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::
41 * Non-Western note names and accidentals::
45 @node Absolute octave entry
46 @unnumberedsubsubsec Absolute octave entry
51 @cindex absolute octave specification
52 @cindex octave specification, absolute
53 @cindex absolute octave entry
54 @cindex octave entry, absolute
56 A pitch name is specified using lowercase letters@tie{}@code{a}
57 through@tie{}@code{g}. The note names @code{c} to @code{b} are
58 engraved in the octave below middle C.
61 @lilypond[verbatim,quote,fragment]
68 @cindex octave changing mark
73 Other octaves may be specified with a single quote@tie{}(@code{'})
74 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
75 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
78 @lilypond[verbatim,quote,fragment]
96 @node Relative octave entry
97 @unnumberedsubsubsec Relative octave entry
100 @cindex relative octave entry
101 @cindex octave entry, relative
102 @cindex relative octave specification
103 @cindex octave specification, relative
108 When octaves are specified in absolute mode it is easy to
109 accidentally put a pitch in the wrong octave. Relative octave
110 mode reduces these errors since most of the time it is not
111 necessary to indicate any octaves at all. Furthermore, in
112 absolute mode a single mistake may be difficult to spot, while in
113 relative mode a single error puts the rest of the piece off by one
117 \relative @var{startpitch} @var{musicexpr}
120 In relative mode, each note is assumed to be as close to the
121 previous note as possible. This means that the octave of each
122 pitch inside @code{@var{musicexpr}} is calculated as follows:
126 If no octave changing mark is used on a pitch, its octave is
127 calculated so that the interval with the previous note is less
128 than a fifth. This interval is determined without considering
132 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
133 added to respectively raise or lower a pitch by an extra octave,
134 relative to the pitch calculated without an octave mark.
137 Multiple octave changing marks can be used. For example,
138 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
142 The pitch of the first note is relative to
143 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
144 absolute octave mode, and it is recommended that it be a octave of
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote]
159 Octave changing marks are used for intervals greater than a
162 @lilypond[verbatim,quote]
169 A note sequence without a single octave mark can nevertheless span
172 @lilypond[verbatim,quote]
179 When @code{\relative} blocks are nested, the innermost
180 @code{\relative} block applies.
182 @lilypond[verbatim,quote]
191 @code{\relative} has no effect on @code{\chordmode} blocks.
193 @lilypond[verbatim,quote]
202 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
204 Music inside a @code{\transpose} block is absolute unless a
205 @code{\relative} is included.
207 @lilypond[verbatim,quote]
220 @cindex chords and relative octave entry
221 @cindex relative octave entry and chords
223 If the preceding item is a chord, the first note of the chord is
224 used as the reference point for the octave placement of a
225 following note or chord. Inside chords, the next note is always
226 relative to the preceding one. Examine the next example
227 carefully, paying attention to the @code{c} notes.
229 @lilypond[verbatim,quote]
238 As explained above, the octave of pitches is calculated only with
239 the note names, regardless of any alterations. Therefore, an
240 E-double-sharp following a B will be placed higher, while an
241 F-double-flat will be placed lower. In other words, a
242 double-augmented fourth is considered a smaller interval than a
243 double-diminished fifth, regardless of the number of semitones
244 that each interval contains.
246 @lilypond[verbatim,quote]
269 @rinternals{RelativeOctaveMusic}.
272 @cindex relative octave entry and transposition
273 @cindex transposition and relative octave entry
284 If no @code{@var{startpitch}} is specified for @code{\relative},
285 then@tie{}@code{c'} is assumed. However, this is a deprecated
286 option and may disappear in future versions, so its use is
292 @unnumberedsubsubsec Accidentals
295 @cindex key signature
298 @c duplicated in Key signature and Accidentals
299 @warning{New users are sometimes confused about accidentals and
300 key signatures. In LilyPond, note names are the raw input; key
301 signatures and clefs determine how this raw input is displayed.
302 An unaltered note like@tie{}@code{c} means @q{C natural},
303 regardless of the key signature or clef. For more information,
304 see @rlearning{Accidentals and key signatures}.}
306 @cindex note names, Dutch
307 @cindex note names, default
308 @cindex default note names
312 @cindex sharp, double
316 @cindex natural pitch
318 A @notation{sharp} pitch is made by adding @code{is} to the note
319 name, and a @notation{flat} pitch by adding @code{es}. As you
320 might expect, a @notation{double sharp} or @notation{double flat}
321 is made by adding @code{isis} or @code{eses}. This syntax is
322 derived from Dutch note naming conventions. To use other names
323 for accidentals, see @ref{Note names in other languages}.
325 @lilypond[verbatim,quote,relative=2]
329 A natural will cancel the effect of an accidental or key
330 signature. However, naturals are not encoded into the note name
331 syntax with a suffix; a natural pitch is shown as a simple note
334 @lilypond[verbatim,quote,relative=2]
338 @cindex quarter tones
342 Quarter tones may be added; the following is a series of Cs with
345 @lilypond[verbatim,quote,relative=2]
346 ceseh1 ces ceh c cih cis cisih
351 @cindex accidental, reminder
352 @cindex accidental, cautionary
353 @cindex accidental, parenthesized
354 @cindex reminder accidental
355 @cindex cautionary accidental
356 @cindex parenthesized accidental
362 Normally accidentals are printed automatically, but you may also
363 print them manually. A reminder accidental can be forced by
364 adding an exclamation mark@tie{}@code{!} after the pitch. A
365 cautionary accidental (i.e., an accidental within parentheses) can
366 be obtained by adding the question mark@tie{}@code{?} after the
367 pitch. These extra accidentals can also be used to produce
370 @lilypond[verbatim,quote,relative=2]
371 cis cis cis! cis? c c c! c?
374 @cindex accidental on tied note
375 @cindex tied note, accidental
377 Accidentals on tied notes are only printed at the beginning of a
380 @lilypond[verbatim,quote,relative=2]
389 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
390 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
393 {preventing-extra-naturals-from-being-automatically-added.ly}
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @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
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. To use them, include the language-specific init
443 file listed below. For example, to use English note names, add
444 @code{@w{\include "english.ly"}} to the input file.
446 The available language files and the note names they define are:
449 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
450 @headitem Language File
452 @item @file{nederlands.ly}
453 @tab c d e f g a bes b
454 @item @file{arabic.ly}
455 @tab do re mi fa sol la sib si
456 @item @file{catalan.ly}
457 @tab do re mi fa sol la sib si
458 @item @file{deutsch.ly}
460 @item @file{english.ly}
461 @tab c d e f g a bf b
462 @item @file{espanol.ly}
463 @tab do re mi fa sol la sib si
464 @item @file{italiano.ly}
465 @tab do re mi fa sol la sib si
466 @item @file{norsk.ly}
468 @item @file{portugues.ly}
469 @tab do re mi fa sol la sib si
470 @item @file{suomi.ly}
472 @item @file{svenska.ly}
474 @item @file{vlaams.ly}
475 @tab do re mi fa sol la sib si
480 and the accidental suffixes they define are:
483 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
484 @headitem Language File
485 @tab sharp @tab flat @tab double sharp @tab double flat
486 @item @file{nederlands.ly}
487 @tab -is @tab -es @tab -isis @tab -eses
488 @item @file{arabic.ly}
489 @tab -d @tab -b @tab -dd @tab -bb
490 @item @file{catalan.ly}
491 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
492 @item @file{deutsch.ly}
493 @tab -is @tab -es @tab -isis @tab -eses
494 @item @file{english.ly}
495 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
497 @item @file{espanol.ly}
498 @tab -s @tab -b @tab -ss/-x @tab -bb
499 @item @file{italiano.ly}
500 @tab -d @tab -b @tab -dd @tab -bb
501 @item @file{norsk.ly}
502 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
504 @item @file{portugues.ly}
505 @tab -s @tab -b @tab -ss @tab -bb
506 @item @file{suomi.ly}
507 @tab -is @tab -es @tab -isis @tab -eses
508 @item @file{svenska.ly}
509 @tab -iss @tab -ess @tab -ississ @tab -essess
510 @item @file{vlaams.ly}
511 @tab -k @tab -b @tab -kk @tab -bb
515 In Dutch, @code{aes} is contracted to @code{as}, but both forms
516 are accepted in LilyPond. Similarly, both @code{es} and
517 @code{ees} are accepted. This also applies to
518 @code{aeses}@tie{}/@tie{}@code{ases} and
519 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
520 contracted names are defined in the corresponding language files.
522 @lilypond[verbatim,quote,relative=2]
523 a2 as e es a ases e eses
533 Some music uses microtones whose alterations are fractions of a
534 @q{normal} sharp or flat. The note names for quarter-tones
535 defined in the various language files are listed in the following
536 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
537 mean @q{half} and @q{one and a half}, respectively. For the other
538 languages, no special names have been defined yet.
541 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
542 @headitem Language File
543 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
545 @item @file{nederlands.ly}
546 @tab -ih @tab -eh @tab -isih @tab -eseh
547 @item @file{arabic.ly}
548 @tab -sd @tab -sb @tab -dsd @tab -bsb
549 @item @file{deutsch.ly}
550 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @item @file{english.ly}
552 @tab -qs @tab -qf @tab -tqs @tab -tqf
553 @item @file{espanol.ly}
554 @tab -cs @tab -cb @tab -tcs @tab -tcb
555 @item @file{italiano.ly}
556 @tab -sd @tab -sb @tab -dsd @tab -bsb
557 @item @file{portugues.ly}
558 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
571 @node Non-Western note names and accidentals
572 @unnumberedsubsubsec Non-Western note names and accidentals
574 Many non-Western musics (and some Western folk and
575 traditional musics) employ alternative or extended tuning
576 systems that do not fit readily into standard classical
579 In some cases standard notation is still used, with the
580 pitch differences being implicit. For example, Arabic
581 music is notated with standard semitone and quarter-tone
582 accidentals, with the precise pitch alterations being
583 determined by context. Others require extended or unique
586 @notation{Turkish classical music}, or Ottoman music,
587 employs melodic forms known as @notation{makamlar}, whose
588 intervals are based on 1/9 divisions of the whole tone.
589 From a modern notational point of view, it is convenient
590 to use the standard Western staff notes (c, d, e, ...)
591 with special accidentals unique to Turkish music. These
592 accidentals are defined in @file{makam.ly} (to locate this
593 file on your system, see
594 @rlearning{Other sources of information}). The following
595 table gives their names, the accidental suffix that must
596 be added to notes, and their pitch alteration as a
597 fraction of one whole tone.
599 @c TODO: can we include the actual accidentals in this table?
601 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
602 @headitem Accidental name
603 @tab suffix @tab pitch alteration
605 @item büyük mücenneb (sharp)
607 @item kücük mücenneb (sharp)
618 @item kücük mücenneb (flat)
620 @item büyük mücenneb (flat)
625 For further information on Turkish classical music and
626 makamlar, see @ref{Turkish classical music}.
631 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
635 @node Changing multiple pitches
636 @subsection Changing multiple pitches
638 This section discusses how to modify pitches.
646 @unnumberedsubsubsec Octave checks
648 @cindex octave correction
650 @cindex control pitch
653 @funindex \octaveCheck
654 @funindex octaveCheck
655 @funindex controlpitch
657 In relative mode, it is easy to forget an octave changing mark.
658 Octave checks make such errors easier to find by displaying a
659 warning and correcting the octave if a note is found in an
662 To check the octave of a note, specify the absolute octave after
663 the @code{=}@tie{}symbol. This example will generate a warning
664 (and change the pitch) because the second note is the absolute
665 octave @code{d''} instead of @code{d'} as indicated by the octave
668 @lilypond[verbatim,quote]
675 The octave of notes may also be checked with the
676 @code{\octaveCheck@tie{}@var{controlpitch}} command.
677 @code{@var{controlpitch}} is specified in absolute mode. This
678 checks that the interval between the previous note and the
679 @code{@var{controlpitch}} is within a fourth (i.e., the normal
680 calculation of relative mode). If this check fails, a warning is
681 printed, but the previous note is not changed. Future notes are
682 relative to the @code{@var{controlpitch}}.
684 @lilypond[verbatim,quote]
692 Compare the two bars below. The first and third @code{\octaveCheck}
693 checks fail, but the second one does not fail.
695 @lilypond[verbatim,quote]
715 @rinternals{RelativeOctaveCheck}.
719 @unnumberedsubsubsec Transpose
723 @cindex transposition
724 @cindex transposition of pitches
725 @cindex transposition of notes
726 @cindex pitches, transposition of
727 @cindex notes, transposition of
732 A music expression can be transposed with @code{\transpose}. The
736 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
740 This means that @code{@var{musicexpr}} is transposed by the
741 interval between the pitches @code{@var{frompitch}} and
742 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
743 is changed to @code{@var{topitch}} and any other note is
744 transposed by the same interval. Both pitches are entered in
747 @warning{Music inside a @code{@bs{}transpose} block is absolute
748 unless a @code{@bs{}relative} is included in the block.}
750 Consider a piece written in the key of D-major. It can be
751 transposed up to E-major; note that the key signature is
752 automatically transposed as well.
754 @lilypond[verbatim,quote]
763 @cindex transposing instruments
764 @cindex instruments, transposing
766 If a part written in C (normal @notation{concert pitch}) is to be
767 played on the A clarinet (for which an A is notated as a C and
768 thus sounds a minor third lower than notated), the appropriate
769 part will be produced with:
771 @lilypond[verbatim,quote]
781 Note that we specify @w{@code{\key c \major}} explicitly. If we
782 do not specify a key signature, the notes will be transposed but
783 no key signature will be printed.
785 @code{\transpose} distinguishes between enharmonic pitches: both
786 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
787 transpose up a semitone. The first version will print sharps and
788 the notes will remain on the same scale step, the second version
789 will print flats on the scale step above.
791 @lilypond[verbatim,quote]
792 music = \relative c' { c d e f }
794 \transpose c cis { \music }
795 \transpose c des { \music }
800 @code{\transpose} may also be used in a different way, to input
801 written notes for a transposing instrument. The previous examples
802 show how to enter pitches in C (or @notation{concert pitch}) and
803 typeset them for a transposing instrument, but the opposite is
804 also possible if you for example have a set of instrumental parts
805 and want to print a conductor's score. For example, when entering
806 music for a B-flat trumpet that begins on a notated E (concert D),
810 musicInBflat = @{ e4 @dots{} @}
811 \transpose c bes, \musicInBflat
815 To print this music in F (e.g., rearranging to a French horn) you
816 could wrap the existing music with another @code{\transpose}:
819 musicInBflat = @{ e4 @dots{} @}
820 \transpose f c' @{ \transpose c bes, \musicInBflat @}
824 For more information about transposing instruments,
825 see @ref{Instrument transpositions}.
830 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
831 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
836 @ref{Relative octave entry},
837 @ref{Instrument transpositions}.
843 @rinternals{TransposedMusic}.
855 The relative conversion will not affect @code{\transpose},
856 @code{\chordmode} or @code{\relative} sections in its argument.
857 To use relative mode within transposed music, an additional
858 @code{\relative} must be placed inside @code{\transpose}.
860 @node Displaying pitches
861 @subsection Displaying pitches
863 This section discusses how to alter the output of pitches.
869 * Instrument transpositions::
870 * Automatic accidentals::
876 @unnumberedsubsubsec Clef
888 @cindex mezzosoprano clef
889 @cindex baritone clef
890 @cindex varbaritone clef
894 @cindex clef, ancient
904 @cindex clef, soprano
905 @cindex clef, mezzosoprano
906 @cindex clef, baritone
907 @cindex clef, varbaritone
908 @cindex clef, subbass
914 The clef may be altered. Middle C is shown in every example. The
915 following clef names can (but do not need to) be enclosed in quotes.
917 @lilypond[verbatim,quote,relative=1]
930 @lilypond[verbatim,quote,relative=1]
951 \clef G % synonym for treble
953 \clef F % synonym for bass
955 \clef C % synonym for alto
959 @cindex transposing clef
960 @cindex clef, transposing
961 @cindex octave transposition
962 @cindex choral tenor clef
963 @cindex tenor clef, choral
965 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
966 clef is transposed one octave down or up respectively,
967 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
968 Other integers can be used if required. Clef names containing
969 non-alphabetic characters must be enclosed in quotes
971 @lilypond[verbatim,quote,relative=1]
986 Some special purpose clefs are described in @ref{Mensural clefs},
987 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
992 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
993 {tweaking-clef-properties.ly}
998 @ref{Mensural clefs},
999 @ref{Gregorian clefs},
1000 @ref{Default tablatures},
1001 @ref{Custom tablatures}.
1006 Internals Reference:
1007 @rinternals{Clef_engraver},
1009 @rinternals{OctavateEight},
1010 @rinternals{clef-interface}.
1014 @unnumberedsubsubsec Key signature
1016 @cindex key signature
1021 @c duplicated in Key signature and Accidentals
1022 @warning{New users are sometimes confused about accidentals and
1023 key signatures. In LilyPond, note names are the raw input; key
1024 signatures and clefs determine how this raw input is displayed.
1025 An unaltered note like@tie{}@code{c} means @q{C natural},
1026 regardless of the key signature or clef. For more information,
1027 see @rlearning{Accidentals and key signatures}.}
1029 The key signature indicates the tonality in which a piece is
1030 played. It is denoted by a set of alterations (flats or sharps)
1031 at the start of the staff. The key signature may be altered:
1034 \key @var{pitch} @var{mode}
1047 @funindex \mixolydian
1048 @funindex mixolydian
1056 @cindex church modes
1069 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1070 to get a key signature of @code{@var{pitch}}-major or
1071 @code{@var{pitch}}-minor, respectively. You may also use the
1072 standard mode names, also called @notation{church modes}:
1073 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1074 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1076 @lilypond[verbatim,quote,relative=2]
1086 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1087 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1089 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1090 {non-traditional-key-signatures.ly}
1095 @rglos{church mode},
1099 @rlearning{Accidentals and key signatures}.
1104 Internals Reference:
1105 @rinternals{KeyChangeEvent},
1106 @rinternals{Key_engraver},
1107 @rinternals{Key_performer},
1108 @rinternals{KeyCancellation},
1109 @rinternals{KeySignature},
1110 @rinternals{key-cancellation-interface},
1111 @rinternals{key-signature-interface}.
1114 @node Ottava brackets
1115 @unnumberedsubsubsec Ottava brackets
1123 @funindex set-octavation
1127 @notation{Ottava brackets} introduce an extra transposition of an
1128 octave for the staff:
1130 @lilypond[verbatim,quote,relative=2]
1146 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1157 Internals Reference:
1158 @rinternals{Ottava_spanner_engraver},
1159 @rinternals{OttavaBracket},
1160 @rinternals{ottava-bracket-interface}.
1163 @node Instrument transpositions
1164 @unnumberedsubsubsec Instrument transpositions
1166 @cindex transposition, MIDI
1167 @cindex transposition, instrument
1168 @cindex transposing instrument
1170 @cindex MIDI transposition
1172 @funindex \transposition
1173 @funindex transposition
1175 When typesetting scores that involve transposing instruments, some
1176 parts can be typeset in a different pitch than the
1177 @notation{concert pitch}. In these cases, the key of the
1178 @notation{transposing instrument} should be specified; otherwise
1179 the MIDI output and cues in other parts will produce incorrect
1180 pitches. For more information about quotations, see
1181 @ref{Quoting other voices}.
1184 \transposition @var{pitch}
1187 The pitch to use for @code{\transposition} should correspond to
1188 the real sound heard when a@tie{}@code{c'} written on the staff is
1189 played by the transposing instrument. This pitch is entered in
1190 absolute mode, so an instrument that produces a real sound which
1191 is one tone higher than the printed music should use
1192 @w{@code{\transposition d'}}. @code{\transposition} should
1193 @emph{only} be used if the pitches are @emph{not} being entered in
1196 Here are a few notes for violin and B-flat clarinet where the
1197 parts have been entered using the notes and key as they appear in
1198 each part of the conductor's score. The two instruments are
1201 @lilypond[verbatim,quote]
1203 \new Staff = "violin" {
1205 \set Staff.instrumentName = #"Vln"
1206 \set Staff.midiInstrument = #"violin"
1207 % not strictly necessary, but a good reminder
1214 \new Staff = "clarinet" {
1216 \set Staff.instrumentName = \markup { Cl (B\flat) }
1217 \set Staff.midiInstrument = #"clarinet"
1227 The @code{\transposition} may be changed during a piece. For
1228 example, a clarinetist may switch from an A clarinet to a B-flat
1231 @lilypond[verbatim,quote,relative=2]
1232 \set Staff.instrumentName = #"Cl (A)"
1237 s1*0^\markup { Switch to B\flat clarinet }
1248 @rglos{concert pitch},
1249 @rglos{transposing instrument}.
1252 @ref{Quoting other voices},
1259 @node Automatic accidentals
1260 @unnumberedsubsubsec Automatic accidentals
1262 @cindex accidental style
1263 @cindex accidental style, default
1265 @cindex accidentals, automatic
1266 @cindex automatic accidentals
1267 @cindex default accidental style
1269 @funindex set-accidental-style
1273 There are many different conventions on how to typeset
1274 accidentals. LilyPond provides a function to specify which
1275 accidental style to use. This function is called as follows:
1279 #(set-accidental-style 'voice)
1284 The accidental style applies to the current @code{Staff} by
1285 default (with the exception of the styles @code{piano} and
1286 @code{piano-cautionary}, which are explained below). Optionally,
1287 the function can take a second argument that determines in which
1288 scope the style should be changed. For example, to use the same
1289 style in all staves of the current @code{StaffGroup}, use:
1292 #(set-accidental-style 'voice 'StaffGroup)
1295 The following accidental styles are supported. To demonstrate
1296 each style, we use the following example:
1299 @lilypond[verbatim,quote]
1303 cis'8 fis, d'4 <a cis>8 f bis4 |
1317 \voiceTwo \relative c' {
1318 <fis, a cis>8 <fis a cis>
1321 \change Staff = down
1326 \change Staff = down
1327 <fis, a cis>4 gis <f a d>2 |
1334 \context Staff = "up" {
1335 #(set-accidental-style 'default)
1338 \context Staff = "down" {
1339 #(set-accidental-style 'default)
1346 Note that the last lines of this example can be replaced by the
1347 following, as long as the same accidental style should be used in
1353 \context Staff = "up" @{
1354 %%% change the next line as desired:
1355 #(set-accidental-style 'default 'Score)
1358 \context Staff = "down" @{
1366 @c don't use verbatim in this table.
1370 @cindex default accidental style
1371 @cindex accidental style, default
1375 This is the default typesetting behavior. It corresponds to
1376 eighteenth-century common practice: accidentals are remembered to
1377 the end of the measure in which they occur and only in their own
1378 octave. Thus, in the example below, no natural signs are printed
1379 before the@tie{}@code{b} in the second measure or the
1386 cis'8 fis, d'4 <a cis>8 f bis4 |
1400 \voiceTwo \relative c' {
1401 <fis, a cis>8 <fis a cis>
1404 \change Staff = down
1409 \change Staff = down
1410 <fis, a cis>4 gis <f a d>2 |
1417 \context Staff = "up" {
1418 #(set-accidental-style 'default)
1421 \context Staff = "down" {
1422 #(set-accidental-style 'default)
1431 @cindex accidental style, voice
1432 @cindex voice accidental style
1433 @cindex accidental style, modern
1434 @cindex modern accidental style
1435 @cindex accidental style, modern-cautionary
1436 @cindex modern-cautionary accidental style
1440 The normal behavior is to remember the accidentals at
1441 @code{Staff}-level. In this style, however, accidentals are
1442 typeset individually for each voice. Apart from that, the rule is
1443 similar to @code{default}.
1445 As a result, accidentals from one voice do not get canceled in
1446 other voices, which is often an unwanted result: in the following
1447 example, it is hard to determine whether the second@tie{}@code{a}
1448 should be played natural or sharp. The @code{voice} option should
1449 therefore be used only if the voices are to be read solely by
1450 individual musicians. If the staff is to be used by one musician
1451 (e.g., a conductor or in a piano score) then @code{modern} or
1452 @code{modern-cautionary} should be used instead.
1459 cis'8 fis, d'4 <a cis>8 f bis4 |
1473 \voiceTwo \relative c' {
1474 <fis, a cis>8 <fis a cis>
1477 \change Staff = down
1482 \change Staff = down
1483 <fis, a cis>4 gis <f a d>2 |
1490 \context Staff = "up" {
1491 #(set-accidental-style 'voice)
1494 \context Staff = "down" {
1495 #(set-accidental-style 'voice)
1504 @cindex accidentals, modern style
1505 @cindex modern style accidentals
1509 This rule corresponds to the common practice in the twentieth
1510 century. It prints the same accidentals as @code{default}, with
1511 two exceptions that serve to avoid ambiguity: after temporary
1512 accidentals, cancellation marks are printed also in the following
1513 measure (for notes in the same octave) and, in the same measure,
1514 for notes in other octaves. Hence the naturals before
1515 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1522 cis'8 fis, d'4 <a cis>8 f bis4 |
1536 \voiceTwo \relative c' {
1537 <fis, a cis>8 <fis a cis>
1540 \change Staff = down
1545 \change Staff = down
1546 <fis, a cis>4 gis <f a d>2 |
1553 \context Staff = "up" {
1554 #(set-accidental-style 'modern)
1557 \context Staff = "down" {
1558 #(set-accidental-style 'modern)
1565 @item modern-cautionary
1567 @cindex accidentals, modern cautionary style
1568 @cindex modern accidental style
1569 @cindex modern cautionary accidental style
1570 @cindex modern style accidentals
1571 @cindex modern style cautionary accidentals
1573 @funindex modern-cautionary
1575 This rule is similar to @code{modern}, but the @q{extra}
1576 accidentals (the ones not typeset by @code{default}) are typeset
1577 as cautionary accidentals. They are by default printed with
1578 parentheses, but they can also be printed in reduced size by
1579 defining the @code{cautionary-style} property of
1580 @code{AccidentalSuggestion}.
1586 cis'8 fis, d'4 <a cis>8 f bis4 |
1600 \voiceTwo \relative c' {
1601 <fis, a cis>8 <fis a cis>
1604 \change Staff = down
1609 \change Staff = down
1610 <fis, a cis>4 gis <f a d>2 |
1617 \context Staff = "up" {
1618 #(set-accidental-style 'modern-cautionary)
1621 \context Staff = "down" {
1622 #(set-accidental-style 'modern-cautionary)
1631 @cindex accidental style, modern
1632 @cindex accidentals, modern
1633 @cindex accidentals, multivoice
1634 @cindex modern accidental style
1635 @cindex modern accidentals
1636 @cindex multivoice accidentals
1638 @funindex modern-voice
1640 This rule is used for multivoice accidentals to be read both by
1641 musicians playing one voice and musicians playing all voices.
1642 Accidentals are typeset for each voice, but they @emph{are}
1643 canceled across voices in the same @code{Staff}. Hence,
1644 the@tie{}@code{a} in the last measure is canceled because the
1645 previous cancellation was in a different voice, and
1646 the@tie{}@code{d} in the lower staff is canceled because of the
1647 accidental in a different voice in the previous measure:
1653 cis'8 fis, d'4 <a cis>8 f bis4 |
1667 \voiceTwo \relative c' {
1668 <fis, a cis>8 <fis a cis>
1671 \change Staff = down
1676 \change Staff = down
1677 <fis, a cis>4 gis <f a d>2 |
1684 \context Staff = "up" {
1685 #(set-accidental-style 'modern-voice)
1688 \context Staff = "down" {
1689 #(set-accidental-style 'modern-voice)
1696 @cindex accidental style, cautionary, modern voice
1697 @cindex accidental style, modern voice cautionary
1698 @cindex accidental style, voice, modern cautionary
1700 @funindex modern-voice-cautionary
1702 @item modern-voice-cautionary
1704 This rule is the same as @code{modern-voice}, but with the extra
1705 accidentals (the ones not typeset by @code{voice}) typeset as
1706 cautionaries. Even though all accidentals typeset by
1707 @code{default} @emph{are} typeset with this rule, some of them are
1708 typeset as cautionaries.
1714 cis'8 fis, d'4 <a cis>8 f bis4 |
1728 \voiceTwo \relative c' {
1729 <fis, a cis>8 <fis a cis>
1732 \change Staff = down
1737 \change Staff = down
1738 <fis, a cis>4 gis <f a d>2 |
1745 \context Staff = "up" {
1746 #(set-accidental-style 'modern-voice-cautionary)
1749 \context Staff = "down" {
1750 #(set-accidental-style 'modern-voice-cautionary)
1759 @cindex accidental style, piano
1760 @cindex accidentals, piano
1761 @cindex piano accidental style
1762 @cindex piano accidentals
1766 This rule reflects twentieth-century practice for piano notation.
1767 Its behavior is very similar to @code{modern} style, but here
1768 accidentals also get canceled across the staves in the same
1769 @code{GrandStaff} or @code{PianoStaff}, hence all the
1770 cancellations of the final notes.
1772 This accidental style applies to the current @code{GrandStaff} or
1773 @code{PianoStaff} by default.
1779 cis'8 fis, d'4 <a cis>8 f bis4 |
1793 \voiceTwo \relative c' {
1794 <fis, a cis>8 <fis a cis>
1797 \change Staff = down
1802 \change Staff = down
1803 <fis, a cis>4 gis <f a d>2 |
1810 \context Staff = "up" {
1811 #(set-accidental-style 'piano)
1814 \context Staff = "down" {
1821 @item piano-cautionary
1823 @cindex accidentals, piano cautionary
1824 @cindex cautionary accidentals, piano
1825 @cindex piano cautionary accidentals
1826 @cindex accidental style, piano cautionary
1827 @cindex cautionary accidental style, piano
1828 @cindex piano cautionary accidental style
1830 @funindex piano-cautionary
1832 This is the same as @code{piano} but with the extra accidentals
1833 typeset as cautionaries.
1839 cis'8 fis, d'4 <a cis>8 f bis4 |
1853 \voiceTwo \relative c' {
1854 <fis, a cis>8 <fis a cis>
1857 \change Staff = down
1862 \change Staff = down
1863 <fis, a cis>4 gis <f a d>2 |
1870 \context Staff = "up" {
1871 #(set-accidental-style 'piano-cautionary)
1874 \context Staff = "down" {
1884 @cindex neo-modern accidental style
1885 @cindex accidental style, neo-modern
1887 @funindex neo-modern
1889 This rule reproduces a common practice in contemporary music:
1890 accidentals are printed like with @code{modern}, but they are printed
1891 again if the same note appears later in the same measure -- except
1892 if the note is immediately repeated.
1898 cis'8 fis, d'4 <a cis>8 f bis4 |
1912 \voiceTwo \relative c' {
1913 <fis, a cis>8 <fis a cis>
1916 \change Staff = down
1921 \change Staff = down
1922 <fis, a cis>4 gis <f a d>2 |
1929 \context Staff = "up" {
1930 #(set-accidental-style 'neo-modern)
1933 \context Staff = "down" {
1934 #(set-accidental-style 'neo-modern)
1941 @item neo-modern-cautionary
1943 @cindex neo-modern-cautionary accidental style
1944 @cindex accidental style, neo-modern-cautionary
1946 @funindex neo-modern-cautionary
1948 This rule is similar to @code{neo-modern}, but the extra
1949 accidentals are printed as cautionary accidentals.
1955 cis'8 fis, d'4 <a cis>8 f bis4 |
1969 \voiceTwo \relative c' {
1970 <fis, a cis>8 <fis a cis>
1973 \change Staff = down
1978 \change Staff = down
1979 <fis, a cis>4 gis <f a d>2 |
1986 \context Staff = "up" {
1987 #(set-accidental-style 'neo-modern-cautionary)
1990 \context Staff = "down" {
1991 #(set-accidental-style 'neo-modern-cautionary)
1999 @item neo-modern-voice
2001 @cindex neo-modern-voice accidental style
2002 @cindex accidental style, neo-modern-voice
2004 @funindex neo-modern-voice
2006 This rule is used for multivoice accidentals to be read both by
2007 musicians playing one voice and musicians playing all voices.
2008 Accidentals are typeset for each voice as with @code{neo-modern},
2009 but they are canceled across voices in the same @code{Staff}.
2015 cis'8 fis, d'4 <a cis>8 f bis4 |
2029 \voiceTwo \relative c' {
2030 <fis, a cis>8 <fis a cis>
2033 \change Staff = down
2038 \change Staff = down
2039 <fis, a cis>4 gis <f a d>2 |
2046 \context Staff = "up" {
2047 #(set-accidental-style 'neo-modern-voice)
2050 \context Staff = "down" {
2051 #(set-accidental-style 'neo-modern-voice)
2058 @item neo-modern-voice-cautionary
2060 @cindex neo-modern-voice-cautionary accidental style
2061 @cindex accidental style, neo-modern-voice-cautionary
2063 @funindex neo-modern-voice-cautionary
2065 This rule is similar to @code{neo-modern-voice}, but the extra
2066 accidentals are printed as cautionary accidentals.
2072 cis'8 fis, d'4 <a cis>8 f bis4 |
2086 \voiceTwo \relative c' {
2087 <fis, a cis>8 <fis a cis>
2090 \change Staff = down
2095 \change Staff = down
2096 <fis, a cis>4 gis <f a d>2 |
2103 \context Staff = "up" {
2104 #(set-accidental-style 'neo-modern-voice-cautionary)
2107 \context Staff = "down" {
2108 #(set-accidental-style 'neo-modern-voice-cautionary)
2117 @cindex dodecaphonic accidental style
2118 @cindex dodecaphonic style, neo-modern
2120 @funindex dodecaphonic
2122 This rule reflects a practice introduced by composers at
2123 the beginning of the 20th century, in an attempt to
2124 abolish the hierarchy between natural and non-natural notes.
2125 With this style, @emph{every} note gets an accidental sign,
2126 including natural signs.
2132 cis'8 fis, d'4 <a cis>8 f bis4 |
2146 \voiceTwo \relative c' {
2147 <fis, a cis>8 <fis a cis>
2150 \change Staff = down
2155 \change Staff = down
2156 <fis, a cis>4 gis <f a d>2 |
2163 \context Staff = "up" {
2164 #(set-accidental-style 'dodecaphonic)
2167 \context Staff = "down" {
2168 #(set-accidental-style 'dodecaphonic)
2178 @cindex teaching accidental style
2179 @cindex accidental style, teaching
2183 This rule is intended for students, and makes it easy to create
2184 scale sheets with automagically created cautionary accidentals.
2185 Accidentals are printed like with @code{modern}, but cautionary
2186 accidentals are added for all sharp or flat tones specified by the
2187 key signature, except if the note is immediately repeated.
2193 cis'8 fis, d'4 <a cis>8 f bis4 |
2207 \voiceTwo \relative c' {
2208 <fis, a cis>8 <fis a cis>
2211 \change Staff = down
2216 \change Staff = down
2217 <fis, a cis>4 gis <f a d>2 |
2224 \context Staff = "up" {
2226 #(set-accidental-style 'teaching)
2229 \context Staff = "down" {
2231 #(set-accidental-style 'teaching)
2242 @cindex accidental style, no reset
2243 @cindex no reset accidental style
2247 This is the same as @code{default} but with accidentals lasting
2248 @q{forever} and not only within the same measure:
2254 cis'8 fis, d'4 <a cis>8 f bis4 |
2268 \voiceTwo \relative c' {
2269 <fis, a cis>8 <fis a cis>
2272 \change Staff = down
2277 \change Staff = down
2278 <fis, a cis>4 gis <f a d>2 |
2285 \context Staff = "up" {
2286 #(set-accidental-style 'no-reset)
2289 \context Staff = "down" {
2290 #(set-accidental-style 'no-reset)
2299 @cindex forget accidental style
2300 @cindex accidental style, forget
2304 This is the opposite of @code{no-reset}: Accidentals are not
2305 remembered at all -- and hence all accidentals are typeset
2306 relative to the key signature, regardless of what came before in
2307 the music. Unlike @code{dodecaphonic}, this rule never prints
2314 cis'8 fis, d'4 <a cis>8 f bis4 |
2328 \voiceTwo \relative c' {
2329 <fis, a cis>8 <fis a cis>
2332 \change Staff = down
2337 \change Staff = down
2338 <fis, a cis>4 gis <f a d>2 |
2345 \context Staff = "up" {
2346 #(set-accidental-style 'forget)
2349 \context Staff = "down" {
2350 #(set-accidental-style 'forget)
2360 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2361 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2368 Internals Reference:
2369 @rinternals{Accidental},
2370 @rinternals{Accidental_engraver},
2371 @rinternals{GrandStaff},
2372 @rinternals{PianoStaff},
2374 @rinternals{AccidentalSuggestion},
2375 @rinternals{AccidentalPlacement},
2376 @rinternals{accidental-suggestion-interface}.
2379 @cindex accidentals and simultaneous notes
2380 @cindex simultaneous notes and accidentals
2381 @cindex accidentals in chords
2382 @cindex chords, accidentals in
2386 Simultaneous notes are considered to be entered in sequential
2387 mode. This means that in a chord the accidentals are typeset as
2388 if the notes in the chord happen one at a time, in the order in
2389 which they appear in the input file. This is a problem when
2390 accidentals in a chord depend on each other, which does not happen
2391 for the default accidental style. The problem can be solved by
2392 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2396 Cautionary cancellation of accidentals is done by looking at previous measure.
2397 However, in the @code{\alternative} block following a @code{\repeat volta N}
2398 section, one would expect the cancellation being calculated using the previous
2399 @emph{played} measure, not previous @emph{printed} measure.
2400 In the following example, the natural @code{c} in the second alternative does
2401 not need a natural sign:
2405 #(set-accidental-style 'modern)
2417 The following work-around can be used: define a function that locally changes
2418 the accidental style to @code{forget}:
2420 @lilypond[verbatim,quote]
2421 forget = #(define-music-function (parser location music) (ly:music?) #{
2422 #(set-accidental-style 'forget)
2424 #(set-accidental-style 'modern)
2427 #(set-accidental-style 'modern)
2440 @unnumberedsubsubsec Ambitus
2443 @cindex range of pitches
2446 The term @notation{ambitus} (pl. ambitus) denotes a range of
2447 pitches for a given voice in a part of music. It may also denote
2448 the pitch range that a musical instrument is capable of playing.
2449 Ambitus are printed on vocal parts so that performers can easily
2450 determine if it matches their capabilities.
2452 Ambitus are denoted at the beginning of a piece near the initial
2453 clef. The range is graphically specified by two note heads that
2454 represent the lowest and highest pitches. Accidentals are only
2455 printed if they are not part of the key signature.
2457 @lilypond[verbatim,quote]
2461 \consists "Ambitus_engraver"
2474 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2475 {adding-ambitus-per-voice.ly}
2477 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2478 {ambitus-with-multiple-voices.ly}
2480 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2481 {changing-the-ambitus-gap.ly}
2491 Internals Reference:
2492 @rinternals{Ambitus_engraver},
2495 @rinternals{Ambitus},
2496 @rinternals{AmbitusAccidental},
2497 @rinternals{AmbitusLine},
2498 @rinternals{AmbitusNoteHead},
2499 @rinternals{ambitus-interface}.
2504 There is no collision handling in the case of multiple per-voice
2509 @subsection Note heads
2511 This section suggests ways of altering note heads.
2514 * Special note heads::
2515 * Easy notation note heads::
2516 * Shape note heads::
2520 @node Special note heads
2521 @unnumberedsubsubsec Special note heads
2523 @cindex note heads, special
2524 @cindex note heads, cross
2525 @cindex note heads, diamond
2526 @cindex note heads, parlato
2527 @cindex note heads, harmonic
2528 @cindex note heads, guitar
2529 @cindex special note heads
2530 @cindex cross note heads
2531 @cindex diamond note heads
2532 @cindex parlato note heads
2533 @cindex harmonic note heads
2534 @cindex guitar note heads
2535 @cindex note head styles
2536 @cindex styles, note heads
2540 The appearance of note heads may be altered:
2542 @lilypond[verbatim,quote,relative=2]
2544 \override NoteHead #'style = #'cross
2546 \revert NoteHead #'style
2548 \override NoteHead #'style = #'harmonic
2550 \revert NoteHead #'style
2554 To see all note head styles, see @ref{Note head styles}.
2556 The @code{cross} style is used to represent a variety of musical
2557 intentions. The following generic predefined commands modify the
2558 note head in both staff and tablature contexts and can be used to
2559 represent any musical meaning:
2561 @lilypond[verbatim,quote,relative=2]
2569 The music function form of this predefined command may be used
2570 inside and outside chords to generate crossed note heads in both
2571 staff and tablature contexts:
2573 @lilypond[verbatim,quote,relative=2]
2576 c b < g \xNote c f > b
2579 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2580 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2581 be used. The term @notation{dead note} is commonly used by guitarists.
2583 There is also a shorthand for diamond shapes which can be used
2586 @lilypond[verbatim,quote,relative=2]
2587 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2602 @ref{Note head styles},
2603 @ref{Chorded notes},
2604 @ref{Indicating harmonics and dampened notes}.
2606 Internals Reference:
2607 @rinternals{note-event},
2608 @rinternals{Note_heads_engraver},
2609 @rinternals{Ledger_line_engraver},
2610 @rinternals{NoteHead},
2611 @rinternals{LedgerLineSpanner},
2612 @rinternals{note-head-interface},
2613 @rinternals{ledger-line-spanner-interface}.
2616 @node Easy notation note heads
2617 @unnumberedsubsubsec Easy notation note heads
2619 @cindex note heads, practice
2620 @cindex practice note heads
2621 @cindex note heads, easy notation
2622 @cindex easy notation
2623 @cindex beginners' music
2624 @cindex music, beginners'
2625 @cindex easy play note heads
2626 @cindex note heads, easy play
2628 @funindex \easyHeadsOn
2629 @funindex easyHeadsOn
2630 @funindex \easyHeadsOff
2631 @funindex easyHeadsOff
2633 The @q{easy play} note head includes a note name inside the head.
2634 It is used in music for beginners. To make the letters readable,
2635 it should be printed in a large font size. To print with a larger
2636 font, see @ref{Setting the staff size}.
2638 @lilypond[verbatim,quote]
2639 #(set-global-staff-size 26)
2651 @code{\easyHeadsOn},
2652 @code{\easyHeadsOff}.
2658 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2659 {numbers-as-easy-note-heads.ly}
2664 @ref{Setting the staff size}.
2669 Internals Reference:
2670 @rinternals{note-event},
2671 @rinternals{Note_heads_engraver},
2672 @rinternals{NoteHead},
2673 @rinternals{note-head-interface}.
2676 @node Shape note heads
2677 @unnumberedsubsubsec Shape note heads
2679 @cindex note heads, shape
2680 @cindex note heads, Aiken
2681 @cindex note heads, sacred harp
2683 @cindex Aiken shape note heads
2684 @cindex sacred harp note heads
2685 @cindex note heads, Southern Harmony
2686 @cindex Southern Harmony note heads
2687 @cindex Funk shape note heads
2688 @cindex note heads, Funk
2689 @cindex note heads, Harmonica Sacra
2690 @cindex Harmonica Sacra note heads
2691 @cindex Christian Harmony note heads
2692 @cindex note heads, Christian Harmony
2693 @cindex Walker shape note heads
2694 @cindex note heads, Walker
2696 @funindex \aikenHeads
2697 @funindex aikenHeads
2698 @funindex \sacredHarpHeads
2699 @funindex sacredHarpHeads
2700 @funindex \southernHarmonyHeads
2701 @funindex southernHarmonyHeads
2702 @funindex \funkHeads
2704 @funindex \walkerHeads
2705 @funindex walkerHeads
2707 In shape note head notation, the shape of the note head
2708 corresponds to the harmonic function of a note in the scale. This
2709 notation was popular in nineteenth-century American song books.
2710 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2711 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2713 @lilypond[verbatim,quote,relative=2]
2715 c, d e f g2 a b1 c \break
2717 c,4 d e f g2 a b1 c \break
2718 \southernHarmonyHeads
2719 c,4 d e f g2 a b1 c \break
2721 c,4 d e f g2 a b1 c \break
2723 c,4 d e f g2 a b1 c \break
2728 @funindex \aikenHeadsMinor
2729 @funindex aikenHeadsMinor
2730 @funindex \sacredHarpHeadsMinor
2731 @funindex sacredHarpHeadsMinor
2732 @funindex \southernHarmonyHeadsMinor
2733 @funindex southernHarmonyHeadsMinor
2734 @funindex \funkHeadsMinor
2735 @funindex funkHeadsMinor
2736 @funindex \walkerHeadsMinor
2737 @funindex walkerHeadsMinor
2739 Shapes are typeset according to the step in the scale, where the base
2740 of the scale is determined by the @code{\key} command. When writing
2741 in a minor key, the scale step can be determined from the relative
2744 @lilypond[verbatim,quote,relative=2]
2747 a b c d e2 f g1 a \break
2749 a,4 b c d e2 f g1 a \break
2750 \sacredHarpHeadsMinor
2752 \southernHarmonyHeadsMinor
2764 @code{\aikenHeadsMinor},
2766 @code{\funkHeadsMinor},
2767 @code{\sacredHarpHeads},
2768 @code{\sacredHarpHeadsMinor},
2769 @code{\southernHarmonyHeads},
2770 @code{\southernHarmonyHeadsMinor},
2771 @code{\walkerHeads},
2772 @code{\walkerHeadsMinor}.
2778 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2779 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2781 To see all note head styles, see @ref{Note head styles}.
2789 @ref{Note head styles}.
2791 Internals Reference:
2792 @rinternals{note-event},
2793 @rinternals{Note_heads_engraver},
2794 @rinternals{NoteHead},
2795 @rinternals{note-head-interface}.
2799 @unnumberedsubsubsec Improvisation
2801 @cindex improvisation
2802 @cindex slashed note heads
2803 @cindex note heads, improvisation
2804 @cindex note heads, slashed
2806 @funindex \improvisationOn
2807 @funindex improvisationOn
2808 @funindex \improvisationOff
2809 @funindex improvisationOff
2811 Improvisation is sometimes denoted with slashed note heads, where
2812 the performer may choose any pitch but should play the specified
2813 rhythm. Such note heads can be created:
2815 @lilypond[verbatim,quote,relative=2]
2817 \consists "Pitch_squash_engraver"
2819 e8 e g a a16( bes) a8 g
2831 @code{\improvisationOn},
2832 @code{\improvisationOff}.
2840 Internals Reference:
2841 @rinternals{Pitch_squash_engraver},
2843 @rinternals{RhythmicStaff}.