1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
98 @node Relative octave entry
99 @unnumberedsubsubsec Relative octave entry
102 @cindex relative octave entry
103 @cindex octave entry, relative
104 @cindex relative octave specification
105 @cindex octave specification, relative
110 When octaves are specified in absolute mode it is easy to
111 accidentally put a pitch in the wrong octave. Relative octave
112 mode reduces these errors since most of the time it is not
113 necessary to indicate any octaves at all. Furthermore, in
114 absolute mode a single mistake may be difficult to spot, while in
115 relative mode a single error puts the rest of the piece off by one
119 \relative @var{startpitch} @var{musicexpr}
122 In relative mode, each note is assumed to be as close to the
123 previous note as possible. This means that the octave of each
124 pitch inside @code{@var{musicexpr}} is calculated as follows:
128 If no octave changing mark is used on a pitch, its octave is
129 calculated so that the interval with the previous note is less
130 than a fifth. This interval is determined without considering
134 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
135 added to respectively raise or lower a pitch by an extra octave,
136 relative to the pitch calculated without an octave mark.
139 Multiple octave changing marks can be used. For example,
140 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
144 The pitch of the first note is relative to
145 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
146 absolute octave mode, and it is recommended that it be a octave of
150 Here is the relative mode shown in action:
152 @lilypond[verbatim,quote]
161 Octave changing marks are used for intervals greater than a
164 @lilypond[verbatim,quote]
171 A note sequence without a single octave mark can nevertheless span
174 @lilypond[verbatim,quote]
181 When @code{\relative} blocks are nested, the innermost
182 @code{\relative} block applies.
184 @lilypond[verbatim,quote]
193 @code{\relative} has no effect on @code{\chordmode} blocks.
195 @lilypond[verbatim,quote]
204 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
206 Music inside a @code{\transpose} block is absolute unless a
207 @code{\relative} is included.
209 @lilypond[verbatim,quote]
222 @cindex chords and relative octave entry
223 @cindex relative octave entry and chords
225 If the preceding item is a chord, the first note of the chord is
226 used as the reference point for the octave placement of a
227 following note or chord. Inside chords, the next note is always
228 relative to the preceding one. Examine the next example
229 carefully, paying attention to the @code{c} notes.
231 @lilypond[verbatim,quote]
240 As explained above, the octave of pitches is calculated only with
241 the note names, regardless of any alterations. Therefore, an
242 E-double-sharp following a B will be placed higher, while an
243 F-double-flat will be placed lower. In other words, a
244 double-augmented fourth is considered a smaller interval than a
245 double-diminished fifth, regardless of the number of semitones
246 that each interval contains.
248 @lilypond[verbatim,quote]
257 One consequence of these rules is that the first note inside
258 @code{@w{\relative f}} music is interpreted just the same as
259 if it was written in absolute pitch mode.
274 @rinternals{RelativeOctaveMusic}.
276 @cindex relative octave entry and transposition
277 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
294 @unnumberedsubsubsec Accidentals
297 @cindex key signature
300 @c duplicated in Key signature and Accidentals
301 @warning{New users are sometimes confused about accidentals and
302 key signatures. In LilyPond, note names are the raw input; key
303 signatures and clefs determine how this raw input is displayed.
304 An unaltered note like@tie{}@code{c} means @q{C natural},
305 regardless of the key signature or clef. For more information,
306 see @rlearning{Accidentals and key signatures}.}
308 @cindex note names, Dutch
309 @cindex note names, default
310 @cindex default note names
314 @cindex sharp, double
318 @cindex natural pitch
320 A @notation{sharp} pitch is made by adding @code{is} to the note
321 name, and a @notation{flat} pitch by adding @code{es}. As you
322 might expect, a @notation{double sharp} or @notation{double flat}
323 is made by adding @code{isis} or @code{eses}. This syntax is
324 derived from Dutch note naming conventions. To use other names
325 for accidentals, see @ref{Note names in other languages}.
327 @lilypond[verbatim,quote,relative=2]
331 A natural will cancel the effect of an accidental or key
332 signature. However, naturals are not encoded into the note name
333 syntax with a suffix; a natural pitch is shown as a simple note
336 @lilypond[verbatim,quote,relative=2]
340 @cindex quarter tones
344 Quarter tones may be added; the following is a series of Cs with
347 @lilypond[verbatim,quote,relative=2]
348 ceseh1 ces ceh c cih cis cisih
353 @cindex accidental, reminder
354 @cindex accidental, cautionary
355 @cindex accidental, parenthesized
356 @cindex reminder accidental
357 @cindex cautionary accidental
358 @cindex parenthesized accidental
364 Normally accidentals are printed automatically, but you may also
365 print them manually. A reminder accidental can be forced by
366 adding an exclamation mark@tie{}@code{!} after the pitch. A
367 cautionary accidental (i.e., an accidental within parentheses) can
368 be obtained by adding the question mark@tie{}@code{?} after the
369 pitch. These extra accidentals can also be used to produce
372 @lilypond[verbatim,quote,relative=2]
373 cis cis cis! cis? c c c! c?
376 @cindex accidental on tied note
377 @cindex tied note, accidental
379 Accidentals on tied notes are only printed at the beginning of a
382 @lilypond[verbatim,quote,relative=2]
391 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
392 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
394 @lilypondfile[verbatim,quote,texidoc,doctitle]
395 {preventing-extra-naturals-from-being-automatically-added.ly}
401 @rglos{double sharp},
404 @rglos{quarter tone}.
407 @rlearning{Accidentals and key signatures}.
410 @ref{Automatic accidentals},
411 @ref{Annotational accidentals (musica ficta)},
412 @ref{Note names in other languages}.
418 @rinternals{Accidental_engraver},
419 @rinternals{Accidental},
420 @rinternals{AccidentalCautionary},
421 @rinternals{accidental-interface}.
423 @cindex accidental, quarter-tone
424 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
432 @node Note names in other languages
433 @unnumberedsubsubsec Note names in other languages
435 @cindex note names, other languages
436 @cindex pitch names, other languages
437 @cindex language, note names in other
438 @cindex language, pitch names in other
440 There are predefined sets of note and accidental names for various
441 other languages. Selecting the note name language is usually done
442 at the beginning of the file; the following example is written
443 using Italian note names:
445 @lilypond[quote,verbatim]
453 The available languages and the note names they define are:
456 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
459 @item @code{nederlands}
460 @tab c d e f g a bes b
462 @tab do re mi fa sol la sib si
466 @tab c d e f g a bf b
468 @tab do re mi fa sol la sib si
469 @item @code{italiano}
470 @tab do re mi fa sol la sib si
473 @item @code{portugues}
474 @tab do re mi fa sol la sib si
480 @tab do re mi fa sol la sib si
484 In addition to note names, accidental suffixes may
485 also vary depending on the language:
488 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @code{nederlands}
492 @tab -is @tab -es @tab -isis @tab -eses
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @code{italiano}
503 @tab -d @tab -b @tab -dd @tab -bb
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @code{portugues}
508 @tab -s @tab -b @tab -ss @tab -bb
510 @tab -is @tab -es @tab -isis @tab -eses
512 @tab -iss @tab -ess @tab -ississ @tab -essess
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The following table lists note names
538 for quarter-tone accidentals in various languages; here the prefixes
539 @notation{semi-} and @notation{sesqui-} respectively
540 mean @q{half} and @q{one and a half}. Languages that do not
541 appear in this table do not provide special note names yet.
544 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @code{nederlands}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @tab -ih @tab -eh @tab -isih @tab -eseh
553 @tab -qs @tab -qf @tab -tqs @tab -tqf
555 @tab -cs @tab -cb @tab -tcs @tab -tcb
556 @item @code{italiano}
557 @tab -sd @tab -sb @tab -dsd @tab -bsb
558 @item @code{portugues}
559 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
563 Most languages presented here are commonly associated with
564 Western classical music, also referred to as
565 @notation{Common Practice Period}. However, alternate
566 pitches and tuning systems are also supported: see
567 @ref{Common notation for non-Western music}.
572 @rglos{Common Practice Period}.
575 @ref{Common notation for non-Western music}.
578 @file{scm/define-note-names.scm}.
584 @node Changing multiple pitches
585 @subsection Changing multiple pitches
587 This section discusses how to modify pitches.
594 * Modal transformations::
598 @unnumberedsubsubsec Octave checks
600 @cindex octave correction
602 @cindex control pitch
605 @funindex \octaveCheck
606 @funindex octaveCheck
607 @funindex controlpitch
609 In relative mode, it is easy to forget an octave changing mark.
610 Octave checks make such errors easier to find by displaying a
611 warning and correcting the octave if a note is found in an
614 To check the octave of a note, specify the absolute octave after
615 the @code{=}@tie{}symbol. This example will generate a warning
616 (and change the pitch) because the second note is the absolute
617 octave @code{d''} instead of @code{d'} as indicated by the octave
620 @lilypond[verbatim,quote]
627 The octave of notes may also be checked with the
628 @code{\octaveCheck@tie{}@var{controlpitch}} command.
629 @code{@var{controlpitch}} is specified in absolute mode. This
630 checks that the interval between the previous note and the
631 @code{@var{controlpitch}} is within a fourth (i.e., the normal
632 calculation of relative mode). If this check fails, a warning is
633 printed, but the previous note is not changed. Future notes are
634 relative to the @code{@var{controlpitch}}.
636 @lilypond[verbatim,quote]
644 Compare the two bars below. The first and third @code{\octaveCheck}
645 checks fail, but the second one does not fail.
647 @lilypond[verbatim,quote]
666 @rinternals{RelativeOctaveCheck}.
670 @unnumberedsubsubsec Transpose
674 @cindex transposition
675 @cindex transposition of pitches
676 @cindex transposition of notes
677 @cindex pitches, transposition of
678 @cindex notes, transposition of
683 A music expression can be transposed with @code{\transpose}. The
687 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
691 This means that @code{@var{musicexpr}} is transposed by the
692 interval between the pitches @code{@var{frompitch}} and
693 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
694 is changed to @code{@var{topitch}} and any other note is
695 transposed by the same interval. Both pitches are entered in
698 @warning{Music inside a @code{@bs{}transpose} block is absolute
699 unless a @code{@bs{}relative} is included in the block.}
701 Consider a piece written in the key of D-major. It can be
702 transposed up to E-major; note that the key signature is
703 automatically transposed as well.
705 @lilypond[verbatim,quote]
714 @cindex transposing instruments
715 @cindex instruments, transposing
717 If a part written in C (normal @notation{concert pitch}) is to be
718 played on the A clarinet (for which an A is notated as a C and
719 thus sounds a minor third lower than notated), the appropriate
720 part will be produced with:
722 @lilypond[verbatim,quote]
732 Note that we specify @w{@code{\key c \major}} explicitly. If we
733 do not specify a key signature, the notes will be transposed but
734 no key signature will be printed.
736 @code{\transpose} distinguishes between enharmonic pitches: both
737 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
738 transpose up a semitone. The first version will print sharps and
739 the notes will remain on the same scale step, the second version
740 will print flats on the scale step above.
742 @lilypond[verbatim,quote]
743 music = \relative c' { c d e f }
745 \transpose c cis { \music }
746 \transpose c des { \music }
751 @code{\transpose} may also be used in a different way, to input
752 written notes for a transposing instrument. The previous examples
753 show how to enter pitches in C (or @notation{concert pitch}) and
754 typeset them for a transposing instrument, but the opposite is
755 also possible if you for example have a set of instrumental parts
756 and want to print a conductor's score. For example, when entering
757 music for a B-flat trumpet that begins on a notated E (concert D),
761 musicInBflat = @{ e4 @dots{} @}
762 \transpose c bes, \musicInBflat
766 To print this music in F (e.g., rearranging to a French horn) you
767 could wrap the existing music with another @code{\transpose}:
770 musicInBflat = @{ e4 @dots{} @}
771 \transpose f c' @{ \transpose c bes, \musicInBflat @}
775 For more information about transposing instruments,
776 see @ref{Instrument transpositions}.
781 @lilypondfile[verbatim,quote,texidoc,doctitle]
782 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
786 @ref{Instrument transpositions},
788 @ref{Modal transformations},
789 @ref{Relative octave entry},
796 @rinternals{TransposedMusic}.
806 The relative conversion will not affect @code{\transpose},
807 @code{\chordmode} or @code{\relative} sections in its argument. To use
808 relative mode within transposed music, an additional @code{\relative}
809 must be placed inside @code{\transpose}.
811 Triple accidentals will not be printed if using @code{\transpose}. An
812 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
813 rather than e-triple-flat).
817 @unnumberedsubsubsec Inversion
820 @cindex operation, inversion
823 A music expression can be inverted and transposed in a single
827 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
830 The @code{@var{musicexpr}} is inverted interval-by-interval around
831 @code{@var{around-pitch}}, and then transposed so that
832 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
834 @lilypond[verbatim,quote]
835 music = \relative c' { c d e f }
838 \inversion d' d' \music
839 \inversion d' ees' \music
843 @warning{Motifs to be inverted should be expressed in absolute form
844 or be first converted to absolute form by enclosing them in a
845 @code{\relative} block.}
849 @ref{Modal transformations},
855 @unnumberedsubsubsec Retrograde
857 @cindex retrograde transformation
858 @cindex transformation, retrograde
859 @cindex operation, retrograde
860 @funindex \retrograde
863 A music expression can be reversed to produce its retrograde:
865 @lilypond[verbatim,quote]
866 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
875 Manual ties inside @code{\retrograde} will be broken and
876 generate warnings. Some ties can be generated automatically
877 by enabling @ref{Automatic note splitting}.
882 @ref{Modal transformations},
886 @node Modal transformations
887 @unnumberedsubsubsec Modal transformations
889 @cindex modal transformations
890 @cindex transformations, modal
891 @cindex operations, modal
893 In a musical composition that is based on a scale, a motif is
894 frequently transformed in various ways. It may be
895 @notation{transposed} to start at different places in the scale or
896 it may be @notation{inverted} around a pivot point in the scale.
897 It may also be reversed to produce its @notation{retrograde}, see
900 @warning{Any note that does not lie within the given scale will be
903 @subsubsubheading Modal transposition
905 @cindex modal transposition
906 @cindex transposition, modal
907 @cindex operation, transposition
908 @funindex \modalTranspose
909 @funindex modalTranspose
911 A motif can be transposed within a given scale with:
914 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
917 The notes of @var{motif} are shifted within the @var{scale} by the
918 number of scale degrees given by the interval between @var{to-pitch}
919 and @var{from-pitch}:
921 @lilypond[verbatim,quote]
922 diatonicScale = \relative c' { c d e f g a b }
923 motif = \relative c' { c8 d e f g a b c }
927 \modalTranspose c f \diatonicScale \motif
928 \modalTranspose c b, \diatonicScale \motif
932 An ascending scale of any length and with any intervals may be
935 @lilypond[verbatim,quote]
936 pentatonicScale = \relative c' { ges aes bes des ees }
937 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
941 \modalTranspose ges ees' \pentatonicScale \motif
945 When used with a chromatic scale @code{\modalTranspose} has a
946 similar effect to @code{\transpose}, but with the ability to
947 specify the names of the notes to be used:
949 @lilypond[verbatim,quote]
950 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
951 motif = \relative c' { c8 d e f g a b c }
955 \transpose c f \motif
956 \modalTranspose c f \chromaticScale \motif
960 @subsubsubheading Modal inversion
962 @cindex modal inversion
963 @cindex inversion, modal
964 @cindex operation, modal inversion
965 @funindex \modalInversion
966 @funindex modalInversion
968 A motif can be inverted within a given scale around a given pivot
969 note and transposed in a single operation with:
972 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
975 The notes of @var{motif} are placed the same number of scale degrees
976 from the @var{around-pitch} note within the @var{scale}, but in the
977 opposite direction, and the result is then shifted within the
978 @var{scale} by the number of scale degrees given by the interval between
979 @var{to-pitch} and @var{around-pitch}.
981 So to simply invert around a note in the scale use the same value for
982 @var{around-pitch} and @var{to-pitch}:
984 @lilypond[verbatim,quote]
985 octatonicScale = \relative c' { ees f fis gis a b c d }
986 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
990 \modalInversion fis' fis' \octatonicScale \motif
994 To invert around a pivot between two notes in the scale, invert around
995 one of the notes and then transpose by one scale degree. The two notes
996 specified can be interpreted as bracketing the pivot point:
998 @lilypond[verbatim,quote]
999 scale = \relative c' { c g' }
1000 motive = \relative c' { c c g' c, }
1004 \modalInversion c' g' \scale \motive
1008 The combined operation of inversion and retrograde produce the
1009 retrograde-inversion:
1011 @lilypond[verbatim,quote]
1012 octatonicScale = \relative c' { ees f fis gis a b c d }
1013 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1017 \retrograde \modalInversion c' c' \octatonicScale \motif
1028 @node Displaying pitches
1029 @subsection Displaying pitches
1031 This section discusses how to alter the output of pitches.
1037 * Instrument transpositions::
1038 * Automatic accidentals::
1044 @unnumberedsubsubsec Clef
1055 @cindex soprano clef
1056 @cindex mezzosoprano clef
1057 @cindex baritone clef
1058 @cindex varbaritone clef
1059 @cindex subbass clef
1061 @cindex ancient clef
1062 @cindex clef, ancient
1066 @cindex clef, treble
1067 @cindex clef, violin
1071 @cindex clef, french
1072 @cindex clef, soprano
1073 @cindex clef, mezzosoprano
1074 @cindex clef, baritone
1075 @cindex clef, varbaritone
1076 @cindex clef, subbass
1082 The clef may be altered. Middle C is shown in every example. The
1083 following clef names can (but do not need to) be enclosed in quotes.
1085 @lilypond[verbatim,quote,relative=1]
1096 Other clefs include:
1098 @lilypond[verbatim,quote,relative=1]
1119 \clef G % synonym for treble
1121 \clef F % synonym for bass
1123 \clef C % synonym for alto
1127 @cindex transposing clef
1128 @cindex clef, transposing
1129 @cindex octave transposition
1130 @cindex choral tenor clef
1131 @cindex tenor clef, choral
1133 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1134 clef is transposed one octave down or up respectively,
1135 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1136 Other integers can be used if required. Clef names containing
1137 non-alphabetic characters must be enclosed in quotes
1139 @lilypond[verbatim,quote,relative=1]
1154 Some special purpose clefs are described in @ref{Mensural clefs},
1155 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1156 tablatures}. For mixing different clefs when using cue notes within a
1157 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1158 in @ref{Formatting cue notes}.
1162 @lilypondfile[verbatim,quote,texidoc,doctitle]
1163 {tweaking-clef-properties.ly}
1167 @ref{Mensural clefs},
1168 @ref{Gregorian clefs},
1169 @ref{Default tablatures},
1170 @ref{Custom tablatures},
1171 @ref{Formatting cue notes}.
1176 Internals Reference:
1177 @rinternals{Clef_engraver},
1179 @rinternals{OctavateEight},
1180 @rinternals{clef-interface}.
1183 Ottavation numbers attached to clefs are treated as separate grobs. So
1184 any @code{\override} done to the @var{Clef} will also need to be
1185 applied, as a separate @code{\override}, to the @var{OctavateEight}
1188 @lilypond[fragment,quote,relative=1]
1190 \override OctavateEight.color = #red
1191 \override Clef.color = #blue
1199 @unnumberedsubsubsec Key signature
1201 @cindex key signature
1206 @c duplicated in Key signature and Accidentals
1207 @warning{New users are sometimes confused about accidentals and
1208 key signatures. In LilyPond, note names are the raw input; key
1209 signatures and clefs determine how this raw input is displayed.
1210 An unaltered note like@tie{}@code{c} means @q{C natural},
1211 regardless of the key signature or clef. For more information,
1212 see @rlearning{Accidentals and key signatures}.}
1214 The key signature indicates the tonality in which a piece is
1215 played. It is denoted by a set of alterations (flats or sharps)
1216 at the start of the staff. The key signature may be altered:
1219 \key @var{pitch} @var{mode}
1232 @funindex \mixolydian
1233 @funindex mixolydian
1241 @cindex church modes
1254 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1255 to get a key signature of @code{@var{pitch}}-major or
1256 @code{@var{pitch}}-minor, respectively. You may also use the
1257 standard mode names, also called @notation{church modes}:
1258 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1259 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1261 @lilypond[verbatim,quote,relative=2]
1268 Additional modes can be defined, by listing the alterations
1269 for each scale step when the mode starts on C.
1271 @lilypond[verbatim,quote]
1272 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1273 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1276 \key c\freygish c4 des e f
1277 \bar "||" \key d\freygish d es fis g
1281 Accidentals in the key signature may be printed in octaves other
1282 than their traditional positions, or in multiple octaves, by
1283 using the @code{flat-positions} and @code{sharp-positions}
1284 properties of @code{KeySignature}. Entries in these properties
1285 specify the range of staff-positions where accidentals will be
1286 printed. If a single position is specified in an entry, the
1287 accidentals are placed within the octave ending at that staff
1290 @lilypond[verbatim, quote,relative=0]
1291 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1292 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1293 \clef bass \key es\major es g bes d
1294 \clef treble \bar "||" \key es\major es g bes d
1296 \override Staff.KeySignature.sharp-positions = #'(2)
1297 \bar "||" \key b\major b fis b2
1302 @lilypondfile[verbatim,quote,texidoc,doctitle]
1303 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1305 @lilypondfile[verbatim,quote,texidoc,doctitle]
1306 {non-traditional-key-signatures.ly}
1310 @rglos{church mode},
1314 @rlearning{Accidentals and key signatures}.
1319 Internals Reference:
1320 @rinternals{KeyChangeEvent},
1321 @rinternals{Key_engraver},
1322 @rinternals{Key_performer},
1323 @rinternals{KeyCancellation},
1324 @rinternals{KeySignature},
1325 @rinternals{key-signature-interface}.
1328 @node Ottava brackets
1329 @unnumberedsubsubsec Ottava brackets
1337 @funindex set-octavation
1341 @notation{Ottava brackets} introduce an extra transposition of an
1342 octave for the staff:
1344 @lilypond[verbatim,quote,relative=2]
1360 @lilypondfile[verbatim,quote,texidoc,doctitle]
1370 Internals Reference:
1371 @rinternals{Ottava_spanner_engraver},
1372 @rinternals{OttavaBracket},
1373 @rinternals{ottava-bracket-interface}.
1376 @node Instrument transpositions
1377 @unnumberedsubsubsec Instrument transpositions
1379 @cindex transposition, MIDI
1380 @cindex transposition, instrument
1381 @cindex transposing instrument
1383 @cindex MIDI transposition
1385 @funindex \transposition
1386 @funindex transposition
1388 When typesetting scores that involve transposing instruments, some
1389 parts can be typeset in a different pitch than the
1390 @notation{concert pitch}. In these cases, the key of the
1391 @notation{transposing instrument} should be specified; otherwise
1392 the MIDI output and cues in other parts will produce incorrect
1393 pitches. For more information about quotations, see
1394 @ref{Quoting other voices}.
1397 \transposition @var{pitch}
1400 The pitch to use for @code{\transposition} should correspond to
1401 the real sound heard when a@tie{}@code{c'} written on the staff is
1402 played by the transposing instrument. This pitch is entered in
1403 absolute mode, so an instrument that produces a real sound which
1404 is one tone higher than the printed music should use
1405 @w{@code{\transposition d'}}. @code{\transposition} should
1406 @emph{only} be used if the pitches are @emph{not} being entered in
1409 Here are a few notes for violin and B-flat clarinet where the
1410 parts have been entered using the notes and key as they appear in
1411 each part of the conductor's score. The two instruments are
1414 @lilypond[verbatim,quote]
1416 \new Staff = "violin" {
1418 \set Staff.instrumentName = #"Vln"
1419 \set Staff.midiInstrument = #"violin"
1420 % not strictly necessary, but a good reminder
1427 \new Staff = "clarinet" {
1429 \set Staff.instrumentName = \markup { Cl (B\flat) }
1430 \set Staff.midiInstrument = #"clarinet"
1440 The @code{\transposition} may be changed during a piece. For
1441 example, a clarinetist may switch from an A clarinet to a B-flat
1444 @lilypond[verbatim,quote,relative=2]
1445 \set Staff.instrumentName = #"Cl (A)"
1450 <>^\markup { Switch to B\flat clarinet }
1460 @rglos{concert pitch},
1461 @rglos{transposing instrument}.
1464 @ref{Quoting other voices},
1471 @node Automatic accidentals
1472 @unnumberedsubsubsec Automatic accidentals
1474 @cindex accidental style
1475 @cindex accidental style, default
1477 @cindex accidentals, automatic
1478 @cindex automatic accidentals
1479 @cindex default accidental style
1481 @funindex \accidentalStyle
1485 There are many different conventions on how to typeset
1486 accidentals. LilyPond provides a function to specify which
1487 accidental style to use. This function is called as follows:
1491 \accidentalStyle voice
1496 The accidental style applies to the current @code{Staff} by
1497 default (with the exception of the styles @code{piano} and
1498 @code{piano-cautionary}, which are explained below). Optionally,
1499 the function can take a second argument that determines in which
1500 scope the style should be changed. For example, to use the same
1501 style in all staves of the current @code{StaffGroup}, use:
1504 \accidentalStyle StaffGroup.voice
1507 The following accidental styles are supported. To demonstrate
1508 each style, we use the following example:
1511 @lilypond[verbatim,quote]
1515 cis'8 fis, bes4 <a cis>8 f bis4 |
1529 \voiceTwo \relative c' {
1530 <fis, a cis>8[ <fis a cis>
1533 \change Staff = down
1538 \change Staff = down
1539 <fis, a cis>4 gis <f a d>2 |
1546 \context Staff = "up" {
1547 \accidentalStyle default
1550 \context Staff = "down" {
1551 \accidentalStyle default
1558 Note that the last lines of this example can be replaced by the
1559 following, as long as the same accidental style should be used in
1565 \context Staff = "up" @{
1566 %%% change the next line as desired:
1567 \accidentalStyle Score.default
1570 \context Staff = "down" @{
1578 @c don't use verbatim in this table.
1582 @cindex default accidental style
1583 @cindex accidental style, default
1587 This is the default typesetting behavior. It corresponds to
1588 eighteenth-century common practice: accidentals are remembered to
1589 the end of the measure in which they occur and only in their own
1590 octave. Thus, in the example below, no natural signs are printed
1591 before the@tie{}@code{b} in the second measure or the
1598 cis'8 fis, bes4 <a cis>8 f bis4 |
1612 \voiceTwo \relative c' {
1613 <fis, a cis>8[ <fis a cis>
1616 \change Staff = down
1621 \change Staff = down
1622 <fis, a cis>4 gis <f a d>2 |
1629 \context Staff = "up" {
1630 \accidentalStyle default
1633 \context Staff = "down" {
1634 \accidentalStyle default
1643 @cindex accidental style, voice
1644 @cindex voice accidental style
1645 @cindex accidental style, modern
1646 @cindex modern accidental style
1647 @cindex accidental style, modern-cautionary
1648 @cindex modern-cautionary accidental style
1652 The normal behavior is to remember the accidentals at
1653 @code{Staff}-level. In this style, however, accidentals are
1654 typeset individually for each voice. Apart from that, the rule is
1655 similar to @code{default}.
1657 As a result, accidentals from one voice do not get canceled in
1658 other voices, which is often an unwanted result: in the following
1659 example, it is hard to determine whether the second@tie{}@code{a}
1660 should be played natural or sharp. The @code{voice} option should
1661 therefore be used only if the voices are to be read solely by
1662 individual musicians. If the staff is to be used by one musician
1663 (e.g., a conductor or in a piano score) then @code{modern} or
1664 @code{modern-cautionary} should be used instead.
1671 cis'8 fis, bes4 <a cis>8 f bis4 |
1685 \voiceTwo \relative c' {
1686 <fis, a cis>8[ <fis a cis>
1689 \change Staff = down
1694 \change Staff = down
1695 <fis, a cis>4 gis <f a d>2 |
1702 \context Staff = "up" {
1703 \accidentalStyle voice
1706 \context Staff = "down" {
1707 \accidentalStyle voice
1716 @cindex accidentals, modern style
1717 @cindex modern style accidentals
1721 This rule corresponds to the common practice in the twentieth
1722 century. It omits some extra natural signs, which were
1723 traditionally prefixed to a sharp following a double sharp,
1724 or a flat following a double flat. The @code{modern} rule
1725 prints the same accidentals as @code{default}, with
1726 two additions that serve to avoid ambiguity: after temporary
1727 accidentals, cancellation marks are printed also in the following
1728 measure (for notes in the same octave) and, in the same measure,
1729 for notes in other octaves. Hence the naturals before
1730 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1737 cis'8 fis, bes4 <a cis>8 f bis4 |
1751 \voiceTwo \relative c' {
1752 <fis, a cis>8[ <fis a cis>
1755 \change Staff = down
1760 \change Staff = down
1761 <fis, a cis>4 gis <f a d>2 |
1768 \context Staff = "up" {
1769 \accidentalStyle modern
1772 \context Staff = "down" {
1773 \accidentalStyle modern
1780 @item modern-cautionary
1782 @cindex accidentals, modern cautionary style
1783 @cindex modern accidental style
1784 @cindex modern cautionary accidental style
1785 @cindex modern style accidentals
1786 @cindex modern style cautionary accidentals
1788 @funindex modern-cautionary
1790 This rule is similar to @code{modern}, but the @q{extra}
1791 accidentals (the ones not typeset by @code{default}) are typeset
1792 as cautionary accidentals. They are by default printed with
1793 parentheses, but they can also be printed in reduced size by
1794 defining the @code{cautionary-style} property of
1795 @code{AccidentalSuggestion}.
1801 cis'8 fis, bes4 <a cis>8 f bis4 |
1815 \voiceTwo \relative c' {
1816 <fis, a cis>8[ <fis a cis>
1819 \change Staff = down
1824 \change Staff = down
1825 <fis, a cis>4 gis <f a d>2 |
1832 \context Staff = "up" {
1833 \accidentalStyle modern-cautionary
1836 \context Staff = "down" {
1837 \accidentalStyle modern-cautionary
1846 @cindex accidental style, modern
1847 @cindex accidentals, modern
1848 @cindex accidentals, multivoice
1849 @cindex modern accidental style
1850 @cindex modern accidentals
1851 @cindex multivoice accidentals
1853 @funindex modern-voice
1855 This rule is used for multivoice accidentals to be read both by
1856 musicians playing one voice and musicians playing all voices.
1857 Accidentals are typeset for each voice, but they @emph{are}
1858 canceled across voices in the same @code{Staff}. Hence,
1859 the@tie{}@code{a} in the last measure is canceled because the
1860 previous cancellation was in a different voice, and
1861 the@tie{}@code{d} in the lower staff is canceled because of the
1862 accidental in a different voice in the previous measure:
1868 cis'8 fis, bes4 <a cis>8 f bis4 |
1882 \voiceTwo \relative c' {
1883 <fis, a cis>8[ <fis a cis>
1886 \change Staff = down
1891 \change Staff = down
1892 <fis, a cis>4 gis <f a d>2 |
1899 \context Staff = "up" {
1900 \accidentalStyle modern-voice
1903 \context Staff = "down" {
1904 \accidentalStyle modern-voice
1911 @cindex accidental style, cautionary, modern voice
1912 @cindex accidental style, modern voice cautionary
1913 @cindex accidental style, voice, modern cautionary
1915 @funindex modern-voice-cautionary
1917 @item modern-voice-cautionary
1919 This rule is the same as @code{modern-voice}, but with the extra
1920 accidentals (the ones not typeset by @code{voice}) typeset as
1921 cautionaries. Even though all accidentals typeset by
1922 @code{default} @emph{are} typeset with this rule, some of them are
1923 typeset as cautionaries.
1929 cis'8 fis, bes4 <a cis>8 f bis4 |
1943 \voiceTwo \relative c' {
1944 <fis, a cis>8[ <fis a cis>
1947 \change Staff = down
1952 \change Staff = down
1953 <fis, a cis>4 gis <f a d>2 |
1960 \context Staff = "up" {
1961 \accidentalStyle modern-voice-cautionary
1964 \context Staff = "down" {
1965 \accidentalStyle modern-voice-cautionary
1974 @cindex accidental style, piano
1975 @cindex accidentals, piano
1976 @cindex piano accidental style
1977 @cindex piano accidentals
1981 This rule reflects twentieth-century practice for piano notation.
1982 Its behavior is very similar to @code{modern} style, but here
1983 accidentals also get canceled across the staves in the same
1984 @code{GrandStaff} or @code{PianoStaff}, hence all the
1985 cancellations of the final notes.
1987 This accidental style applies to the current @code{GrandStaff} or
1988 @code{PianoStaff} by default.
1994 cis'8 fis, bes4 <a cis>8 f bis4 |
2008 \voiceTwo \relative c' {
2009 <fis, a cis>8[ <fis a cis>
2012 \change Staff = down
2017 \change Staff = down
2018 <fis, a cis>4 gis <f a d>2 |
2025 \context Staff = "up" {
2026 \accidentalStyle piano
2029 \context Staff = "down" {
2036 @item piano-cautionary
2038 @cindex accidentals, piano cautionary
2039 @cindex cautionary accidentals, piano
2040 @cindex piano cautionary accidentals
2041 @cindex accidental style, piano cautionary
2042 @cindex cautionary accidental style, piano
2043 @cindex piano cautionary accidental style
2045 @funindex piano-cautionary
2047 This is the same as @code{piano} but with the extra accidentals
2048 typeset as cautionaries.
2054 cis'8 fis, bes4 <a cis>8 f bis4 |
2068 \voiceTwo \relative c' {
2069 <fis, a cis>8[ <fis a cis>
2072 \change Staff = down
2077 \change Staff = down
2078 <fis, a cis>4 gis <f a d>2 |
2085 \context Staff = "up" {
2086 \accidentalStyle piano-cautionary
2089 \context Staff = "down" {
2099 @cindex neo-modern accidental style
2100 @cindex accidental style, neo-modern
2102 @funindex neo-modern
2104 This rule reproduces a common practice in contemporary music:
2105 accidentals are printed like with @code{modern}, but they are printed
2106 again if the same note appears later in the same measure -- except
2107 if the note is immediately repeated.
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 neo-modern
2148 \context Staff = "down" {
2149 \accidentalStyle neo-modern
2156 @item neo-modern-cautionary
2158 @cindex neo-modern-cautionary accidental style
2159 @cindex accidental style, neo-modern-cautionary
2161 @funindex neo-modern-cautionary
2163 This rule is similar to @code{neo-modern}, but the extra
2164 accidentals are printed as cautionary accidentals.
2170 cis'8 fis, bes4 <a cis>8 f bis4 |
2184 \voiceTwo \relative c' {
2185 <fis, a cis>8[ <fis a cis>
2188 \change Staff = down
2193 \change Staff = down
2194 <fis, a cis>4 gis <f a d>2 |
2201 \context Staff = "up" {
2202 \accidentalStyle neo-modern-cautionary
2205 \context Staff = "down" {
2206 \accidentalStyle neo-modern-cautionary
2214 @item neo-modern-voice
2216 @cindex neo-modern-voice accidental style
2217 @cindex accidental style, neo-modern-voice
2219 @funindex neo-modern-voice
2221 This rule is used for multivoice accidentals to be read both by
2222 musicians playing one voice and musicians playing all voices.
2223 Accidentals are typeset for each voice as with @code{neo-modern},
2224 but they are canceled across voices in the same @code{Staff}.
2230 cis'8 fis, bes4 <a cis>8 f bis4 |
2244 \voiceTwo \relative c' {
2245 <fis, a cis>8[ <fis a cis>
2248 \change Staff = down
2253 \change Staff = down
2254 <fis, a cis>4 gis <f a d>2 |
2261 \context Staff = "up" {
2262 \accidentalStyle neo-modern-voice
2265 \context Staff = "down" {
2266 \accidentalStyle neo-modern-voice
2273 @item neo-modern-voice-cautionary
2275 @cindex neo-modern-voice-cautionary accidental style
2276 @cindex accidental style, neo-modern-voice-cautionary
2278 @funindex neo-modern-voice-cautionary
2280 This rule is similar to @code{neo-modern-voice}, but the extra
2281 accidentals are printed as cautionary accidentals.
2287 cis'8 fis, bes4 <a cis>8 f bis4 |
2301 \voiceTwo \relative c' {
2302 <fis, a cis>8[ <fis a cis>
2305 \change Staff = down
2310 \change Staff = down
2311 <fis, a cis>4 gis <f a d>2 |
2318 \context Staff = "up" {
2319 \accidentalStyle neo-modern-voice-cautionary
2322 \context Staff = "down" {
2323 \accidentalStyle neo-modern-voice-cautionary
2332 @cindex dodecaphonic accidental style
2333 @cindex dodecaphonic style, neo-modern
2335 @funindex dodecaphonic
2337 This rule reflects a practice introduced by composers at
2338 the beginning of the 20th century, in an attempt to
2339 abolish the hierarchy between natural and non-natural notes.
2340 With this style, @emph{every} note gets an accidental sign,
2341 including natural signs.
2347 cis'8 fis, bes4 <a cis>8 f bis4 |
2361 \voiceTwo \relative c' {
2362 <fis, a cis>8[ <fis a cis>
2365 \change Staff = down
2370 \change Staff = down
2371 <fis, a cis>4 gis <f a d>2 |
2378 \context Staff = "up" {
2379 \accidentalStyle dodecaphonic
2382 \context Staff = "down" {
2383 \accidentalStyle dodecaphonic
2393 @cindex teaching accidental style
2394 @cindex accidental style, teaching
2398 This rule is intended for students, and makes it easy to create
2399 scale sheets with automatically created cautionary accidentals.
2400 Accidentals are printed like with @code{modern}, but cautionary
2401 accidentals are added for all sharp or flat tones specified by the
2402 key signature, except if the note is immediately repeated.
2404 @lilypond[quote,staffsize=18]
2408 cis'8 fis, bes4 <a cis>8 f bis4 |
2422 \voiceTwo \relative c' {
2423 <fis, a cis>8[ <fis a cis>
2426 \change Staff = down
2431 \change Staff = down
2432 <fis, a cis>4 gis <f a d>2 |
2439 \context Staff = "up" {
2441 \accidentalStyle teaching
2444 \context Staff = "down" {
2446 \accidentalStyle teaching
2457 @cindex accidental style, no reset
2458 @cindex no reset accidental style
2462 This is the same as @code{default} but with accidentals lasting
2463 @q{forever} and not only within the same measure:
2469 cis'8 fis, bes4 <a cis>8 f bis4 |
2483 \voiceTwo \relative c' {
2484 <fis, a cis>8[ <fis a cis>
2487 \change Staff = down
2492 \change Staff = down
2493 <fis, a cis>4 gis <f a d>2 |
2500 \context Staff = "up" {
2501 \accidentalStyle no-reset
2504 \context Staff = "down" {
2505 \accidentalStyle no-reset
2514 @cindex forget accidental style
2515 @cindex accidental style, forget
2519 This is the opposite of @code{no-reset}: Accidentals are not
2520 remembered at all -- and hence all accidentals are typeset
2521 relative to the key signature, regardless of what came before in
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 forget
2563 \context Staff = "down" {
2564 \accidentalStyle forget
2576 Internals Reference:
2577 @rinternals{Accidental},
2578 @rinternals{Accidental_engraver},
2579 @rinternals{GrandStaff},
2580 @rinternals{PianoStaff},
2582 @rinternals{AccidentalSuggestion},
2583 @rinternals{AccidentalPlacement},
2584 @rinternals{accidental-suggestion-interface}.
2586 @cindex accidentals and simultaneous notes
2587 @cindex simultaneous notes and accidentals
2588 @cindex accidentals in chords
2589 @cindex chords, accidentals in
2592 Simultaneous notes are not considered in the automatic
2593 determination of accidentals; only previous notes and the key
2594 signature are considered. Forcing accidentals with@tie{}@code{!}
2595 or@tie{}@code{?} may be required when the same note name occurs
2596 simultaneously with different alterations, as in @samp{<f! fis!>}.
2598 Cautionary cancellation of accidentals is done by looking at previous measure.
2599 However, in the @code{\alternative} block following a @code{\repeat volta N}
2600 section, one would expect the cancellation being calculated using the previous
2601 @emph{played} measure, not previous @emph{printed} measure.
2602 In the following example, the natural @code{c} in the second alternative does
2603 not need a natural sign:
2607 \accidentalStyle modern
2619 The following work-around can be used: define a function that locally changes
2620 the accidental style to @code{forget}:
2622 @lilypond[verbatim,quote]
2623 forget = #(define-music-function (parser location music) (ly:music?) #{
2624 \accidentalStyle forget
2626 \accidentalStyle modern
2629 \accidentalStyle modern
2643 @unnumberedsubsubsec Ambitus
2646 @cindex range of pitches
2649 The term @notation{ambitus} (pl. ambitus) denotes a range of
2650 pitches for a given voice in a part of music. It may also denote
2651 the pitch range that a musical instrument is capable of playing.
2652 Ambitus are printed on vocal parts so that performers can easily
2653 determine if it matches their capabilities.
2655 Ambitus are denoted at the beginning of a piece near the initial
2656 clef. The range is graphically specified by two note heads that
2657 represent the lowest and highest pitches. Accidentals are only
2658 printed if they are not part of the key signature.
2660 @lilypond[verbatim,quote]
2664 \consists "Ambitus_engraver"
2677 @lilypondfile[verbatim,quote,texidoc,doctitle]
2678 {adding-ambitus-per-voice.ly}
2680 @lilypondfile[verbatim,quote,texidoc,doctitle]
2681 {ambitus-with-multiple-voices.ly}
2683 @lilypondfile[verbatim,quote,texidoc,doctitle]
2684 {changing-the-ambitus-gap.ly}
2693 Internals Reference:
2694 @rinternals{Ambitus_engraver},
2697 @rinternals{Ambitus},
2698 @rinternals{AmbitusAccidental},
2699 @rinternals{AmbitusLine},
2700 @rinternals{AmbitusNoteHead},
2701 @rinternals{ambitus-interface}.
2704 There is no collision handling in the case of multiple per-voice
2709 @subsection Note heads
2711 This section suggests ways of altering note heads.
2714 * Special note heads::
2715 * Easy notation note heads::
2716 * Shape note heads::
2720 @node Special note heads
2721 @unnumberedsubsubsec Special note heads
2723 @cindex note heads, special
2724 @cindex note heads, cross
2725 @cindex note heads, diamond
2726 @cindex note heads, parlato
2727 @cindex note heads, harmonic
2728 @cindex note heads, guitar
2729 @cindex special note heads
2730 @cindex cross note heads
2731 @cindex diamond note heads
2732 @cindex parlato note heads
2733 @cindex harmonic note heads
2734 @cindex guitar note heads
2735 @cindex note head styles
2736 @cindex styles, note heads
2740 The appearance of note heads may be altered:
2742 @lilypond[verbatim,quote,relative=2]
2744 \override NoteHead.style = #'cross
2746 \revert NoteHead.style
2748 \override NoteHead.style = #'harmonic
2750 \revert NoteHead.style
2754 To see all note head styles, see @ref{Note head styles}.
2756 The @code{cross} style is used to represent a variety of musical
2757 intentions. The following generic predefined commands modify the
2758 note head in both staff and tablature contexts and can be used to
2759 represent any musical meaning:
2761 @lilypond[verbatim,quote,relative=2]
2769 The music function form of this predefined command may be used
2770 inside and outside chords to generate crossed note heads in both
2771 staff and tablature contexts:
2773 @lilypond[verbatim,quote,relative=2]
2776 c b < g \xNote c f > b
2779 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2780 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2781 be used. The term @notation{dead note} is commonly used by guitarists.
2783 There is also a shorthand for diamond shapes which can be used
2786 @lilypond[verbatim,quote,relative=2]
2787 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2802 @ref{Note head styles},
2803 @ref{Chorded notes},
2804 @ref{Indicating harmonics and dampened notes}.
2806 Internals Reference:
2807 @rinternals{note-event},
2808 @rinternals{Note_heads_engraver},
2809 @rinternals{Ledger_line_engraver},
2810 @rinternals{NoteHead},
2811 @rinternals{LedgerLineSpanner},
2812 @rinternals{note-head-interface},
2813 @rinternals{ledger-line-spanner-interface}.
2816 @node Easy notation note heads
2817 @unnumberedsubsubsec Easy notation note heads
2819 @cindex note heads, practice
2820 @cindex practice note heads
2821 @cindex note heads, easy notation
2822 @cindex easy notation
2823 @cindex beginners' music
2824 @cindex music, beginners'
2825 @cindex easy play note heads
2826 @cindex note heads, easy play
2828 @funindex \easyHeadsOn
2829 @funindex easyHeadsOn
2830 @funindex \easyHeadsOff
2831 @funindex easyHeadsOff
2833 The @q{easy play} note head includes a note name inside the head.
2834 It is used in music for beginners. To make the letters readable,
2835 it should be printed in a large font size. To print with a larger
2836 font, see @ref{Setting the staff size}.
2838 @lilypond[verbatim,quote]
2839 #(set-global-staff-size 26)
2851 @code{\easyHeadsOn},
2852 @code{\easyHeadsOff}.
2858 @lilypondfile[verbatim,quote,texidoc,doctitle]
2859 {numbers-as-easy-note-heads.ly}
2863 @ref{Setting the staff size}.
2868 Internals Reference:
2869 @rinternals{note-event},
2870 @rinternals{Note_heads_engraver},
2871 @rinternals{NoteHead},
2872 @rinternals{note-head-interface}.
2875 @node Shape note heads
2876 @unnumberedsubsubsec Shape note heads
2878 @cindex note heads, shape
2879 @cindex note heads, Aiken
2880 @cindex note heads, sacred harp
2882 @cindex Aiken shape note heads
2883 @cindex sacred harp note heads
2884 @cindex note heads, Southern Harmony
2885 @cindex Southern Harmony note heads
2886 @cindex Funk shape note heads
2887 @cindex note heads, Funk
2888 @cindex note heads, Harmonica Sacra
2889 @cindex Harmonica Sacra note heads
2890 @cindex Christian Harmony note heads
2891 @cindex note heads, Christian Harmony
2892 @cindex Walker shape note heads
2893 @cindex note heads, Walker
2895 @funindex \aikenHeads
2896 @funindex aikenHeads
2897 @funindex \sacredHarpHeads
2898 @funindex sacredHarpHeads
2899 @funindex \southernHarmonyHeads
2900 @funindex southernHarmonyHeads
2901 @funindex \funkHeads
2903 @funindex \walkerHeads
2904 @funindex walkerHeads
2906 In shape note head notation, the shape of the note head
2907 corresponds to the harmonic function of a note in the scale. This
2908 notation was popular in nineteenth-century American song books.
2909 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2910 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2912 @lilypond[verbatim,quote,relative=2]
2914 c, d e f g2 a b1 c \break
2916 c,4 d e f g2 a b1 c \break
2917 \southernHarmonyHeads
2918 c,4 d e f g2 a b1 c \break
2920 c,4 d e f g2 a b1 c \break
2922 c,4 d e f g2 a b1 c \break
2927 @funindex \aikenHeadsMinor
2928 @funindex aikenHeadsMinor
2929 @funindex \sacredHarpHeadsMinor
2930 @funindex sacredHarpHeadsMinor
2931 @funindex \southernHarmonyHeadsMinor
2932 @funindex southernHarmonyHeadsMinor
2933 @funindex \funkHeadsMinor
2934 @funindex funkHeadsMinor
2935 @funindex \walkerHeadsMinor
2936 @funindex walkerHeadsMinor
2938 Shapes are typeset according to the step in the scale, where the base
2939 of the scale is determined by the @code{\key} command. When writing
2940 in a minor key, the scale step can be determined from the relative
2943 @lilypond[verbatim,quote,relative=2]
2946 a b c d e2 f g1 a \break
2948 a,4 b c d e2 f g1 a \break
2949 \sacredHarpHeadsMinor
2951 \southernHarmonyHeadsMinor
2963 @code{\aikenHeadsMinor},
2965 @code{\funkHeadsMinor},
2966 @code{\sacredHarpHeads},
2967 @code{\sacredHarpHeadsMinor},
2968 @code{\southernHarmonyHeads},
2969 @code{\southernHarmonyHeadsMinor},
2970 @code{\walkerHeads},
2971 @code{\walkerHeadsMinor}.
2977 @lilypondfile[verbatim,quote,texidoc,doctitle]
2978 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2980 To see all note head styles, see @ref{Note head styles}.
2987 @ref{Note head styles}.
2989 Internals Reference:
2990 @rinternals{note-event},
2991 @rinternals{Note_heads_engraver},
2992 @rinternals{NoteHead},
2993 @rinternals{note-head-interface}.
2997 @unnumberedsubsubsec Improvisation
2999 @cindex improvisation
3000 @cindex slashed note heads
3001 @cindex note heads, improvisation
3002 @cindex note heads, slashed
3004 @funindex \improvisationOn
3005 @funindex improvisationOn
3006 @funindex \improvisationOff
3007 @funindex improvisationOff
3009 Improvisation is sometimes denoted with slashed note heads, where
3010 the performer may choose any pitch but should play the specified
3011 rhythm. Such note heads can be created:
3013 @lilypond[verbatim,quote,relative=2]
3015 \consists "Pitch_squash_engraver"
3017 e8 e g a a16( bes) a8 g
3028 @code{\improvisationOn},
3029 @code{\improvisationOff}.
3036 Internals Reference:
3037 @rinternals{Pitch_squash_engraver},
3039 @rinternals{RhythmicStaff}.