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. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
40 * Non-Western note names and accidentals::
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,fragment]
67 @cindex octave changing mark
72 Other octaves may be specified with a single quote@tie{}(@code{'})
73 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
74 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
77 @lilypond[verbatim,quote,fragment]
95 @node Relative octave entry
96 @unnumberedsubsubsec Relative octave entry
99 @cindex relative octave entry
100 @cindex octave entry, relative
101 @cindex relative octave specification
102 @cindex ocatve specification, relative
107 When octaves are specified in absolute mode it is easy to
108 accidentally put a pitch in the wrong octave. Relative octave
109 mode reduces these errors since most of the time it is not
110 necessary to indicate any octaves at all. Furthermore, in
111 absolute mode a single mistake may be difficult to spot, while in
112 relative mode a single error puts the rest of the piece off by one
116 \relative @var{startpitch} @var{musicexpr}
119 In relative mode, each note is assumed to be as close to the
120 previous note as possible. This means that the octave of each
121 pitch inside @var{musicexpr} is calculated as follows:
125 If no octave changing mark is used on a pitch, its octave is
126 calculated so that the interval with the previous note is less
127 than a fifth. This interval is determined without considering
131 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
132 added to respectively raise or lower a pitch by an extra octave,
133 relative to the pitch calculated without an octave mark.
136 Multiple octave changing marks can be used. For example,
137 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
141 The pitch of the first note is relative to
142 @code{@var{startpitch}}. @var{startpitch} is specified in
143 absolute octave mode, and it is recommended that it be a octave of
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote]
159 Octave changing marks are used for intervals greater than a
162 @lilypond[verbatim,quote]
169 A note sequence without a single octave mark can nevertheless span
172 @lilypond[verbatim,quote]
179 When @code{\relative} blocks are nested, the innermost
180 @code{\relative} block applies.
182 @lilypond[verbatim,quote]
191 @code{\relative} has no effect on @code{\chordmode} blocks.
193 @lilypond[verbatim,quote]
202 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
204 Music inside a @code{\transpose} block is absolute unless a
205 @code{\relative} is included.
207 @lilypond[verbatim,quote]
220 @cindex chords and relative octave entry
221 @cindex relative octave entry and chords
223 If the preceding item is a chord, the first note of the chord is
224 used as the reference point for the octave placement of a
225 following note or chord. Inside chords, the next note is always
226 relative to the preceding one. Examine the next example
227 carefully, paying attention to the @code{c} notes.
229 @lilypond[verbatim,quote]
238 As explained above, the octave of pitches is calculated only with
239 the note names, regardless of any alterations. Therefore, an
240 E-double-sharp following a B will be placed higher, while an
241 F-double-flat will be placed lower. In other words, a
242 double-augmented fourth is considered a smaller interval than a
243 double-diminished fifth, regardless of the number of semitones
244 that each interval contains.
246 @lilypond[verbatim,quote]
269 @rinternals{RelativeOctaveMusic}.
272 @cindex relative octave entry and transposition
273 @cindex transposition and relative octave entry
284 If no @var{startpitch} is specified for @code{\relative},
285 then@tie{}@code{c'} is assumed. However, this is a deprecated
286 option and may disappear in future versions, so its use is
292 @unnumberedsubsubsec Accidentals
295 @cindex key signature
298 @c duplicated in Key signature and Accidentals
299 @warning{New users are sometimes confused about accidentals and
300 key signatures. In LilyPond, note names are the raw input; key
301 signatures and clefs determine how this raw input is displayed.
302 An unaltered note like@tie{}@code{c} means @q{C natural},
303 regardless of the key signature or clef. For more information,
304 see @rlearning{Accidentals and key signatures}.}
306 @cindex note names, Dutch
307 @cindex note names, default
308 @cindex default note names
312 @cindex sharp, double
316 @cindex natural pitch
318 A @notation{sharp} pitch is made by adding @code{is} to the note
319 name, and a @notation{flat} pitch by adding @code{es}. As you
320 might expect, a @notation{double sharp} or @notation{double flat}
321 is made by adding @code{isis} or @code{eses}. This syntax is
322 derived from Dutch note naming conventions. To use other names
323 for accidentals, see @ref{Note names in other languages}.
325 @lilypond[verbatim,quote,relative=2]
329 A natural will cancel the effect of an accidental or key
330 signature. However, naturals are not encoded into the note name
331 syntax with a suffix; a natural pitch is shown as a simple note
334 @lilypond[verbatim,quote,relative=2]
338 @cindex quarter tones
342 Quarter tones may be added; the following is a series of Cs with
345 @lilypond[verbatim,quote,relative=2]
346 ceseh1 ces ceh c cih cis cisih
351 @cindex accidental, reminder
352 @cindex accidental, cautionary
353 @cindex accidental, parenthesized
354 @cindex reminder accidental
355 @cindex cautionary accidental
356 @cindex parenthesized accidental
362 Normally accidentals are printed automatically, but you may also
363 print them manually. A reminder accidental can be forced by
364 adding an exclamation mark@tie{}@code{!} after the pitch. A
365 cautionary accidental (i.e., an accidental within parentheses) can
366 be obtained by adding the question mark@tie{}@code{?} after the
367 pitch. These extra accidentals can also be used to produce
370 @lilypond[verbatim,quote,relative=2]
371 cis cis cis! cis? c c c! c?
374 @cindex accidental on tied note
375 @cindex tied note, accidental
377 Accidentals on tied notes are only printed at the beginning of a
380 @lilypond[verbatim,quote,relative=2]
389 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
390 {preventing-extra-naturals-from-being-automatically-added.ly}
397 @rglos{double sharp},
400 @rglos{quarter tone}.
403 @rlearning{Accidentals and key signatures}.
406 @ref{Automatic accidentals},
407 @ref{Annotational accidentals (musica ficta)},
408 @ref{Note names in other languages}.
414 @rinternals{Accidental_engraver},
415 @rinternals{Accidental},
416 @rinternals{AccidentalCautionary},
417 @rinternals{accidental-interface}.
420 @cindex accidental, quarter-tone
421 @cindex quarter-tone accidental
425 There are no generally accepted standards for denoting
426 quarter-tone accidentals, so LilyPond's symbol does not conform to
431 @node Note names in other languages
432 @unnumberedsubsubsec Note names in other languages
434 @cindex note names, other languages
435 @cindex pitch names, other languages
436 @cindex language, note names in other
437 @cindex language, pitch names in other
439 There are predefined sets of note and accidental names for various
440 other languages. To use them, include the language-specific init
441 file listed below. For example, to use English note names, add
442 @code{@w{\include "english.ly"}} to the input file.
444 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
445 use default (Nederlands) note names, the @code{@bs{}include}
446 command for the language file should be placed after all other
447 LilyPond distribution files.}
449 The available language files and the note names they define are:
452 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
453 @headitem Language File
455 @item @file{nederlands.ly}
456 @tab c d e f g a bes b
457 @item @file{arabic.ly}
458 @tab do re mi fa sol la sib si
459 @item @file{catalan.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{deutsch.ly}
463 @item @file{english.ly}
464 @tab c d e f g a bf b
465 @item @file{espanol.ly}
466 @tab do re mi fa sol la sib si
467 @item @file{italiano.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{norsk.ly}
471 @item @file{portugues.ly}
472 @tab do re mi fa sol la sib si
473 @item @file{suomi.ly}
475 @item @file{svenska.ly}
477 @item @file{vlaams.ly}
478 @tab do re mi fa sol la sib si
483 and the accidental suffixes they define are:
486 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
487 @headitem Language File
488 @tab sharp @tab flat @tab double sharp @tab double flat
489 @item @file{nederlands.ly}
490 @tab -is @tab -es @tab -isis @tab -eses
491 @item @file{arabic.ly}
492 @tab -d @tab -b @tab -dd @tab -bb
493 @item @file{catalan.ly}
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
495 @item @file{deutsch.ly}
496 @tab -is @tab -es @tab -isis @tab -eses
497 @item @file{english.ly}
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
500 @item @file{espanol.ly}
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @file{italiano.ly}
503 @tab -d @tab -b @tab -dd @tab -bb
504 @item @file{norsk.ly}
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @file{portugues.ly}
508 @tab -s @tab -b @tab -ss @tab -bb
509 @item @file{suomi.ly}
510 @tab -is @tab -es @tab -isis @tab -eses
511 @item @file{svenska.ly}
512 @tab -iss @tab -ess @tab -ississ @tab -essess
513 @item @file{vlaams.ly}
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The note names for quarter-tones
538 defined in the various language files are listed in the following
539 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
540 mean @q{half} and @q{one and a half}, respectively. For the other
541 languages, no special names have been defined yet.
544 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
545 @headitem Language File
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @file{nederlands.ly}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
550 @item @file{arabic.ly}
551 @tab -sd @tab -sb @tab -dsd @tab -bsb
552 @item @file{deutsch.ly}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
554 @item @file{english.ly}
555 @tab -qs @tab -qf @tab -tqs @tab -tqf
556 @item @file{espanol.ly}
557 @tab -cs @tab -cb @tab -tcs @tab -tcb
558 @item @file{italiano.ly}
559 @tab -sd @tab -sb @tab -dsd @tab -bsb
560 @item @file{portugues.ly}
561 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
574 @node Non-Western note names and accidentals
575 @unnumberedsubsubsec Non-Western note names and accidentals
577 Many non-Western musics (and some Western folk and
578 traditional musics) employ alternative or extended tuning
579 systems that do not fit readily into standard classical
582 In some cases standard notation is still used, with the
583 pitch differences being implicit. For example, Arabic
584 music is notated with standard semitone and quarter-tone
585 accidentals, with the precise pitch alterations being
586 determined by context. Others require extended or unique
589 @notation{Turkish classical music}, or Ottoman music,
590 employs melodic forms known as @notation{makamlar}, whose
591 intervals are based on 1/9 divisions of the whole tone.
592 From a modern notational point of view, it is convenient
593 to use the standard Western staff notes (c, d, e, ...)
594 with special accidentals unique to Turkish music. These
595 accidentals are defined in @file{makam.ly} (see
596 @rlearning{Other sources of information} for the location
597 of this file). The following table gives their names,
598 the accidental suffix that must be added to notes, and
599 their pitch alteration as a fraction of one whole tone.
601 @c TODO: can we include the actual accidentals in this table?
603 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
604 @headitem Accidental name
605 @tab suffix @tab pitch alteration
607 @item büyük mücenneb (sharp)
609 @item kücük mücenneb (sharp)
620 @item kücük mücenneb (flat)
622 @item büyük mücenneb (flat)
627 For further information on Turkish classical music and
628 makamlar, see @ref{Turkish classical music}.
633 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
637 @node Changing multiple pitches
638 @subsection Changing multiple pitches
640 This section discusses how to modify pitches.
648 @unnumberedsubsubsec Octave checks
650 @cindex octave correction
652 @cindex control pitch
655 @funindex \octaveCheck
656 @funindex octaveCheck
657 @funindex controlpitch
659 In relative mode, it is easy to forget an octave changing mark.
660 Octave checks make such errors easier to find by displaying a
661 warning and correcting the octave if a note is found in an
664 To check the octave of a note, specify the absolute octave after
665 the @code{=}@tie{}symbol. This example will generate a warning
666 (and change the pitch) because the second note is the absolute
667 octave @code{d''} instead of @code{d'} as indicated by the octave
670 @lilypond[verbatim,quote]
677 The octave of notes may also be checked with the
678 @code{\octaveCheck}@tie{}@var{controlpitch} command.
679 @var{controlpitch} is specified in absolute mode. This checks
680 that the interval between the previous note and the
681 @var{controlpitch} is within a fourth (i.e., the normal
682 calculation of relative mode). If this check fails, a warning is
683 printed, but the previous note is not changed. Future notes are
684 relative to the @var{controlpitch}.
686 @lilypond[verbatim,quote]
694 Compare the two bars below. The first and third @code{\octaveCheck}
695 checks fail, but the second one does not fail.
697 @lilypond[verbatim,quote]
717 @rinternals{RelativeOctaveCheck}.
721 @unnumberedsubsubsec Transpose
725 @cindex transposition
726 @cindex transposition of pitches
727 @cindex transposition of notes
728 @cindex pitches, transposition of
729 @cindex notes, transposition of
734 A music expression can be transposed with @code{\transpose}. The
738 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
742 This means that @var{musicexpr} is transposed by the interval
743 between the pitches @var{frompitch} and @var{topitch}: any note
744 with pitch @var{frompitch} is changed to @var{topitch} and any
745 other note is transposed by the same interval. Both pitches are
746 entered in absolute mode.
748 @warning{Music inside a @code{@bs{}transpose} block is absolute
749 unless a @code{@bs{}relative} is included in the block.}
751 Consider a piece written in the key of D-major. It can be
752 transposed up to E-major; note that the key signature is
753 automatically transposed as well.
755 @lilypond[verbatim,quote]
764 @cindex transposing instruments
765 @cindex instruments, transposing
767 If a part written in C (normal @notation{concert pitch}) is to be
768 played on the A clarinet (for which an A is notated as a C and
769 thus sounds a minor third lower than notated), the appropriate
770 part will be produced with:
772 @lilypond[verbatim,quote]
782 Note that we specify @w{@code{\key c \major}} explicitly. If we
783 do not specify a key signature, the notes will be transposed but
784 no key signature will be printed.
786 @code{\transpose} distinguishes between enharmonic pitches: both
787 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
788 transpose up a semitone. The first version will print sharps and
789 the notes will remain on the same scale step, the second version
790 will print flats on the scale step above.
792 @lilypond[verbatim,quote]
793 music = \relative c' { c d e f }
795 \transpose c cis { \music }
796 \transpose c des { \music }
801 @code{\transpose} may also be used in a different way, to input
802 written notes for a transposing instrument. The previous examples
803 show how to enter pitches in C (or @notation{concert pitch}) and
804 typeset them for a transposing instrument, but the opposite is
805 also possible if you for example have a set of instrumental parts
806 and want to print a conductor's score. For example, when entering
807 music for a B-flat trumpet that begins on a notated E (concert D),
811 musicInBflat = @{ e4 @dots{} @}
812 \transpose c bes, \musicInBflat
816 To print this music in F (e.g., rearranging to a French horn) you
817 could wrap the existing music with another @code{\transpose}:
820 musicInBflat = @{ e4 @dots{} @}
821 \transpose f c' @{ \transpose c bes, \musicInBflat @}
825 For more information about transposing instruments,
826 see @ref{Instrument transpositions}.
831 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
832 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
837 @ref{Relative octave entry},
838 @ref{Instrument transpositions}.
844 @rinternals{TransposedMusic}.
856 The relative conversion will not affect @code{\transpose},
857 @code{\chordmode} or @code{\relative} sections in its argument.
858 To use relative mode within transposed music, an additional
859 @code{\relative} must be placed inside @code{\transpose}.
861 @node Displaying pitches
862 @subsection Displaying pitches
864 This section discusses how to alter the output of pitches.
870 * Instrument transpositions::
871 * Automatic accidentals::
877 @unnumberedsubsubsec Clef
889 @cindex mezzosoprano clef
890 @cindex baritone clef
891 @cindex varbaritone clef
895 @cindex clef, ancient
905 @cindex clef, soprano
906 @cindex clef, mezzosoprano
907 @cindex clef, baritone
908 @cindex clef, varbaritone
909 @cindex subbass clef, subbass
914 The clef may be altered. Middle C is shown in every example.
916 @lilypond[verbatim,quote,relative=1]
929 @lilypond[verbatim,quote,relative=1]
961 Further supported clefs are described under @ref{Mensural clefs}
962 and @ref{Gregorian clefs}.
964 @cindex transposing clefs
965 @cindex clef, transposing
966 @cindex octave transposition
967 @cindex choral tenor clef
968 @cindex tenor clef, choral
970 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
971 clef is transposed one octave down or up, respectively,
972 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
973 The clef name must be enclosed in quotes when it contains
974 underscores or digits.
976 @lilypond[verbatim,quote,relative=2]
988 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
989 {tweaking-clef-properties.ly}
994 @ref{Mensural clefs},
995 @ref{Gregorian clefs}.
1000 Internals Reference:
1001 @rinternals{Clef_engraver},
1003 @rinternals{OctavateEight},
1004 @rinternals{clef-interface}.
1008 @unnumberedsubsubsec Key signature
1010 @cindex key signature
1015 @c duplicated in Key signature and Accidentals
1016 @warning{New users are sometimes confused about accidentals and
1017 key signatures. In LilyPond, note names are the raw input; key
1018 signatures and clefs determine how this raw input is displayed.
1019 An unaltered note like@tie{}@code{c} means @q{C natural},
1020 regardless of the key signature or clef. For more information,
1021 see @rlearning{Accidentals and key signatures}.}
1023 The key signature indicates the tonality in which a piece is
1024 played. It is denoted by a set of alterations (flats or sharps)
1025 at the start of the staff. The key signature may be altered:
1028 \key @var{pitch} @var{mode}
1041 @funindex \mixolydian
1042 @funindex mixolydian
1050 @cindex church modes
1063 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
1064 key signature of @var{pitch}-major or @var{pitch}-minor,
1065 respectively. You may also use the standard mode names, also
1066 called @notation{church modes}: @code{\ionian}, @code{\dorian},
1067 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
1068 @code{\aeolian}, and @code{\locrian}.
1070 @lilypond[verbatim,quote,relative=2]
1080 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1081 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1083 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1084 {non-traditional-key-signatures.ly}
1089 @rglos{church mode},
1093 @rlearning{Accidentals and key signatures}.
1098 Internals Reference:
1099 @rinternals{KeyChangeEvent},
1100 @rinternals{Key_engraver},
1101 @rinternals{Key_performer},
1102 @rinternals{KeyCancellation},
1103 @rinternals{KeySignature},
1104 @rinternals{key-cancellation-interface},
1105 @rinternals{key-signature-interface}.
1108 @node Ottava brackets
1109 @unnumberedsubsubsec Ottava brackets
1117 @funindex set-octavation
1121 @notation{Ottava brackets} introduce an extra transposition of an
1122 octave for the staff:
1124 @lilypond[verbatim,quote,relative=2]
1132 The @code{ottava} function also takes -1 (for 8va bassa),
1133 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1138 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1149 Internals Reference:
1150 @rinternals{Ottava_spanner_engraver},
1151 @rinternals{OttavaBracket},
1152 @rinternals{ottava-bracket-interface}.
1155 @node Instrument transpositions
1156 @unnumberedsubsubsec Instrument transpositions
1158 @cindex transposition, MIDI
1159 @cindex transposition, instrument
1160 @cindex transposing instrument
1162 @cindex MIDI transposition
1164 @funindex \transposition
1165 @funindex transposition
1167 When typesetting scores that involve transposing instruments, some
1168 parts can be typeset in a different pitch than the
1169 @notation{concert pitch}. In these cases, the key of the
1170 @notation{transposing instrument} should be specified; otherwise
1171 the MIDI output and cues in other parts will produce incorrect
1172 pitches. For more information about quotations, see
1173 @ref{Quoting other voices}.
1176 \transposition @var{pitch}
1179 The pitch to use for @code{\transposition} should correspond to
1180 the real sound heard when a@tie{}@code{c'} written on the staff is
1181 played by the transposing instrument. This pitch is entered in
1182 absolute mode, so an instrument that produces a real sound which
1183 is one tone higher than the printed music should use
1184 @w{@code{\transposition d'}}. @code{\transposition} should
1185 @emph{only} be used if the pitches are @emph{not} being entered in
1188 Here are a few notes for violin and B-flat clarinet where the
1189 parts have been entered using the notes and key as they appear in
1190 each part of the conductor's score. The two instruments are
1193 @lilypond[verbatim,quote]
1195 \new Staff = "violin" {
1197 \set Staff.instrumentName = #"Vln"
1198 \set Staff.midiInstrument = #"violin"
1199 % not strictly necessary, but a good reminder
1206 \new Staff = "clarinet" {
1208 \set Staff.instrumentName = \markup { Cl (B\flat) }
1209 \set Staff.midiInstrument = #"clarinet"
1219 The @code{\transposition} may be changed during a piece. For
1220 example, a clarinetist may switch from an A clarinet to a B-flat
1223 @lilypond[verbatim,quote,relative=2]
1224 \set Staff.instrumentName = #"Cl (A)"
1229 s1*0^\markup { Switch to B\flat clarinet }
1240 @rglos{concert pitch},
1241 @rglos{transposing instrument}.
1244 @ref{Quoting other voices},
1251 @node Automatic accidentals
1252 @unnumberedsubsubsec Automatic accidentals
1254 @cindex accidental style
1255 @cindex accidental style, default
1257 @cindex accidentals, automatic
1258 @cindex automatic accidentals
1259 @cindex default accidental style
1261 @funindex set-accidental-style
1265 There are many different conventions on how to typeset
1266 accidentals. LilyPond provides a function to specify which
1267 accidental style to use. This function is called as follows:
1271 #(set-accidental-style 'voice)
1276 The accidental style applies to the current @code{Staff} by
1277 default (with the exception of the styles @code{piano} and
1278 @code{piano-cautionary}, which are explained below). Optionally,
1279 the function can take a second argument that determines in which
1280 scope the style should be changed. For example, to use the same
1281 style in all staves of the current @code{StaffGroup}, use:
1284 #(set-accidental-style 'voice 'StaffGroup)
1287 The following accidental styles are supported. To demonstrate
1288 each style, we use the following example:
1291 @lilypond[verbatim,quote]
1295 cis'8 fis, d'4 <a cis>8 f bis4 |
1309 \voiceTwo \relative c' {
1313 \change Staff = down
1317 \change Staff = down
1318 <fis, a cis>4 gis <f a d>2 |
1325 \context Staff = "up" {
1326 #(set-accidental-style 'default)
1329 \context Staff = "down" {
1330 #(set-accidental-style 'default)
1337 Note that the last lines of this example can be replaced by the
1338 following, as long as the same accidental style should be used in
1344 \context Staff = "up" @{
1345 %%% change the next line as desired:
1346 #(set-accidental-style 'default 'Score)
1349 \context Staff = "down" @{
1357 @c don't use verbatim in this table.
1361 @cindex default accidental style
1362 @cindex accidental style, default
1366 This is the default typesetting behavior. It corresponds to
1367 eighteenth-century common practice: accidentals are remembered to
1368 the end of the measure in which they occur and only in their own
1369 octave. Thus, in the example below, no natural signs are printed
1370 before the@tie{}@code{b} in the second measure or the
1377 cis'8 fis, d'4 <a cis>8 f bis4 |
1391 \voiceTwo \relative c' {
1395 \change Staff = down
1399 \change Staff = down
1400 <fis, a cis>4 gis <f a d>2 |
1407 \context Staff = "up" {
1408 #(set-accidental-style 'default)
1411 \context Staff = "down" {
1412 #(set-accidental-style 'default)
1421 @cindex accidental style, voice
1422 @cindex voice accidental style
1423 @cindex accidental style, modern
1424 @cindex modern accidental style
1425 @cindex accidental style, modern-cautionary
1426 @cindex modern-cautionary accidental style
1430 The normal behavior is to remember the accidentals at
1431 @code{Staff}-level. In this style, however, accidentals are
1432 typeset individually for each voice. Apart from that, the rule is
1433 similar to @code{default}.
1435 As a result, accidentals from one voice do not get canceled in
1436 other voices, which is often an unwanted result: in the following
1437 example, it is hard to determine whether the second@tie{}@code{a}
1438 should be played natural or sharp. The @code{voice} option should
1439 therefore be used only if the voices are to be read solely by
1440 individual musicians. If the staff is to be used by one musician
1441 (e.g., a conductor or in a piano score) then @code{modern} or
1442 @code{modern-cautionary} should be used instead.
1449 cis'8 fis, d'4 <a cis>8 f bis4 |
1463 \voiceTwo \relative c' {
1467 \change Staff = down
1471 \change Staff = down
1472 <fis, a cis>4 gis <f a d>2 |
1479 \context Staff = "up" {
1480 #(set-accidental-style 'voice)
1483 \context Staff = "down" {
1484 #(set-accidental-style 'voice)
1493 @cindex accidentals, modern style
1494 @cindex modern style accidentals
1498 This rule corresponds to the common practice in the twentieth
1499 century. It prints the same accidentals as @code{default}, with
1500 two exceptions that serve to avoid ambiguity: after temporary
1501 accidentals, cancellation marks are printed also in the following
1502 measure (for notes in the same octave) and, in the same measure,
1503 for notes in other octaves. Hence the naturals before
1504 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1511 cis'8 fis, d'4 <a cis>8 f bis4 |
1525 \voiceTwo \relative c' {
1529 \change Staff = down
1533 \change Staff = down
1534 <fis, a cis>4 gis <f a d>2 |
1541 \context Staff = "up" {
1542 #(set-accidental-style 'modern)
1545 \context Staff = "down" {
1546 #(set-accidental-style 'modern)
1553 @item modern-cautionary
1555 @cindex accidentals, modern cautionary style
1556 @cindex modern accidental style
1557 @cindex modern cautionary accidental style
1558 @cindex modern style accidentals
1559 @cindex modern style cautionary accidentals
1561 @funindex modern-cautionary
1563 This rule is similar to @code{modern}, but the @q{extra}
1564 accidentals (the ones not typeset by @code{default}) are typeset
1565 as cautionary accidentals. They are by default printed with
1566 parentheses, but they can also be printed in reduced size by
1567 defining the @code{cautionary-style} property of
1568 @code{AccidentalSuggestion}.
1574 cis'8 fis, d'4 <a cis>8 f bis4 |
1588 \voiceTwo \relative c' {
1592 \change Staff = down
1596 \change Staff = down
1597 <fis, a cis>4 gis <f a d>2 |
1604 \context Staff = "up" {
1605 #(set-accidental-style 'modern-cautionary)
1608 \context Staff = "down" {
1609 #(set-accidental-style 'modern-cautionary)
1618 @cindex accidental style, modern
1619 @cindex accidentals, modern
1620 @cindex accidentals, multivoice
1621 @cindex modern accidental style
1622 @cindex modern accidentals
1623 @cindex multivoice accidentals
1625 @funindex modern-voice
1627 This rule is used for multivoice accidentals to be read both by
1628 musicians playing one voice and musicians playing all voices.
1629 Accidentals are typeset for each voice, but they @emph{are}
1630 canceled across voices in the same @code{Staff}. Hence,
1631 the@tie{}@code{a} in the last measure is canceled because the
1632 previous cancellation was in a different voice, and
1633 the@tie{}@code{d} in the lower staff is canceled because of the
1634 accidental in a different voice in the previous measure:
1640 cis'8 fis, d'4 <a cis>8 f bis4 |
1654 \voiceTwo \relative c' {
1658 \change Staff = down
1662 \change Staff = down
1663 <fis, a cis>4 gis <f a d>2 |
1670 \context Staff = "up" {
1671 #(set-accidental-style 'modern-voice)
1674 \context Staff = "down" {
1675 #(set-accidental-style 'modern-voice)
1682 @cindex accidental style, cautionary, modern voice
1683 @cindex accidental style, modern voice cautionary
1684 @cindex accidental style, voice, modern cautionary
1686 @funindex modern-voice-cautionary
1688 @item modern-voice-cautionary
1690 This rule is the same as @code{modern-voice}, but with the extra
1691 accidentals (the ones not typeset by @code{voice}) typeset as
1692 cautionaries. Even though all accidentals typeset by
1693 @code{default} @emph{are} typeset with this rule, some of them are
1694 typeset as cautionaries.
1700 cis'8 fis, d'4 <a cis>8 f bis4 |
1714 \voiceTwo \relative c' {
1718 \change Staff = down
1722 \change Staff = down
1723 <fis, a cis>4 gis <f a d>2 |
1730 \context Staff = "up" {
1731 #(set-accidental-style 'modern-voice-cautionary)
1734 \context Staff = "down" {
1735 #(set-accidental-style 'modern-voice-cautionary)
1744 @cindex accidental style, piano
1745 @cindex accidentals, piano
1746 @cindex piano accidental style
1747 @cindex piano accidentals
1751 This rule reflects twentieth-century practice for piano notation.
1752 Its behavior is very similar to @code{modern} style, but here
1753 accidentals also get canceled across the staves in the same
1754 @code{GrandStaff} or @code{PianoStaff}, hence all the
1755 cancellations of the final notes.
1757 This accidental style applies to the current @code{GrandStaff} or
1758 @code{PianoStaff} by default.
1764 cis'8 fis, d'4 <a cis>8 f bis4 |
1778 \voiceTwo \relative c' {
1782 \change Staff = down
1786 \change Staff = down
1787 <fis, a cis>4 gis <f a d>2 |
1794 \context Staff = "up" {
1795 #(set-accidental-style 'piano)
1798 \context Staff = "down" {
1805 @item piano-cautionary
1807 @cindex accidentals, piano cautionary
1808 @cindex cautionary accidentals, piano
1809 @cindex piano cautionary accidentals
1810 @cindex accidental style, piano cautionary
1811 @cindex cautionary accidental style, piano
1812 @cindex piano cautionary accidental style
1814 @funindex piano-cautionary
1816 This is the same as @code{piano} but with the extra accidentals
1817 typeset as cautionaries.
1823 cis'8 fis, d'4 <a cis>8 f bis4 |
1837 \voiceTwo \relative c' {
1841 \change Staff = down
1845 \change Staff = down
1846 <fis, a cis>4 gis <f a d>2 |
1853 \context Staff = "up" {
1854 #(set-accidental-style 'piano-cautionary)
1857 \context Staff = "down" {
1867 @cindex neo-modern accidental style
1868 @cindex accidental style, neo-modern
1870 @funindex neo-modern
1872 This rule reproduces a common practice in contemporary music:
1873 accidentals are printed like with @code{modern}, but they are printed
1874 again if the same note appears later in the same measure -- except
1875 if the note is immediately repeated.
1881 cis'8 fis, d'4 <a cis>8 f bis4 |
1895 \voiceTwo \relative c' {
1899 \change Staff = down
1903 \change Staff = down
1904 <fis, a cis>4 gis <f a d>2 |
1911 \context Staff = "up" {
1912 #(set-accidental-style 'neo-modern)
1915 \context Staff = "down" {
1916 #(set-accidental-style 'neo-modern)
1923 @item neo-modern-cautionary
1925 @cindex neo-modern-cautionary accidental style
1926 @cindex accidental style, neo-modern-cautionary
1928 @funindex neo-modern-cautionary
1930 This rule is similar to @code{neo-modern}, but the extra
1931 accidentals are printed as cautionary accidentals.
1937 cis'8 fis, d'4 <a cis>8 f bis4 |
1951 \voiceTwo \relative c' {
1955 \change Staff = down
1959 \change Staff = down
1960 <fis, a cis>4 gis <f a d>2 |
1967 \context Staff = "up" {
1968 #(set-accidental-style 'neo-modern-cautionary)
1971 \context Staff = "down" {
1972 #(set-accidental-style 'neo-modern-cautionary)
1982 @cindex dodecaphonic accidental style
1983 @cindex dodecaphonic style, neo-modern
1985 @funindex dodecaphonic
1987 This rule reflects a practice introduced by composers at
1988 the beginning of the 20th century, in an attempt to
1989 abolish the hierarchy between natural and non-natural notes.
1990 With this style, @emph{every} note gets an accidental sign,
1991 including natural signs.
1997 cis'8 fis, d'4 <a cis>8 f bis4 |
2011 \voiceTwo \relative c' {
2015 \change Staff = down
2019 \change Staff = down
2020 <fis, a cis>4 gis <f a d>2 |
2027 \context Staff = "up" {
2028 #(set-accidental-style 'dodecaphonic)
2031 \context Staff = "down" {
2032 #(set-accidental-style 'dodecaphonic)
2042 @cindex teaching accidental style
2043 @cindex accidental style, teaching
2047 This rule is intended for students, and makes it easy to create
2048 scale sheets with automagically created cautionary accidentals.
2049 Accidentals are printed like with @code{modern}, but cautionary
2050 accidentals are added for all sharp or flat tones specified by the
2051 key signature, except if the note is immediately repeated.
2057 cis'8 fis, d'4 <a cis>8 f bis4 |
2071 \voiceTwo \relative c' {
2075 \change Staff = down
2079 \change Staff = down
2080 <fis, a cis>4 gis <f a d>2 |
2087 \context Staff = "up" {
2089 #(set-accidental-style 'teaching)
2092 \context Staff = "down" {
2094 #(set-accidental-style 'teaching)
2105 @cindex accidental style, no reset
2106 @cindex no reset accidental style
2110 This is the same as @code{default} but with accidentals lasting
2111 @q{forever} and not only within the same measure:
2117 cis'8 fis, d'4 <a cis>8 f bis4 |
2131 \voiceTwo \relative c' {
2135 \change Staff = down
2139 \change Staff = down
2140 <fis, a cis>4 gis <f a d>2 |
2147 \context Staff = "up" {
2148 #(set-accidental-style 'no-reset)
2151 \context Staff = "down" {
2152 #(set-accidental-style 'no-reset)
2161 @cindex forget accidental style
2162 @cindex accidental style, forget
2166 This is the opposite of @code{no-reset}: Accidentals are not
2167 remembered at all -- and hence all accidentals are typeset
2168 relative to the key signature, regardless of what came before in
2169 the music. Unlike @code{dodecaphonic}, this rule never prints
2176 cis'8 fis, d'4 <a cis>8 f bis4 |
2190 \voiceTwo \relative c' {
2194 \change Staff = down
2198 \change Staff = down
2199 <fis, a cis>4 gis <f a d>2 |
2206 \context Staff = "up" {
2207 #(set-accidental-style 'forget)
2210 \context Staff = "down" {
2211 #(set-accidental-style 'forget)
2221 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2222 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2229 Internals Reference:
2230 @rinternals{Accidental},
2231 @rinternals{Accidental_engraver},
2232 @rinternals{GrandStaff},
2233 @rinternals{PianoStaff},
2235 @rinternals{AccidentalSuggestion},
2236 @rinternals{AccidentalPlacement},
2237 @rinternals{accidental-suggestion-interface}.
2240 @cindex accidentals and simultaneous notes
2241 @cindex simultaneous notes and accidentals
2242 @cindex accidentals in chords
2243 @cindex chords, accidentals in
2247 Simultaneous notes are considered to be entered in sequential
2248 mode. This means that in a chord the accidentals are typeset as
2249 if the notes in the chord happen one at a time, in the order in
2250 which they appear in the input file. This is a problem when
2251 accidentals in a chord depend on each other, which does not happen
2252 for the default accidental style. The problem can be solved by
2253 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2258 @unnumberedsubsubsec Ambitus
2261 @cindex range of pitches
2264 The term @notation{ambitus} (pl. ambitus) denotes a range of
2265 pitches for a given voice in a part of music. It may also denote
2266 the pitch range that a musical instrument is capable of playing.
2267 Ambitus are printed on vocal parts so that performers can easily
2268 determine if it matches their capabilities.
2270 Ambitus are denoted at the beginning of a piece near the initial
2271 clef. The range is graphically specified by two note heads that
2272 represent the lowest and highest pitches. Accidentals are only
2273 printed if they are not part of the key signature.
2275 @lilypond[verbatim,quote]
2279 \consists "Ambitus_engraver"
2292 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2293 {adding-ambitus-per-voice.ly}
2295 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2296 {ambitus-with-multiple-voices.ly}
2306 Internals Reference:
2307 @rinternals{Ambitus_engraver},
2310 @rinternals{Ambitus},
2311 @rinternals{AmbitusAccidental},
2312 @rinternals{AmbitusLine},
2313 @rinternals{AmbitusNoteHead},
2314 @rinternals{ambitus-interface}.
2319 There is no collision handling in the case of multiple per-voice
2324 @subsection Note heads
2326 This section suggests ways of altering note heads.
2329 * Special note heads::
2330 * Easy notation note heads::
2331 * Shape note heads::
2335 @node Special note heads
2336 @unnumberedsubsubsec Special note heads
2338 @cindex note heads, special
2339 @cindex note heads, cross
2340 @cindex note heads, diamond
2341 @cindex note heads, parlato
2342 @cindex note heads, harmonic
2343 @cindex note heads, guitar
2344 @cindex special note heads
2345 @cindex cross note heads
2346 @cindex diamond note heads
2347 @cindex parlato note heads
2348 @cindex harmonic note heads
2349 @cindex guitar note heads
2350 @cindex note head styles
2351 @cindex styles, note heads
2355 The appearance of note heads may be altered:
2357 @lilypond[verbatim,quote,relative=2]
2359 \override NoteHead #'style = #'cross
2361 \revert NoteHead #'style
2363 \override NoteHead #'style = #'harmonic
2365 \revert NoteHead #'style
2369 To see all note head styles, see @ref{Note head styles}.
2371 The @code{cross} style is used to represent a variety of musical
2372 intentions. The following generic predefined commands modify the
2373 note head in both staff and tablature contexts and can be used to
2374 represent any musical meaning:
2376 @lilypond[verbatim,quote,relative=2]
2384 The music function form of this predefined command may be used
2385 inside and outside chords to generate crossed note heads in both
2386 staff and tablature contexts:
2388 @lilypond[verbatim,quote,relative=2]
2391 c b < g \xNote c f > b
2394 There is also a shorthand for diamond shapes which can be used
2397 @lilypond[verbatim,quote,relative=2]
2398 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2413 @ref{Note head styles},
2414 @ref{Chorded notes}.
2416 Internals Reference:
2417 @rinternals{note-event},
2418 @rinternals{Note_heads_engraver},
2419 @rinternals{Ledger_line_engraver},
2420 @rinternals{NoteHead},
2421 @rinternals{LedgerLineSpanner},
2422 @rinternals{note-head-interface},
2423 @rinternals{ledger-line-spanner-interface}.
2426 @node Easy notation note heads
2427 @unnumberedsubsubsec Easy notation note heads
2429 @cindex note heads, practice
2430 @cindex practice note heads
2431 @cindex note heads, easy notation
2432 @cindex easy notation
2434 @cindex beginners' music
2435 @cindex music, beginners'
2436 @cindex easy play note heads
2437 @cindex note heads, easy play
2439 @funindex \easyHeadsOn
2440 @funindex easyHeadsOn
2441 @funindex \easyHeadsOff
2442 @funindex easyHeadsOff
2444 The @q{easy play} note head includes a note name inside the head.
2445 It is used in music for beginners. To make the letters readable,
2446 it should be printed in a large font size. To print with a larger
2447 font, see @ref{Setting the staff size}.
2449 @lilypond[verbatim,quote]
2450 #(set-global-staff-size 26)
2462 @code{\easyHeadsOn},
2463 @code{\easyHeadsOff}.
2469 @ref{Setting the staff size}.
2474 Internals Reference:
2475 @rinternals{note-event},
2476 @rinternals{Note_heads_engraver},
2477 @rinternals{NoteHead},
2478 @rinternals{note-head-interface}.
2481 @node Shape note heads
2482 @unnumberedsubsubsec Shape note heads
2484 @cindex note heads, shape
2485 @cindex note heads, Aiken
2486 @cindex note heads, sacred harp
2488 @cindex Aiken shape note heads
2489 @cindex sacred harp note heads
2493 @funindex \aikenHeads
2494 @funindex aikenHeads
2495 @funindex \sacredHarpHeads
2496 @funindex sacredHarpHeads
2498 In shape note head notation, the shape of the note head
2499 corresponds to the harmonic function of a note in the scale. This
2500 notation was popular in nineteenth-century American song books.
2501 Shape note heads can be produced:
2503 @lilypond[verbatim,quote,relative=2]
2510 Shapes are typeset according to the step in the scale, where the
2511 base of the scale is determined by the @code{\key} command.
2516 @code{\sacredHarpHeads}.
2522 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2523 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2525 To see all note head styles, see @ref{Note head styles}.
2533 @ref{Note head styles}.
2535 Internals Reference:
2536 @rinternals{note-event},
2537 @rinternals{Note_heads_engraver},
2538 @rinternals{NoteHead},
2539 @rinternals{note-head-interface}.
2543 @unnumberedsubsubsec Improvisation
2545 @cindex improvisation
2546 @cindex slashed note heads
2547 @cindex note heads, improvisation
2548 @cindex note heads, slashed
2550 @funindex \improvisationOn
2551 @funindex improvisationOn
2552 @funindex \improvisationOff
2553 @funindex improvisationOff
2555 Improvisation is sometimes denoted with slashed note heads, where
2556 the performer may choose any pitch but should play the specified
2557 rhythm. Such note heads can be created:
2559 @lilypond[verbatim,quote,relative=2]
2561 \consists "Pitch_squash_engraver"
2563 e8 e g a a16( bes) a8 g
2575 @code{\improvisationOn},
2576 @code{\improvisationOff}.
2584 Internals Reference:
2585 @rinternals{Pitch_squash_engraver},
2587 @rinternals{RhythmicStaff}.