907 @lilypond[verbatim,quote]
908 music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
917 Manual ties inside @code{\retrograde} will be broken and
918 generate warnings. Some ties can be generated automatically
919 by enabling @ref{Automatic note splitting}.
924 @ref{Modal transformations},
928 @node Modal transformations
929 @unnumberedsubsubsec Modal transformations
931 @cindex modal transformations
932 @cindex transformations, modal
933 @cindex operations, modal
935 In a musical composition that is based on a scale, a motif is
936 frequently transformed in various ways. It may be
937 @notation{transposed} to start at different places in the scale or
938 it may be @notation{inverted} around a pivot point in the scale.
939 It may also be reversed to produce its @notation{retrograde}, see
942 @warning{Any note that does not lie within the given scale will be
945 @subsubsubheading Modal transposition
947 @cindex modal transposition
948 @cindex transposition, modal
949 @cindex operation, transposition
950 @funindex \modalTranspose
951 @funindex modalTranspose
953 A motif can be transposed within a given scale with:
956 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
959 The notes of @var{motif} are shifted within the @var{scale} by the
960 number of scale degrees given by the interval between @var{to-pitch}
961 and @var{from-pitch}:
963 @lilypond[verbatim,quote]
964 diatonicScale = \relative { c' d e f g a b }
965 motif = \relative { c'8 d e f g a b c }
969 \modalTranspose c f \diatonicScale \motif
970 \modalTranspose c b, \diatonicScale \motif
974 An ascending scale of any length and with any intervals may be
977 @lilypond[verbatim,quote]
978 pentatonicScale = \relative { ges aes bes des ees }
979 motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
983 \modalTranspose ges ees' \pentatonicScale \motif
987 When used with a chromatic scale @code{\modalTranspose} has a
988 similar effect to @code{\transpose}, but with the ability to
989 specify the names of the notes to be used:
991 @lilypond[verbatim,quote]
992 chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
993 motif = \relative { c'8 d e f g a b c }
997 \transpose c f \motif
998 \modalTranspose c f \chromaticScale \motif
1002 @subsubsubheading Modal inversion
1004 @cindex modal inversion
1005 @cindex inversion, modal
1006 @cindex operation, modal inversion
1007 @funindex \modalInversion
1008 @funindex modalInversion
1010 A motif can be inverted within a given scale around a given pivot
1011 note and transposed in a single operation with:
1014 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
1017 The notes of @var{motif} are placed the same number of scale degrees
1018 from the @var{around-pitch} note within the @var{scale}, but in the
1019 opposite direction, and the result is then shifted within the
1020 @var{scale} by the number of scale degrees given by the interval between
1021 @var{to-pitch} and @var{around-pitch}.
1023 So to simply invert around a note in the scale use the same value for
1024 @var{around-pitch} and @var{to-pitch}:
1026 @lilypond[verbatim,quote]
1027 octatonicScale = \relative { ees' f fis gis a b c d }
1028 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1032 \modalInversion fis' fis' \octatonicScale \motif
1036 To invert around a pivot between two notes in the scale, invert around
1037 one of the notes and then transpose by one scale degree. The two notes
1038 specified can be interpreted as bracketing the pivot point:
1040 @lilypond[verbatim,quote]
1041 scale = \relative { c' g' }
1042 motive = \relative { c' c g' c, }
1046 \modalInversion c' g' \scale \motive
1050 The combined operation of inversion and retrograde produce the
1051 retrograde-inversion:
1053 @lilypond[verbatim,quote]
1054 octatonicScale = \relative { ees' f fis gis a b c d }
1055 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1059 \retrograde \modalInversion c' c' \octatonicScale \motif
1070 @node Displaying pitches
1071 @subsection Displaying pitches
1073 This section discusses how to alter the output of pitches.
1079 * Instrument transpositions::
1080 * Automatic accidentals::
1086 @unnumberedsubsubsec Clef
1097 @cindex soprano clef
1098 @cindex mezzosoprano clef
1099 @cindex baritone clef
1100 @cindex varbaritone clef
1101 @cindex subbass clef
1103 @cindex ancient clef
1104 @cindex clef, ancient
1108 @cindex clef, treble
1109 @cindex clef, violin
1113 @cindex clef, french
1114 @cindex clef, soprano
1115 @cindex clef, mezzosoprano
1116 @cindex clef, baritone
1117 @cindex clef, varbaritone
1118 @cindex clef, subbass
1124 Without any explicit command, the default clef for LilyPond is the
1125 treble (or @emph{G}) clef.
1127 @lilypond[verbatim,quote,fragment,ragged-right]
1131 However, the clef can be changed by using the @code{\clef} command and
1132 an appropriate clef name. @emph{Middle C} is shown in each of the
1135 @lilypond[verbatim,quote,fragment]
1146 For the full range of possible clef names see @ref{Clef styles}.
1148 Specialized clefs, such as those used in @emph{Ancient} music, are
1149 described in @ref{Mensural clefs} and @ref{Gregorian clefs}. Music that
1150 requires tablature clefs is discussed in @ref{Default tablatures} and
1151 @ref{Custom tablatures}.
1154 @cindex Clefs with cue notes
1155 For mixing clefs when using cue notes, see the @code{\cueClef} and
1156 @code{\cueDuringWithClef} commands in @ref{Formatting cue notes}.
1158 @cindex transposing clef
1159 @cindex clef, transposing
1160 @cindex octave transposition
1161 @cindex optional octave transposition
1162 @cindex octave transposition, optional
1163 @cindex choral tenor clef
1164 @cindex tenor clef, choral
1166 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1167 clef is transposed one octave down or up respectively,
1168 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1169 Other integers can be used if required. Clef names containing
1170 non-alphabetic characters must be enclosed in quotes
1172 @lilypond[verbatim,quote,fragment]
1187 Optional octavation can be obtained by enclosing the numeric
1188 argument in parentheses or brackets:
1190 @lilypond[verbatim,quote,fragment]
1197 The pitches are displayed as if the numeric argument were
1198 given without parentheses/brackets.
1200 By default, a clef change taking place at a line break will cause
1201 the new clef symbol to be printed at the end of the previous line,
1202 as a @emph{warning} clef, as well as the beginning of the next.
1203 This @emph{warning} clef can be suppressed.
1205 @lilypond[verbatim,quote,fragment]
1206 \clef treble { c'2 c' } \break
1207 \clef bass { c'2 c' } \break
1209 \set Staff.explicitClefVisibility = #end-of-line-invisible
1211 \unset Staff.explicitClefVisibility
1212 \clef bass { c'2 c' } \break
1215 By default, a clef that has previously been printed will not be
1216 re-printed if the same @code{\clef} command is issued again and
1217 will be ignored. The command
1218 @code{\set Staff.forceClef = ##t} changes this behaviour.
1220 @lilypond[verbatim,quote,fragment]
1225 \set Staff.forceClef = ##t
1231 When there is a manual clef change, the glyph of the changed clef
1232 will be smaller than normal. This behaviour can be overridden.
1234 @lilypond[verbatim,quote,fragment]
1241 \override Staff.Clef.full-size-change = ##t
1246 \revert Staff.Clef.full-size-change
1254 @lilypondfile[verbatim,quote,texidoc,doctitle]
1255 {tweaking-clef-properties.ly}
1259 @ref{Mensural clefs},
1260 @ref{Gregorian clefs},
1261 @ref{Default tablatures},
1262 @ref{Custom tablatures},
1263 @ref{Formatting cue notes}.
1266 @file{scm/parser-clef.scm}.
1271 Internals Reference:
1272 @rinternals{Clef_engraver},
1274 @rinternals{ClefModifier},
1275 @rinternals{clef-interface}.
1278 Ottavation numbers attached to clefs are treated as separate
1279 grobs. So any @code{\override} done to the @var{Clef} will also
1280 need to be applied, as a separate @code{\override}, to the
1281 @var{ClefModifier} grob.
1283 @lilypond[fragment,quote,verbatim]
1285 \override Clef.color = #blue
1286 \override ClefModifier.color = #red
1289 \clef "treble_8" c'4
1294 @unnumberedsubsubsec Key signature
1296 @cindex key signature
1301 @c duplicated in Key signature and Accidentals
1302 @warning{New users are sometimes confused about accidentals and
1303 key signatures. In LilyPond, note names are the raw input; key
1304 signatures and clefs determine how this raw input is displayed.
1305 An unaltered note like@tie{}@code{c} means @q{C natural},
1306 regardless of the key signature or clef. For more information,
1307 see @rlearning{Pitches and key signatures}.}
1309 The key signature indicates the tonality in which a piece is
1310 played. It is denoted by a set of alterations (flats or sharps)
1311 at the start of the staff. The key signature may be altered:
1314 \key @var{pitch} @var{mode}
1327 @funindex \mixolydian
1328 @funindex mixolydian
1336 @cindex church modes
1349 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1350 to get a key signature of @code{@var{pitch}}-major or
1351 @code{@var{pitch}}-minor, respectively. You may also use the
1352 standard mode names, also called @notation{church modes}:
1353 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1354 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1356 @lilypond[verbatim,quote,fragment]
1365 Additional modes can be defined, by listing the alterations
1366 for each scale step when the mode starts on C.
1368 @lilypond[verbatim,quote]
1369 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1370 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1373 \key c \freygish c'4 des e f
1374 \bar "||" \key d \freygish d es fis g
1378 Accidentals in the key signature may be printed in octaves other
1379 than their traditional positions, or in multiple octaves, by
1380 using the @code{flat-positions} and @code{sharp-positions}
1381 properties of @code{KeySignature}. Entries in these properties
1382 specify the range of staff-positions where accidentals will be
1383 printed. If a single position is specified in an entry, the
1384 accidentals are placed within the octave ending at that staff
1387 @lilypond[verbatim, quote,fragment]
1388 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1389 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1390 \clef bass \key es \major es g bes d'
1391 \clef treble \bar "||" \key es \major es' g' bes' d''
1393 \override Staff.KeySignature.sharp-positions = #'(2)
1394 \bar "||" \key b \major b' fis' b'2
1399 @lilypondfile[verbatim,quote,texidoc,doctitle]
1400 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1402 @lilypondfile[verbatim,quote,texidoc,doctitle]
1403 {non-traditional-key-signatures.ly}
1408 @rglos{church mode},
1412 @rlearning{Pitches and key signatures}.
1417 Internals Reference:
1418 @rinternals{KeyChangeEvent},
1419 @rinternals{Key_engraver},
1420 @rinternals{Key_performer},
1421 @rinternals{KeyCancellation},
1422 @rinternals{KeySignature},
1423 @rinternals{key-signature-interface}.
1426 @node Ottava brackets
1427 @unnumberedsubsubsec Ottava brackets
1435 @funindex set-octavation
1439 @notation{Ottava brackets} introduce an extra transposition of an
1440 octave for the staff:
1442 @lilypond[verbatim,quote]
1460 @lilypondfile[verbatim,quote,texidoc,doctitle]
1463 @lilypondfile[verbatim,quote,texidoc,doctitle]
1464 {adding-an-ottava-marking-to-a-single-voice.ly}
1466 @lilypondfile[verbatim,quote,texidoc,doctitle]
1467 {modifying-the-ottava-spanner-slope.ly}
1476 Internals Reference:
1477 @rinternals{Ottava_spanner_engraver},
1478 @rinternals{OttavaBracket},
1479 @rinternals{ottava-bracket-interface}.
1482 @node Instrument transpositions
1483 @unnumberedsubsubsec Instrument transpositions
1485 @cindex transposition, MIDI
1486 @cindex transposition, instrument
1487 @cindex transposing instrument
1489 @cindex MIDI transposition
1491 @funindex \transposition
1492 @funindex transposition
1494 When typesetting scores that involve transposing instruments, some
1495 parts can be typeset in a different pitch than the
1496 @notation{concert pitch}. In these cases, the key of the
1497 @notation{transposing instrument} should be specified; otherwise
1498 the MIDI output and cues in other parts will produce incorrect
1499 pitches. For more information about quotations, see
1500 @ref{Quoting other voices}.
1503 \transposition @var{pitch}
1506 The pitch to use for @code{\transposition} should correspond to
1507 the real sound heard when a@tie{}@code{c'} written on the staff is
1508 played by the transposing instrument. This pitch is entered in
1509 absolute mode, so an instrument that produces a real sound which
1510 is one tone higher than the printed music should use
1511 @w{@code{\transposition d'}}. @code{\transposition} should
1512 @emph{only} be used if the pitches are @emph{not} being entered in
1515 Here are a few notes for violin and B-flat clarinet where the
1516 parts have been entered using the notes and key as they appear in
1517 each part of the conductor's score. The two instruments are
1520 @lilypond[verbatim,quote]
1522 \new Staff = "violin" {
1524 \set Staff.instrumentName = #"Vln"
1525 \set Staff.midiInstrument = #"violin"
1526 % not strictly necessary, but a good reminder
1533 \new Staff = "clarinet" {
1535 \set Staff.instrumentName = \markup { Cl (B\flat) }
1536 \set Staff.midiInstrument = #"clarinet"
1546 The @code{\transposition} may be changed during a piece. For
1547 example, a clarinetist may be required to switch from an A clarinet
1548 to a B-flat clarinet.
1550 @lilypond[verbatim,quote]
1551 flute = \relative c'' {
1553 \cueDuring #"clarinet" #DOWN {
1554 R1 _\markup\tiny "clarinet"
1556 R1 _\markup\tiny "clarinet"
1559 clarinet = \relative c'' {
1563 R1^\markup { muta in B\flat }
1568 \addQuote "clarinet" \clarinet
1570 \new Staff \with { instrumentName = #"Flute" }
1572 \new Staff \with { instrumentName = #"Cl (A)" }
1579 @rglos{concert pitch},
1580 @rglos{transposing instrument}.
1583 @ref{Quoting other voices},
1590 @node Automatic accidentals
1591 @unnumberedsubsubsec Automatic accidentals
1593 @cindex accidental style
1594 @cindex accidental style, default
1596 @cindex accidentals, automatic
1597 @cindex automatic accidentals
1598 @cindex default accidental style
1600 @funindex \accidentalStyle
1604 There are many different conventions on how to typeset
1605 accidentals. LilyPond provides a function to specify which
1606 accidental style to use. This function is called as follows:
1610 \accidentalStyle voice
1615 The accidental style applies to the current @code{Staff} by
1616 default (with the exception of the styles @code{piano} and
1617 @code{piano-cautionary}, which are explained below). Optionally,
1618 the function can take a second argument that determines in which
1619 scope the style should be changed. For example, to use the same
1620 style in all staves of the current @code{StaffGroup}, use:
1623 \accidentalStyle StaffGroup.voice
1626 The following accidental styles are supported. To demonstrate
1627 each style, we use the following example:
1630 @lilypond[verbatim,quote]
1634 cis''8 fis, bes4 <a cis>8 f bis4 |
1648 \voiceTwo \relative {
1649 <fis a cis>8[ <fis a cis>
1652 \change Staff = down
1657 \change Staff = down
1658 <fis, a cis>4 gis <f a d>2 |
1665 \context Staff = "up" {
1666 \accidentalStyle default
1669 \context Staff = "down" {
1670 \accidentalStyle default
1677 Note that the last lines of this example can be replaced by the
1678 following, as long as the same accidental style should be used in
1684 \context Staff = "up" @{
1685 %%% change the next line as desired:
1686 \accidentalStyle Score.default
1689 \context Staff = "down" @{
1697 @c don't use verbatim in this table.
1701 @cindex default accidental style
1702 @cindex accidental style, default
1706 This is the default typesetting behavior. It corresponds to
1707 eighteenth-century common practice: accidentals are remembered to
1708 the end of the measure in which they occur and only in their own
1709 octave. Thus, in the example below, no natural signs are printed
1710 before the@tie{}@code{b} in the second measure or the
1717 cis''8 fis, bes4 <a cis>8 f bis4 |
1731 \voiceTwo \relative {
1732 <fis a cis>8[ <fis a cis>
1735 \change Staff = down
1740 \change Staff = down
1741 <fis, a cis>4 gis <f a d>2 |
1748 \context Staff = "up" {
1749 \accidentalStyle default
1752 \context Staff = "down" {
1753 \accidentalStyle default
1762 @cindex accidental style, voice
1763 @cindex voice accidental style
1764 @cindex accidental style, modern
1765 @cindex modern accidental style
1766 @cindex accidental style, modern-cautionary
1767 @cindex modern-cautionary accidental style
1771 The normal behavior is to remember the accidentals at
1772 @code{Staff}-level. In this style, however, accidentals are
1773 typeset individually for each voice. Apart from that, the rule is
1774 similar to @code{default}.
1776 As a result, accidentals from one voice do not get canceled in
1777 other voices, which is often an unwanted result: in the following
1778 example, it is hard to determine whether the second@tie{}@code{a}
1779 should be played natural or sharp. The @code{voice} option should
1780 therefore be used only if the voices are to be read solely by
1781 individual musicians. If the staff is to be used by one musician
1782 (e.g., a conductor or in a piano score) then @code{modern} or
1783 @code{modern-cautionary} should be used instead.
1790 cis''8 fis, bes4 <a cis>8 f bis4 |
1804 \voiceTwo \relative {
1805 <fis a cis>8[ <fis a cis>
1808 \change Staff = down
1813 \change Staff = down
1814 <fis, a cis>4 gis <f a d>2 |
1821 \context Staff = "up" {
1822 \accidentalStyle voice
1825 \context Staff = "down" {
1826 \accidentalStyle voice
1835 @cindex accidentals, modern style
1836 @cindex modern style accidentals
1840 This rule corresponds to the common practice in the twentieth
1841 century. It omits some extra natural signs, which were
1842 traditionally prefixed to a sharp following a double sharp,
1843 or a flat following a double flat. The @code{modern} rule
1844 prints the same accidentals as @code{default}, with
1845 two additions that serve to avoid ambiguity: after temporary
1846 accidentals, cancellation marks are printed also in the following
1847 measure (for notes in the same octave) and, in the same measure,
1848 for notes in other octaves. Hence the naturals before
1849 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1856 cis''8 fis, bes4 <a cis>8 f bis4 |
1870 \voiceTwo \relative {
1871 <fis a cis>8[ <fis a cis>
1874 \change Staff = down
1879 \change Staff = down
1880 <fis, a cis>4 gis <f a d>2 |
1887 \context Staff = "up" {
1888 \accidentalStyle modern
1891 \context Staff = "down" {
1892 \accidentalStyle modern
1899 @item modern-cautionary
1901 @cindex accidentals, modern cautionary style
1902 @cindex modern accidental style
1903 @cindex modern cautionary accidental style
1904 @cindex modern style accidentals
1905 @cindex modern style cautionary accidentals
1907 @funindex modern-cautionary
1909 This rule is similar to @code{modern}, but the @q{extra} accidentals
1910 are printed as cautionary accidentals (with parentheses). They can also
1911 be printed at a different size by overriding
1912 @code{AccidentalCautionary}'s @code{font-size} property.
1918 cis''8 fis, bes4 <a cis>8 f bis4 |
1932 \voiceTwo \relative {
1933 <fis a cis>8[ <fis a cis>
1936 \change Staff = down
1941 \change Staff = down
1942 <fis, a cis>4 gis <f a d>2 |
1949 \context Staff = "up" {
1950 \accidentalStyle modern-cautionary
1953 \context Staff = "down" {
1954 \accidentalStyle modern-cautionary
1963 @cindex accidental style, modern
1964 @cindex accidentals, modern
1965 @cindex accidentals, multivoice
1966 @cindex modern accidental style
1967 @cindex modern accidentals
1968 @cindex multivoice accidentals
1970 @funindex modern-voice
1972 This rule is used for multivoice accidentals to be read both by
1973 musicians playing one voice and musicians playing all voices.
1974 Accidentals are typeset for each voice, but they @emph{are}
1975 canceled across voices in the same @code{Staff}. Hence,
1976 the@tie{}@code{a} in the last measure is canceled because the
1977 previous cancellation was in a different voice, and
1978 the@tie{}@code{d} in the lower staff is canceled because of the
1979 accidental in a different voice in the previous measure:
1985 cis''8 fis, bes4 <a cis>8 f bis4 |
1999 \voiceTwo \relative {
2000 <fis a cis>8[ <fis a cis>
2003 \change Staff = down
2008 \change Staff = down
2009 <fis, a cis>4 gis <f a d>2 |
2016 \context Staff = "up" {
2017 \accidentalStyle modern-voice
2020 \context Staff = "down" {
2021 \accidentalStyle modern-voice
2028 @cindex accidental style, cautionary, modern voice
2029 @cindex accidental style, modern voice cautionary
2030 @cindex accidental style, voice, modern cautionary
2032 @funindex modern-voice-cautionary
2034 @item modern-voice-cautionary
2036 This rule is the same as @code{modern-voice}, but with the extra
2037 accidentals (the ones not typeset by @code{voice}) typeset as
2038 cautionaries. Even though all accidentals typeset by
2039 @code{default} @emph{are} typeset with this rule, some of them are
2040 typeset as cautionaries.
2046 cis''8 fis, bes4 <a cis>8 f bis4 |
2060 \voiceTwo \relative {
2061 <fis a cis>8[ <fis a cis>
2064 \change Staff = down
2069 \change Staff = down
2070 <fis, a cis>4 gis <f a d>2 |
2077 \context Staff = "up" {
2078 \accidentalStyle modern-voice-cautionary
2081 \context Staff = "down" {
2082 \accidentalStyle modern-voice-cautionary
2091 @cindex accidental style, piano
2092 @cindex accidentals, piano
2093 @cindex piano accidental style
2094 @cindex piano accidentals
2098 This rule reflects twentieth-century practice for piano notation.
2099 Its behavior is very similar to @code{modern} style, but here
2100 accidentals also get canceled across the staves in the same
2101 @code{GrandStaff} or @code{PianoStaff}, hence all the
2102 cancellations of the final notes.
2104 This accidental style applies to the current @code{GrandStaff} or
2105 @code{PianoStaff} by default.
2111 cis''8 fis, bes4 <a cis>8 f bis4 |
2125 \voiceTwo \relative {
2126 <fis a cis>8[ <fis a cis>
2129 \change Staff = down
2134 \change Staff = down
2135 <fis, a cis>4 gis <f a d>2 |
2142 \context Staff = "up" {
2143 \accidentalStyle piano
2146 \context Staff = "down" {
2153 @item piano-cautionary
2155 @cindex accidentals, piano cautionary
2156 @cindex cautionary accidentals, piano
2157 @cindex piano cautionary accidentals
2158 @cindex accidental style, piano cautionary
2159 @cindex cautionary accidental style, piano
2160 @cindex piano cautionary accidental style
2162 @funindex piano-cautionary
2164 This is the same as @code{piano} but with the extra accidentals
2165 typeset as cautionaries.
2171 cis''8 fis, bes4 <a cis>8 f bis4 |
2185 \voiceTwo \relative {
2186 <fis a cis>8[ <fis a cis>
2189 \change Staff = down
2194 \change Staff = down
2195 <fis, a cis>4 gis <f a d>2 |
2202 \context Staff = "up" {
2203 \accidentalStyle piano-cautionary
2206 \context Staff = "down" {
2216 @cindex neo-modern accidental style
2217 @cindex accidental style, neo-modern
2219 @funindex neo-modern
2221 This rule reproduces a common practice in contemporary music:
2222 accidentals are printed like with @code{modern}, but they are printed
2223 again if the same note appears later in the same measure -- except
2224 if the note is immediately repeated.
2230 cis''8 fis, bes4 <a cis>8 f bis4 |
2244 \voiceTwo \relative {
2245 <fis a cis>8[ <fis a cis>
2248 \change Staff = down
2253 \change Staff = down
2254 <fis, a cis>4 gis <f a d>2 |
2261 \context Staff = "up" {
2262 \accidentalStyle neo-modern
2265 \context Staff = "down" {
2266 \accidentalStyle neo-modern
2273 @item neo-modern-cautionary
2275 @cindex neo-modern-cautionary accidental style
2276 @cindex accidental style, neo-modern-cautionary
2278 @funindex neo-modern-cautionary
2280 This rule is similar to @code{neo-modern}, but the @q{extra} accidentals
2281 are printed as cautionary accidentals (with parentheses). They can also
2282 be printed at a different size by overriding
2283 @code{AccidentalCautionary}'s @code{font-size} property.
2289 cis''8 fis, bes4 <a cis>8 f bis4 |
2303 \voiceTwo \relative {
2304 <fis a cis>8[ <fis a cis>
2307 \change Staff = down
2312 \change Staff = down
2313 <fis, a cis>4 gis <f a d>2 |
2320 \context Staff = "up" {
2321 \accidentalStyle neo-modern-cautionary
2324 \context Staff = "down" {
2325 \accidentalStyle neo-modern-cautionary
2333 @item neo-modern-voice
2335 @cindex neo-modern-voice accidental style
2336 @cindex accidental style, neo-modern-voice
2338 @funindex neo-modern-voice
2340 This rule is used for multivoice accidentals to be read both by
2341 musicians playing one voice and musicians playing all voices.
2342 Accidentals are typeset for each voice as with @code{neo-modern},
2343 but they are canceled across voices in the same @code{Staff}.
2349 cis''8 fis, bes4 <a cis>8 f bis4 |
2363 \voiceTwo \relative {
2364 <fis a cis>8[ <fis a cis>
2367 \change Staff = down
2372 \change Staff = down
2373 <fis, a cis>4 gis <f a d>2 |
2380 \context Staff = "up" {
2381 \accidentalStyle neo-modern-voice
2384 \context Staff = "down" {
2385 \accidentalStyle neo-modern-voice
2392 @item neo-modern-voice-cautionary
2394 @cindex neo-modern-voice-cautionary accidental style
2395 @cindex accidental style, neo-modern-voice-cautionary
2397 @funindex neo-modern-voice-cautionary
2399 This rule is similar to @code{neo-modern-voice}, but the extra
2400 accidentals are printed as cautionary accidentals.
2406 cis''8 fis, bes4 <a cis>8 f bis4 |
2420 \voiceTwo \relative {
2421 <fis a cis>8[ <fis a cis>
2424 \change Staff = down
2429 \change Staff = down
2430 <fis, a cis>4 gis <f a d>2 |
2437 \context Staff = "up" {
2438 \accidentalStyle neo-modern-voice-cautionary
2441 \context Staff = "down" {
2442 \accidentalStyle neo-modern-voice-cautionary
2451 @cindex dodecaphonic accidental style
2452 @cindex dodecaphonic style, neo-modern
2454 @funindex dodecaphonic
2456 This rule reflects a practice introduced by composers at
2457 the beginning of the 20th century, in an attempt to
2458 abolish the hierarchy between natural and non-natural notes.
2459 With this style, @emph{every} note gets an accidental sign,
2460 including natural signs.
2466 cis''8 fis, bes4 <a cis>8 f bis4 |
2480 \voiceTwo \relative {
2481 <fis a cis>8[ <fis a cis>
2484 \change Staff = down
2489 \change Staff = down
2490 <fis, a cis>4 gis <f a d>2 |
2497 \context Staff = "up" {
2498 \accidentalStyle dodecaphonic
2501 \context Staff = "down" {
2502 \accidentalStyle dodecaphonic
2509 @item dodecaphonic-no-repeat
2511 @cindex dodecaphonic accidental style
2512 @cindex dodecaphonic style, neo-modern
2514 @funindex dodecaphonic-no-repeat
2516 Like with the dodecaphonic accidental style @emph{every} note
2517 gets an accidental sign by default, but accidentals are
2518 suppressed for pitches immediately repeated within the same staff.
2524 cis''8 fis, bes4 <a cis>8 f bis4 |
2538 \voiceTwo \relative {
2539 <fis a cis>8[ <fis a cis>
2542 \change Staff = down
2547 \change Staff = down
2548 <fis, a cis>4 gis <f a d>2 |
2555 \context Staff = "up" {
2556 \accidentalStyle dodecaphonic-no-repeat
2559 \context Staff = "down" {
2560 \accidentalStyle dodecaphonic-no-repeat
2568 @item dodecaphonic-first
2570 @cindex dodecaphonic accidental style
2571 @cindex dodecaphonic style, neo-modern
2573 @funindex dodecaphonic-first
2575 Similar to the dodecaphonic accidental style @emph{every} pitch
2576 gets an accidental sign, but only the first time it is encountered
2577 in a measure. Accidentals are only remembered for the actual octave
2578 but throughout voices.
2584 cis''8 fis, bes4 <a cis>8 f bis4 |
2598 \voiceTwo \relative {
2599 <fis a cis>8[ <fis a cis>
2602 \change Staff = down
2607 \change Staff = down
2608 <fis, a cis>4 gis <f a d>2 |
2615 \context Staff = "up" {
2616 \accidentalStyle dodecaphonic-first
2619 \context Staff = "down" {
2620 \accidentalStyle dodecaphonic-first
2630 @cindex teaching accidental style
2631 @cindex accidental style, teaching
2635 This rule is intended for students, and makes it easy to create
2636 scale sheets with automatically created cautionary accidentals.
2637 Accidentals are printed like with @code{modern}, but cautionary
2638 accidentals are added for all sharp or flat tones specified by the
2639 key signature, except if the note is immediately repeated.
2641 @lilypond[quote,staffsize=18]
2645 cis''8 fis, bes4 <a cis>8 f bis4 |
2659 \voiceTwo \relative {
2660 <fis a cis>8[ <fis a cis>
2663 \change Staff = down
2668 \change Staff = down
2669 <fis, a cis>4 gis <f a d>2 |
2676 \context Staff = "up" {
2678 \accidentalStyle teaching
2681 \context Staff = "down" {
2683 \accidentalStyle teaching
2694 @cindex accidental style, no reset
2695 @cindex no reset accidental style
2699 This is the same as @code{default} but with accidentals lasting
2700 @q{forever} and not only within the same measure:
2706 cis''8 fis, bes4 <a cis>8 f bis4 |
2720 \voiceTwo \relative {
2721 <fis a cis>8[ <fis a cis>
2724 \change Staff = down
2729 \change Staff = down
2730 <fis, a cis>4 gis <f a d>2 |
2737 \context Staff = "up" {
2738 \accidentalStyle no-reset
2741 \context Staff = "down" {
2742 \accidentalStyle no-reset
2751 @cindex forget accidental style
2752 @cindex accidental style, forget
2756 This is the opposite of @code{no-reset}: Accidentals are not
2757 remembered at all -- and hence all accidentals are typeset
2758 relative to the key signature, regardless of what came before in
2765 cis''8 fis, bes4 <a cis>8 f bis4 |
2779 \voiceTwo \relative {
2780 <fis a cis>8[ <fis a cis>
2783 \change Staff = down
2788 \change Staff = down
2789 <fis, a cis>4 gis <f a d>2 |
2796 \context Staff = "up" {
2797 \accidentalStyle forget
2800 \context Staff = "down" {
2801 \accidentalStyle forget
2813 Internals Reference:
2814 @rinternals{Accidental},
2815 @rinternals{Accidental_engraver},
2816 @rinternals{GrandStaff},
2817 @rinternals{PianoStaff},
2819 @rinternals{AccidentalSuggestion},
2820 @rinternals{AccidentalPlacement},
2821 @rinternals{accidental-suggestion-interface}.
2823 @cindex accidentals and simultaneous notes
2824 @cindex simultaneous notes and accidentals
2825 @cindex accidentals in chords
2826 @cindex chords, accidentals in
2829 Simultaneous notes are not considered in the automatic
2830 determination of accidentals; only previous notes and the key
2831 signature are considered. Forcing accidentals with@tie{}@code{!}
2832 or@tie{}@code{?} may be required when the same note name occurs
2833 simultaneously with different alterations, as in @samp{<f! fis!>}.
2835 Cautionary cancellation of accidentals is done by looking at previous measure.
2836 However, in the @code{\alternative} block following a @code{\repeat volta N}
2837 section, one would expect the cancellation being calculated using the previous
2838 @emph{played} measure, not previous @emph{printed} measure.
2839 In the following example, the natural @code{c} in the second alternative does
2840 not need a natural sign:
2844 \accidentalStyle modern
2856 The following work-around can be used: define a function that locally changes
2857 the accidental style to @code{forget}:
2859 @lilypond[verbatim,quote]
2860 forget = #(define-music-function (music) (ly:music?) #{
2861 \accidentalStyle forget
2863 \accidentalStyle modern
2866 \accidentalStyle modern
2880 @unnumberedsubsubsec Ambitus
2883 @cindex range of pitches
2886 The term @notation{ambitus} (pl. ambitus) denotes a range of
2887 pitches for a given voice in a part of music. It may also denote
2888 the pitch range that a musical instrument is capable of playing.
2889 Ambitus are printed on vocal parts so that performers can easily
2890 determine if it matches their capabilities.
2892 Ambitus are denoted at the beginning of a piece near the initial
2893 clef. The range is graphically specified by two note heads that
2894 represent the lowest and highest pitches. Accidentals are only
2895 printed if they are not part of the key signature.
2897 @lilypond[verbatim,quote]
2901 \consists "Ambitus_engraver"
2914 @lilypondfile[verbatim,quote,texidoc,doctitle]
2915 {adding-ambitus-per-voice.ly}
2917 @lilypondfile[verbatim,quote,texidoc,doctitle]
2918 {ambitus-with-multiple-voices.ly}
2920 @lilypondfile[verbatim,quote,texidoc,doctitle]
2921 {changing-the-ambitus-gap.ly}
2930 Internals Reference:
2931 @rinternals{Ambitus_engraver},
2934 @rinternals{Ambitus},
2935 @rinternals{AmbitusAccidental},
2936 @rinternals{AmbitusLine},
2937 @rinternals{AmbitusNoteHead},
2938 @rinternals{ambitus-interface}.
2941 There is no collision handling in the case of multiple per-voice
2946 @subsection Note heads
2948 This section suggests ways of altering note heads.
2951 * Special note heads::
2952 * Easy notation note heads::
2953 * Shape note heads::
2957 @node Special note heads
2958 @unnumberedsubsubsec Special note heads
2960 @cindex note heads, special
2961 @cindex note heads, cross
2962 @cindex note heads, diamond
2963 @cindex note heads, parlato
2964 @cindex note heads, harmonic
2965 @cindex note heads, guitar
2966 @cindex special note heads
2967 @cindex cross note heads
2968 @cindex diamond note heads
2969 @cindex parlato note heads
2970 @cindex harmonic note heads
2971 @cindex guitar note heads
2972 @cindex note head styles
2973 @cindex styles, note heads
2977 The appearance of note heads may be altered:
2979 @lilypond[verbatim,quote]
2982 \override NoteHead.style = #'cross
2984 \revert NoteHead.style
2986 \override NoteHead.style = #'harmonic
2988 \revert NoteHead.style
2993 To see all note head styles, see @ref{Note head styles}.
2995 The @code{cross} style is used to represent a variety of musical
2996 intentions. The following generic predefined commands modify the
2997 note head in both staff and tablature contexts and can be used to
2998 represent any musical meaning:
3000 @lilypond[verbatim,quote]
3010 The music function form of this predefined command may be used
3011 inside and outside chords to generate crossed note heads in both
3012 staff and tablature contexts:
3014 @lilypond[verbatim,quote]
3018 c b < g \xNote c f > b
3022 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
3023 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
3024 be used. The term @notation{dead note} is commonly used by guitarists.
3026 There is also a similar shorthand for diamond shapes:
3028 @lilypond[verbatim,quote]
3030 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
3046 @ref{Note head styles},
3047 @ref{Chorded notes},
3048 @ref{Indicating harmonics and dampened notes}.
3050 Internals Reference:
3051 @rinternals{note-event},
3052 @rinternals{Note_heads_engraver},
3053 @rinternals{Ledger_line_engraver},
3054 @rinternals{NoteHead},
3055 @rinternals{LedgerLineSpanner},
3056 @rinternals{note-head-interface},
3057 @rinternals{ledger-line-spanner-interface}.
3060 @node Easy notation note heads
3061 @unnumberedsubsubsec Easy notation note heads
3063 @cindex note heads, practice
3064 @cindex practice note heads
3065 @cindex note heads, easy notation
3066 @cindex easy notation
3067 @cindex beginners' music
3068 @cindex music, beginners'
3069 @cindex easy play note heads
3070 @cindex note heads, easy play
3072 @funindex \easyHeadsOn
3073 @funindex easyHeadsOn
3074 @funindex \easyHeadsOff
3075 @funindex easyHeadsOff
3077 The @q{easy play} note head includes a note name inside the head.
3078 It is used in music for beginners. To make the letters readable,
3079 it should be printed in a large font size. To print with a larger
3080 font, see @ref{Setting the staff size}.
3082 @lilypond[verbatim,quote]
3083 #(set-global-staff-size 26)
3095 @code{\easyHeadsOn},
3096 @code{\easyHeadsOff}.
3102 @lilypondfile[verbatim,quote,texidoc,doctitle]
3103 {numbers-as-easy-note-heads.ly}
3107 @ref{Setting the staff size}.
3112 Internals Reference:
3113 @rinternals{note-event},
3114 @rinternals{Note_heads_engraver},
3115 @rinternals{NoteHead},
3116 @rinternals{note-head-interface}.
3119 @node Shape note heads
3120 @unnumberedsubsubsec Shape note heads
3122 @cindex note heads, shape
3123 @cindex note heads, Aiken
3124 @cindex note heads, sacred harp
3126 @cindex Aiken shape note heads
3127 @cindex sacred harp note heads
3128 @cindex note heads, Southern Harmony
3129 @cindex Southern Harmony note heads
3130 @cindex Funk shape note heads
3131 @cindex note heads, Funk
3132 @cindex note heads, Harmonica Sacra
3133 @cindex Harmonica Sacra note heads
3134 @cindex Christian Harmony note heads
3135 @cindex note heads, Christian Harmony
3136 @cindex Walker shape note heads
3137 @cindex note heads, Walker
3139 @funindex \aikenHeads
3140 @funindex aikenHeads
3141 @funindex \sacredHarpHeads
3142 @funindex sacredHarpHeads
3143 @funindex \southernHarmonyHeads
3144 @funindex southernHarmonyHeads
3145 @funindex \funkHeads
3147 @funindex \walkerHeads
3148 @funindex walkerHeads
3150 In shape note head notation, the shape of the note head
3151 corresponds to the harmonic function of a note in the scale. This
3152 notation was popular in nineteenth-century American song books.
3153 Shape note heads can be produced in Sacred Harp, Southern Harmony,
3154 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
3156 @lilypond[verbatim,quote]
3159 c, d e f g2 a b1 c \break
3161 c,4 d e f g2 a b1 c \break
3162 \southernHarmonyHeads
3163 c,4 d e f g2 a b1 c \break
3165 c,4 d e f g2 a b1 c \break
3167 c,4 d e f g2 a b1 c \break
3173 @funindex \aikenHeadsMinor
3174 @funindex aikenHeadsMinor
3175 @funindex \sacredHarpHeadsMinor
3176 @funindex sacredHarpHeadsMinor
3177 @funindex \southernHarmonyHeadsMinor
3178 @funindex southernHarmonyHeadsMinor
3179 @funindex \funkHeadsMinor
3180 @funindex funkHeadsMinor
3181 @funindex \walkerHeadsMinor
3182 @funindex walkerHeadsMinor
3184 Shapes are typeset according to the step in the scale, where the base
3185 of the scale is determined by the @code{\key} command. When writing
3186 in a minor key, the scale step can be determined from the relative
3189 @lilypond[verbatim,quote]
3193 a b c d e2 f g1 a \break
3195 a,4 b c d e2 f g1 a \break
3196 \sacredHarpHeadsMinor
3198 \southernHarmonyHeadsMinor
3210 @code{\aikenHeadsMinor},
3212 @code{\funkHeadsMinor},
3213 @code{\sacredHarpHeads},
3214 @code{\sacredHarpHeadsMinor},
3215 @code{\southernHarmonyHeads},
3216 @code{\southernHarmonyHeadsMinor},
3217 @code{\walkerHeads},
3218 @code{\walkerHeadsMinor}.
3224 @lilypondfile[verbatim,quote,texidoc,doctitle]
3225 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3227 To see all note head styles, see @ref{Note head styles}.
3234 @ref{Note head styles}.
3236 Internals Reference:
3237 @rinternals{note-event},
3238 @rinternals{Note_heads_engraver},
3239 @rinternals{NoteHead},
3240 @rinternals{note-head-interface}.
3244 @unnumberedsubsubsec Improvisation
3246 @cindex improvisation
3247 @cindex slashed note heads
3248 @cindex note heads, improvisation
3249 @cindex note heads, slashed
3251 @funindex \improvisationOn
3252 @funindex improvisationOn
3253 @funindex \improvisationOff
3254 @funindex improvisationOff
3256 Improvisation is sometimes denoted with slashed note heads, where
3257 the performer may choose any pitch but should play the specified
3258 rhythm. Such note heads can be created:
3260 @lilypond[verbatim,quote]
3262 \consists "Pitch_squash_engraver"
3264 e''8 e g a a16( bes) a8 g
3275 @code{\improvisationOn},
3276 @code{\improvisationOff}.
3283 Internals Reference:
3284 @rinternals{Pitch_squash_engraver},
3286 @rinternals{RhythmicStaff}.