1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
92 Music can be marked explicitly as being in absolute octave
93 notation by preceding it with @code{\absolute}:
96 \absolute @var{musicexpr}
99 will be interpreted in absolute octave entry mode regardless of
100 the context it appears in.
110 @node Relative octave entry
111 @unnumberedsubsubsec Relative octave entry
114 @cindex relative octave entry
115 @cindex octave entry, relative
116 @cindex relative octave specification
117 @cindex octave specification, relative
122 Absolute octave entry requires specifying the octave for every
123 single note. Relative octave entry, in contrast, specifies each
124 octave in relation to the last note: changing one note's octave
125 will affect all of the following notes.
127 Relative note mode has to be entered explicitly using the
128 @code{\relative} command:
131 \relative @var{startpitch} @var{musicexpr}
134 In relative mode, each note is assumed to be as close to the
135 previous note as possible. This means that the octave of each
136 pitch inside @code{@var{musicexpr}} is calculated as follows:
140 If no octave changing mark is used on a pitch, its octave is
141 calculated so that the interval with the previous note is less
142 than a fifth. This interval is determined without considering
146 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
147 added to respectively raise or lower a pitch by an extra octave,
148 relative to the pitch calculated without an octave mark.
151 Multiple octave changing marks can be used. For example,
152 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
156 The pitch of the first note is relative to
157 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
158 absolute octave mode. Which choices are meaningful?
161 @item an octave of @code{c}
162 Identifying middle C with @code{c'} is quite basic, so finding
163 octaves of @code{c} tends to be straightforward. If your music
164 starts with @code{gis} above @code{c'''}, you'd write something
165 like @code{\relative c''' @{ gis' @dots{} @}}
167 @item an octave of the first note inside
168 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
169 determine the absolute pitch of the first note inside.
171 @item no explicit starting pitch
172 This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
173 viewed as a compact version of the previous option: the first note
174 inside is written in absolute pitch itself. This happens to be
175 equivalent to choosing @code{f} as the reference pitch.
178 The documentation will usually employ the first option.
181 Here is the relative mode shown in action:
183 @lilypond[verbatim,quote]
192 Octave changing marks are used for intervals greater than a
195 @lilypond[verbatim,quote]
202 A note sequence without a single octave mark can nevertheless span
205 @lilypond[verbatim,quote]
212 When @code{\relative} blocks are nested, the innermost
213 @code{\relative} block applies.
215 @lilypond[verbatim,quote]
224 @code{\relative} has no effect on @code{\chordmode} blocks.
226 @lilypond[verbatim,quote]
235 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
237 Music inside a @code{\transpose} block is absolute unless a
238 @code{\relative} is included.
240 @lilypond[verbatim,quote]
253 @cindex chords and relative octave entry
254 @cindex relative octave entry and chords
256 If the preceding item is a chord, the first note of the chord is
257 used as the reference point for the octave placement of a
258 following note or chord. Inside chords, the next note is always
259 relative to the preceding one. Examine the next example
260 carefully, paying attention to the @code{c} notes.
262 @lilypond[verbatim,quote]
271 As explained above, the octave of pitches is calculated only with
272 the note names, regardless of any alterations. Therefore, an
273 E-double-sharp following a B will be placed higher, while an
274 F-double-flat will be placed lower. In other words, a
275 double-augmented fourth is considered a smaller interval than a
276 double-diminished fifth, regardless of the number of semitones
277 that each interval contains.
279 @lilypond[verbatim,quote]
288 One consequence of these rules is that the first note inside
289 @code{@w{\relative f}} music is interpreted just the same as
290 if it was written in absolute pitch mode.
305 @rinternals{RelativeOctaveMusic}.
307 @cindex relative octave entry and transposition
308 @cindex transposition and relative octave entry
318 If no @code{@var{startpitch}} is specified for @code{\relative},
319 then@tie{}@code{c'} is assumed. However, this is a deprecated
320 option and may disappear in future versions, so its use is
325 @unnumberedsubsubsec Accidentals
328 @cindex key signature
331 @c duplicated in Key signature and Accidentals
332 @warning{New users are sometimes confused about accidentals and
333 key signatures. In LilyPond, note names are the raw input; key
334 signatures and clefs determine how this raw input is displayed.
335 An unaltered note like@tie{}@code{c} means @q{C natural},
336 regardless of the key signature or clef. For more information,
337 see @rlearning{Accidentals and key signatures}.}
339 @cindex note names, Dutch
340 @cindex note names, default
341 @cindex default note names
345 @cindex sharp, double
349 @cindex natural pitch
351 A @notation{sharp} pitch is made by adding @code{is} to the note
352 name, and a @notation{flat} pitch by adding @code{es}. As you
353 might expect, a @notation{double sharp} or @notation{double flat}
354 is made by adding @code{isis} or @code{eses}. This syntax is
355 derived from Dutch note naming conventions. To use other names
356 for accidentals, see @ref{Note names in other languages}.
358 @lilypond[verbatim,quote,relative=2]
362 A natural will cancel the effect of an accidental or key
363 signature. However, naturals are not encoded into the note name
364 syntax with a suffix; a natural pitch is shown as a simple note
367 @lilypond[verbatim,quote,relative=2]
371 @cindex quarter tones
375 Quarter tones may be added; the following is a series of Cs with
378 @lilypond[verbatim,quote,relative=2]
379 ceseh1 ces ceh c cih cis cisih
384 @cindex accidental, reminder
385 @cindex accidental, cautionary
386 @cindex accidental, parenthesized
387 @cindex reminder accidental
388 @cindex cautionary accidental
389 @cindex parenthesized accidental
395 Normally accidentals are printed automatically, but you may also
396 print them manually. A reminder accidental can be forced by
397 adding an exclamation mark@tie{}@code{!} after the pitch. A
398 cautionary accidental (i.e., an accidental within parentheses) can
399 be obtained by adding the question mark@tie{}@code{?} after the
400 pitch. These extra accidentals can also be used to produce
403 @lilypond[verbatim,quote,relative=2]
404 cis cis cis! cis? c c c! c?
407 @cindex accidental on tied note
408 @cindex tied note, accidental
410 Accidentals on tied notes are only printed at the beginning of a
413 @lilypond[verbatim,quote,relative=2]
422 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
423 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
425 @lilypondfile[verbatim,quote,texidoc,doctitle]
426 {preventing-extra-naturals-from-being-automatically-added.ly}
432 @rglos{double sharp},
435 @rglos{quarter tone}.
438 @rlearning{Accidentals and key signatures}.
441 @ref{Automatic accidentals},
442 @ref{Annotational accidentals (musica ficta)},
443 @ref{Note names in other languages}.
449 @rinternals{Accidental_engraver},
450 @rinternals{Accidental},
451 @rinternals{AccidentalCautionary},
452 @rinternals{accidental-interface}.
454 @cindex accidental, quarter-tone
455 @cindex quarter-tone accidental
458 There are no generally accepted standards for denoting
459 quarter-tone accidentals, so LilyPond's symbol does not conform to
463 @node Note names in other languages
464 @unnumberedsubsubsec Note names in other languages
466 @cindex note names, other languages
467 @cindex pitch names, other languages
468 @cindex language, note names in other
469 @cindex language, pitch names in other
471 There are predefined sets of note and accidental names for various
472 other languages. Selecting the note name language is usually done
473 at the beginning of the file; the following example is written
474 using Italian note names:
476 @lilypond[quote,verbatim]
484 The available languages and the note names they define are:
487 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
490 @item @code{nederlands}
491 @tab c d e f g a bes b
493 @tab do re mi fa sol la sib si
497 @tab c d e f g a bf b
498 @item @code{espanol} or @code{español}
499 @tab do re mi fa sol la sib si
500 @item @code{italiano} or @code{français}
501 @tab do re mi fa sol la sib si
504 @item @code{portugues}
505 @tab do re mi fa sol la sib si
511 @tab do re mi fa sol la sib si
515 In addition to note names, accidental suffixes may
516 also vary depending on the language:
519 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
521 @tab sharp @tab flat @tab double sharp @tab double flat
522 @item @code{nederlands}
523 @tab -is @tab -es @tab -isis @tab -eses
525 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
527 @tab -is @tab -es @tab -isis @tab -eses
529 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
531 @item @code{espanol} or @code{español}
532 @tab -s @tab -b @tab -ss/-x @tab -bb
533 @item @code{italiano} or @code{français}
534 @tab -d @tab -b @tab -dd @tab -bb
536 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
538 @item @code{portugues}
539 @tab -s @tab -b @tab -ss @tab -bb
541 @tab -is @tab -es @tab -isis @tab -eses
543 @tab -iss @tab -ess @tab -ississ @tab -essess
545 @tab -k @tab -b @tab -kk @tab -bb
549 In Dutch, @code{aes} is contracted to @code{as}, but both forms
550 are accepted in LilyPond. Similarly, both @code{es} and
551 @code{ees} are accepted. This also applies to
552 @code{aeses}@tie{}/@tie{}@code{ases} and
553 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
554 contracted names are defined in the corresponding language files.
556 @lilypond[verbatim,quote,relative=2]
557 a2 as e es a ases e eses
567 Some music uses microtones whose alterations are fractions of a
568 @q{normal} sharp or flat. The following table lists note names
569 for quarter-tone accidentals in various languages; here the prefixes
570 @notation{semi-} and @notation{sesqui-} respectively
571 mean @q{half} and @q{one and a half}. Languages that do not
572 appear in this table do not provide special note names yet.
575 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
577 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
579 @item @code{nederlands}
580 @tab -ih @tab -eh @tab -isih @tab -eseh
582 @tab -ih @tab -eh @tab -isih @tab -eseh
584 @tab -qs @tab -qf @tab -tqs @tab -tqf
585 @item @code{espanol} or @code{español}
586 @tab -cs @tab -cb @tab -tcs @tab -tcb
587 @item @code{italiano} or @code{français}
588 @tab -sd @tab -sb @tab -dsd @tab -bsb
589 @item @code{portugues}
590 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
594 Most languages presented here are commonly associated with
595 Western classical music, also referred to as
596 @notation{Common Practice Period}. However, alternate
597 pitches and tuning systems are also supported: see
598 @ref{Common notation for non-Western music}.
603 @rglos{Common Practice Period}.
606 @ref{Common notation for non-Western music}.
609 @file{scm/define-note-names.scm}.
615 @node Changing multiple pitches
616 @subsection Changing multiple pitches
618 This section discusses how to modify pitches.
625 * Modal transformations::
629 @unnumberedsubsubsec Octave checks
631 @cindex octave correction
633 @cindex control pitch
636 @funindex \octaveCheck
637 @funindex octaveCheck
638 @funindex controlpitch
640 In relative mode, it is easy to forget an octave changing mark.
641 Octave checks make such errors easier to find by displaying a
642 warning and correcting the octave if a note is found in an
645 To check the octave of a note, specify the absolute octave after
646 the @code{=}@tie{}symbol. This example will generate a warning
647 (and change the pitch) because the second note is the absolute
648 octave @code{d''} instead of @code{d'} as indicated by the octave
651 @lilypond[verbatim,quote]
658 The octave of notes may also be checked with the
659 @code{\octaveCheck@tie{}@var{controlpitch}} command.
660 @code{@var{controlpitch}} is specified in absolute mode. This
661 checks that the interval between the previous note and the
662 @code{@var{controlpitch}} is within a fourth (i.e., the normal
663 calculation of relative mode). If this check fails, a warning is
664 printed, but the previous note is not changed. Future notes are
665 relative to the @code{@var{controlpitch}}.
667 @lilypond[verbatim,quote]
675 Compare the two bars below. The first and third @code{\octaveCheck}
676 checks fail, but the second one does not fail.
678 @lilypond[verbatim,quote]
697 @rinternals{RelativeOctaveCheck}.
701 @unnumberedsubsubsec Transpose
705 @cindex transposition
706 @cindex transposition of pitches
707 @cindex transposition of notes
708 @cindex pitches, transposition of
709 @cindex notes, transposition of
714 A music expression can be transposed with @code{\transpose}. The
718 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
722 This means that @code{@var{musicexpr}} is transposed by the
723 interval between the pitches @code{@var{frompitch}} and
724 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
725 is changed to @code{@var{topitch}} and any other note is
726 transposed by the same interval. Both pitches are entered in
729 @warning{Music inside a @code{@bs{}transpose} block is absolute
730 unless a @code{@bs{}relative} is included in the block.}
732 Consider a piece written in the key of D-major. It can be
733 transposed up to E-major; note that the key signature is
734 automatically transposed as well.
736 @lilypond[verbatim,quote]
745 @cindex transposing instruments
746 @cindex instruments, transposing
748 If a part written in C (normal @notation{concert pitch}) is to be
749 played on the A clarinet (for which an A is notated as a C and
750 thus sounds a minor third lower than notated), the appropriate
751 part will be produced with:
753 @lilypond[verbatim,quote]
763 Note that we specify @w{@code{\key c \major}} explicitly. If we
764 do not specify a key signature, the notes will be transposed but
765 no key signature will be printed.
767 @code{\transpose} distinguishes between enharmonic pitches: both
768 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
769 transpose up a semitone. The first version will print sharps and
770 the notes will remain on the same scale step, the second version
771 will print flats on the scale step above.
773 @lilypond[verbatim,quote]
774 music = \relative c' { c d e f }
776 \transpose c cis { \music }
777 \transpose c des { \music }
782 @code{\transpose} may also be used in a different way, to input
783 written notes for a transposing instrument. The previous examples
784 show how to enter pitches in C (or @notation{concert pitch}) and
785 typeset them for a transposing instrument, but the opposite is
786 also possible if you for example have a set of instrumental parts
787 and want to print a conductor's score. For example, when entering
788 music for a B-flat trumpet that begins on a notated E (concert D),
792 musicInBflat = @{ e4 @dots{} @}
793 \transpose c bes, \musicInBflat
797 To print this music in F (e.g., rearranging to a French horn) you
798 could wrap the existing music with another @code{\transpose}:
801 musicInBflat = @{ e4 @dots{} @}
802 \transpose f c' @{ \transpose c bes, \musicInBflat @}
806 For more information about transposing instruments,
807 see @ref{Instrument transpositions}.
812 @lilypondfile[verbatim,quote,texidoc,doctitle]
813 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
817 @ref{Instrument transpositions},
819 @ref{Modal transformations},
820 @ref{Relative octave entry},
827 @rinternals{TransposedMusic}.
837 The relative conversion will not affect @code{\transpose},
838 @code{\chordmode} or @code{\relative} sections in its argument. To use
839 relative mode within transposed music, an additional @code{\relative}
840 must be placed inside @code{\transpose}.
842 Triple accidentals will not be printed if using @code{\transpose}. An
843 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
844 rather than e-triple-flat).
848 @unnumberedsubsubsec Inversion
851 @cindex operation, inversion
854 A music expression can be inverted and transposed in a single
858 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
861 The @code{@var{musicexpr}} is inverted interval-by-interval around
862 @code{@var{around-pitch}}, and then transposed so that
863 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
865 @lilypond[verbatim,quote]
866 music = \relative c' { c d e f }
869 \inversion d' d' \music
870 \inversion d' ees' \music
874 @warning{Motifs to be inverted should be expressed in absolute form
875 or be first converted to absolute form by enclosing them in a
876 @code{\relative} block.}
880 @ref{Modal transformations},
886 @unnumberedsubsubsec Retrograde
888 @cindex retrograde transformation
889 @cindex transformation, retrograde
890 @cindex operation, retrograde
891 @funindex \retrograde
894 A music expression can be reversed to produce its retrograde:
896 @lilypond[verbatim,quote]
897 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
906 Manual ties inside @code{\retrograde} will be broken and
907 generate warnings. Some ties can be generated automatically
908 by enabling @ref{Automatic note splitting}.
913 @ref{Modal transformations},
917 @node Modal transformations
918 @unnumberedsubsubsec Modal transformations
920 @cindex modal transformations
921 @cindex transformations, modal
922 @cindex operations, modal
924 In a musical composition that is based on a scale, a motif is
925 frequently transformed in various ways. It may be
926 @notation{transposed} to start at different places in the scale or
927 it may be @notation{inverted} around a pivot point in the scale.
928 It may also be reversed to produce its @notation{retrograde}, see
931 @warning{Any note that does not lie within the given scale will be
934 @subsubsubheading Modal transposition
936 @cindex modal transposition
937 @cindex transposition, modal
938 @cindex operation, transposition
939 @funindex \modalTranspose
940 @funindex modalTranspose
942 A motif can be transposed within a given scale with:
945 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
948 The notes of @var{motif} are shifted within the @var{scale} by the
949 number of scale degrees given by the interval between @var{to-pitch}
950 and @var{from-pitch}:
952 @lilypond[verbatim,quote]
953 diatonicScale = \relative c' { c d e f g a b }
954 motif = \relative c' { c8 d e f g a b c }
958 \modalTranspose c f \diatonicScale \motif
959 \modalTranspose c b, \diatonicScale \motif
963 An ascending scale of any length and with any intervals may be
966 @lilypond[verbatim,quote]
967 pentatonicScale = \relative c' { ges aes bes des ees }
968 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
972 \modalTranspose ges ees' \pentatonicScale \motif
976 When used with a chromatic scale @code{\modalTranspose} has a
977 similar effect to @code{\transpose}, but with the ability to
978 specify the names of the notes to be used:
980 @lilypond[verbatim,quote]
981 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
982 motif = \relative c' { c8 d e f g a b c }
986 \transpose c f \motif
987 \modalTranspose c f \chromaticScale \motif
991 @subsubsubheading Modal inversion
993 @cindex modal inversion
994 @cindex inversion, modal
995 @cindex operation, modal inversion
996 @funindex \modalInversion
997 @funindex modalInversion
999 A motif can be inverted within a given scale around a given pivot
1000 note and transposed in a single operation with:
1003 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
1006 The notes of @var{motif} are placed the same number of scale degrees
1007 from the @var{around-pitch} note within the @var{scale}, but in the
1008 opposite direction, and the result is then shifted within the
1009 @var{scale} by the number of scale degrees given by the interval between
1010 @var{to-pitch} and @var{around-pitch}.
1012 So to simply invert around a note in the scale use the same value for
1013 @var{around-pitch} and @var{to-pitch}:
1015 @lilypond[verbatim,quote]
1016 octatonicScale = \relative c' { ees f fis gis a b c d }
1017 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1021 \modalInversion fis' fis' \octatonicScale \motif
1025 To invert around a pivot between two notes in the scale, invert around
1026 one of the notes and then transpose by one scale degree. The two notes
1027 specified can be interpreted as bracketing the pivot point:
1029 @lilypond[verbatim,quote]
1030 scale = \relative c' { c g' }
1031 motive = \relative c' { c c g' c, }
1035 \modalInversion c' g' \scale \motive
1039 The combined operation of inversion and retrograde produce the
1040 retrograde-inversion:
1042 @lilypond[verbatim,quote]
1043 octatonicScale = \relative c' { ees f fis gis a b c d }
1044 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1048 \retrograde \modalInversion c' c' \octatonicScale \motif
1059 @node Displaying pitches
1060 @subsection Displaying pitches
1062 This section discusses how to alter the output of pitches.
1068 * Instrument transpositions::
1069 * Automatic accidentals::
1075 @unnumberedsubsubsec Clef
1086 @cindex soprano clef
1087 @cindex mezzosoprano clef
1088 @cindex baritone clef
1089 @cindex varbaritone clef
1090 @cindex subbass clef
1092 @cindex ancient clef
1093 @cindex clef, ancient
1097 @cindex clef, treble
1098 @cindex clef, violin
1102 @cindex clef, french
1103 @cindex clef, soprano
1104 @cindex clef, mezzosoprano
1105 @cindex clef, baritone
1106 @cindex clef, varbaritone
1107 @cindex clef, subbass
1113 The clef may be altered. Middle C is shown in every example. The
1114 following clef names can (but do not need to) be enclosed in quotes.
1116 @lilypond[verbatim,quote,relative=1]
1127 Other clefs include:
1129 @lilypond[verbatim,quote,relative=1]
1150 \clef G % synonym for treble
1152 \clef F % synonym for bass
1154 \clef C % synonym for alto
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,relative=1]
1187 Optional octavation can be obtained by enclosing the numeric
1188 argument in parentheses or brackets:
1190 @lilypond[verbatim,quote,relative=1]
1197 The pitches are displayed as if the numeric argument were
1198 given without parentheses/brackets.
1200 Some special purpose clefs are described in @ref{Mensural clefs},
1201 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1202 tablatures}. For mixing different clefs when using cue notes within a
1203 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1204 in @ref{Formatting cue notes}.
1208 @lilypondfile[verbatim,quote,texidoc,doctitle]
1209 {tweaking-clef-properties.ly}
1213 @ref{Mensural clefs},
1214 @ref{Gregorian clefs},
1215 @ref{Default tablatures},
1216 @ref{Custom tablatures},
1217 @ref{Formatting cue notes}.
1222 Internals Reference:
1223 @rinternals{Clef_engraver},
1225 @rinternals{ClefModifier},
1226 @rinternals{clef-interface}.
1229 Ottavation numbers attached to clefs are treated as separate grobs. So
1230 any @code{\override} done to the @var{Clef} will also need to be
1231 applied, as a separate @code{\override}, to the @var{ClefModifier}
1234 @lilypond[fragment,quote,relative=1]
1236 \override ClefModifier.color = #red
1237 \override Clef.color = #blue
1245 @unnumberedsubsubsec Key signature
1247 @cindex key signature
1252 @c duplicated in Key signature and Accidentals
1253 @warning{New users are sometimes confused about accidentals and
1254 key signatures. In LilyPond, note names are the raw input; key
1255 signatures and clefs determine how this raw input is displayed.
1256 An unaltered note like@tie{}@code{c} means @q{C natural},
1257 regardless of the key signature or clef. For more information,
1258 see @rlearning{Accidentals and key signatures}.}
1260 The key signature indicates the tonality in which a piece is
1261 played. It is denoted by a set of alterations (flats or sharps)
1262 at the start of the staff. The key signature may be altered:
1265 \key @var{pitch} @var{mode}
1278 @funindex \mixolydian
1279 @funindex mixolydian
1287 @cindex church modes
1300 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1301 to get a key signature of @code{@var{pitch}}-major or
1302 @code{@var{pitch}}-minor, respectively. You may also use the
1303 standard mode names, also called @notation{church modes}:
1304 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1305 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1307 @lilypond[verbatim,quote,relative=2]
1314 Additional modes can be defined, by listing the alterations
1315 for each scale step when the mode starts on C.
1317 @lilypond[verbatim,quote]
1318 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1319 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1322 \key c\freygish c4 des e f
1323 \bar "||" \key d\freygish d es fis g
1327 Accidentals in the key signature may be printed in octaves other
1328 than their traditional positions, or in multiple octaves, by
1329 using the @code{flat-positions} and @code{sharp-positions}
1330 properties of @code{KeySignature}. Entries in these properties
1331 specify the range of staff-positions where accidentals will be
1332 printed. If a single position is specified in an entry, the
1333 accidentals are placed within the octave ending at that staff
1336 @lilypond[verbatim, quote,relative=0]
1337 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1338 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1339 \clef bass \key es\major es g bes d
1340 \clef treble \bar "||" \key es\major es g bes d
1342 \override Staff.KeySignature.sharp-positions = #'(2)
1343 \bar "||" \key b\major b fis b2
1348 @lilypondfile[verbatim,quote,texidoc,doctitle]
1349 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1351 @lilypondfile[verbatim,quote,texidoc,doctitle]
1352 {non-traditional-key-signatures.ly}
1356 @rglos{church mode},
1360 @rlearning{Accidentals and key signatures}.
1365 Internals Reference:
1366 @rinternals{KeyChangeEvent},
1367 @rinternals{Key_engraver},
1368 @rinternals{Key_performer},
1369 @rinternals{KeyCancellation},
1370 @rinternals{KeySignature},
1371 @rinternals{key-signature-interface}.
1374 @node Ottava brackets
1375 @unnumberedsubsubsec Ottava brackets
1383 @funindex set-octavation
1387 @notation{Ottava brackets} introduce an extra transposition of an
1388 octave for the staff:
1390 @lilypond[verbatim,quote,relative=2]
1406 @lilypondfile[verbatim,quote,texidoc,doctitle]
1416 Internals Reference:
1417 @rinternals{Ottava_spanner_engraver},
1418 @rinternals{OttavaBracket},
1419 @rinternals{ottava-bracket-interface}.
1422 @node Instrument transpositions
1423 @unnumberedsubsubsec Instrument transpositions
1425 @cindex transposition, MIDI
1426 @cindex transposition, instrument
1427 @cindex transposing instrument
1429 @cindex MIDI transposition
1431 @funindex \transposition
1432 @funindex transposition
1434 When typesetting scores that involve transposing instruments, some
1435 parts can be typeset in a different pitch than the
1436 @notation{concert pitch}. In these cases, the key of the
1437 @notation{transposing instrument} should be specified; otherwise
1438 the MIDI output and cues in other parts will produce incorrect
1439 pitches. For more information about quotations, see
1440 @ref{Quoting other voices}.
1443 \transposition @var{pitch}
1446 The pitch to use for @code{\transposition} should correspond to
1447 the real sound heard when a@tie{}@code{c'} written on the staff is
1448 played by the transposing instrument. This pitch is entered in
1449 absolute mode, so an instrument that produces a real sound which
1450 is one tone higher than the printed music should use
1451 @w{@code{\transposition d'}}. @code{\transposition} should
1452 @emph{only} be used if the pitches are @emph{not} being entered in
1455 Here are a few notes for violin and B-flat clarinet where the
1456 parts have been entered using the notes and key as they appear in
1457 each part of the conductor's score. The two instruments are
1460 @lilypond[verbatim,quote]
1462 \new Staff = "violin" {
1464 \set Staff.instrumentName = #"Vln"
1465 \set Staff.midiInstrument = #"violin"
1466 % not strictly necessary, but a good reminder
1473 \new Staff = "clarinet" {
1475 \set Staff.instrumentName = \markup { Cl (B\flat) }
1476 \set Staff.midiInstrument = #"clarinet"
1486 The @code{\transposition} may be changed during a piece. For
1487 example, a clarinetist may be required to switch from an A clarinet
1488 to a B-flat clarinet.
1490 @lilypond[verbatim,quote]
1491 flute = \relative c'' {
1493 \cueDuring #"clarinet" #DOWN {
1494 R1 _\markup\tiny "clarinet"
1496 R1 _\markup\tiny "clarinet"
1499 clarinet = \relative c'' {
1503 R1^\markup { muta in B\flat }
1508 \addQuote "clarinet" \clarinet
1510 \new Staff \with { instrumentName = #"Flute" }
1512 \new Staff \with { instrumentName = #"Cl (A)" }
1519 @rglos{concert pitch},
1520 @rglos{transposing instrument}.
1523 @ref{Quoting other voices},
1530 @node Automatic accidentals
1531 @unnumberedsubsubsec Automatic accidentals
1533 @cindex accidental style
1534 @cindex accidental style, default
1536 @cindex accidentals, automatic
1537 @cindex automatic accidentals
1538 @cindex default accidental style
1540 @funindex \accidentalStyle
1544 There are many different conventions on how to typeset
1545 accidentals. LilyPond provides a function to specify which
1546 accidental style to use. This function is called as follows:
1550 \accidentalStyle voice
1555 The accidental style applies to the current @code{Staff} by
1556 default (with the exception of the styles @code{piano} and
1557 @code{piano-cautionary}, which are explained below). Optionally,
1558 the function can take a second argument that determines in which
1559 scope the style should be changed. For example, to use the same
1560 style in all staves of the current @code{StaffGroup}, use:
1563 \accidentalStyle StaffGroup.voice
1566 The following accidental styles are supported. To demonstrate
1567 each style, we use the following example:
1570 @lilypond[verbatim,quote]
1574 cis'8 fis, bes4 <a cis>8 f bis4 |
1588 \voiceTwo \relative c' {
1589 <fis, a cis>8[ <fis a cis>
1592 \change Staff = down
1597 \change Staff = down
1598 <fis, a cis>4 gis <f a d>2 |
1605 \context Staff = "up" {
1606 \accidentalStyle default
1609 \context Staff = "down" {
1610 \accidentalStyle default
1617 Note that the last lines of this example can be replaced by the
1618 following, as long as the same accidental style should be used in
1624 \context Staff = "up" @{
1625 %%% change the next line as desired:
1626 \accidentalStyle Score.default
1629 \context Staff = "down" @{
1637 @c don't use verbatim in this table.
1641 @cindex default accidental style
1642 @cindex accidental style, default
1646 This is the default typesetting behavior. It corresponds to
1647 eighteenth-century common practice: accidentals are remembered to
1648 the end of the measure in which they occur and only in their own
1649 octave. Thus, in the example below, no natural signs are printed
1650 before the@tie{}@code{b} in the second measure or the
1657 cis'8 fis, bes4 <a cis>8 f bis4 |
1671 \voiceTwo \relative c' {
1672 <fis, a cis>8[ <fis a cis>
1675 \change Staff = down
1680 \change Staff = down
1681 <fis, a cis>4 gis <f a d>2 |
1688 \context Staff = "up" {
1689 \accidentalStyle default
1692 \context Staff = "down" {
1693 \accidentalStyle default
1702 @cindex accidental style, voice
1703 @cindex voice accidental style
1704 @cindex accidental style, modern
1705 @cindex modern accidental style
1706 @cindex accidental style, modern-cautionary
1707 @cindex modern-cautionary accidental style
1711 The normal behavior is to remember the accidentals at
1712 @code{Staff}-level. In this style, however, accidentals are
1713 typeset individually for each voice. Apart from that, the rule is
1714 similar to @code{default}.
1716 As a result, accidentals from one voice do not get canceled in
1717 other voices, which is often an unwanted result: in the following
1718 example, it is hard to determine whether the second@tie{}@code{a}
1719 should be played natural or sharp. The @code{voice} option should
1720 therefore be used only if the voices are to be read solely by
1721 individual musicians. If the staff is to be used by one musician
1722 (e.g., a conductor or in a piano score) then @code{modern} or
1723 @code{modern-cautionary} should be used instead.
1730 cis'8 fis, bes4 <a cis>8 f bis4 |
1744 \voiceTwo \relative c' {
1745 <fis, a cis>8[ <fis a cis>
1748 \change Staff = down
1753 \change Staff = down
1754 <fis, a cis>4 gis <f a d>2 |
1761 \context Staff = "up" {
1762 \accidentalStyle voice
1765 \context Staff = "down" {
1766 \accidentalStyle voice
1775 @cindex accidentals, modern style
1776 @cindex modern style accidentals
1780 This rule corresponds to the common practice in the twentieth
1781 century. It omits some extra natural signs, which were
1782 traditionally prefixed to a sharp following a double sharp,
1783 or a flat following a double flat. The @code{modern} rule
1784 prints the same accidentals as @code{default}, with
1785 two additions that serve to avoid ambiguity: after temporary
1786 accidentals, cancellation marks are printed also in the following
1787 measure (for notes in the same octave) and, in the same measure,
1788 for notes in other octaves. Hence the naturals before
1789 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1796 cis'8 fis, bes4 <a cis>8 f bis4 |
1810 \voiceTwo \relative c' {
1811 <fis, a cis>8[ <fis a cis>
1814 \change Staff = down
1819 \change Staff = down
1820 <fis, a cis>4 gis <f a d>2 |
1827 \context Staff = "up" {
1828 \accidentalStyle modern
1831 \context Staff = "down" {
1832 \accidentalStyle modern
1839 @item modern-cautionary
1841 @cindex accidentals, modern cautionary style
1842 @cindex modern accidental style
1843 @cindex modern cautionary accidental style
1844 @cindex modern style accidentals
1845 @cindex modern style cautionary accidentals
1847 @funindex modern-cautionary
1849 This rule is similar to @code{modern}, but the @q{extra}
1850 accidentals (the ones not typeset by @code{default}) are typeset
1851 as cautionary accidentals. They are by default printed with
1852 parentheses, but they can also be printed in reduced size by
1853 defining the @code{cautionary-style} property of
1854 @code{AccidentalSuggestion}.
1860 cis'8 fis, bes4 <a cis>8 f bis4 |
1874 \voiceTwo \relative c' {
1875 <fis, a cis>8[ <fis a cis>
1878 \change Staff = down
1883 \change Staff = down
1884 <fis, a cis>4 gis <f a d>2 |
1891 \context Staff = "up" {
1892 \accidentalStyle modern-cautionary
1895 \context Staff = "down" {
1896 \accidentalStyle modern-cautionary
1905 @cindex accidental style, modern
1906 @cindex accidentals, modern
1907 @cindex accidentals, multivoice
1908 @cindex modern accidental style
1909 @cindex modern accidentals
1910 @cindex multivoice accidentals
1912 @funindex modern-voice
1914 This rule is used for multivoice accidentals to be read both by
1915 musicians playing one voice and musicians playing all voices.
1916 Accidentals are typeset for each voice, but they @emph{are}
1917 canceled across voices in the same @code{Staff}. Hence,
1918 the@tie{}@code{a} in the last measure is canceled because the
1919 previous cancellation was in a different voice, and
1920 the@tie{}@code{d} in the lower staff is canceled because of the
1921 accidental in a different voice in the previous measure:
1927 cis'8 fis, bes4 <a cis>8 f bis4 |
1941 \voiceTwo \relative c' {
1942 <fis, a cis>8[ <fis a cis>
1945 \change Staff = down
1950 \change Staff = down
1951 <fis, a cis>4 gis <f a d>2 |
1958 \context Staff = "up" {
1959 \accidentalStyle modern-voice
1962 \context Staff = "down" {
1963 \accidentalStyle modern-voice
1970 @cindex accidental style, cautionary, modern voice
1971 @cindex accidental style, modern voice cautionary
1972 @cindex accidental style, voice, modern cautionary
1974 @funindex modern-voice-cautionary
1976 @item modern-voice-cautionary
1978 This rule is the same as @code{modern-voice}, but with the extra
1979 accidentals (the ones not typeset by @code{voice}) typeset as
1980 cautionaries. Even though all accidentals typeset by
1981 @code{default} @emph{are} typeset with this rule, some of them are
1982 typeset as cautionaries.
1988 cis'8 fis, bes4 <a cis>8 f bis4 |
2002 \voiceTwo \relative c' {
2003 <fis, a cis>8[ <fis a cis>
2006 \change Staff = down
2011 \change Staff = down
2012 <fis, a cis>4 gis <f a d>2 |
2019 \context Staff = "up" {
2020 \accidentalStyle modern-voice-cautionary
2023 \context Staff = "down" {
2024 \accidentalStyle modern-voice-cautionary
2033 @cindex accidental style, piano
2034 @cindex accidentals, piano
2035 @cindex piano accidental style
2036 @cindex piano accidentals
2040 This rule reflects twentieth-century practice for piano notation.
2041 Its behavior is very similar to @code{modern} style, but here
2042 accidentals also get canceled across the staves in the same
2043 @code{GrandStaff} or @code{PianoStaff}, hence all the
2044 cancellations of the final notes.
2046 This accidental style applies to the current @code{GrandStaff} or
2047 @code{PianoStaff} by default.
2053 cis'8 fis, bes4 <a cis>8 f bis4 |
2067 \voiceTwo \relative c' {
2068 <fis, a cis>8[ <fis a cis>
2071 \change Staff = down
2076 \change Staff = down
2077 <fis, a cis>4 gis <f a d>2 |
2084 \context Staff = "up" {
2085 \accidentalStyle piano
2088 \context Staff = "down" {
2095 @item piano-cautionary
2097 @cindex accidentals, piano cautionary
2098 @cindex cautionary accidentals, piano
2099 @cindex piano cautionary accidentals
2100 @cindex accidental style, piano cautionary
2101 @cindex cautionary accidental style, piano
2102 @cindex piano cautionary accidental style
2104 @funindex piano-cautionary
2106 This is the same as @code{piano} but with the extra accidentals
2107 typeset as cautionaries.
2113 cis'8 fis, bes4 <a cis>8 f bis4 |
2127 \voiceTwo \relative c' {
2128 <fis, a cis>8[ <fis a cis>
2131 \change Staff = down
2136 \change Staff = down
2137 <fis, a cis>4 gis <f a d>2 |
2144 \context Staff = "up" {
2145 \accidentalStyle piano-cautionary
2148 \context Staff = "down" {
2158 @cindex neo-modern accidental style
2159 @cindex accidental style, neo-modern
2161 @funindex neo-modern
2163 This rule reproduces a common practice in contemporary music:
2164 accidentals are printed like with @code{modern}, but they are printed
2165 again if the same note appears later in the same measure -- except
2166 if the note is immediately repeated.
2172 cis'8 fis, bes4 <a cis>8 f bis4 |
2186 \voiceTwo \relative c' {
2187 <fis, a cis>8[ <fis a cis>
2190 \change Staff = down
2195 \change Staff = down
2196 <fis, a cis>4 gis <f a d>2 |
2203 \context Staff = "up" {
2204 \accidentalStyle neo-modern
2207 \context Staff = "down" {
2208 \accidentalStyle neo-modern
2215 @item neo-modern-cautionary
2217 @cindex neo-modern-cautionary accidental style
2218 @cindex accidental style, neo-modern-cautionary
2220 @funindex neo-modern-cautionary
2222 This rule is similar to @code{neo-modern}, but the extra
2223 accidentals are printed as cautionary accidentals.
2229 cis'8 fis, bes4 <a cis>8 f bis4 |
2243 \voiceTwo \relative c' {
2244 <fis, a cis>8[ <fis a cis>
2247 \change Staff = down
2252 \change Staff = down
2253 <fis, a cis>4 gis <f a d>2 |
2260 \context Staff = "up" {
2261 \accidentalStyle neo-modern-cautionary
2264 \context Staff = "down" {
2265 \accidentalStyle neo-modern-cautionary
2273 @item neo-modern-voice
2275 @cindex neo-modern-voice accidental style
2276 @cindex accidental style, neo-modern-voice
2278 @funindex neo-modern-voice
2280 This rule is used for multivoice accidentals to be read both by
2281 musicians playing one voice and musicians playing all voices.
2282 Accidentals are typeset for each voice as with @code{neo-modern},
2283 but they are canceled across voices in the same @code{Staff}.
2289 cis'8 fis, bes4 <a cis>8 f bis4 |
2303 \voiceTwo \relative c' {
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-voice
2324 \context Staff = "down" {
2325 \accidentalStyle neo-modern-voice
2332 @item neo-modern-voice-cautionary
2334 @cindex neo-modern-voice-cautionary accidental style
2335 @cindex accidental style, neo-modern-voice-cautionary
2337 @funindex neo-modern-voice-cautionary
2339 This rule is similar to @code{neo-modern-voice}, but the extra
2340 accidentals are printed as cautionary accidentals.
2346 cis'8 fis, bes4 <a cis>8 f bis4 |
2360 \voiceTwo \relative c' {
2361 <fis, a cis>8[ <fis a cis>
2364 \change Staff = down
2369 \change Staff = down
2370 <fis, a cis>4 gis <f a d>2 |
2377 \context Staff = "up" {
2378 \accidentalStyle neo-modern-voice-cautionary
2381 \context Staff = "down" {
2382 \accidentalStyle neo-modern-voice-cautionary
2391 @cindex dodecaphonic accidental style
2392 @cindex dodecaphonic style, neo-modern
2394 @funindex dodecaphonic
2396 This rule reflects a practice introduced by composers at
2397 the beginning of the 20th century, in an attempt to
2398 abolish the hierarchy between natural and non-natural notes.
2399 With this style, @emph{every} note gets an accidental sign,
2400 including natural signs.
2406 cis'8 fis, bes4 <a cis>8 f bis4 |
2420 \voiceTwo \relative c' {
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 dodecaphonic
2441 \context Staff = "down" {
2442 \accidentalStyle dodecaphonic
2452 @cindex teaching accidental style
2453 @cindex accidental style, teaching
2457 This rule is intended for students, and makes it easy to create
2458 scale sheets with automatically created cautionary accidentals.
2459 Accidentals are printed like with @code{modern}, but cautionary
2460 accidentals are added for all sharp or flat tones specified by the
2461 key signature, except if the note is immediately repeated.
2463 @lilypond[quote,staffsize=18]
2467 cis'8 fis, bes4 <a cis>8 f bis4 |
2481 \voiceTwo \relative c' {
2482 <fis, a cis>8[ <fis a cis>
2485 \change Staff = down
2490 \change Staff = down
2491 <fis, a cis>4 gis <f a d>2 |
2498 \context Staff = "up" {
2500 \accidentalStyle teaching
2503 \context Staff = "down" {
2505 \accidentalStyle teaching
2516 @cindex accidental style, no reset
2517 @cindex no reset accidental style
2521 This is the same as @code{default} but with accidentals lasting
2522 @q{forever} and not only within the same measure:
2528 cis'8 fis, bes4 <a cis>8 f bis4 |
2542 \voiceTwo \relative c' {
2543 <fis, a cis>8[ <fis a cis>
2546 \change Staff = down
2551 \change Staff = down
2552 <fis, a cis>4 gis <f a d>2 |
2559 \context Staff = "up" {
2560 \accidentalStyle no-reset
2563 \context Staff = "down" {
2564 \accidentalStyle no-reset
2573 @cindex forget accidental style
2574 @cindex accidental style, forget
2578 This is the opposite of @code{no-reset}: Accidentals are not
2579 remembered at all -- and hence all accidentals are typeset
2580 relative to the key signature, regardless of what came before in
2587 cis'8 fis, bes4 <a cis>8 f bis4 |
2601 \voiceTwo \relative c' {
2602 <fis, a cis>8[ <fis a cis>
2605 \change Staff = down
2610 \change Staff = down
2611 <fis, a cis>4 gis <f a d>2 |
2618 \context Staff = "up" {
2619 \accidentalStyle forget
2622 \context Staff = "down" {
2623 \accidentalStyle forget
2635 Internals Reference:
2636 @rinternals{Accidental},
2637 @rinternals{Accidental_engraver},
2638 @rinternals{GrandStaff},
2639 @rinternals{PianoStaff},
2641 @rinternals{AccidentalSuggestion},
2642 @rinternals{AccidentalPlacement},
2643 @rinternals{accidental-suggestion-interface}.
2645 @cindex accidentals and simultaneous notes
2646 @cindex simultaneous notes and accidentals
2647 @cindex accidentals in chords
2648 @cindex chords, accidentals in
2651 Simultaneous notes are not considered in the automatic
2652 determination of accidentals; only previous notes and the key
2653 signature are considered. Forcing accidentals with@tie{}@code{!}
2654 or@tie{}@code{?} may be required when the same note name occurs
2655 simultaneously with different alterations, as in @samp{<f! fis!>}.
2657 Cautionary cancellation of accidentals is done by looking at previous measure.
2658 However, in the @code{\alternative} block following a @code{\repeat volta N}
2659 section, one would expect the cancellation being calculated using the previous
2660 @emph{played} measure, not previous @emph{printed} measure.
2661 In the following example, the natural @code{c} in the second alternative does
2662 not need a natural sign:
2666 \accidentalStyle modern
2678 The following work-around can be used: define a function that locally changes
2679 the accidental style to @code{forget}:
2681 @lilypond[verbatim,quote]
2682 forget = #(define-music-function (parser location music) (ly:music?) #{
2683 \accidentalStyle forget
2685 \accidentalStyle modern
2688 \accidentalStyle modern
2702 @unnumberedsubsubsec Ambitus
2705 @cindex range of pitches
2708 The term @notation{ambitus} (pl. ambitus) denotes a range of
2709 pitches for a given voice in a part of music. It may also denote
2710 the pitch range that a musical instrument is capable of playing.
2711 Ambitus are printed on vocal parts so that performers can easily
2712 determine if it matches their capabilities.
2714 Ambitus are denoted at the beginning of a piece near the initial
2715 clef. The range is graphically specified by two note heads that
2716 represent the lowest and highest pitches. Accidentals are only
2717 printed if they are not part of the key signature.
2719 @lilypond[verbatim,quote]
2723 \consists "Ambitus_engraver"
2736 @lilypondfile[verbatim,quote,texidoc,doctitle]
2737 {adding-ambitus-per-voice.ly}
2739 @lilypondfile[verbatim,quote,texidoc,doctitle]
2740 {ambitus-with-multiple-voices.ly}
2742 @lilypondfile[verbatim,quote,texidoc,doctitle]
2743 {changing-the-ambitus-gap.ly}
2752 Internals Reference:
2753 @rinternals{Ambitus_engraver},
2756 @rinternals{Ambitus},
2757 @rinternals{AmbitusAccidental},
2758 @rinternals{AmbitusLine},
2759 @rinternals{AmbitusNoteHead},
2760 @rinternals{ambitus-interface}.
2763 There is no collision handling in the case of multiple per-voice
2768 @subsection Note heads
2770 This section suggests ways of altering note heads.
2773 * Special note heads::
2774 * Easy notation note heads::
2775 * Shape note heads::
2779 @node Special note heads
2780 @unnumberedsubsubsec Special note heads
2782 @cindex note heads, special
2783 @cindex note heads, cross
2784 @cindex note heads, diamond
2785 @cindex note heads, parlato
2786 @cindex note heads, harmonic
2787 @cindex note heads, guitar
2788 @cindex special note heads
2789 @cindex cross note heads
2790 @cindex diamond note heads
2791 @cindex parlato note heads
2792 @cindex harmonic note heads
2793 @cindex guitar note heads
2794 @cindex note head styles
2795 @cindex styles, note heads
2799 The appearance of note heads may be altered:
2801 @lilypond[verbatim,quote,relative=2]
2803 \override NoteHead.style = #'cross
2805 \revert NoteHead.style
2807 \override NoteHead.style = #'harmonic
2809 \revert NoteHead.style
2813 To see all note head styles, see @ref{Note head styles}.
2815 The @code{cross} style is used to represent a variety of musical
2816 intentions. The following generic predefined commands modify the
2817 note head in both staff and tablature contexts and can be used to
2818 represent any musical meaning:
2820 @lilypond[verbatim,quote,relative=2]
2828 The music function form of this predefined command may be used
2829 inside and outside chords to generate crossed note heads in both
2830 staff and tablature contexts:
2832 @lilypond[verbatim,quote,relative=2]
2835 c b < g \xNote c f > b
2838 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2839 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2840 be used. The term @notation{dead note} is commonly used by guitarists.
2842 There is also a shorthand for diamond shapes which can be used
2845 @lilypond[verbatim,quote,relative=2]
2846 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2861 @ref{Note head styles},
2862 @ref{Chorded notes},
2863 @ref{Indicating harmonics and dampened notes}.
2865 Internals Reference:
2866 @rinternals{note-event},
2867 @rinternals{Note_heads_engraver},
2868 @rinternals{Ledger_line_engraver},
2869 @rinternals{NoteHead},
2870 @rinternals{LedgerLineSpanner},
2871 @rinternals{note-head-interface},
2872 @rinternals{ledger-line-spanner-interface}.
2875 @node Easy notation note heads
2876 @unnumberedsubsubsec Easy notation note heads
2878 @cindex note heads, practice
2879 @cindex practice note heads
2880 @cindex note heads, easy notation
2881 @cindex easy notation
2882 @cindex beginners' music
2883 @cindex music, beginners'
2884 @cindex easy play note heads
2885 @cindex note heads, easy play
2887 @funindex \easyHeadsOn
2888 @funindex easyHeadsOn
2889 @funindex \easyHeadsOff
2890 @funindex easyHeadsOff
2892 The @q{easy play} note head includes a note name inside the head.
2893 It is used in music for beginners. To make the letters readable,
2894 it should be printed in a large font size. To print with a larger
2895 font, see @ref{Setting the staff size}.
2897 @lilypond[verbatim,quote]
2898 #(set-global-staff-size 26)
2910 @code{\easyHeadsOn},
2911 @code{\easyHeadsOff}.
2917 @lilypondfile[verbatim,quote,texidoc,doctitle]
2918 {numbers-as-easy-note-heads.ly}
2922 @ref{Setting the staff size}.
2927 Internals Reference:
2928 @rinternals{note-event},
2929 @rinternals{Note_heads_engraver},
2930 @rinternals{NoteHead},
2931 @rinternals{note-head-interface}.
2934 @node Shape note heads
2935 @unnumberedsubsubsec Shape note heads
2937 @cindex note heads, shape
2938 @cindex note heads, Aiken
2939 @cindex note heads, sacred harp
2941 @cindex Aiken shape note heads
2942 @cindex sacred harp note heads
2943 @cindex note heads, Southern Harmony
2944 @cindex Southern Harmony note heads
2945 @cindex Funk shape note heads
2946 @cindex note heads, Funk
2947 @cindex note heads, Harmonica Sacra
2948 @cindex Harmonica Sacra note heads
2949 @cindex Christian Harmony note heads
2950 @cindex note heads, Christian Harmony
2951 @cindex Walker shape note heads
2952 @cindex note heads, Walker
2954 @funindex \aikenHeads
2955 @funindex aikenHeads
2956 @funindex \sacredHarpHeads
2957 @funindex sacredHarpHeads
2958 @funindex \southernHarmonyHeads
2959 @funindex southernHarmonyHeads
2960 @funindex \funkHeads
2962 @funindex \walkerHeads
2963 @funindex walkerHeads
2965 In shape note head notation, the shape of the note head
2966 corresponds to the harmonic function of a note in the scale. This
2967 notation was popular in nineteenth-century American song books.
2968 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2969 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2971 @lilypond[verbatim,quote,relative=2]
2973 c, d e f g2 a b1 c \break
2975 c,4 d e f g2 a b1 c \break
2976 \southernHarmonyHeads
2977 c,4 d e f g2 a b1 c \break
2979 c,4 d e f g2 a b1 c \break
2981 c,4 d e f g2 a b1 c \break
2986 @funindex \aikenHeadsMinor
2987 @funindex aikenHeadsMinor
2988 @funindex \sacredHarpHeadsMinor
2989 @funindex sacredHarpHeadsMinor
2990 @funindex \southernHarmonyHeadsMinor
2991 @funindex southernHarmonyHeadsMinor
2992 @funindex \funkHeadsMinor
2993 @funindex funkHeadsMinor
2994 @funindex \walkerHeadsMinor
2995 @funindex walkerHeadsMinor
2997 Shapes are typeset according to the step in the scale, where the base
2998 of the scale is determined by the @code{\key} command. When writing
2999 in a minor key, the scale step can be determined from the relative
3002 @lilypond[verbatim,quote,relative=2]
3005 a b c d e2 f g1 a \break
3007 a,4 b c d e2 f g1 a \break
3008 \sacredHarpHeadsMinor
3010 \southernHarmonyHeadsMinor
3022 @code{\aikenHeadsMinor},
3024 @code{\funkHeadsMinor},
3025 @code{\sacredHarpHeads},
3026 @code{\sacredHarpHeadsMinor},
3027 @code{\southernHarmonyHeads},
3028 @code{\southernHarmonyHeadsMinor},
3029 @code{\walkerHeads},
3030 @code{\walkerHeadsMinor}.
3036 @lilypondfile[verbatim,quote,texidoc,doctitle]
3037 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3039 To see all note head styles, see @ref{Note head styles}.
3046 @ref{Note head styles}.
3048 Internals Reference:
3049 @rinternals{note-event},
3050 @rinternals{Note_heads_engraver},
3051 @rinternals{NoteHead},
3052 @rinternals{note-head-interface}.
3056 @unnumberedsubsubsec Improvisation
3058 @cindex improvisation
3059 @cindex slashed note heads
3060 @cindex note heads, improvisation
3061 @cindex note heads, slashed
3063 @funindex \improvisationOn
3064 @funindex improvisationOn
3065 @funindex \improvisationOff
3066 @funindex improvisationOff
3068 Improvisation is sometimes denoted with slashed note heads, where
3069 the performer may choose any pitch but should play the specified
3070 rhythm. Such note heads can be created:
3072 @lilypond[verbatim,quote,relative=2]
3074 \consists "Pitch_squash_engraver"
3076 e8 e g a a16( bes) a8 g
3087 @code{\improvisationOn},
3088 @code{\improvisationOff}.
3095 Internals Reference:
3096 @rinternals{Pitch_squash_engraver},
3098 @rinternals{RhythmicStaff}.