1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
92 Music can be marked explicitly as being in absolute octave
93 notation by preceding it with @code{\absolute}:
96 \absolute @var{musicexpr}
99 will be interpreted in absolute octave entry mode regardless of
100 the context it appears in.
110 @node Relative octave entry
111 @unnumberedsubsubsec Relative octave entry
114 @cindex relative octave entry
115 @cindex octave entry, relative
116 @cindex relative octave specification
117 @cindex octave specification, relative
122 Absolute octave entry requires specifying the octave for every
123 single note. Relative octave entry, in contrast, specifies each
124 octave in relation to the last note: changing one note's octave
125 will affect all of the following notes.
127 Relative note mode has to be entered explicitly using the
128 @code{\relative} command:
131 \relative @var{startpitch} @var{musicexpr}
134 In relative mode, each note is assumed to be as close to the
135 previous note as possible. This means that the octave of each
136 pitch inside @code{@var{musicexpr}} is calculated as follows:
140 If no octave changing mark is used on a pitch, its octave is
141 calculated so that the interval with the previous note is less
142 than a fifth. This interval is determined without considering
146 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
147 added to respectively raise or lower a pitch by an extra octave,
148 relative to the pitch calculated without an octave mark.
151 Multiple octave changing marks can be used. For example,
152 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
156 The pitch of the first note is relative to
157 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
158 absolute octave mode. Which choices are meaningful?
161 @item an octave of @code{c}
162 Identifying middle C with @code{c'} is quite basic, so finding
163 octaves of @code{c} tends to be straightforward. If your music
164 starts with @code{gis} above @code{c'''}, you'd write something
165 like @code{\relative @{ gis''' @dots{} @}}
167 @item an octave of the first note inside
168 Writing @code{\relative @{ gis''' @dots{} @}} makes it easy to
169 determine the absolute pitch of the first note inside.
171 @item no explicit starting pitch
172 This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
173 viewed as a compact version of the previous option: the first note
174 inside is written in absolute pitch itself. This happens to be
175 equivalent to choosing @code{f} as the reference pitch.
178 The documentation will usually employ the first option.
181 Here is the relative mode shown in action:
183 @lilypond[verbatim,quote]
192 Octave changing marks are used for intervals greater than a
195 @lilypond[verbatim,quote]
202 A note sequence without a single octave mark can nevertheless span
205 @lilypond[verbatim,quote]
212 When @code{\relative} blocks are nested, the innermost
213 @code{\relative} block applies.
215 @lilypond[verbatim,quote]
224 @code{\relative} has no effect on @code{\chordmode} blocks.
226 @lilypond[verbatim,quote]
235 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
237 Music inside a @code{\transpose} block is absolute unless a
238 @code{\relative} is included.
240 @lilypond[verbatim,quote]
253 @cindex chords and relative octave entry
254 @cindex relative octave entry and chords
256 If the preceding item is a chord, the first note of the chord is
257 used as the reference point for the octave placement of a
258 following note or chord. Inside chords, the next note is always
259 relative to the preceding one. Examine the next example
260 carefully, paying attention to the @code{c} notes.
262 @lilypond[verbatim,quote]
271 As explained above, the octave of pitches is calculated only with
272 the note names, regardless of any alterations. Therefore, an
273 E-double-sharp following a B will be placed higher, while an
274 F-double-flat will be placed lower. In other words, a
275 double-augmented fourth is considered a smaller interval than a
276 double-diminished fifth, regardless of the number of semitones
277 that each interval contains.
279 @lilypond[verbatim,quote]
288 One consequence of these rules is that the first note inside
289 @code{@w{\relative f}} music is interpreted just the same as
290 if it was written in absolute pitch mode.
305 @rinternals{RelativeOctaveMusic}.
307 @cindex relative octave entry and transposition
308 @cindex transposition and relative octave entry
319 @unnumberedsubsubsec Accidentals
322 @cindex key signature
325 @c duplicated in Key signature and Accidentals
326 @warning{New users are sometimes confused about accidentals and
327 key signatures. In LilyPond, note names specify pitches; key
328 signatures and clefs determine how these pitches are displayed.
329 An unaltered note like@tie{}@code{c} means @q{C natural},
330 regardless of the key signature or clef. For more information,
331 see @rlearning{Pitches and key signatures}.}
333 @cindex note names, Dutch
334 @cindex note names, default
335 @cindex default note names
339 @cindex sharp, double
343 @cindex natural pitch
345 A @notation{sharp} pitch is made by adding @code{is} to the note
346 name, and a @notation{flat} pitch by adding @code{es}. As you
347 might expect, a @notation{double sharp} or @notation{double flat}
348 is made by adding @code{isis} or @code{eses}. This syntax is
349 derived from Dutch note naming conventions. To use other names
350 for accidentals, see @ref{Note names in other languages}.
352 @lilypond[verbatim,quote,relative=2]
356 A natural pitch is entered as a simple note name; no suffix is
357 required. A natural sign will be printed when needed to cancel
358 the effect of an earlier accidental or key signature.
360 @lilypond[verbatim,quote,relative=2]
364 @cindex quarter tones
368 Quarter tones may be added; the following is a series of Cs with
371 @lilypond[verbatim,quote,relative=2]
372 ceseh1 ces ceh c cih cis cisih
377 @cindex accidental, reminder
378 @cindex accidental, cautionary
379 @cindex accidental, parenthesized
380 @cindex reminder accidental
381 @cindex cautionary accidental
382 @cindex parenthesized accidental
388 Normally accidentals are printed automatically, but you may also
389 print them manually. A reminder accidental can be forced by
390 adding an exclamation mark@tie{}@code{!} after the pitch. A
391 cautionary accidental (i.e., an accidental within parentheses) can
392 be obtained by adding the question mark@tie{}@code{?} after the
395 @lilypond[verbatim,quote,relative=2]
396 cis cis cis! cis? c c c! c?
399 @cindex accidental on tied note
400 @cindex tied note, accidental
402 Accidentals on tied notes are only printed at the beginning of a
405 @lilypond[verbatim,quote,relative=2,ragged-right]
414 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
415 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
417 @lilypondfile[verbatim,quote,texidoc,doctitle]
418 {preventing-extra-naturals-from-being-automatically-added.ly}
424 @rglos{double sharp},
427 @rglos{quarter tone}.
430 @rlearning{Pitches and key signatures}.
433 @ref{Automatic accidentals},
434 @ref{Annotational accidentals (musica ficta)},
435 @ref{Note names in other languages}.
441 @rinternals{Accidental_engraver},
442 @rinternals{Accidental},
443 @rinternals{AccidentalCautionary},
444 @rinternals{accidental-interface}.
446 @cindex accidental, quarter-tone
447 @cindex quarter-tone accidental
450 There are no generally accepted standards for denoting
451 quarter-tone accidentals, so LilyPond's symbol does not conform to
455 @node Note names in other languages
456 @unnumberedsubsubsec Note names in other languages
458 @cindex note names, other languages
459 @cindex pitch names, other languages
460 @cindex language, note names in other
461 @cindex language, pitch names in other
463 There are predefined sets of note and accidental names for various
464 other languages. Selecting the note name language is usually done
465 at the beginning of the file; the following example is written
466 using Italian note names:
468 @lilypond[quote,verbatim]
476 The available languages and the note names they define are:
479 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
482 @item @code{nederlands}
483 @tab c d e f g a bes b
485 @tab do re mi fa sol la sib si
489 @tab c d e f g a bf b
490 @item @code{espanol} or @code{español}
491 @tab do re mi fa sol la sib si
492 @item @code{italiano} or @code{français}
493 @tab do re mi fa sol la sib si
496 @item @code{portugues}
497 @tab do re mi fa sol la sib si
503 @tab do re mi fa sol la sib si
507 In addition to note names, accidental suffixes may
508 also vary depending on the language:
511 @multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{ess}/-@code{es}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{essess}/-@code{eses}}
513 @tab sharp @tab flat @tab double sharp @tab double flat
514 @item @code{nederlands}
515 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
517 @tab -@code{d}/-@code{s} @tab -@code{b} @tab -@code{dd}/-@code{ss} @tab -@code{bb}
519 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
521 @tab -@code{s}/-@code{-sharp} @tab -@code{f}/-@code{-flat} @tab -@code{ss}/-@code{x}/-@code{-sharpsharp}
522 @tab -@code{ff}/-@code{-flatflat}
523 @item @code{espanol} or @code{español}
524 @tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb}
525 @item @code{italiano} or @code{français}
526 @tab -@code{d} @tab -@code{b} @tab -@code{dd} @tab -@code{bb}
528 @tab -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis}
529 @tab -@code{essess}/-@code{eses}
530 @item @code{portugues}
531 @tab -@code{s} @tab -@code{b} @tab -@code{ss} @tab -@code{bb}
533 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
535 @tab -@code{iss} @tab -@code{ess} @tab -@code{ississ} @tab -@code{essess}
537 @tab -@code{k} @tab -@code{b} @tab -@code{kk} @tab -@code{bb}
541 In Dutch, @code{aes} is contracted to @code{as}, but both forms
542 are accepted in LilyPond. Similarly, both @code{es} and
543 @code{ees} are accepted. This also applies to
544 @code{aeses}@tie{}/@tie{}@code{ases} and
545 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
546 contracted names are defined in the corresponding language files.
548 @lilypond[verbatim,quote,relative=2]
549 a2 as e es a ases e eses
559 Some music uses microtones whose alterations are fractions of a
560 @q{normal} sharp or flat. The following table lists note names
561 for quarter-tone accidentals in various languages; here the prefixes
562 @notation{semi-} and @notation{sesqui-} respectively
563 mean @q{half} and @q{one and a half}. Languages that do not
564 appear in this table do not provide special note names yet.
567 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
569 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
571 @item @code{nederlands}
572 @tab -ih @tab -eh @tab -isih @tab -eseh
574 @tab -ih @tab -eh @tab -isih @tab -eseh
576 @tab -qs @tab -qf @tab -tqs @tab -tqf
577 @item @code{espanol} or @code{español}
578 @tab -cs @tab -cb @tab -tcs @tab -tcb
579 @item @code{italiano} or @code{français}
580 @tab -sd @tab -sb @tab -dsd @tab -bsb
581 @item @code{portugues}
582 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
586 Most languages presented here are commonly associated with
587 Western classical music, also referred to as
588 @notation{Common Practice Period}. However, alternate
589 pitches and tuning systems are also supported: see
590 @ref{Common notation for non-Western music}.
595 @rglos{Common Practice Period}.
598 @ref{Common notation for non-Western music}.
601 @file{scm/define-note-names.scm}.
607 @node Changing multiple pitches
608 @subsection Changing multiple pitches
610 This section discusses how to modify pitches.
617 * Modal transformations::
621 @unnumberedsubsubsec Octave checks
623 @cindex octave correction
625 @cindex control pitch
628 @funindex \octaveCheck
629 @funindex octaveCheck
630 @funindex controlpitch
632 In relative mode, it is easy to forget an octave changing mark.
633 Octave checks make such errors easier to find by displaying a
634 warning and correcting the octave if a note is found in an
637 To check the octave of a note, specify the absolute octave after
638 the @code{=}@tie{}symbol. This example will generate a warning
639 (and change the pitch) because the second note is the absolute
640 octave @code{d''} instead of @code{d'} as indicated by the octave
643 @lilypond[verbatim,quote]
650 The octave of notes may also be checked with the
651 @code{\octaveCheck@tie{}@var{controlpitch}} command.
652 @code{@var{controlpitch}} is specified in absolute mode. This
653 checks that the interval between the previous note and the
654 @code{@var{controlpitch}} is within a fourth (i.e., the normal
655 calculation of relative mode). If this check fails, a warning is
656 printed, but the previous note is not changed. Future notes are
657 relative to the @code{@var{controlpitch}}.
659 @lilypond[verbatim,quote]
667 Compare the two bars below. The first and third @code{\octaveCheck}
668 checks fail, but the second one does not fail.
670 @lilypond[verbatim,quote]
689 @rinternals{RelativeOctaveCheck}.
693 @unnumberedsubsubsec Transpose
697 @cindex transposition
698 @cindex transposition of pitches
699 @cindex transposition of notes
700 @cindex pitches, transposition of
701 @cindex notes, transposition of
706 A music expression can be transposed with @code{\transpose}. The
710 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
714 This means that @code{@var{musicexpr}} is transposed by the
715 interval between the pitches @code{@var{frompitch}} and
716 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
717 is changed to @code{@var{topitch}} and any other note is
718 transposed by the same interval. Both pitches are entered in
721 @warning{Music inside a @code{@bs{}transpose} block is absolute
722 unless a @code{@bs{}relative} is included in the block.}
724 Consider a piece written in the key of D-major. It can be
725 transposed up to E-major; note that the key signature is
726 automatically transposed as well.
728 @lilypond[verbatim,quote]
737 @cindex transposing instruments
738 @cindex instruments, transposing
740 If a part written in C (normal @notation{concert pitch}) is to be
741 played on the A clarinet (for which an A is notated as a C and
742 thus sounds a minor third lower than notated), the appropriate
743 part will be produced with:
745 @lilypond[verbatim,quote]
755 Note that we specify @w{@code{\key c \major}} explicitly. If we
756 do not specify a key signature, the notes will be transposed but
757 no key signature will be printed.
759 @code{\transpose} distinguishes between enharmonic pitches: both
760 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
761 transpose up a semitone. The first version will print sharps and
762 the notes will remain on the same scale step, the second version
763 will print flats on the scale step above.
765 @lilypond[verbatim,quote]
766 music = \relative { c' d e f }
768 \transpose c cis { \music }
769 \transpose c des { \music }
774 @code{\transpose} may also be used in a different way, to input
775 written notes for a transposing instrument. The previous examples
776 show how to enter pitches in C (or @notation{concert pitch}) and
777 typeset them for a transposing instrument, but the opposite is
778 also possible if you for example have a set of instrumental parts
779 and want to print a conductor's score. For example, when entering
780 music for a B-flat trumpet that begins on a notated E (concert D),
784 musicInBflat = @{ e4 @dots{} @}
785 \transpose c bes, \musicInBflat
789 To print this music in F (e.g., rearranging to a French horn) you
790 could wrap the existing music with another @code{\transpose}:
793 musicInBflat = @{ e4 @dots{} @}
794 \transpose f c' @{ \transpose c bes, \musicInBflat @}
798 For more information about transposing instruments,
799 see @ref{Instrument transpositions}.
804 @lilypondfile[verbatim,quote,texidoc,doctitle]
805 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
809 @ref{Instrument transpositions},
811 @ref{Modal transformations},
812 @ref{Relative octave entry},
819 @rinternals{TransposedMusic}.
829 The relative conversion will not affect @code{\transpose},
830 @code{\chordmode} or @code{\relative} sections in its argument. To use
831 relative mode within transposed music, an additional @code{\relative}
832 must be placed inside @code{\transpose}.
834 Triple accidentals will not be printed if using @code{\transpose}. An
835 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
836 rather than e-triple-flat).
840 @unnumberedsubsubsec Inversion
843 @cindex operation, inversion
846 A music expression can be inverted and transposed in a single
850 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
853 The @code{@var{musicexpr}} is inverted interval-by-interval around
854 @code{@var{around-pitch}}, and then transposed so that
855 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
857 @lilypond[verbatim,quote]
858 music = \relative { c' d e f }
861 \inversion d' d' \music
862 \inversion d' ees' \music
866 @warning{Motifs to be inverted should be expressed in absolute form
867 or be first converted to absolute form by enclosing them in a
868 @code{\relative} block.}
872 @ref{Modal transformations},
878 @unnumberedsubsubsec Retrograde
880 @cindex retrograde transformation
881 @cindex transformation, retrograde
882 @cindex operation, retrograde
883 @funindex \retrograde
886 A music expression can be reversed to produce its retrograde:
888 @lilypond[verbatim,quote]
889 music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
898 Manual ties inside @code{\retrograde} will be broken and
899 generate warnings. Some ties can be generated automatically
900 by enabling @ref{Automatic note splitting}.
905 @ref{Modal transformations},
909 @node Modal transformations
910 @unnumberedsubsubsec Modal transformations
912 @cindex modal transformations
913 @cindex transformations, modal
914 @cindex operations, modal
916 In a musical composition that is based on a scale, a motif is
917 frequently transformed in various ways. It may be
918 @notation{transposed} to start at different places in the scale or
919 it may be @notation{inverted} around a pivot point in the scale.
920 It may also be reversed to produce its @notation{retrograde}, see
923 @warning{Any note that does not lie within the given scale will be
926 @subsubsubheading Modal transposition
928 @cindex modal transposition
929 @cindex transposition, modal
930 @cindex operation, transposition
931 @funindex \modalTranspose
932 @funindex modalTranspose
934 A motif can be transposed within a given scale with:
937 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
940 The notes of @var{motif} are shifted within the @var{scale} by the
941 number of scale degrees given by the interval between @var{to-pitch}
942 and @var{from-pitch}:
944 @lilypond[verbatim,quote]
945 diatonicScale = \relative { c' d e f g a b }
946 motif = \relative { c'8 d e f g a b c }
950 \modalTranspose c f \diatonicScale \motif
951 \modalTranspose c b, \diatonicScale \motif
955 An ascending scale of any length and with any intervals may be
958 @lilypond[verbatim,quote]
959 pentatonicScale = \relative { ges aes bes des ees }
960 motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
964 \modalTranspose ges ees' \pentatonicScale \motif
968 When used with a chromatic scale @code{\modalTranspose} has a
969 similar effect to @code{\transpose}, but with the ability to
970 specify the names of the notes to be used:
972 @lilypond[verbatim,quote]
973 chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
974 motif = \relative { c'8 d e f g a b c }
978 \transpose c f \motif
979 \modalTranspose c f \chromaticScale \motif
983 @subsubsubheading Modal inversion
985 @cindex modal inversion
986 @cindex inversion, modal
987 @cindex operation, modal inversion
988 @funindex \modalInversion
989 @funindex modalInversion
991 A motif can be inverted within a given scale around a given pivot
992 note and transposed in a single operation with:
995 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
998 The notes of @var{motif} are placed the same number of scale degrees
999 from the @var{around-pitch} note within the @var{scale}, but in the
1000 opposite direction, and the result is then shifted within the
1001 @var{scale} by the number of scale degrees given by the interval between
1002 @var{to-pitch} and @var{around-pitch}.
1004 So to simply invert around a note in the scale use the same value for
1005 @var{around-pitch} and @var{to-pitch}:
1007 @lilypond[verbatim,quote]
1008 octatonicScale = \relative { ees' f fis gis a b c d }
1009 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1013 \modalInversion fis' fis' \octatonicScale \motif
1017 To invert around a pivot between two notes in the scale, invert around
1018 one of the notes and then transpose by one scale degree. The two notes
1019 specified can be interpreted as bracketing the pivot point:
1021 @lilypond[verbatim,quote]
1022 scale = \relative { c' g' }
1023 motive = \relative { c' c g' c, }
1027 \modalInversion c' g' \scale \motive
1031 The combined operation of inversion and retrograde produce the
1032 retrograde-inversion:
1034 @lilypond[verbatim,quote]
1035 octatonicScale = \relative { ees' f fis gis a b c d }
1036 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1040 \retrograde \modalInversion c' c' \octatonicScale \motif
1051 @node Displaying pitches
1052 @subsection Displaying pitches
1054 This section discusses how to alter the output of pitches.
1060 * Instrument transpositions::
1061 * Automatic accidentals::
1067 @unnumberedsubsubsec Clef
1078 @cindex soprano clef
1079 @cindex mezzosoprano clef
1080 @cindex baritone clef
1081 @cindex varbaritone clef
1082 @cindex subbass clef
1084 @cindex ancient clef
1085 @cindex clef, ancient
1089 @cindex clef, treble
1090 @cindex clef, violin
1094 @cindex clef, french
1095 @cindex clef, soprano
1096 @cindex clef, mezzosoprano
1097 @cindex clef, baritone
1098 @cindex clef, varbaritone
1099 @cindex clef, subbass
1105 Without any explicit command, the default clef for LilyPond is the
1106 treble (or @emph{G}) clef.
1108 @lilypond[verbatim,quote,relative=1,ragged-right]
1112 However, the clef can be changed by using the @code{\clef} command and
1113 an appropriate clef name. @emph{Middle C} is shown in each of the
1116 @lilypond[verbatim,quote,relative=1]
1127 For the full range of possible clef names see @ref{Clef styles}.
1129 Specialized clefs, such as those used in @emph{Ancient} music, are
1130 described in @ref{Mensural clefs} and @ref{Gregorian clefs}. Music that
1131 requires tablature clefs is discussed in @ref{Default tablatures} and
1132 @ref{Custom tablatures}.
1135 @cindex Clefs with cue notes
1136 For mixing clefs when using cue notes, see the @code{\cueClef} and
1137 @code{\cueDuringWithClef} commands in @ref{Formatting cue notes}.
1139 @cindex transposing clef
1140 @cindex clef, transposing
1141 @cindex octave transposition
1142 @cindex optional octave transposition
1143 @cindex octave transposition, optional
1144 @cindex choral tenor clef
1145 @cindex tenor clef, choral
1147 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1148 clef is transposed one octave down or up respectively,
1149 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1150 Other integers can be used if required. Clef names containing
1151 non-alphabetic characters must be enclosed in quotes
1153 @lilypond[verbatim,quote,relative=1]
1168 Optional octavation can be obtained by enclosing the numeric
1169 argument in parentheses or brackets:
1171 @lilypond[verbatim,quote,relative=1]
1178 The pitches are displayed as if the numeric argument were
1179 given without parentheses/brackets.
1181 By default, a clef change taking place at a line break will cause
1182 the new clef symbol to be printed at the end of the previous line,
1183 as a @emph{warning} clef, as well as the beginning of the next.
1184 This @emph{warning} clef can be suppressed.
1186 @lilypond[verbatim,quote,relative=1]
1187 \clef treble { c2 c } \break
1188 \clef bass { c2 c } \break
1190 \set Staff.explicitClefVisibility = #end-of-line-invisible
1192 \unset Staff.explicitClefVisibility
1193 \clef bass { c2 c } \break
1196 By default, a clef that has previously been printed will not be
1197 re-printed if the same @code{\clef} command is issued again and
1198 will be ignored. The the command
1199 @code{\set Staff.forceClef = ##t} changes this behaviour.
1201 @lilypond[verbatim,quote,relative=1]
1206 \set Staff.forceClef = ##t
1212 When there is a manual clef change, the glyph of the changed clef
1213 will be smaller than normal. This behaviour can be overridden.
1215 @lilypond[verbatim,quote,relative=1]
1222 \override Staff.Clef.full-size-change = ##t
1227 \revert Staff.Clef.full-size-change
1235 @lilypondfile[verbatim,quote,texidoc,doctitle]
1236 {tweaking-clef-properties.ly}
1240 @ref{Mensural clefs},
1241 @ref{Gregorian clefs},
1242 @ref{Default tablatures},
1243 @ref{Custom tablatures},
1244 @ref{Formatting cue notes}.
1247 @file{scm/parser-clef.scm}.
1252 Internals Reference:
1253 @rinternals{Clef_engraver},
1255 @rinternals{ClefModifier},
1256 @rinternals{clef-interface}.
1259 Ottavation numbers attached to clefs are treated as separate
1260 grobs. So any @code{\override} done to the @var{Clef} will also
1261 need to be applied, as a separate @code{\override}, to the
1262 @var{ClefModifier} grob.
1264 @lilypond[fragment,quote,verbatim,relative=1]
1266 \override Clef.color = #blue
1267 \override ClefModifier.color = #red
1275 @unnumberedsubsubsec Key signature
1277 @cindex key signature
1282 @c duplicated in Key signature and Accidentals
1283 @warning{New users are sometimes confused about accidentals and
1284 key signatures. In LilyPond, note names are the raw input; key
1285 signatures and clefs determine how this raw input is displayed.
1286 An unaltered note like@tie{}@code{c} means @q{C natural},
1287 regardless of the key signature or clef. For more information,
1288 see @rlearning{Pitches and key signatures}.}
1290 The key signature indicates the tonality in which a piece is
1291 played. It is denoted by a set of alterations (flats or sharps)
1292 at the start of the staff. The key signature may be altered:
1295 \key @var{pitch} @var{mode}
1308 @funindex \mixolydian
1309 @funindex mixolydian
1317 @cindex church modes
1330 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1331 to get a key signature of @code{@var{pitch}}-major or
1332 @code{@var{pitch}}-minor, respectively. You may also use the
1333 standard mode names, also called @notation{church modes}:
1334 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1335 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1337 @lilypond[verbatim,quote,relative=2]
1344 Additional modes can be defined, by listing the alterations
1345 for each scale step when the mode starts on C.
1347 @lilypond[verbatim,quote]
1348 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1349 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1352 \key c \freygish c'4 des e f
1353 \bar "||" \key d \freygish d es fis g
1357 Accidentals in the key signature may be printed in octaves other
1358 than their traditional positions, or in multiple octaves, by
1359 using the @code{flat-positions} and @code{sharp-positions}
1360 properties of @code{KeySignature}. Entries in these properties
1361 specify the range of staff-positions where accidentals will be
1362 printed. If a single position is specified in an entry, the
1363 accidentals are placed within the octave ending at that staff
1366 @lilypond[verbatim, quote,relative=0]
1367 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1368 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1369 \clef bass \key es \major es g bes d
1370 \clef treble \bar "||" \key es \major es g bes d
1372 \override Staff.KeySignature.sharp-positions = #'(2)
1373 \bar "||" \key b \major b fis b2
1378 @lilypondfile[verbatim,quote,texidoc,doctitle]
1379 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1381 @lilypondfile[verbatim,quote,texidoc,doctitle]
1382 {non-traditional-key-signatures.ly}
1387 @rglos{church mode},
1391 @rlearning{Pitches and key signatures}.
1396 Internals Reference:
1397 @rinternals{KeyChangeEvent},
1398 @rinternals{Key_engraver},
1399 @rinternals{Key_performer},
1400 @rinternals{KeyCancellation},
1401 @rinternals{KeySignature},
1402 @rinternals{key-signature-interface}.
1405 @node Ottava brackets
1406 @unnumberedsubsubsec Ottava brackets
1414 @funindex set-octavation
1418 @notation{Ottava brackets} introduce an extra transposition of an
1419 octave for the staff:
1421 @lilypond[verbatim,quote,relative=2]
1437 @lilypondfile[verbatim,quote,texidoc,doctitle]
1440 @lilypondfile[verbatim,quote,texidoc,doctitle]
1441 {adding-an-ottava-marking-to-a-single-voice.ly}
1443 @lilypondfile[verbatim,quote,texidoc,doctitle]
1444 {modifying-the-ottava-spanner-slope.ly}
1453 Internals Reference:
1454 @rinternals{Ottava_spanner_engraver},
1455 @rinternals{OttavaBracket},
1456 @rinternals{ottava-bracket-interface}.
1459 @node Instrument transpositions
1460 @unnumberedsubsubsec Instrument transpositions
1462 @cindex transposition, MIDI
1463 @cindex transposition, instrument
1464 @cindex transposing instrument
1466 @cindex MIDI transposition
1468 @funindex \transposition
1469 @funindex transposition
1471 When typesetting scores that involve transposing instruments, some
1472 parts can be typeset in a different pitch than the
1473 @notation{concert pitch}. In these cases, the key of the
1474 @notation{transposing instrument} should be specified; otherwise
1475 the MIDI output and cues in other parts will produce incorrect
1476 pitches. For more information about quotations, see
1477 @ref{Quoting other voices}.
1480 \transposition @var{pitch}
1483 The pitch to use for @code{\transposition} should correspond to
1484 the real sound heard when a@tie{}@code{c'} written on the staff is
1485 played by the transposing instrument. This pitch is entered in
1486 absolute mode, so an instrument that produces a real sound which
1487 is one tone higher than the printed music should use
1488 @w{@code{\transposition d'}}. @code{\transposition} should
1489 @emph{only} be used if the pitches are @emph{not} being entered in
1492 Here are a few notes for violin and B-flat clarinet where the
1493 parts have been entered using the notes and key as they appear in
1494 each part of the conductor's score. The two instruments are
1497 @lilypond[verbatim,quote]
1499 \new Staff = "violin" {
1501 \set Staff.instrumentName = #"Vln"
1502 \set Staff.midiInstrument = #"violin"
1503 % not strictly necessary, but a good reminder
1510 \new Staff = "clarinet" {
1512 \set Staff.instrumentName = \markup { Cl (B\flat) }
1513 \set Staff.midiInstrument = #"clarinet"
1523 The @code{\transposition} may be changed during a piece. For
1524 example, a clarinetist may be required to switch from an A clarinet
1525 to a B-flat clarinet.
1527 @lilypond[verbatim,quote]
1528 flute = \relative c'' {
1530 \cueDuring #"clarinet" #DOWN {
1531 R1 _\markup\tiny "clarinet"
1533 R1 _\markup\tiny "clarinet"
1536 clarinet = \relative c'' {
1540 R1^\markup { muta in B\flat }
1545 \addQuote "clarinet" \clarinet
1547 \new Staff \with { instrumentName = #"Flute" }
1549 \new Staff \with { instrumentName = #"Cl (A)" }
1556 @rglos{concert pitch},
1557 @rglos{transposing instrument}.
1560 @ref{Quoting other voices},
1567 @node Automatic accidentals
1568 @unnumberedsubsubsec Automatic accidentals
1570 @cindex accidental style
1571 @cindex accidental style, default
1573 @cindex accidentals, automatic
1574 @cindex automatic accidentals
1575 @cindex default accidental style
1577 @funindex \accidentalStyle
1581 There are many different conventions on how to typeset
1582 accidentals. LilyPond provides a function to specify which
1583 accidental style to use. This function is called as follows:
1587 \accidentalStyle voice
1592 The accidental style applies to the current @code{Staff} by
1593 default (with the exception of the styles @code{piano} and
1594 @code{piano-cautionary}, which are explained below). Optionally,
1595 the function can take a second argument that determines in which
1596 scope the style should be changed. For example, to use the same
1597 style in all staves of the current @code{StaffGroup}, use:
1600 \accidentalStyle StaffGroup.voice
1603 The following accidental styles are supported. To demonstrate
1604 each style, we use the following example:
1607 @lilypond[verbatim,quote]
1611 cis''8 fis, bes4 <a cis>8 f bis4 |
1625 \voiceTwo \relative {
1626 <fis a cis>8[ <fis a cis>
1629 \change Staff = down
1634 \change Staff = down
1635 <fis, a cis>4 gis <f a d>2 |
1642 \context Staff = "up" {
1643 \accidentalStyle default
1646 \context Staff = "down" {
1647 \accidentalStyle default
1654 Note that the last lines of this example can be replaced by the
1655 following, as long as the same accidental style should be used in
1661 \context Staff = "up" @{
1662 %%% change the next line as desired:
1663 \accidentalStyle Score.default
1666 \context Staff = "down" @{
1674 @c don't use verbatim in this table.
1678 @cindex default accidental style
1679 @cindex accidental style, default
1683 This is the default typesetting behavior. It corresponds to
1684 eighteenth-century common practice: accidentals are remembered to
1685 the end of the measure in which they occur and only in their own
1686 octave. Thus, in the example below, no natural signs are printed
1687 before the@tie{}@code{b} in the second measure or the
1694 cis''8 fis, bes4 <a cis>8 f bis4 |
1708 \voiceTwo \relative {
1709 <fis a cis>8[ <fis a cis>
1712 \change Staff = down
1717 \change Staff = down
1718 <fis, a cis>4 gis <f a d>2 |
1725 \context Staff = "up" {
1726 \accidentalStyle default
1729 \context Staff = "down" {
1730 \accidentalStyle default
1739 @cindex accidental style, voice
1740 @cindex voice accidental style
1741 @cindex accidental style, modern
1742 @cindex modern accidental style
1743 @cindex accidental style, modern-cautionary
1744 @cindex modern-cautionary accidental style
1748 The normal behavior is to remember the accidentals at
1749 @code{Staff}-level. In this style, however, accidentals are
1750 typeset individually for each voice. Apart from that, the rule is
1751 similar to @code{default}.
1753 As a result, accidentals from one voice do not get canceled in
1754 other voices, which is often an unwanted result: in the following
1755 example, it is hard to determine whether the second@tie{}@code{a}
1756 should be played natural or sharp. The @code{voice} option should
1757 therefore be used only if the voices are to be read solely by
1758 individual musicians. If the staff is to be used by one musician
1759 (e.g., a conductor or in a piano score) then @code{modern} or
1760 @code{modern-cautionary} should be used instead.
1767 cis''8 fis, bes4 <a cis>8 f bis4 |
1781 \voiceTwo \relative {
1782 <fis a cis>8[ <fis a cis>
1785 \change Staff = down
1790 \change Staff = down
1791 <fis, a cis>4 gis <f a d>2 |
1798 \context Staff = "up" {
1799 \accidentalStyle voice
1802 \context Staff = "down" {
1803 \accidentalStyle voice
1812 @cindex accidentals, modern style
1813 @cindex modern style accidentals
1817 This rule corresponds to the common practice in the twentieth
1818 century. It omits some extra natural signs, which were
1819 traditionally prefixed to a sharp following a double sharp,
1820 or a flat following a double flat. The @code{modern} rule
1821 prints the same accidentals as @code{default}, with
1822 two additions that serve to avoid ambiguity: after temporary
1823 accidentals, cancellation marks are printed also in the following
1824 measure (for notes in the same octave) and, in the same measure,
1825 for notes in other octaves. Hence the naturals before
1826 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1833 cis''8 fis, bes4 <a cis>8 f bis4 |
1847 \voiceTwo \relative {
1848 <fis a cis>8[ <fis a cis>
1851 \change Staff = down
1856 \change Staff = down
1857 <fis, a cis>4 gis <f a d>2 |
1864 \context Staff = "up" {
1865 \accidentalStyle modern
1868 \context Staff = "down" {
1869 \accidentalStyle modern
1876 @item modern-cautionary
1878 @cindex accidentals, modern cautionary style
1879 @cindex modern accidental style
1880 @cindex modern cautionary accidental style
1881 @cindex modern style accidentals
1882 @cindex modern style cautionary accidentals
1884 @funindex modern-cautionary
1886 This rule is similar to @code{modern}, but the @q{extra}
1887 accidentals (the ones not typeset by @code{default}) are typeset
1888 as cautionary accidentals. They are by default printed with
1889 parentheses, but they can also be printed in reduced size by
1890 defining the @code{cautionary-style} property of
1891 @code{AccidentalSuggestion}.
1897 cis''8 fis, bes4 <a cis>8 f bis4 |
1911 \voiceTwo \relative {
1912 <fis a cis>8[ <fis a cis>
1915 \change Staff = down
1920 \change Staff = down
1921 <fis, a cis>4 gis <f a d>2 |
1928 \context Staff = "up" {
1929 \accidentalStyle modern-cautionary
1932 \context Staff = "down" {
1933 \accidentalStyle modern-cautionary
1942 @cindex accidental style, modern
1943 @cindex accidentals, modern
1944 @cindex accidentals, multivoice
1945 @cindex modern accidental style
1946 @cindex modern accidentals
1947 @cindex multivoice accidentals
1949 @funindex modern-voice
1951 This rule is used for multivoice accidentals to be read both by
1952 musicians playing one voice and musicians playing all voices.
1953 Accidentals are typeset for each voice, but they @emph{are}
1954 canceled across voices in the same @code{Staff}. Hence,
1955 the@tie{}@code{a} in the last measure is canceled because the
1956 previous cancellation was in a different voice, and
1957 the@tie{}@code{d} in the lower staff is canceled because of the
1958 accidental in a different voice in the previous measure:
1964 cis''8 fis, bes4 <a cis>8 f bis4 |
1978 \voiceTwo \relative {
1979 <fis a cis>8[ <fis a cis>
1982 \change Staff = down
1987 \change Staff = down
1988 <fis, a cis>4 gis <f a d>2 |
1995 \context Staff = "up" {
1996 \accidentalStyle modern-voice
1999 \context Staff = "down" {
2000 \accidentalStyle modern-voice
2007 @cindex accidental style, cautionary, modern voice
2008 @cindex accidental style, modern voice cautionary
2009 @cindex accidental style, voice, modern cautionary
2011 @funindex modern-voice-cautionary
2013 @item modern-voice-cautionary
2015 This rule is the same as @code{modern-voice}, but with the extra
2016 accidentals (the ones not typeset by @code{voice}) typeset as
2017 cautionaries. Even though all accidentals typeset by
2018 @code{default} @emph{are} typeset with this rule, some of them are
2019 typeset as cautionaries.
2025 cis''8 fis, bes4 <a cis>8 f bis4 |
2039 \voiceTwo \relative {
2040 <fis a cis>8[ <fis a cis>
2043 \change Staff = down
2048 \change Staff = down
2049 <fis, a cis>4 gis <f a d>2 |
2056 \context Staff = "up" {
2057 \accidentalStyle modern-voice-cautionary
2060 \context Staff = "down" {
2061 \accidentalStyle modern-voice-cautionary
2070 @cindex accidental style, piano
2071 @cindex accidentals, piano
2072 @cindex piano accidental style
2073 @cindex piano accidentals
2077 This rule reflects twentieth-century practice for piano notation.
2078 Its behavior is very similar to @code{modern} style, but here
2079 accidentals also get canceled across the staves in the same
2080 @code{GrandStaff} or @code{PianoStaff}, hence all the
2081 cancellations of the final notes.
2083 This accidental style applies to the current @code{GrandStaff} or
2084 @code{PianoStaff} by default.
2090 cis''8 fis, bes4 <a cis>8 f bis4 |
2104 \voiceTwo \relative {
2105 <fis a cis>8[ <fis a cis>
2108 \change Staff = down
2113 \change Staff = down
2114 <fis, a cis>4 gis <f a d>2 |
2121 \context Staff = "up" {
2122 \accidentalStyle piano
2125 \context Staff = "down" {
2132 @item piano-cautionary
2134 @cindex accidentals, piano cautionary
2135 @cindex cautionary accidentals, piano
2136 @cindex piano cautionary accidentals
2137 @cindex accidental style, piano cautionary
2138 @cindex cautionary accidental style, piano
2139 @cindex piano cautionary accidental style
2141 @funindex piano-cautionary
2143 This is the same as @code{piano} but with the extra accidentals
2144 typeset as cautionaries.
2150 cis''8 fis, bes4 <a cis>8 f bis4 |
2164 \voiceTwo \relative {
2165 <fis a cis>8[ <fis a cis>
2168 \change Staff = down
2173 \change Staff = down
2174 <fis, a cis>4 gis <f a d>2 |
2181 \context Staff = "up" {
2182 \accidentalStyle piano-cautionary
2185 \context Staff = "down" {
2195 @cindex neo-modern accidental style
2196 @cindex accidental style, neo-modern
2198 @funindex neo-modern
2200 This rule reproduces a common practice in contemporary music:
2201 accidentals are printed like with @code{modern}, but they are printed
2202 again if the same note appears later in the same measure -- except
2203 if the note is immediately repeated.
2209 cis''8 fis, bes4 <a cis>8 f bis4 |
2223 \voiceTwo \relative {
2224 <fis a cis>8[ <fis a cis>
2227 \change Staff = down
2232 \change Staff = down
2233 <fis, a cis>4 gis <f a d>2 |
2240 \context Staff = "up" {
2241 \accidentalStyle neo-modern
2244 \context Staff = "down" {
2245 \accidentalStyle neo-modern
2252 @item neo-modern-cautionary
2254 @cindex neo-modern-cautionary accidental style
2255 @cindex accidental style, neo-modern-cautionary
2257 @funindex neo-modern-cautionary
2259 This rule is similar to @code{neo-modern}, but the extra
2260 accidentals are printed as cautionary accidentals.
2266 cis''8 fis, bes4 <a cis>8 f bis4 |
2280 \voiceTwo \relative {
2281 <fis a cis>8[ <fis a cis>
2284 \change Staff = down
2289 \change Staff = down
2290 <fis, a cis>4 gis <f a d>2 |
2297 \context Staff = "up" {
2298 \accidentalStyle neo-modern-cautionary
2301 \context Staff = "down" {
2302 \accidentalStyle neo-modern-cautionary
2310 @item neo-modern-voice
2312 @cindex neo-modern-voice accidental style
2313 @cindex accidental style, neo-modern-voice
2315 @funindex neo-modern-voice
2317 This rule is used for multivoice accidentals to be read both by
2318 musicians playing one voice and musicians playing all voices.
2319 Accidentals are typeset for each voice as with @code{neo-modern},
2320 but they are canceled across voices in the same @code{Staff}.
2326 cis''8 fis, bes4 <a cis>8 f bis4 |
2340 \voiceTwo \relative {
2341 <fis a cis>8[ <fis a cis>
2344 \change Staff = down
2349 \change Staff = down
2350 <fis, a cis>4 gis <f a d>2 |
2357 \context Staff = "up" {
2358 \accidentalStyle neo-modern-voice
2361 \context Staff = "down" {
2362 \accidentalStyle neo-modern-voice
2369 @item neo-modern-voice-cautionary
2371 @cindex neo-modern-voice-cautionary accidental style
2372 @cindex accidental style, neo-modern-voice-cautionary
2374 @funindex neo-modern-voice-cautionary
2376 This rule is similar to @code{neo-modern-voice}, but the extra
2377 accidentals are printed as cautionary accidentals.
2383 cis''8 fis, bes4 <a cis>8 f bis4 |
2397 \voiceTwo \relative {
2398 <fis a cis>8[ <fis a cis>
2401 \change Staff = down
2406 \change Staff = down
2407 <fis, a cis>4 gis <f a d>2 |
2414 \context Staff = "up" {
2415 \accidentalStyle neo-modern-voice-cautionary
2418 \context Staff = "down" {
2419 \accidentalStyle neo-modern-voice-cautionary
2428 @cindex dodecaphonic accidental style
2429 @cindex dodecaphonic style, neo-modern
2431 @funindex dodecaphonic
2433 This rule reflects a practice introduced by composers at
2434 the beginning of the 20th century, in an attempt to
2435 abolish the hierarchy between natural and non-natural notes.
2436 With this style, @emph{every} note gets an accidental sign,
2437 including natural signs.
2443 cis''8 fis, bes4 <a cis>8 f bis4 |
2457 \voiceTwo \relative {
2458 <fis a cis>8[ <fis a cis>
2461 \change Staff = down
2466 \change Staff = down
2467 <fis, a cis>4 gis <f a d>2 |
2474 \context Staff = "up" {
2475 \accidentalStyle dodecaphonic
2478 \context Staff = "down" {
2479 \accidentalStyle dodecaphonic
2486 @item dodecaphonic-no-repeat
2488 @cindex dodecaphonic accidental style
2489 @cindex dodecaphonic style, neo-modern
2491 @funindex dodecaphonic-no-repeat
2493 Like with the dodecaphonic accidental style @emph{every} note
2494 gets an accidental sign by default, but accidentals are
2495 suppressed for pitches immediately repeated within the same staff.
2501 cis''8 fis, bes4 <a cis>8 f bis4 |
2515 \voiceTwo \relative {
2516 <fis a cis>8[ <fis a cis>
2519 \change Staff = down
2524 \change Staff = down
2525 <fis, a cis>4 gis <f a d>2 |
2532 \context Staff = "up" {
2533 \accidentalStyle dodecaphonic-no-repeat
2536 \context Staff = "down" {
2537 \accidentalStyle dodecaphonic-no-repeat
2545 @item dodecaphonic-first
2547 @cindex dodecaphonic accidental style
2548 @cindex dodecaphonic style, neo-modern
2550 @funindex dodecaphonic-first
2552 Similar to the dodecaphonic accidental style @emph{every} pitch
2553 gets an accidental sign, but only the first time it is encountered
2554 in a measure. Accidentals are only remembered for the actual octave
2555 but throughout voices.
2561 cis''8 fis, bes4 <a cis>8 f bis4 |
2575 \voiceTwo \relative {
2576 <fis a cis>8[ <fis a cis>
2579 \change Staff = down
2584 \change Staff = down
2585 <fis, a cis>4 gis <f a d>2 |
2592 \context Staff = "up" {
2593 \accidentalStyle dodecaphonic-first
2596 \context Staff = "down" {
2597 \accidentalStyle dodecaphonic-first
2607 @cindex teaching accidental style
2608 @cindex accidental style, teaching
2612 This rule is intended for students, and makes it easy to create
2613 scale sheets with automatically created cautionary accidentals.
2614 Accidentals are printed like with @code{modern}, but cautionary
2615 accidentals are added for all sharp or flat tones specified by the
2616 key signature, except if the note is immediately repeated.
2618 @lilypond[quote,staffsize=18]
2622 cis''8 fis, bes4 <a cis>8 f bis4 |
2636 \voiceTwo \relative {
2637 <fis a cis>8[ <fis a cis>
2640 \change Staff = down
2645 \change Staff = down
2646 <fis, a cis>4 gis <f a d>2 |
2653 \context Staff = "up" {
2655 \accidentalStyle teaching
2658 \context Staff = "down" {
2660 \accidentalStyle teaching
2671 @cindex accidental style, no reset
2672 @cindex no reset accidental style
2676 This is the same as @code{default} but with accidentals lasting
2677 @q{forever} and not only within the same measure:
2683 cis''8 fis, bes4 <a cis>8 f bis4 |
2697 \voiceTwo \relative {
2698 <fis a cis>8[ <fis a cis>
2701 \change Staff = down
2706 \change Staff = down
2707 <fis, a cis>4 gis <f a d>2 |
2714 \context Staff = "up" {
2715 \accidentalStyle no-reset
2718 \context Staff = "down" {
2719 \accidentalStyle no-reset
2728 @cindex forget accidental style
2729 @cindex accidental style, forget
2733 This is the opposite of @code{no-reset}: Accidentals are not
2734 remembered at all -- and hence all accidentals are typeset
2735 relative to the key signature, regardless of what came before in
2742 cis''8 fis, bes4 <a cis>8 f bis4 |
2756 \voiceTwo \relative {
2757 <fis a cis>8[ <fis a cis>
2760 \change Staff = down
2765 \change Staff = down
2766 <fis, a cis>4 gis <f a d>2 |
2773 \context Staff = "up" {
2774 \accidentalStyle forget
2777 \context Staff = "down" {
2778 \accidentalStyle forget
2790 Internals Reference:
2791 @rinternals{Accidental},
2792 @rinternals{Accidental_engraver},
2793 @rinternals{GrandStaff},
2794 @rinternals{PianoStaff},
2796 @rinternals{AccidentalSuggestion},
2797 @rinternals{AccidentalPlacement},
2798 @rinternals{accidental-suggestion-interface}.
2800 @cindex accidentals and simultaneous notes
2801 @cindex simultaneous notes and accidentals
2802 @cindex accidentals in chords
2803 @cindex chords, accidentals in
2806 Simultaneous notes are not considered in the automatic
2807 determination of accidentals; only previous notes and the key
2808 signature are considered. Forcing accidentals with@tie{}@code{!}
2809 or@tie{}@code{?} may be required when the same note name occurs
2810 simultaneously with different alterations, as in @samp{<f! fis!>}.
2812 Cautionary cancellation of accidentals is done by looking at previous measure.
2813 However, in the @code{\alternative} block following a @code{\repeat volta N}
2814 section, one would expect the cancellation being calculated using the previous
2815 @emph{played} measure, not previous @emph{printed} measure.
2816 In the following example, the natural @code{c} in the second alternative does
2817 not need a natural sign:
2821 \accidentalStyle modern
2833 The following work-around can be used: define a function that locally changes
2834 the accidental style to @code{forget}:
2836 @lilypond[verbatim,quote]
2837 forget = #(define-music-function (parser location music) (ly:music?) #{
2838 \accidentalStyle forget
2840 \accidentalStyle modern
2843 \accidentalStyle modern
2857 @unnumberedsubsubsec Ambitus
2860 @cindex range of pitches
2863 The term @notation{ambitus} (pl. ambitus) denotes a range of
2864 pitches for a given voice in a part of music. It may also denote
2865 the pitch range that a musical instrument is capable of playing.
2866 Ambitus are printed on vocal parts so that performers can easily
2867 determine if it matches their capabilities.
2869 Ambitus are denoted at the beginning of a piece near the initial
2870 clef. The range is graphically specified by two note heads that
2871 represent the lowest and highest pitches. Accidentals are only
2872 printed if they are not part of the key signature.
2874 @lilypond[verbatim,quote]
2878 \consists "Ambitus_engraver"
2891 @lilypondfile[verbatim,quote,texidoc,doctitle]
2892 {adding-ambitus-per-voice.ly}
2894 @lilypondfile[verbatim,quote,texidoc,doctitle]
2895 {ambitus-with-multiple-voices.ly}
2897 @lilypondfile[verbatim,quote,texidoc,doctitle]
2898 {changing-the-ambitus-gap.ly}
2907 Internals Reference:
2908 @rinternals{Ambitus_engraver},
2911 @rinternals{Ambitus},
2912 @rinternals{AmbitusAccidental},
2913 @rinternals{AmbitusLine},
2914 @rinternals{AmbitusNoteHead},
2915 @rinternals{ambitus-interface}.
2918 There is no collision handling in the case of multiple per-voice
2923 @subsection Note heads
2925 This section suggests ways of altering note heads.
2928 * Special note heads::
2929 * Easy notation note heads::
2930 * Shape note heads::
2934 @node Special note heads
2935 @unnumberedsubsubsec Special note heads
2937 @cindex note heads, special
2938 @cindex note heads, cross
2939 @cindex note heads, diamond
2940 @cindex note heads, parlato
2941 @cindex note heads, harmonic
2942 @cindex note heads, guitar
2943 @cindex special note heads
2944 @cindex cross note heads
2945 @cindex diamond note heads
2946 @cindex parlato note heads
2947 @cindex harmonic note heads
2948 @cindex guitar note heads
2949 @cindex note head styles
2950 @cindex styles, note heads
2954 The appearance of note heads may be altered:
2956 @lilypond[verbatim,quote,relative=2]
2958 \override NoteHead.style = #'cross
2960 \revert NoteHead.style
2962 \override NoteHead.style = #'harmonic
2964 \revert NoteHead.style
2968 To see all note head styles, see @ref{Note head styles}.
2970 The @code{cross} style is used to represent a variety of musical
2971 intentions. The following generic predefined commands modify the
2972 note head in both staff and tablature contexts and can be used to
2973 represent any musical meaning:
2975 @lilypond[verbatim,quote,relative=2]
2983 The music function form of this predefined command may be used
2984 inside and outside chords to generate crossed note heads in both
2985 staff and tablature contexts:
2987 @lilypond[verbatim,quote,relative=2]
2990 c b < g \xNote c f > b
2993 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2994 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2995 be used. The term @notation{dead note} is commonly used by guitarists.
2997 There is also a similar shorthand for diamond shapes:
2999 @lilypond[verbatim,quote,relative=2]
3000 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
3015 @ref{Note head styles},
3016 @ref{Chorded notes},
3017 @ref{Indicating harmonics and dampened notes}.
3019 Internals Reference:
3020 @rinternals{note-event},
3021 @rinternals{Note_heads_engraver},
3022 @rinternals{Ledger_line_engraver},
3023 @rinternals{NoteHead},
3024 @rinternals{LedgerLineSpanner},
3025 @rinternals{note-head-interface},
3026 @rinternals{ledger-line-spanner-interface}.
3029 @node Easy notation note heads
3030 @unnumberedsubsubsec Easy notation note heads
3032 @cindex note heads, practice
3033 @cindex practice note heads
3034 @cindex note heads, easy notation
3035 @cindex easy notation
3036 @cindex beginners' music
3037 @cindex music, beginners'
3038 @cindex easy play note heads
3039 @cindex note heads, easy play
3041 @funindex \easyHeadsOn
3042 @funindex easyHeadsOn
3043 @funindex \easyHeadsOff
3044 @funindex easyHeadsOff
3046 The @q{easy play} note head includes a note name inside the head.
3047 It is used in music for beginners. To make the letters readable,
3048 it should be printed in a large font size. To print with a larger
3049 font, see @ref{Setting the staff size}.
3051 @lilypond[verbatim,quote]
3052 #(set-global-staff-size 26)
3064 @code{\easyHeadsOn},
3065 @code{\easyHeadsOff}.
3071 @lilypondfile[verbatim,quote,texidoc,doctitle]
3072 {numbers-as-easy-note-heads.ly}
3076 @ref{Setting the staff size}.
3081 Internals Reference:
3082 @rinternals{note-event},
3083 @rinternals{Note_heads_engraver},
3084 @rinternals{NoteHead},
3085 @rinternals{note-head-interface}.
3088 @node Shape note heads
3089 @unnumberedsubsubsec Shape note heads
3091 @cindex note heads, shape
3092 @cindex note heads, Aiken
3093 @cindex note heads, sacred harp
3095 @cindex Aiken shape note heads
3096 @cindex sacred harp note heads
3097 @cindex note heads, Southern Harmony
3098 @cindex Southern Harmony note heads
3099 @cindex Funk shape note heads
3100 @cindex note heads, Funk
3101 @cindex note heads, Harmonica Sacra
3102 @cindex Harmonica Sacra note heads
3103 @cindex Christian Harmony note heads
3104 @cindex note heads, Christian Harmony
3105 @cindex Walker shape note heads
3106 @cindex note heads, Walker
3108 @funindex \aikenHeads
3109 @funindex aikenHeads
3110 @funindex \sacredHarpHeads
3111 @funindex sacredHarpHeads
3112 @funindex \southernHarmonyHeads
3113 @funindex southernHarmonyHeads
3114 @funindex \funkHeads
3116 @funindex \walkerHeads
3117 @funindex walkerHeads
3119 In shape note head notation, the shape of the note head
3120 corresponds to the harmonic function of a note in the scale. This
3121 notation was popular in nineteenth-century American song books.
3122 Shape note heads can be produced in Sacred Harp, Southern Harmony,
3123 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
3125 @lilypond[verbatim,quote,relative=2]
3127 c, d e f g2 a b1 c \break
3129 c,4 d e f g2 a b1 c \break
3130 \southernHarmonyHeads
3131 c,4 d e f g2 a b1 c \break
3133 c,4 d e f g2 a b1 c \break
3135 c,4 d e f g2 a b1 c \break
3140 @funindex \aikenHeadsMinor
3141 @funindex aikenHeadsMinor
3142 @funindex \sacredHarpHeadsMinor
3143 @funindex sacredHarpHeadsMinor
3144 @funindex \southernHarmonyHeadsMinor
3145 @funindex southernHarmonyHeadsMinor
3146 @funindex \funkHeadsMinor
3147 @funindex funkHeadsMinor
3148 @funindex \walkerHeadsMinor
3149 @funindex walkerHeadsMinor
3151 Shapes are typeset according to the step in the scale, where the base
3152 of the scale is determined by the @code{\key} command. When writing
3153 in a minor key, the scale step can be determined from the relative
3156 @lilypond[verbatim,quote,relative=2]
3159 a b c d e2 f g1 a \break
3161 a,4 b c d e2 f g1 a \break
3162 \sacredHarpHeadsMinor
3164 \southernHarmonyHeadsMinor
3176 @code{\aikenHeadsMinor},
3178 @code{\funkHeadsMinor},
3179 @code{\sacredHarpHeads},
3180 @code{\sacredHarpHeadsMinor},
3181 @code{\southernHarmonyHeads},
3182 @code{\southernHarmonyHeadsMinor},
3183 @code{\walkerHeads},
3184 @code{\walkerHeadsMinor}.
3190 @lilypondfile[verbatim,quote,texidoc,doctitle]
3191 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3193 To see all note head styles, see @ref{Note head styles}.
3200 @ref{Note head styles}.
3202 Internals Reference:
3203 @rinternals{note-event},
3204 @rinternals{Note_heads_engraver},
3205 @rinternals{NoteHead},
3206 @rinternals{note-head-interface}.
3210 @unnumberedsubsubsec Improvisation
3212 @cindex improvisation
3213 @cindex slashed note heads
3214 @cindex note heads, improvisation
3215 @cindex note heads, slashed
3217 @funindex \improvisationOn
3218 @funindex improvisationOn
3219 @funindex \improvisationOff
3220 @funindex improvisationOff
3222 Improvisation is sometimes denoted with slashed note heads, where
3223 the performer may choose any pitch but should play the specified
3224 rhythm. Such note heads can be created:
3226 @lilypond[verbatim,quote,relative=2]
3228 \consists "Pitch_squash_engraver"
3230 e8 e g a a16( bes) a8 g
3241 @code{\improvisationOn},
3242 @code{\improvisationOff}.
3249 Internals Reference:
3250 @rinternals{Pitch_squash_engraver},
3252 @rinternals{RhythmicStaff}.