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'
7 Guide, node Updating translation committishes..
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 @subsubheading 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 @subsubheading 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}.
1184 @unnumberedsubsubsec Key signature
1186 @cindex key signature
1191 @c duplicated in Key signature and Accidentals
1192 @warning{New users are sometimes confused about accidentals and
1193 key signatures. In LilyPond, note names are the raw input; key
1194 signatures and clefs determine how this raw input is displayed.
1195 An unaltered note like@tie{}@code{c} means @q{C natural},
1196 regardless of the key signature or clef. For more information,
1197 see @rlearning{Accidentals and key signatures}.}
1199 The key signature indicates the tonality in which a piece is
1200 played. It is denoted by a set of alterations (flats or sharps)
1201 at the start of the staff. The key signature may be altered:
1204 \key @var{pitch} @var{mode}
1217 @funindex \mixolydian
1218 @funindex mixolydian
1226 @cindex church modes
1239 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1240 to get a key signature of @code{@var{pitch}}-major or
1241 @code{@var{pitch}}-minor, respectively. You may also use the
1242 standard mode names, also called @notation{church modes}:
1243 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1244 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1246 @lilypond[verbatim,quote,relative=2]
1256 @lilypondfile[verbatim,quote,texidoc,doctitle]
1257 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1259 @lilypondfile[verbatim,quote,texidoc,doctitle]
1260 {non-traditional-key-signatures.ly}
1264 @rglos{church mode},
1268 @rlearning{Accidentals and key signatures}.
1273 Internals Reference:
1274 @rinternals{KeyChangeEvent},
1275 @rinternals{Key_engraver},
1276 @rinternals{Key_performer},
1277 @rinternals{KeyCancellation},
1278 @rinternals{KeySignature},
1279 @rinternals{key-cancellation-interface},
1280 @rinternals{key-signature-interface}.
1283 @node Ottava brackets
1284 @unnumberedsubsubsec Ottava brackets
1292 @funindex set-octavation
1296 @notation{Ottava brackets} introduce an extra transposition of an
1297 octave for the staff:
1299 @lilypond[verbatim,quote,relative=2]
1315 @lilypondfile[verbatim,quote,texidoc,doctitle]
1325 Internals Reference:
1326 @rinternals{Ottava_spanner_engraver},
1327 @rinternals{OttavaBracket},
1328 @rinternals{ottava-bracket-interface}.
1331 @node Instrument transpositions
1332 @unnumberedsubsubsec Instrument transpositions
1334 @cindex transposition, MIDI
1335 @cindex transposition, instrument
1336 @cindex transposing instrument
1338 @cindex MIDI transposition
1340 @funindex \transposition
1341 @funindex transposition
1343 When typesetting scores that involve transposing instruments, some
1344 parts can be typeset in a different pitch than the
1345 @notation{concert pitch}. In these cases, the key of the
1346 @notation{transposing instrument} should be specified; otherwise
1347 the MIDI output and cues in other parts will produce incorrect
1348 pitches. For more information about quotations, see
1349 @ref{Quoting other voices}.
1352 \transposition @var{pitch}
1355 The pitch to use for @code{\transposition} should correspond to
1356 the real sound heard when a@tie{}@code{c'} written on the staff is
1357 played by the transposing instrument. This pitch is entered in
1358 absolute mode, so an instrument that produces a real sound which
1359 is one tone higher than the printed music should use
1360 @w{@code{\transposition d'}}. @code{\transposition} should
1361 @emph{only} be used if the pitches are @emph{not} being entered in
1364 Here are a few notes for violin and B-flat clarinet where the
1365 parts have been entered using the notes and key as they appear in
1366 each part of the conductor's score. The two instruments are
1369 @lilypond[verbatim,quote]
1371 \new Staff = "violin" {
1373 \set Staff.instrumentName = #"Vln"
1374 \set Staff.midiInstrument = #"violin"
1375 % not strictly necessary, but a good reminder
1382 \new Staff = "clarinet" {
1384 \set Staff.instrumentName = \markup { Cl (B\flat) }
1385 \set Staff.midiInstrument = #"clarinet"
1395 The @code{\transposition} may be changed during a piece. For
1396 example, a clarinetist may switch from an A clarinet to a B-flat
1399 @lilypond[verbatim,quote,relative=2]
1400 \set Staff.instrumentName = #"Cl (A)"
1405 <>^\markup { Switch to B\flat clarinet }
1415 @rglos{concert pitch},
1416 @rglos{transposing instrument}.
1419 @ref{Quoting other voices},
1426 @node Automatic accidentals
1427 @unnumberedsubsubsec Automatic accidentals
1429 @cindex accidental style
1430 @cindex accidental style, default
1432 @cindex accidentals, automatic
1433 @cindex automatic accidentals
1434 @cindex default accidental style
1436 @funindex \accidentalStyle
1440 There are many different conventions on how to typeset
1441 accidentals. LilyPond provides a function to specify which
1442 accidental style to use. This function is called as follows:
1446 \accidentalStyle "voice"
1451 The accidental style applies to the current @code{Staff} by
1452 default (with the exception of the styles @code{piano} and
1453 @code{piano-cautionary}, which are explained below). Optionally,
1454 the function can take a second argument that determines in which
1455 scope the style should be changed. For example, to use the same
1456 style in all staves of the current @code{StaffGroup}, use:
1459 \accidentalStyle #'StaffGroup "voice"
1462 The following accidental styles are supported. To demonstrate
1463 each style, we use the following example:
1466 @lilypond[verbatim,quote]
1470 cis'8 fis, bes4 <a cis>8 f bis4 |
1484 \voiceTwo \relative c' {
1485 <fis, a cis>8[ <fis a cis>
1488 \change Staff = down
1493 \change Staff = down
1494 <fis, a cis>4 gis <f a d>2 |
1501 \context Staff = "up" {
1502 \accidentalStyle "default"
1505 \context Staff = "down" {
1506 \accidentalStyle "default"
1513 Note that the last lines of this example can be replaced by the
1514 following, as long as the same accidental style should be used in
1520 \context Staff = "up" @{
1521 %%% change the next line as desired:
1522 \accidentalStyle #'Score "default"
1525 \context Staff = "down" @{
1533 @c don't use verbatim in this table.
1537 @cindex default accidental style
1538 @cindex accidental style, default
1542 This is the default typesetting behavior. It corresponds to
1543 eighteenth-century common practice: accidentals are remembered to
1544 the end of the measure in which they occur and only in their own
1545 octave. Thus, in the example below, no natural signs are printed
1546 before the@tie{}@code{b} in the second measure or the
1553 cis'8 fis, bes4 <a cis>8 f bis4 |
1567 \voiceTwo \relative c' {
1568 <fis, a cis>8[ <fis a cis>
1571 \change Staff = down
1576 \change Staff = down
1577 <fis, a cis>4 gis <f a d>2 |
1584 \context Staff = "up" {
1585 \accidentalStyle "default"
1588 \context Staff = "down" {
1589 \accidentalStyle "default"
1598 @cindex accidental style, voice
1599 @cindex voice accidental style
1600 @cindex accidental style, modern
1601 @cindex modern accidental style
1602 @cindex accidental style, modern-cautionary
1603 @cindex modern-cautionary accidental style
1607 The normal behavior is to remember the accidentals at
1608 @code{Staff}-level. In this style, however, accidentals are
1609 typeset individually for each voice. Apart from that, the rule is
1610 similar to @code{default}.
1612 As a result, accidentals from one voice do not get canceled in
1613 other voices, which is often an unwanted result: in the following
1614 example, it is hard to determine whether the second@tie{}@code{a}
1615 should be played natural or sharp. The @code{voice} option should
1616 therefore be used only if the voices are to be read solely by
1617 individual musicians. If the staff is to be used by one musician
1618 (e.g., a conductor or in a piano score) then @code{modern} or
1619 @code{modern-cautionary} should be used instead.
1626 cis'8 fis, bes4 <a cis>8 f bis4 |
1640 \voiceTwo \relative c' {
1641 <fis, a cis>8[ <fis a cis>
1644 \change Staff = down
1649 \change Staff = down
1650 <fis, a cis>4 gis <f a d>2 |
1657 \context Staff = "up" {
1658 \accidentalStyle "voice"
1661 \context Staff = "down" {
1662 \accidentalStyle "voice"
1671 @cindex accidentals, modern style
1672 @cindex modern style accidentals
1676 This rule corresponds to the common practice in the twentieth
1677 century. It omits some extra natural signs, which were
1678 traditionally prefixed to a sharp following a double sharp,
1679 or a flat following a double flat. The @code{modern} rule
1680 prints the same accidentals as @code{default}, with
1681 two additions that serve to avoid ambiguity: after temporary
1682 accidentals, cancellation marks are printed also in the following
1683 measure (for notes in the same octave) and, in the same measure,
1684 for notes in other octaves. Hence the naturals before
1685 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1692 cis'8 fis, bes4 <a cis>8 f bis4 |
1706 \voiceTwo \relative c' {
1707 <fis, a cis>8[ <fis a cis>
1710 \change Staff = down
1715 \change Staff = down
1716 <fis, a cis>4 gis <f a d>2 |
1723 \context Staff = "up" {
1724 \accidentalStyle "modern"
1727 \context Staff = "down" {
1728 \accidentalStyle "modern"
1735 @item modern-cautionary
1737 @cindex accidentals, modern cautionary style
1738 @cindex modern accidental style
1739 @cindex modern cautionary accidental style
1740 @cindex modern style accidentals
1741 @cindex modern style cautionary accidentals
1743 @funindex modern-cautionary
1745 This rule is similar to @code{modern}, but the @q{extra}
1746 accidentals (the ones not typeset by @code{default}) are typeset
1747 as cautionary accidentals. They are by default printed with
1748 parentheses, but they can also be printed in reduced size by
1749 defining the @code{cautionary-style} property of
1750 @code{AccidentalSuggestion}.
1756 cis'8 fis, bes4 <a cis>8 f bis4 |
1770 \voiceTwo \relative c' {
1771 <fis, a cis>8[ <fis a cis>
1774 \change Staff = down
1779 \change Staff = down
1780 <fis, a cis>4 gis <f a d>2 |
1787 \context Staff = "up" {
1788 \accidentalStyle "modern-cautionary"
1791 \context Staff = "down" {
1792 \accidentalStyle "modern-cautionary"
1801 @cindex accidental style, modern
1802 @cindex accidentals, modern
1803 @cindex accidentals, multivoice
1804 @cindex modern accidental style
1805 @cindex modern accidentals
1806 @cindex multivoice accidentals
1808 @funindex modern-voice
1810 This rule is used for multivoice accidentals to be read both by
1811 musicians playing one voice and musicians playing all voices.
1812 Accidentals are typeset for each voice, but they @emph{are}
1813 canceled across voices in the same @code{Staff}. Hence,
1814 the@tie{}@code{a} in the last measure is canceled because the
1815 previous cancellation was in a different voice, and
1816 the@tie{}@code{d} in the lower staff is canceled because of the
1817 accidental in a different voice in the previous measure:
1823 cis'8 fis, bes4 <a cis>8 f bis4 |
1837 \voiceTwo \relative c' {
1838 <fis, a cis>8[ <fis a cis>
1841 \change Staff = down
1846 \change Staff = down
1847 <fis, a cis>4 gis <f a d>2 |
1854 \context Staff = "up" {
1855 \accidentalStyle "modern-voice"
1858 \context Staff = "down" {
1859 \accidentalStyle "modern-voice"
1866 @cindex accidental style, cautionary, modern voice
1867 @cindex accidental style, modern voice cautionary
1868 @cindex accidental style, voice, modern cautionary
1870 @funindex modern-voice-cautionary
1872 @item modern-voice-cautionary
1874 This rule is the same as @code{modern-voice}, but with the extra
1875 accidentals (the ones not typeset by @code{voice}) typeset as
1876 cautionaries. Even though all accidentals typeset by
1877 @code{default} @emph{are} typeset with this rule, some of them are
1878 typeset as cautionaries.
1884 cis'8 fis, bes4 <a cis>8 f bis4 |
1898 \voiceTwo \relative c' {
1899 <fis, a cis>8[ <fis a cis>
1902 \change Staff = down
1907 \change Staff = down
1908 <fis, a cis>4 gis <f a d>2 |
1915 \context Staff = "up" {
1916 \accidentalStyle "modern-voice-cautionary"
1919 \context Staff = "down" {
1920 \accidentalStyle "modern-voice-cautionary"
1929 @cindex accidental style, piano
1930 @cindex accidentals, piano
1931 @cindex piano accidental style
1932 @cindex piano accidentals
1936 This rule reflects twentieth-century practice for piano notation.
1937 Its behavior is very similar to @code{modern} style, but here
1938 accidentals also get canceled across the staves in the same
1939 @code{GrandStaff} or @code{PianoStaff}, hence all the
1940 cancellations of the final notes.
1942 This accidental style applies to the current @code{GrandStaff} or
1943 @code{PianoStaff} by default.
1949 cis'8 fis, bes4 <a cis>8 f bis4 |
1963 \voiceTwo \relative c' {
1964 <fis, a cis>8[ <fis a cis>
1967 \change Staff = down
1972 \change Staff = down
1973 <fis, a cis>4 gis <f a d>2 |
1980 \context Staff = "up" {
1981 \accidentalStyle "piano"
1984 \context Staff = "down" {
1991 @item piano-cautionary
1993 @cindex accidentals, piano cautionary
1994 @cindex cautionary accidentals, piano
1995 @cindex piano cautionary accidentals
1996 @cindex accidental style, piano cautionary
1997 @cindex cautionary accidental style, piano
1998 @cindex piano cautionary accidental style
2000 @funindex piano-cautionary
2002 This is the same as @code{piano} but with the extra accidentals
2003 typeset as cautionaries.
2009 cis'8 fis, bes4 <a cis>8 f bis4 |
2023 \voiceTwo \relative c' {
2024 <fis, a cis>8[ <fis a cis>
2027 \change Staff = down
2032 \change Staff = down
2033 <fis, a cis>4 gis <f a d>2 |
2040 \context Staff = "up" {
2041 \accidentalStyle "piano-cautionary"
2044 \context Staff = "down" {
2054 @cindex neo-modern accidental style
2055 @cindex accidental style, neo-modern
2057 @funindex neo-modern
2059 This rule reproduces a common practice in contemporary music:
2060 accidentals are printed like with @code{modern}, but they are printed
2061 again if the same note appears later in the same measure -- except
2062 if the note is immediately repeated.
2068 cis'8 fis, bes4 <a cis>8 f bis4 |
2082 \voiceTwo \relative c' {
2083 <fis, a cis>8[ <fis a cis>
2086 \change Staff = down
2091 \change Staff = down
2092 <fis, a cis>4 gis <f a d>2 |
2099 \context Staff = "up" {
2100 \accidentalStyle "neo-modern"
2103 \context Staff = "down" {
2104 \accidentalStyle "neo-modern"
2111 @item neo-modern-cautionary
2113 @cindex neo-modern-cautionary accidental style
2114 @cindex accidental style, neo-modern-cautionary
2116 @funindex neo-modern-cautionary
2118 This rule is similar to @code{neo-modern}, but the extra
2119 accidentals are printed as cautionary accidentals.
2125 cis'8 fis, bes4 <a cis>8 f bis4 |
2139 \voiceTwo \relative c' {
2140 <fis, a cis>8[ <fis a cis>
2143 \change Staff = down
2148 \change Staff = down
2149 <fis, a cis>4 gis <f a d>2 |
2156 \context Staff = "up" {
2157 \accidentalStyle "neo-modern-cautionary"
2160 \context Staff = "down" {
2161 \accidentalStyle "neo-modern-cautionary"
2169 @item neo-modern-voice
2171 @cindex neo-modern-voice accidental style
2172 @cindex accidental style, neo-modern-voice
2174 @funindex neo-modern-voice
2176 This rule is used for multivoice accidentals to be read both by
2177 musicians playing one voice and musicians playing all voices.
2178 Accidentals are typeset for each voice as with @code{neo-modern},
2179 but they are canceled across voices in the same @code{Staff}.
2185 cis'8 fis, bes4 <a cis>8 f bis4 |
2199 \voiceTwo \relative c' {
2200 <fis, a cis>8[ <fis a cis>
2203 \change Staff = down
2208 \change Staff = down
2209 <fis, a cis>4 gis <f a d>2 |
2216 \context Staff = "up" {
2217 \accidentalStyle "neo-modern-voice"
2220 \context Staff = "down" {
2221 \accidentalStyle "neo-modern-voice"
2228 @item neo-modern-voice-cautionary
2230 @cindex neo-modern-voice-cautionary accidental style
2231 @cindex accidental style, neo-modern-voice-cautionary
2233 @funindex neo-modern-voice-cautionary
2235 This rule is similar to @code{neo-modern-voice}, but the extra
2236 accidentals are printed as cautionary accidentals.
2242 cis'8 fis, bes4 <a cis>8 f bis4 |
2256 \voiceTwo \relative c' {
2257 <fis, a cis>8[ <fis a cis>
2260 \change Staff = down
2265 \change Staff = down
2266 <fis, a cis>4 gis <f a d>2 |
2273 \context Staff = "up" {
2274 \accidentalStyle "neo-modern-voice-cautionary"
2277 \context Staff = "down" {
2278 \accidentalStyle "neo-modern-voice-cautionary"
2287 @cindex dodecaphonic accidental style
2288 @cindex dodecaphonic style, neo-modern
2290 @funindex dodecaphonic
2292 This rule reflects a practice introduced by composers at
2293 the beginning of the 20th century, in an attempt to
2294 abolish the hierarchy between natural and non-natural notes.
2295 With this style, @emph{every} note gets an accidental sign,
2296 including natural signs.
2302 cis'8 fis, bes4 <a cis>8 f bis4 |
2316 \voiceTwo \relative c' {
2317 <fis, a cis>8[ <fis a cis>
2320 \change Staff = down
2325 \change Staff = down
2326 <fis, a cis>4 gis <f a d>2 |
2333 \context Staff = "up" {
2334 \accidentalStyle "dodecaphonic"
2337 \context Staff = "down" {
2338 \accidentalStyle "dodecaphonic"
2348 @cindex teaching accidental style
2349 @cindex accidental style, teaching
2353 This rule is intended for students, and makes it easy to create
2354 scale sheets with automatically created cautionary accidentals.
2355 Accidentals are printed like with @code{modern}, but cautionary
2356 accidentals are added for all sharp or flat tones specified by the
2357 key signature, except if the note is immediately repeated.
2363 cis'8 fis, bes4 <a cis>8 f bis4 |
2377 \voiceTwo \relative c' {
2378 <fis, a cis>8[ <fis a cis>
2381 \change Staff = down
2386 \change Staff = down
2387 <fis, a cis>4 gis <f a d>2 |
2394 \context Staff = "up" {
2396 \accidentalStyle "teaching"
2399 \context Staff = "down" {
2401 \accidentalStyle "teaching"
2412 @cindex accidental style, no reset
2413 @cindex no reset accidental style
2417 This is the same as @code{default} but with accidentals lasting
2418 @q{forever} and not only within the same measure:
2424 cis'8 fis, bes4 <a cis>8 f bis4 |
2438 \voiceTwo \relative c' {
2439 <fis, a cis>8[ <fis a cis>
2442 \change Staff = down
2447 \change Staff = down
2448 <fis, a cis>4 gis <f a d>2 |
2455 \context Staff = "up" {
2456 \accidentalStyle "no-reset"
2459 \context Staff = "down" {
2460 \accidentalStyle "no-reset"
2469 @cindex forget accidental style
2470 @cindex accidental style, forget
2474 This is the opposite of @code{no-reset}: Accidentals are not
2475 remembered at all -- and hence all accidentals are typeset
2476 relative to the key signature, regardless of what came before in
2483 cis'8 fis, bes4 <a cis>8 f bis4 |
2497 \voiceTwo \relative c' {
2498 <fis, a cis>8[ <fis a cis>
2501 \change Staff = down
2506 \change Staff = down
2507 <fis, a cis>4 gis <f a d>2 |
2514 \context Staff = "up" {
2515 \accidentalStyle "forget"
2518 \context Staff = "down" {
2519 \accidentalStyle "forget"
2531 Internals Reference:
2532 @rinternals{Accidental},
2533 @rinternals{Accidental_engraver},
2534 @rinternals{GrandStaff},
2535 @rinternals{PianoStaff},
2537 @rinternals{AccidentalSuggestion},
2538 @rinternals{AccidentalPlacement},
2539 @rinternals{accidental-suggestion-interface}.
2541 @cindex accidentals and simultaneous notes
2542 @cindex simultaneous notes and accidentals
2543 @cindex accidentals in chords
2544 @cindex chords, accidentals in
2547 Simultaneous notes are not considered in the automatic
2548 determination of accidentals; only previous notes and the key
2549 signature are considered. Forcing accidentals with@tie{}@code{!}
2550 or@tie{}@code{?} may be required when the same note name occurs
2551 simultaneously with different alterations, as in @samp{<f! fis!>}.
2553 Cautionary cancellation of accidentals is done by looking at previous measure.
2554 However, in the @code{\alternative} block following a @code{\repeat volta N}
2555 section, one would expect the cancellation being calculated using the previous
2556 @emph{played} measure, not previous @emph{printed} measure.
2557 In the following example, the natural @code{c} in the second alternative does
2558 not need a natural sign:
2562 \accidentalStyle "modern"
2574 The following work-around can be used: define a function that locally changes
2575 the accidental style to @code{forget}:
2577 @lilypond[verbatim,quote]
2578 forget = #(define-music-function (parser location music) (ly:music?) #{
2579 \accidentalStyle "forget"
2581 \accidentalStyle "modern"
2584 \accidentalStyle "modern"
2598 @unnumberedsubsubsec Ambitus
2601 @cindex range of pitches
2604 The term @notation{ambitus} (pl. ambitus) denotes a range of
2605 pitches for a given voice in a part of music. It may also denote
2606 the pitch range that a musical instrument is capable of playing.
2607 Ambitus are printed on vocal parts so that performers can easily
2608 determine if it matches their capabilities.
2610 Ambitus are denoted at the beginning of a piece near the initial
2611 clef. The range is graphically specified by two note heads that
2612 represent the lowest and highest pitches. Accidentals are only
2613 printed if they are not part of the key signature.
2615 @lilypond[verbatim,quote]
2619 \consists "Ambitus_engraver"
2632 @lilypondfile[verbatim,quote,texidoc,doctitle]
2633 {adding-ambitus-per-voice.ly}
2635 @lilypondfile[verbatim,quote,texidoc,doctitle]
2636 {ambitus-with-multiple-voices.ly}
2638 @lilypondfile[verbatim,quote,texidoc,doctitle]
2639 {changing-the-ambitus-gap.ly}
2648 Internals Reference:
2649 @rinternals{Ambitus_engraver},
2652 @rinternals{Ambitus},
2653 @rinternals{AmbitusAccidental},
2654 @rinternals{AmbitusLine},
2655 @rinternals{AmbitusNoteHead},
2656 @rinternals{ambitus-interface}.
2659 There is no collision handling in the case of multiple per-voice
2664 @subsection Note heads
2666 This section suggests ways of altering note heads.
2669 * Special note heads::
2670 * Easy notation note heads::
2671 * Shape note heads::
2675 @node Special note heads
2676 @unnumberedsubsubsec Special note heads
2678 @cindex note heads, special
2679 @cindex note heads, cross
2680 @cindex note heads, diamond
2681 @cindex note heads, parlato
2682 @cindex note heads, harmonic
2683 @cindex note heads, guitar
2684 @cindex special note heads
2685 @cindex cross note heads
2686 @cindex diamond note heads
2687 @cindex parlato note heads
2688 @cindex harmonic note heads
2689 @cindex guitar note heads
2690 @cindex note head styles
2691 @cindex styles, note heads
2695 The appearance of note heads may be altered:
2697 @lilypond[verbatim,quote,relative=2]
2699 \override NoteHead #'style = #'cross
2701 \revert NoteHead #'style
2703 \override NoteHead #'style = #'harmonic
2705 \revert NoteHead #'style
2709 To see all note head styles, see @ref{Note head styles}.
2711 The @code{cross} style is used to represent a variety of musical
2712 intentions. The following generic predefined commands modify the
2713 note head in both staff and tablature contexts and can be used to
2714 represent any musical meaning:
2716 @lilypond[verbatim,quote,relative=2]
2724 The music function form of this predefined command may be used
2725 inside and outside chords to generate crossed note heads in both
2726 staff and tablature contexts:
2728 @lilypond[verbatim,quote,relative=2]
2731 c b < g \xNote c f > b
2734 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2735 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2736 be used. The term @notation{dead note} is commonly used by guitarists.
2738 There is also a shorthand for diamond shapes which can be used
2741 @lilypond[verbatim,quote,relative=2]
2742 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2757 @ref{Note head styles},
2758 @ref{Chorded notes},
2759 @ref{Indicating harmonics and dampened notes}.
2761 Internals Reference:
2762 @rinternals{note-event},
2763 @rinternals{Note_heads_engraver},
2764 @rinternals{Ledger_line_engraver},
2765 @rinternals{NoteHead},
2766 @rinternals{LedgerLineSpanner},
2767 @rinternals{note-head-interface},
2768 @rinternals{ledger-line-spanner-interface}.
2771 @node Easy notation note heads
2772 @unnumberedsubsubsec Easy notation note heads
2774 @cindex note heads, practice
2775 @cindex practice note heads
2776 @cindex note heads, easy notation
2777 @cindex easy notation
2778 @cindex beginners' music
2779 @cindex music, beginners'
2780 @cindex easy play note heads
2781 @cindex note heads, easy play
2783 @funindex \easyHeadsOn
2784 @funindex easyHeadsOn
2785 @funindex \easyHeadsOff
2786 @funindex easyHeadsOff
2788 The @q{easy play} note head includes a note name inside the head.
2789 It is used in music for beginners. To make the letters readable,
2790 it should be printed in a large font size. To print with a larger
2791 font, see @ref{Setting the staff size}.
2793 @lilypond[verbatim,quote]
2794 #(set-global-staff-size 26)
2806 @code{\easyHeadsOn},
2807 @code{\easyHeadsOff}.
2813 @lilypondfile[verbatim,quote,texidoc,doctitle]
2814 {numbers-as-easy-note-heads.ly}
2818 @ref{Setting the staff size}.
2823 Internals Reference:
2824 @rinternals{note-event},
2825 @rinternals{Note_heads_engraver},
2826 @rinternals{NoteHead},
2827 @rinternals{note-head-interface}.
2830 @node Shape note heads
2831 @unnumberedsubsubsec Shape note heads
2833 @cindex note heads, shape
2834 @cindex note heads, Aiken
2835 @cindex note heads, sacred harp
2837 @cindex Aiken shape note heads
2838 @cindex sacred harp note heads
2839 @cindex note heads, Southern Harmony
2840 @cindex Southern Harmony note heads
2841 @cindex Funk shape note heads
2842 @cindex note heads, Funk
2843 @cindex note heads, Harmonica Sacra
2844 @cindex Harmonica Sacra note heads
2845 @cindex Christian Harmony note heads
2846 @cindex note heads, Christian Harmony
2847 @cindex Walker shape note heads
2848 @cindex note heads, Walker
2850 @funindex \aikenHeads
2851 @funindex aikenHeads
2852 @funindex \sacredHarpHeads
2853 @funindex sacredHarpHeads
2854 @funindex \southernHarmonyHeads
2855 @funindex southernHarmonyHeads
2856 @funindex \funkHeads
2858 @funindex \walkerHeads
2859 @funindex walkerHeads
2861 In shape note head notation, the shape of the note head
2862 corresponds to the harmonic function of a note in the scale. This
2863 notation was popular in nineteenth-century American song books.
2864 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2865 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2867 @lilypond[verbatim,quote,relative=2]
2869 c, d e f g2 a b1 c \break
2871 c,4 d e f g2 a b1 c \break
2872 \southernHarmonyHeads
2873 c,4 d e f g2 a b1 c \break
2875 c,4 d e f g2 a b1 c \break
2877 c,4 d e f g2 a b1 c \break
2882 @funindex \aikenHeadsMinor
2883 @funindex aikenHeadsMinor
2884 @funindex \sacredHarpHeadsMinor
2885 @funindex sacredHarpHeadsMinor
2886 @funindex \southernHarmonyHeadsMinor
2887 @funindex southernHarmonyHeadsMinor
2888 @funindex \funkHeadsMinor
2889 @funindex funkHeadsMinor
2890 @funindex \walkerHeadsMinor
2891 @funindex walkerHeadsMinor
2893 Shapes are typeset according to the step in the scale, where the base
2894 of the scale is determined by the @code{\key} command. When writing
2895 in a minor key, the scale step can be determined from the relative
2898 @lilypond[verbatim,quote,relative=2]
2901 a b c d e2 f g1 a \break
2903 a,4 b c d e2 f g1 a \break
2904 \sacredHarpHeadsMinor
2906 \southernHarmonyHeadsMinor
2918 @code{\aikenHeadsMinor},
2920 @code{\funkHeadsMinor},
2921 @code{\sacredHarpHeads},
2922 @code{\sacredHarpHeadsMinor},
2923 @code{\southernHarmonyHeads},
2924 @code{\southernHarmonyHeadsMinor},
2925 @code{\walkerHeads},
2926 @code{\walkerHeadsMinor}.
2932 @lilypondfile[verbatim,quote,texidoc,doctitle]
2933 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2935 To see all note head styles, see @ref{Note head styles}.
2942 @ref{Note head styles}.
2944 Internals Reference:
2945 @rinternals{note-event},
2946 @rinternals{Note_heads_engraver},
2947 @rinternals{NoteHead},
2948 @rinternals{note-head-interface}.
2952 @unnumberedsubsubsec Improvisation
2954 @cindex improvisation
2955 @cindex slashed note heads
2956 @cindex note heads, improvisation
2957 @cindex note heads, slashed
2959 @funindex \improvisationOn
2960 @funindex improvisationOn
2961 @funindex \improvisationOff
2962 @funindex improvisationOff
2964 Improvisation is sometimes denoted with slashed note heads, where
2965 the performer may choose any pitch but should play the specified
2966 rhythm. Such note heads can be created:
2968 @lilypond[verbatim,quote,relative=2]
2970 \consists "Pitch_squash_engraver"
2972 e8 e g a a16( bes) a8 g
2983 @code{\improvisationOn},
2984 @code{\improvisationOff}.
2991 Internals Reference:
2992 @rinternals{Pitch_squash_engraver},
2994 @rinternals{RhythmicStaff}.