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 @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}.
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]
1253 Additional modes can be defined, by listing the alterations
1254 for each scale step when the mode starts on C.
1256 @lilypond[verbatim,quote]
1257 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1258 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1261 \key c\freygish c4 des e f
1262 \bar "||" \key d\freygish d es fis g
1266 Accidentals in the key signature may be printed in octaves other
1267 than their traditional positions, or in multiple octaves, by
1268 using the @code{flat-positions} and @code{sharp-positions}
1269 properties of @code{KeySignature}. Entries in these properties
1270 specify the range of staff-positions where accidentals will be
1271 printed. If a single position is specified in an entry, the
1272 accidentals are placed within the octave ending at that staff
1275 @lilypond[verbatim, quote,relative=0]
1276 \override Staff.KeySignature #'flat-positions = #'((-5 . 5))
1277 \override Staff.KeyCancellation #'flat-positions = #'((-5 . 5))
1278 \clef bass \key es\major es g bes d
1279 \clef treble \bar "||" \key es\major es g bes d
1281 \override Staff.KeySignature #'sharp-positions = #'(2)
1282 \bar "||" \key b\major b fis b2
1287 @lilypondfile[verbatim,quote,texidoc,doctitle]
1288 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1290 @lilypondfile[verbatim,quote,texidoc,doctitle]
1291 {non-traditional-key-signatures.ly}
1295 @rglos{church mode},
1299 @rlearning{Accidentals and key signatures}.
1304 Internals Reference:
1305 @rinternals{KeyChangeEvent},
1306 @rinternals{Key_engraver},
1307 @rinternals{Key_performer},
1308 @rinternals{KeyCancellation},
1309 @rinternals{KeySignature},
1310 @rinternals{key-signature-interface}.
1313 @node Ottava brackets
1314 @unnumberedsubsubsec Ottava brackets
1322 @funindex set-octavation
1326 @notation{Ottava brackets} introduce an extra transposition of an
1327 octave for the staff:
1329 @lilypond[verbatim,quote,relative=2]
1345 @lilypondfile[verbatim,quote,texidoc,doctitle]
1355 Internals Reference:
1356 @rinternals{Ottava_spanner_engraver},
1357 @rinternals{OttavaBracket},
1358 @rinternals{ottava-bracket-interface}.
1361 @node Instrument transpositions
1362 @unnumberedsubsubsec Instrument transpositions
1364 @cindex transposition, MIDI
1365 @cindex transposition, instrument
1366 @cindex transposing instrument
1368 @cindex MIDI transposition
1370 @funindex \transposition
1371 @funindex transposition
1373 When typesetting scores that involve transposing instruments, some
1374 parts can be typeset in a different pitch than the
1375 @notation{concert pitch}. In these cases, the key of the
1376 @notation{transposing instrument} should be specified; otherwise
1377 the MIDI output and cues in other parts will produce incorrect
1378 pitches. For more information about quotations, see
1379 @ref{Quoting other voices}.
1382 \transposition @var{pitch}
1385 The pitch to use for @code{\transposition} should correspond to
1386 the real sound heard when a@tie{}@code{c'} written on the staff is
1387 played by the transposing instrument. This pitch is entered in
1388 absolute mode, so an instrument that produces a real sound which
1389 is one tone higher than the printed music should use
1390 @w{@code{\transposition d'}}. @code{\transposition} should
1391 @emph{only} be used if the pitches are @emph{not} being entered in
1394 Here are a few notes for violin and B-flat clarinet where the
1395 parts have been entered using the notes and key as they appear in
1396 each part of the conductor's score. The two instruments are
1399 @lilypond[verbatim,quote]
1401 \new Staff = "violin" {
1403 \set Staff.instrumentName = #"Vln"
1404 \set Staff.midiInstrument = #"violin"
1405 % not strictly necessary, but a good reminder
1412 \new Staff = "clarinet" {
1414 \set Staff.instrumentName = \markup { Cl (B\flat) }
1415 \set Staff.midiInstrument = #"clarinet"
1425 The @code{\transposition} may be changed during a piece. For
1426 example, a clarinetist may switch from an A clarinet to a B-flat
1429 @lilypond[verbatim,quote,relative=2]
1430 \set Staff.instrumentName = #"Cl (A)"
1435 <>^\markup { Switch to B\flat clarinet }
1445 @rglos{concert pitch},
1446 @rglos{transposing instrument}.
1449 @ref{Quoting other voices},
1456 @node Automatic accidentals
1457 @unnumberedsubsubsec Automatic accidentals
1459 @cindex accidental style
1460 @cindex accidental style, default
1462 @cindex accidentals, automatic
1463 @cindex automatic accidentals
1464 @cindex default accidental style
1466 @funindex \accidentalStyle
1470 There are many different conventions on how to typeset
1471 accidentals. LilyPond provides a function to specify which
1472 accidental style to use. This function is called as follows:
1476 \accidentalStyle voice
1481 The accidental style applies to the current @code{Staff} by
1482 default (with the exception of the styles @code{piano} and
1483 @code{piano-cautionary}, which are explained below). Optionally,
1484 the function can take a second argument that determines in which
1485 scope the style should be changed. For example, to use the same
1486 style in all staves of the current @code{StaffGroup}, use:
1489 \accidentalStyle StaffGroup.voice
1492 The following accidental styles are supported. To demonstrate
1493 each style, we use the following example:
1496 @lilypond[verbatim,quote]
1500 cis'8 fis, bes4 <a cis>8 f bis4 |
1514 \voiceTwo \relative c' {
1515 <fis, a cis>8[ <fis a cis>
1518 \change Staff = down
1523 \change Staff = down
1524 <fis, a cis>4 gis <f a d>2 |
1531 \context Staff = "up" {
1532 \accidentalStyle default
1535 \context Staff = "down" {
1536 \accidentalStyle default
1543 Note that the last lines of this example can be replaced by the
1544 following, as long as the same accidental style should be used in
1550 \context Staff = "up" @{
1551 %%% change the next line as desired:
1552 \accidentalStyle Score.default
1555 \context Staff = "down" @{
1563 @c don't use verbatim in this table.
1567 @cindex default accidental style
1568 @cindex accidental style, default
1572 This is the default typesetting behavior. It corresponds to
1573 eighteenth-century common practice: accidentals are remembered to
1574 the end of the measure in which they occur and only in their own
1575 octave. Thus, in the example below, no natural signs are printed
1576 before the@tie{}@code{b} in the second measure or the
1583 cis'8 fis, bes4 <a cis>8 f bis4 |
1597 \voiceTwo \relative c' {
1598 <fis, a cis>8[ <fis a cis>
1601 \change Staff = down
1606 \change Staff = down
1607 <fis, a cis>4 gis <f a d>2 |
1614 \context Staff = "up" {
1615 \accidentalStyle default
1618 \context Staff = "down" {
1619 \accidentalStyle default
1628 @cindex accidental style, voice
1629 @cindex voice accidental style
1630 @cindex accidental style, modern
1631 @cindex modern accidental style
1632 @cindex accidental style, modern-cautionary
1633 @cindex modern-cautionary accidental style
1637 The normal behavior is to remember the accidentals at
1638 @code{Staff}-level. In this style, however, accidentals are
1639 typeset individually for each voice. Apart from that, the rule is
1640 similar to @code{default}.
1642 As a result, accidentals from one voice do not get canceled in
1643 other voices, which is often an unwanted result: in the following
1644 example, it is hard to determine whether the second@tie{}@code{a}
1645 should be played natural or sharp. The @code{voice} option should
1646 therefore be used only if the voices are to be read solely by
1647 individual musicians. If the staff is to be used by one musician
1648 (e.g., a conductor or in a piano score) then @code{modern} or
1649 @code{modern-cautionary} should be used instead.
1656 cis'8 fis, bes4 <a cis>8 f bis4 |
1670 \voiceTwo \relative c' {
1671 <fis, a cis>8[ <fis a cis>
1674 \change Staff = down
1679 \change Staff = down
1680 <fis, a cis>4 gis <f a d>2 |
1687 \context Staff = "up" {
1688 \accidentalStyle voice
1691 \context Staff = "down" {
1692 \accidentalStyle voice
1701 @cindex accidentals, modern style
1702 @cindex modern style accidentals
1706 This rule corresponds to the common practice in the twentieth
1707 century. It omits some extra natural signs, which were
1708 traditionally prefixed to a sharp following a double sharp,
1709 or a flat following a double flat. The @code{modern} rule
1710 prints the same accidentals as @code{default}, with
1711 two additions that serve to avoid ambiguity: after temporary
1712 accidentals, cancellation marks are printed also in the following
1713 measure (for notes in the same octave) and, in the same measure,
1714 for notes in other octaves. Hence the naturals before
1715 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1722 cis'8 fis, bes4 <a cis>8 f bis4 |
1736 \voiceTwo \relative c' {
1737 <fis, a cis>8[ <fis a cis>
1740 \change Staff = down
1745 \change Staff = down
1746 <fis, a cis>4 gis <f a d>2 |
1753 \context Staff = "up" {
1754 \accidentalStyle modern
1757 \context Staff = "down" {
1758 \accidentalStyle modern
1765 @item modern-cautionary
1767 @cindex accidentals, modern cautionary style
1768 @cindex modern accidental style
1769 @cindex modern cautionary accidental style
1770 @cindex modern style accidentals
1771 @cindex modern style cautionary accidentals
1773 @funindex modern-cautionary
1775 This rule is similar to @code{modern}, but the @q{extra}
1776 accidentals (the ones not typeset by @code{default}) are typeset
1777 as cautionary accidentals. They are by default printed with
1778 parentheses, but they can also be printed in reduced size by
1779 defining the @code{cautionary-style} property of
1780 @code{AccidentalSuggestion}.
1786 cis'8 fis, bes4 <a cis>8 f bis4 |
1800 \voiceTwo \relative c' {
1801 <fis, a cis>8[ <fis a cis>
1804 \change Staff = down
1809 \change Staff = down
1810 <fis, a cis>4 gis <f a d>2 |
1817 \context Staff = "up" {
1818 \accidentalStyle modern-cautionary
1821 \context Staff = "down" {
1822 \accidentalStyle modern-cautionary
1831 @cindex accidental style, modern
1832 @cindex accidentals, modern
1833 @cindex accidentals, multivoice
1834 @cindex modern accidental style
1835 @cindex modern accidentals
1836 @cindex multivoice accidentals
1838 @funindex modern-voice
1840 This rule is used for multivoice accidentals to be read both by
1841 musicians playing one voice and musicians playing all voices.
1842 Accidentals are typeset for each voice, but they @emph{are}
1843 canceled across voices in the same @code{Staff}. Hence,
1844 the@tie{}@code{a} in the last measure is canceled because the
1845 previous cancellation was in a different voice, and
1846 the@tie{}@code{d} in the lower staff is canceled because of the
1847 accidental in a different voice in the previous measure:
1853 cis'8 fis, bes4 <a cis>8 f bis4 |
1867 \voiceTwo \relative c' {
1868 <fis, a cis>8[ <fis a cis>
1871 \change Staff = down
1876 \change Staff = down
1877 <fis, a cis>4 gis <f a d>2 |
1884 \context Staff = "up" {
1885 \accidentalStyle modern-voice
1888 \context Staff = "down" {
1889 \accidentalStyle modern-voice
1896 @cindex accidental style, cautionary, modern voice
1897 @cindex accidental style, modern voice cautionary
1898 @cindex accidental style, voice, modern cautionary
1900 @funindex modern-voice-cautionary
1902 @item modern-voice-cautionary
1904 This rule is the same as @code{modern-voice}, but with the extra
1905 accidentals (the ones not typeset by @code{voice}) typeset as
1906 cautionaries. Even though all accidentals typeset by
1907 @code{default} @emph{are} typeset with this rule, some of them are
1908 typeset as cautionaries.
1914 cis'8 fis, bes4 <a cis>8 f bis4 |
1928 \voiceTwo \relative c' {
1929 <fis, a cis>8[ <fis a cis>
1932 \change Staff = down
1937 \change Staff = down
1938 <fis, a cis>4 gis <f a d>2 |
1945 \context Staff = "up" {
1946 \accidentalStyle modern-voice-cautionary
1949 \context Staff = "down" {
1950 \accidentalStyle modern-voice-cautionary
1959 @cindex accidental style, piano
1960 @cindex accidentals, piano
1961 @cindex piano accidental style
1962 @cindex piano accidentals
1966 This rule reflects twentieth-century practice for piano notation.
1967 Its behavior is very similar to @code{modern} style, but here
1968 accidentals also get canceled across the staves in the same
1969 @code{GrandStaff} or @code{PianoStaff}, hence all the
1970 cancellations of the final notes.
1972 This accidental style applies to the current @code{GrandStaff} or
1973 @code{PianoStaff} by default.
1979 cis'8 fis, bes4 <a cis>8 f bis4 |
1993 \voiceTwo \relative c' {
1994 <fis, a cis>8[ <fis a cis>
1997 \change Staff = down
2002 \change Staff = down
2003 <fis, a cis>4 gis <f a d>2 |
2010 \context Staff = "up" {
2011 \accidentalStyle piano
2014 \context Staff = "down" {
2021 @item piano-cautionary
2023 @cindex accidentals, piano cautionary
2024 @cindex cautionary accidentals, piano
2025 @cindex piano cautionary accidentals
2026 @cindex accidental style, piano cautionary
2027 @cindex cautionary accidental style, piano
2028 @cindex piano cautionary accidental style
2030 @funindex piano-cautionary
2032 This is the same as @code{piano} but with the extra accidentals
2033 typeset as cautionaries.
2039 cis'8 fis, bes4 <a cis>8 f bis4 |
2053 \voiceTwo \relative c' {
2054 <fis, a cis>8[ <fis a cis>
2057 \change Staff = down
2062 \change Staff = down
2063 <fis, a cis>4 gis <f a d>2 |
2070 \context Staff = "up" {
2071 \accidentalStyle piano-cautionary
2074 \context Staff = "down" {
2084 @cindex neo-modern accidental style
2085 @cindex accidental style, neo-modern
2087 @funindex neo-modern
2089 This rule reproduces a common practice in contemporary music:
2090 accidentals are printed like with @code{modern}, but they are printed
2091 again if the same note appears later in the same measure -- except
2092 if the note is immediately repeated.
2098 cis'8 fis, bes4 <a cis>8 f bis4 |
2112 \voiceTwo \relative c' {
2113 <fis, a cis>8[ <fis a cis>
2116 \change Staff = down
2121 \change Staff = down
2122 <fis, a cis>4 gis <f a d>2 |
2129 \context Staff = "up" {
2130 \accidentalStyle neo-modern
2133 \context Staff = "down" {
2134 \accidentalStyle neo-modern
2141 @item neo-modern-cautionary
2143 @cindex neo-modern-cautionary accidental style
2144 @cindex accidental style, neo-modern-cautionary
2146 @funindex neo-modern-cautionary
2148 This rule is similar to @code{neo-modern}, but the extra
2149 accidentals are printed as cautionary accidentals.
2155 cis'8 fis, bes4 <a cis>8 f bis4 |
2169 \voiceTwo \relative c' {
2170 <fis, a cis>8[ <fis a cis>
2173 \change Staff = down
2178 \change Staff = down
2179 <fis, a cis>4 gis <f a d>2 |
2186 \context Staff = "up" {
2187 \accidentalStyle neo-modern-cautionary
2190 \context Staff = "down" {
2191 \accidentalStyle neo-modern-cautionary
2199 @item neo-modern-voice
2201 @cindex neo-modern-voice accidental style
2202 @cindex accidental style, neo-modern-voice
2204 @funindex neo-modern-voice
2206 This rule is used for multivoice accidentals to be read both by
2207 musicians playing one voice and musicians playing all voices.
2208 Accidentals are typeset for each voice as with @code{neo-modern},
2209 but they are canceled across voices in the same @code{Staff}.
2215 cis'8 fis, bes4 <a cis>8 f bis4 |
2229 \voiceTwo \relative c' {
2230 <fis, a cis>8[ <fis a cis>
2233 \change Staff = down
2238 \change Staff = down
2239 <fis, a cis>4 gis <f a d>2 |
2246 \context Staff = "up" {
2247 \accidentalStyle neo-modern-voice
2250 \context Staff = "down" {
2251 \accidentalStyle neo-modern-voice
2258 @item neo-modern-voice-cautionary
2260 @cindex neo-modern-voice-cautionary accidental style
2261 @cindex accidental style, neo-modern-voice-cautionary
2263 @funindex neo-modern-voice-cautionary
2265 This rule is similar to @code{neo-modern-voice}, but the extra
2266 accidentals are printed as cautionary accidentals.
2272 cis'8 fis, bes4 <a cis>8 f bis4 |
2286 \voiceTwo \relative c' {
2287 <fis, a cis>8[ <fis a cis>
2290 \change Staff = down
2295 \change Staff = down
2296 <fis, a cis>4 gis <f a d>2 |
2303 \context Staff = "up" {
2304 \accidentalStyle neo-modern-voice-cautionary
2307 \context Staff = "down" {
2308 \accidentalStyle neo-modern-voice-cautionary
2317 @cindex dodecaphonic accidental style
2318 @cindex dodecaphonic style, neo-modern
2320 @funindex dodecaphonic
2322 This rule reflects a practice introduced by composers at
2323 the beginning of the 20th century, in an attempt to
2324 abolish the hierarchy between natural and non-natural notes.
2325 With this style, @emph{every} note gets an accidental sign,
2326 including natural signs.
2332 cis'8 fis, bes4 <a cis>8 f bis4 |
2346 \voiceTwo \relative c' {
2347 <fis, a cis>8[ <fis a cis>
2350 \change Staff = down
2355 \change Staff = down
2356 <fis, a cis>4 gis <f a d>2 |
2363 \context Staff = "up" {
2364 \accidentalStyle dodecaphonic
2367 \context Staff = "down" {
2368 \accidentalStyle dodecaphonic
2378 @cindex teaching accidental style
2379 @cindex accidental style, teaching
2383 This rule is intended for students, and makes it easy to create
2384 scale sheets with automatically created cautionary accidentals.
2385 Accidentals are printed like with @code{modern}, but cautionary
2386 accidentals are added for all sharp or flat tones specified by the
2387 key signature, except if the note is immediately repeated.
2389 @lilypond[quote,staffsize=18]
2393 cis'8 fis, bes4 <a cis>8 f bis4 |
2407 \voiceTwo \relative c' {
2408 <fis, a cis>8[ <fis a cis>
2411 \change Staff = down
2416 \change Staff = down
2417 <fis, a cis>4 gis <f a d>2 |
2424 \context Staff = "up" {
2426 \accidentalStyle teaching
2429 \context Staff = "down" {
2431 \accidentalStyle teaching
2442 @cindex accidental style, no reset
2443 @cindex no reset accidental style
2447 This is the same as @code{default} but with accidentals lasting
2448 @q{forever} and not only within the same measure:
2454 cis'8 fis, bes4 <a cis>8 f bis4 |
2468 \voiceTwo \relative c' {
2469 <fis, a cis>8[ <fis a cis>
2472 \change Staff = down
2477 \change Staff = down
2478 <fis, a cis>4 gis <f a d>2 |
2485 \context Staff = "up" {
2486 \accidentalStyle no-reset
2489 \context Staff = "down" {
2490 \accidentalStyle no-reset
2499 @cindex forget accidental style
2500 @cindex accidental style, forget
2504 This is the opposite of @code{no-reset}: Accidentals are not
2505 remembered at all -- and hence all accidentals are typeset
2506 relative to the key signature, regardless of what came before in
2513 cis'8 fis, bes4 <a cis>8 f bis4 |
2527 \voiceTwo \relative c' {
2528 <fis, a cis>8[ <fis a cis>
2531 \change Staff = down
2536 \change Staff = down
2537 <fis, a cis>4 gis <f a d>2 |
2544 \context Staff = "up" {
2545 \accidentalStyle forget
2548 \context Staff = "down" {
2549 \accidentalStyle forget
2561 Internals Reference:
2562 @rinternals{Accidental},
2563 @rinternals{Accidental_engraver},
2564 @rinternals{GrandStaff},
2565 @rinternals{PianoStaff},
2567 @rinternals{AccidentalSuggestion},
2568 @rinternals{AccidentalPlacement},
2569 @rinternals{accidental-suggestion-interface}.
2571 @cindex accidentals and simultaneous notes
2572 @cindex simultaneous notes and accidentals
2573 @cindex accidentals in chords
2574 @cindex chords, accidentals in
2577 Simultaneous notes are not considered in the automatic
2578 determination of accidentals; only previous notes and the key
2579 signature are considered. Forcing accidentals with@tie{}@code{!}
2580 or@tie{}@code{?} may be required when the same note name occurs
2581 simultaneously with different alterations, as in @samp{<f! fis!>}.
2583 Cautionary cancellation of accidentals is done by looking at previous measure.
2584 However, in the @code{\alternative} block following a @code{\repeat volta N}
2585 section, one would expect the cancellation being calculated using the previous
2586 @emph{played} measure, not previous @emph{printed} measure.
2587 In the following example, the natural @code{c} in the second alternative does
2588 not need a natural sign:
2592 \accidentalStyle modern
2604 The following work-around can be used: define a function that locally changes
2605 the accidental style to @code{forget}:
2607 @lilypond[verbatim,quote]
2608 forget = #(define-music-function (parser location music) (ly:music?) #{
2609 \accidentalStyle forget
2611 \accidentalStyle modern
2614 \accidentalStyle modern
2628 @unnumberedsubsubsec Ambitus
2631 @cindex range of pitches
2634 The term @notation{ambitus} (pl. ambitus) denotes a range of
2635 pitches for a given voice in a part of music. It may also denote
2636 the pitch range that a musical instrument is capable of playing.
2637 Ambitus are printed on vocal parts so that performers can easily
2638 determine if it matches their capabilities.
2640 Ambitus are denoted at the beginning of a piece near the initial
2641 clef. The range is graphically specified by two note heads that
2642 represent the lowest and highest pitches. Accidentals are only
2643 printed if they are not part of the key signature.
2645 @lilypond[verbatim,quote]
2649 \consists "Ambitus_engraver"
2662 @lilypondfile[verbatim,quote,texidoc,doctitle]
2663 {adding-ambitus-per-voice.ly}
2665 @lilypondfile[verbatim,quote,texidoc,doctitle]
2666 {ambitus-with-multiple-voices.ly}
2668 @lilypondfile[verbatim,quote,texidoc,doctitle]
2669 {changing-the-ambitus-gap.ly}
2678 Internals Reference:
2679 @rinternals{Ambitus_engraver},
2682 @rinternals{Ambitus},
2683 @rinternals{AmbitusAccidental},
2684 @rinternals{AmbitusLine},
2685 @rinternals{AmbitusNoteHead},
2686 @rinternals{ambitus-interface}.
2689 There is no collision handling in the case of multiple per-voice
2694 @subsection Note heads
2696 This section suggests ways of altering note heads.
2699 * Special note heads::
2700 * Easy notation note heads::
2701 * Shape note heads::
2705 @node Special note heads
2706 @unnumberedsubsubsec Special note heads
2708 @cindex note heads, special
2709 @cindex note heads, cross
2710 @cindex note heads, diamond
2711 @cindex note heads, parlato
2712 @cindex note heads, harmonic
2713 @cindex note heads, guitar
2714 @cindex special note heads
2715 @cindex cross note heads
2716 @cindex diamond note heads
2717 @cindex parlato note heads
2718 @cindex harmonic note heads
2719 @cindex guitar note heads
2720 @cindex note head styles
2721 @cindex styles, note heads
2725 The appearance of note heads may be altered:
2727 @lilypond[verbatim,quote,relative=2]
2729 \override NoteHead #'style = #'cross
2731 \revert NoteHead #'style
2733 \override NoteHead #'style = #'harmonic
2735 \revert NoteHead #'style
2739 To see all note head styles, see @ref{Note head styles}.
2741 The @code{cross} style is used to represent a variety of musical
2742 intentions. The following generic predefined commands modify the
2743 note head in both staff and tablature contexts and can be used to
2744 represent any musical meaning:
2746 @lilypond[verbatim,quote,relative=2]
2754 The music function form of this predefined command may be used
2755 inside and outside chords to generate crossed note heads in both
2756 staff and tablature contexts:
2758 @lilypond[verbatim,quote,relative=2]
2761 c b < g \xNote c f > b
2764 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2765 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2766 be used. The term @notation{dead note} is commonly used by guitarists.
2768 There is also a shorthand for diamond shapes which can be used
2771 @lilypond[verbatim,quote,relative=2]
2772 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2787 @ref{Note head styles},
2788 @ref{Chorded notes},
2789 @ref{Indicating harmonics and dampened notes}.
2791 Internals Reference:
2792 @rinternals{note-event},
2793 @rinternals{Note_heads_engraver},
2794 @rinternals{Ledger_line_engraver},
2795 @rinternals{NoteHead},
2796 @rinternals{LedgerLineSpanner},
2797 @rinternals{note-head-interface},
2798 @rinternals{ledger-line-spanner-interface}.
2801 @node Easy notation note heads
2802 @unnumberedsubsubsec Easy notation note heads
2804 @cindex note heads, practice
2805 @cindex practice note heads
2806 @cindex note heads, easy notation
2807 @cindex easy notation
2808 @cindex beginners' music
2809 @cindex music, beginners'
2810 @cindex easy play note heads
2811 @cindex note heads, easy play
2813 @funindex \easyHeadsOn
2814 @funindex easyHeadsOn
2815 @funindex \easyHeadsOff
2816 @funindex easyHeadsOff
2818 The @q{easy play} note head includes a note name inside the head.
2819 It is used in music for beginners. To make the letters readable,
2820 it should be printed in a large font size. To print with a larger
2821 font, see @ref{Setting the staff size}.
2823 @lilypond[verbatim,quote]
2824 #(set-global-staff-size 26)
2836 @code{\easyHeadsOn},
2837 @code{\easyHeadsOff}.
2843 @lilypondfile[verbatim,quote,texidoc,doctitle]
2844 {numbers-as-easy-note-heads.ly}
2848 @ref{Setting the staff size}.
2853 Internals Reference:
2854 @rinternals{note-event},
2855 @rinternals{Note_heads_engraver},
2856 @rinternals{NoteHead},
2857 @rinternals{note-head-interface}.
2860 @node Shape note heads
2861 @unnumberedsubsubsec Shape note heads
2863 @cindex note heads, shape
2864 @cindex note heads, Aiken
2865 @cindex note heads, sacred harp
2867 @cindex Aiken shape note heads
2868 @cindex sacred harp note heads
2869 @cindex note heads, Southern Harmony
2870 @cindex Southern Harmony note heads
2871 @cindex Funk shape note heads
2872 @cindex note heads, Funk
2873 @cindex note heads, Harmonica Sacra
2874 @cindex Harmonica Sacra note heads
2875 @cindex Christian Harmony note heads
2876 @cindex note heads, Christian Harmony
2877 @cindex Walker shape note heads
2878 @cindex note heads, Walker
2880 @funindex \aikenHeads
2881 @funindex aikenHeads
2882 @funindex \sacredHarpHeads
2883 @funindex sacredHarpHeads
2884 @funindex \southernHarmonyHeads
2885 @funindex southernHarmonyHeads
2886 @funindex \funkHeads
2888 @funindex \walkerHeads
2889 @funindex walkerHeads
2891 In shape note head notation, the shape of the note head
2892 corresponds to the harmonic function of a note in the scale. This
2893 notation was popular in nineteenth-century American song books.
2894 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2895 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2897 @lilypond[verbatim,quote,relative=2]
2899 c, d e f g2 a b1 c \break
2901 c,4 d e f g2 a b1 c \break
2902 \southernHarmonyHeads
2903 c,4 d e f g2 a b1 c \break
2905 c,4 d e f g2 a b1 c \break
2907 c,4 d e f g2 a b1 c \break
2912 @funindex \aikenHeadsMinor
2913 @funindex aikenHeadsMinor
2914 @funindex \sacredHarpHeadsMinor
2915 @funindex sacredHarpHeadsMinor
2916 @funindex \southernHarmonyHeadsMinor
2917 @funindex southernHarmonyHeadsMinor
2918 @funindex \funkHeadsMinor
2919 @funindex funkHeadsMinor
2920 @funindex \walkerHeadsMinor
2921 @funindex walkerHeadsMinor
2923 Shapes are typeset according to the step in the scale, where the base
2924 of the scale is determined by the @code{\key} command. When writing
2925 in a minor key, the scale step can be determined from the relative
2928 @lilypond[verbatim,quote,relative=2]
2931 a b c d e2 f g1 a \break
2933 a,4 b c d e2 f g1 a \break
2934 \sacredHarpHeadsMinor
2936 \southernHarmonyHeadsMinor
2948 @code{\aikenHeadsMinor},
2950 @code{\funkHeadsMinor},
2951 @code{\sacredHarpHeads},
2952 @code{\sacredHarpHeadsMinor},
2953 @code{\southernHarmonyHeads},
2954 @code{\southernHarmonyHeadsMinor},
2955 @code{\walkerHeads},
2956 @code{\walkerHeadsMinor}.
2962 @lilypondfile[verbatim,quote,texidoc,doctitle]
2963 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2965 To see all note head styles, see @ref{Note head styles}.
2972 @ref{Note head styles}.
2974 Internals Reference:
2975 @rinternals{note-event},
2976 @rinternals{Note_heads_engraver},
2977 @rinternals{NoteHead},
2978 @rinternals{note-head-interface}.
2982 @unnumberedsubsubsec Improvisation
2984 @cindex improvisation
2985 @cindex slashed note heads
2986 @cindex note heads, improvisation
2987 @cindex note heads, slashed
2989 @funindex \improvisationOn
2990 @funindex improvisationOn
2991 @funindex \improvisationOff
2992 @funindex improvisationOff
2994 Improvisation is sometimes denoted with slashed note heads, where
2995 the performer may choose any pitch but should play the specified
2996 rhythm. Such note heads can be created:
2998 @lilypond[verbatim,quote,relative=2]
3000 \consists "Pitch_squash_engraver"
3002 e8 e g a a16( bes) a8 g
3013 @code{\improvisationOn},
3014 @code{\improvisationOff}.
3021 Internals Reference:
3022 @rinternals{Pitch_squash_engraver},
3024 @rinternals{RhythmicStaff}.