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 c''' @{ gis' @dots{} @}}
167 @item an octave of the first note inside
168 Writing @code{\relative gis''' @{ 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
318 If no @code{@var{startpitch}} is specified for @code{\relative},
319 then@tie{}@code{c'} is assumed. However, this is a deprecated
320 option and may disappear in future versions, so its use is
325 @unnumberedsubsubsec Accidentals
328 @cindex key signature
331 @c duplicated in Key signature and Accidentals
332 @warning{New users are sometimes confused about accidentals and
333 key signatures. In LilyPond, note names are the raw input; key
334 signatures and clefs determine how this raw input is displayed.
335 An unaltered note like@tie{}@code{c} means @q{C natural},
336 regardless of the key signature or clef. For more information,
337 see @rlearning{Accidentals and key signatures}.}
339 @cindex note names, Dutch
340 @cindex note names, default
341 @cindex default note names
345 @cindex sharp, double
349 @cindex natural pitch
351 A @notation{sharp} pitch is made by adding @code{is} to the note
352 name, and a @notation{flat} pitch by adding @code{es}. As you
353 might expect, a @notation{double sharp} or @notation{double flat}
354 is made by adding @code{isis} or @code{eses}. This syntax is
355 derived from Dutch note naming conventions. To use other names
356 for accidentals, see @ref{Note names in other languages}.
358 @lilypond[verbatim,quote,relative=2]
362 A natural will cancel the effect of an accidental or key
363 signature. However, naturals are not encoded into the note name
364 syntax with a suffix; a natural pitch is shown as a simple note
367 @lilypond[verbatim,quote,relative=2]
371 @cindex quarter tones
375 Quarter tones may be added; the following is a series of Cs with
378 @lilypond[verbatim,quote,relative=2]
379 ceseh1 ces ceh c cih cis cisih
384 @cindex accidental, reminder
385 @cindex accidental, cautionary
386 @cindex accidental, parenthesized
387 @cindex reminder accidental
388 @cindex cautionary accidental
389 @cindex parenthesized accidental
395 Normally accidentals are printed automatically, but you may also
396 print them manually. A reminder accidental can be forced by
397 adding an exclamation mark@tie{}@code{!} after the pitch. A
398 cautionary accidental (i.e., an accidental within parentheses) can
399 be obtained by adding the question mark@tie{}@code{?} after the
400 pitch. These extra accidentals can also be used to produce
403 @lilypond[verbatim,quote,relative=2]
404 cis cis cis! cis? c c c! c?
407 @cindex accidental on tied note
408 @cindex tied note, accidental
410 Accidentals on tied notes are only printed at the beginning of a
413 @lilypond[verbatim,quote,relative=2]
422 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
423 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
425 @lilypondfile[verbatim,quote,texidoc,doctitle]
426 {preventing-extra-naturals-from-being-automatically-added.ly}
432 @rglos{double sharp},
435 @rglos{quarter tone}.
438 @rlearning{Accidentals and key signatures}.
441 @ref{Automatic accidentals},
442 @ref{Annotational accidentals (musica ficta)},
443 @ref{Note names in other languages}.
449 @rinternals{Accidental_engraver},
450 @rinternals{Accidental},
451 @rinternals{AccidentalCautionary},
452 @rinternals{accidental-interface}.
454 @cindex accidental, quarter-tone
455 @cindex quarter-tone accidental
458 There are no generally accepted standards for denoting
459 quarter-tone accidentals, so LilyPond's symbol does not conform to
463 @node Note names in other languages
464 @unnumberedsubsubsec Note names in other languages
466 @cindex note names, other languages
467 @cindex pitch names, other languages
468 @cindex language, note names in other
469 @cindex language, pitch names in other
471 There are predefined sets of note and accidental names for various
472 other languages. Selecting the note name language is usually done
473 at the beginning of the file; the following example is written
474 using Italian note names:
476 @lilypond[quote,verbatim]
484 The available languages and the note names they define are:
487 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
490 @item @code{nederlands}
491 @tab c d e f g a bes b
493 @tab do re mi fa sol la sib si
497 @tab c d e f g a bf b
498 @item @code{espanol} or @code{español}
499 @tab do re mi fa sol la sib si
500 @item @code{italiano} or @code{français}
501 @tab do re mi fa sol la sib si
504 @item @code{portugues}
505 @tab do re mi fa sol la sib si
511 @tab do re mi fa sol la sib si
515 In addition to note names, accidental suffixes may
516 also vary depending on the language:
519 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
521 @tab sharp @tab flat @tab double sharp @tab double flat
522 @item @code{nederlands}
523 @tab -is @tab -es @tab -isis @tab -eses
525 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
527 @tab -is @tab -es @tab -isis @tab -eses
529 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
531 @item @code{espanol} or @code{español}
532 @tab -s @tab -b @tab -ss/-x @tab -bb
533 @item @code{italiano} or @code{français}
534 @tab -d @tab -b @tab -dd @tab -bb
536 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
538 @item @code{portugues}
539 @tab -s @tab -b @tab -ss @tab -bb
541 @tab -is @tab -es @tab -isis @tab -eses
543 @tab -iss @tab -ess @tab -ississ @tab -essess
545 @tab -k @tab -b @tab -kk @tab -bb
549 In Dutch, @code{aes} is contracted to @code{as}, but both forms
550 are accepted in LilyPond. Similarly, both @code{es} and
551 @code{ees} are accepted. This also applies to
552 @code{aeses}@tie{}/@tie{}@code{ases} and
553 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
554 contracted names are defined in the corresponding language files.
556 @lilypond[verbatim,quote,relative=2]
557 a2 as e es a ases e eses
567 Some music uses microtones whose alterations are fractions of a
568 @q{normal} sharp or flat. The following table lists note names
569 for quarter-tone accidentals in various languages; here the prefixes
570 @notation{semi-} and @notation{sesqui-} respectively
571 mean @q{half} and @q{one and a half}. Languages that do not
572 appear in this table do not provide special note names yet.
575 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
577 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
579 @item @code{nederlands}
580 @tab -ih @tab -eh @tab -isih @tab -eseh
582 @tab -ih @tab -eh @tab -isih @tab -eseh
584 @tab -qs @tab -qf @tab -tqs @tab -tqf
585 @item @code{espanol} or @code{español}
586 @tab -cs @tab -cb @tab -tcs @tab -tcb
587 @item @code{italiano} or @code{français}
588 @tab -sd @tab -sb @tab -dsd @tab -bsb
589 @item @code{portugues}
590 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
594 Most languages presented here are commonly associated with
595 Western classical music, also referred to as
596 @notation{Common Practice Period}. However, alternate
597 pitches and tuning systems are also supported: see
598 @ref{Common notation for non-Western music}.
603 @rglos{Common Practice Period}.
606 @ref{Common notation for non-Western music}.
609 @file{scm/define-note-names.scm}.
615 @node Changing multiple pitches
616 @subsection Changing multiple pitches
618 This section discusses how to modify pitches.
625 * Modal transformations::
629 @unnumberedsubsubsec Octave checks
631 @cindex octave correction
633 @cindex control pitch
636 @funindex \octaveCheck
637 @funindex octaveCheck
638 @funindex controlpitch
640 In relative mode, it is easy to forget an octave changing mark.
641 Octave checks make such errors easier to find by displaying a
642 warning and correcting the octave if a note is found in an
645 To check the octave of a note, specify the absolute octave after
646 the @code{=}@tie{}symbol. This example will generate a warning
647 (and change the pitch) because the second note is the absolute
648 octave @code{d''} instead of @code{d'} as indicated by the octave
651 @lilypond[verbatim,quote]
658 The octave of notes may also be checked with the
659 @code{\octaveCheck@tie{}@var{controlpitch}} command.
660 @code{@var{controlpitch}} is specified in absolute mode. This
661 checks that the interval between the previous note and the
662 @code{@var{controlpitch}} is within a fourth (i.e., the normal
663 calculation of relative mode). If this check fails, a warning is
664 printed, but the previous note is not changed. Future notes are
665 relative to the @code{@var{controlpitch}}.
667 @lilypond[verbatim,quote]
675 Compare the two bars below. The first and third @code{\octaveCheck}
676 checks fail, but the second one does not fail.
678 @lilypond[verbatim,quote]
697 @rinternals{RelativeOctaveCheck}.
701 @unnumberedsubsubsec Transpose
705 @cindex transposition
706 @cindex transposition of pitches
707 @cindex transposition of notes
708 @cindex pitches, transposition of
709 @cindex notes, transposition of
714 A music expression can be transposed with @code{\transpose}. The
718 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
722 This means that @code{@var{musicexpr}} is transposed by the
723 interval between the pitches @code{@var{frompitch}} and
724 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
725 is changed to @code{@var{topitch}} and any other note is
726 transposed by the same interval. Both pitches are entered in
729 @warning{Music inside a @code{@bs{}transpose} block is absolute
730 unless a @code{@bs{}relative} is included in the block.}
732 Consider a piece written in the key of D-major. It can be
733 transposed up to E-major; note that the key signature is
734 automatically transposed as well.
736 @lilypond[verbatim,quote]
745 @cindex transposing instruments
746 @cindex instruments, transposing
748 If a part written in C (normal @notation{concert pitch}) is to be
749 played on the A clarinet (for which an A is notated as a C and
750 thus sounds a minor third lower than notated), the appropriate
751 part will be produced with:
753 @lilypond[verbatim,quote]
763 Note that we specify @w{@code{\key c \major}} explicitly. If we
764 do not specify a key signature, the notes will be transposed but
765 no key signature will be printed.
767 @code{\transpose} distinguishes between enharmonic pitches: both
768 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
769 transpose up a semitone. The first version will print sharps and
770 the notes will remain on the same scale step, the second version
771 will print flats on the scale step above.
773 @lilypond[verbatim,quote]
774 music = \relative c' { c d e f }
776 \transpose c cis { \music }
777 \transpose c des { \music }
782 @code{\transpose} may also be used in a different way, to input
783 written notes for a transposing instrument. The previous examples
784 show how to enter pitches in C (or @notation{concert pitch}) and
785 typeset them for a transposing instrument, but the opposite is
786 also possible if you for example have a set of instrumental parts
787 and want to print a conductor's score. For example, when entering
788 music for a B-flat trumpet that begins on a notated E (concert D),
792 musicInBflat = @{ e4 @dots{} @}
793 \transpose c bes, \musicInBflat
797 To print this music in F (e.g., rearranging to a French horn) you
798 could wrap the existing music with another @code{\transpose}:
801 musicInBflat = @{ e4 @dots{} @}
802 \transpose f c' @{ \transpose c bes, \musicInBflat @}
806 For more information about transposing instruments,
807 see @ref{Instrument transpositions}.
812 @lilypondfile[verbatim,quote,texidoc,doctitle]
813 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
817 @ref{Instrument transpositions},
819 @ref{Modal transformations},
820 @ref{Relative octave entry},
827 @rinternals{TransposedMusic}.
837 The relative conversion will not affect @code{\transpose},
838 @code{\chordmode} or @code{\relative} sections in its argument. To use
839 relative mode within transposed music, an additional @code{\relative}
840 must be placed inside @code{\transpose}.
842 Triple accidentals will not be printed if using @code{\transpose}. An
843 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
844 rather than e-triple-flat).
848 @unnumberedsubsubsec Inversion
851 @cindex operation, inversion
854 A music expression can be inverted and transposed in a single
858 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
861 The @code{@var{musicexpr}} is inverted interval-by-interval around
862 @code{@var{around-pitch}}, and then transposed so that
863 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
865 @lilypond[verbatim,quote]
866 music = \relative c' { c d e f }
869 \inversion d' d' \music
870 \inversion d' ees' \music
874 @warning{Motifs to be inverted should be expressed in absolute form
875 or be first converted to absolute form by enclosing them in a
876 @code{\relative} block.}
880 @ref{Modal transformations},
886 @unnumberedsubsubsec Retrograde
888 @cindex retrograde transformation
889 @cindex transformation, retrograde
890 @cindex operation, retrograde
891 @funindex \retrograde
894 A music expression can be reversed to produce its retrograde:
896 @lilypond[verbatim,quote]
897 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
906 Manual ties inside @code{\retrograde} will be broken and
907 generate warnings. Some ties can be generated automatically
908 by enabling @ref{Automatic note splitting}.
913 @ref{Modal transformations},
917 @node Modal transformations
918 @unnumberedsubsubsec Modal transformations
920 @cindex modal transformations
921 @cindex transformations, modal
922 @cindex operations, modal
924 In a musical composition that is based on a scale, a motif is
925 frequently transformed in various ways. It may be
926 @notation{transposed} to start at different places in the scale or
927 it may be @notation{inverted} around a pivot point in the scale.
928 It may also be reversed to produce its @notation{retrograde}, see
931 @warning{Any note that does not lie within the given scale will be
934 @subsubsubheading Modal transposition
936 @cindex modal transposition
937 @cindex transposition, modal
938 @cindex operation, transposition
939 @funindex \modalTranspose
940 @funindex modalTranspose
942 A motif can be transposed within a given scale with:
945 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
948 The notes of @var{motif} are shifted within the @var{scale} by the
949 number of scale degrees given by the interval between @var{to-pitch}
950 and @var{from-pitch}:
952 @lilypond[verbatim,quote]
953 diatonicScale = \relative c' { c d e f g a b }
954 motif = \relative c' { c8 d e f g a b c }
958 \modalTranspose c f \diatonicScale \motif
959 \modalTranspose c b, \diatonicScale \motif
963 An ascending scale of any length and with any intervals may be
966 @lilypond[verbatim,quote]
967 pentatonicScale = \relative c' { ges aes bes des ees }
968 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
972 \modalTranspose ges ees' \pentatonicScale \motif
976 When used with a chromatic scale @code{\modalTranspose} has a
977 similar effect to @code{\transpose}, but with the ability to
978 specify the names of the notes to be used:
980 @lilypond[verbatim,quote]
981 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
982 motif = \relative c' { c8 d e f g a b c }
986 \transpose c f \motif
987 \modalTranspose c f \chromaticScale \motif
991 @subsubsubheading Modal inversion
993 @cindex modal inversion
994 @cindex inversion, modal
995 @cindex operation, modal inversion
996 @funindex \modalInversion
997 @funindex modalInversion
999 A motif can be inverted within a given scale around a given pivot
1000 note and transposed in a single operation with:
1003 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
1006 The notes of @var{motif} are placed the same number of scale degrees
1007 from the @var{around-pitch} note within the @var{scale}, but in the
1008 opposite direction, and the result is then shifted within the
1009 @var{scale} by the number of scale degrees given by the interval between
1010 @var{to-pitch} and @var{around-pitch}.
1012 So to simply invert around a note in the scale use the same value for
1013 @var{around-pitch} and @var{to-pitch}:
1015 @lilypond[verbatim,quote]
1016 octatonicScale = \relative c' { ees f fis gis a b c d }
1017 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1021 \modalInversion fis' fis' \octatonicScale \motif
1025 To invert around a pivot between two notes in the scale, invert around
1026 one of the notes and then transpose by one scale degree. The two notes
1027 specified can be interpreted as bracketing the pivot point:
1029 @lilypond[verbatim,quote]
1030 scale = \relative c' { c g' }
1031 motive = \relative c' { c c g' c, }
1035 \modalInversion c' g' \scale \motive
1039 The combined operation of inversion and retrograde produce the
1040 retrograde-inversion:
1042 @lilypond[verbatim,quote]
1043 octatonicScale = \relative c' { ees f fis gis a b c d }
1044 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1048 \retrograde \modalInversion c' c' \octatonicScale \motif
1059 @node Displaying pitches
1060 @subsection Displaying pitches
1062 This section discusses how to alter the output of pitches.
1068 * Instrument transpositions::
1069 * Automatic accidentals::
1075 @unnumberedsubsubsec Clef
1086 @cindex soprano clef
1087 @cindex mezzosoprano clef
1088 @cindex baritone clef
1089 @cindex varbaritone clef
1090 @cindex subbass clef
1092 @cindex ancient clef
1093 @cindex clef, ancient
1097 @cindex clef, treble
1098 @cindex clef, violin
1102 @cindex clef, french
1103 @cindex clef, soprano
1104 @cindex clef, mezzosoprano
1105 @cindex clef, baritone
1106 @cindex clef, varbaritone
1107 @cindex clef, subbass
1113 The clef may be altered. Middle C is shown in every example. The
1114 following clef names can (but do not need to) be enclosed in quotes.
1116 @lilypond[verbatim,quote,relative=1]
1127 Other clefs include:
1129 @lilypond[verbatim,quote,relative=1]
1150 \clef G % synonym for treble
1152 \clef F % synonym for bass
1154 \clef C % synonym for alto
1158 @cindex transposing clef
1159 @cindex clef, transposing
1160 @cindex octave transposition
1161 @cindex optional octave transposition
1162 @cindex octave transposition, optional
1163 @cindex choral tenor clef
1164 @cindex tenor clef, choral
1166 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1167 clef is transposed one octave down or up respectively,
1168 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1169 Other integers can be used if required. Clef names containing
1170 non-alphabetic characters must be enclosed in quotes
1172 @lilypond[verbatim,quote,relative=1]
1187 Optional octavation can be obtained by enclosing the numeric
1188 argument in parentheses or brackets:
1190 @lilypond[verbatim,quote,relative=1]
1197 The pitches are displayed as if the numeric argument were
1198 given without parentheses/brackets.
1200 Some special purpose clefs are described in @ref{Mensural clefs},
1201 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1202 tablatures}. For mixing different clefs when using cue notes within a
1203 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1204 in @ref{Formatting cue notes}.
1208 @lilypondfile[verbatim,quote,texidoc,doctitle]
1209 {tweaking-clef-properties.ly}
1213 @ref{Mensural clefs},
1214 @ref{Gregorian clefs},
1215 @ref{Default tablatures},
1216 @ref{Custom tablatures},
1217 @ref{Formatting cue notes}.
1222 Internals Reference:
1223 @rinternals{Clef_engraver},
1225 @rinternals{ClefModifier},
1226 @rinternals{clef-interface}.
1229 Ottavation numbers attached to clefs are treated as separate grobs. So
1230 any @code{\override} done to the @var{Clef} will also need to be
1231 applied, as a separate @code{\override}, to the @var{ClefModifier}
1234 @lilypond[fragment,quote,relative=1]
1236 \override ClefModifier.color = #red
1237 \override Clef.color = #blue
1245 @unnumberedsubsubsec Key signature
1247 @cindex key signature
1252 @c duplicated in Key signature and Accidentals
1253 @warning{New users are sometimes confused about accidentals and
1254 key signatures. In LilyPond, note names are the raw input; key
1255 signatures and clefs determine how this raw input is displayed.
1256 An unaltered note like@tie{}@code{c} means @q{C natural},
1257 regardless of the key signature or clef. For more information,
1258 see @rlearning{Accidentals and key signatures}.}
1260 The key signature indicates the tonality in which a piece is
1261 played. It is denoted by a set of alterations (flats or sharps)
1262 at the start of the staff. The key signature may be altered:
1265 \key @var{pitch} @var{mode}
1278 @funindex \mixolydian
1279 @funindex mixolydian
1287 @cindex church modes
1300 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1301 to get a key signature of @code{@var{pitch}}-major or
1302 @code{@var{pitch}}-minor, respectively. You may also use the
1303 standard mode names, also called @notation{church modes}:
1304 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1305 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1307 @lilypond[verbatim,quote,relative=2]
1314 Additional modes can be defined, by listing the alterations
1315 for each scale step when the mode starts on C.
1317 @lilypond[verbatim,quote]
1318 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1319 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1322 \key c\freygish c4 des e f
1323 \bar "||" \key d\freygish d es fis g
1327 Accidentals in the key signature may be printed in octaves other
1328 than their traditional positions, or in multiple octaves, by
1329 using the @code{flat-positions} and @code{sharp-positions}
1330 properties of @code{KeySignature}. Entries in these properties
1331 specify the range of staff-positions where accidentals will be
1332 printed. If a single position is specified in an entry, the
1333 accidentals are placed within the octave ending at that staff
1336 @lilypond[verbatim, quote,relative=0]
1337 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1338 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1339 \clef bass \key es\major es g bes d
1340 \clef treble \bar "||" \key es\major es g bes d
1342 \override Staff.KeySignature.sharp-positions = #'(2)
1343 \bar "||" \key b\major b fis b2
1348 @lilypondfile[verbatim,quote,texidoc,doctitle]
1349 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1351 @lilypondfile[verbatim,quote,texidoc,doctitle]
1352 {non-traditional-key-signatures.ly}
1356 @rglos{church mode},
1360 @rlearning{Accidentals and key signatures}.
1365 Internals Reference:
1366 @rinternals{KeyChangeEvent},
1367 @rinternals{Key_engraver},
1368 @rinternals{Key_performer},
1369 @rinternals{KeyCancellation},
1370 @rinternals{KeySignature},
1371 @rinternals{key-signature-interface}.
1374 @node Ottava brackets
1375 @unnumberedsubsubsec Ottava brackets
1383 @funindex set-octavation
1387 @notation{Ottava brackets} introduce an extra transposition of an
1388 octave for the staff:
1390 @lilypond[verbatim,quote,relative=2]
1406 @lilypondfile[verbatim,quote,texidoc,doctitle]
1409 @lilypondfile[verbatim,quote,texidoc,doctitle]
1410 {adding-an-ottava-marking-to-a-single-voice.ly}
1419 Internals Reference:
1420 @rinternals{Ottava_spanner_engraver},
1421 @rinternals{OttavaBracket},
1422 @rinternals{ottava-bracket-interface}.
1425 @node Instrument transpositions
1426 @unnumberedsubsubsec Instrument transpositions
1428 @cindex transposition, MIDI
1429 @cindex transposition, instrument
1430 @cindex transposing instrument
1432 @cindex MIDI transposition
1434 @funindex \transposition
1435 @funindex transposition
1437 When typesetting scores that involve transposing instruments, some
1438 parts can be typeset in a different pitch than the
1439 @notation{concert pitch}. In these cases, the key of the
1440 @notation{transposing instrument} should be specified; otherwise
1441 the MIDI output and cues in other parts will produce incorrect
1442 pitches. For more information about quotations, see
1443 @ref{Quoting other voices}.
1446 \transposition @var{pitch}
1449 The pitch to use for @code{\transposition} should correspond to
1450 the real sound heard when a@tie{}@code{c'} written on the staff is
1451 played by the transposing instrument. This pitch is entered in
1452 absolute mode, so an instrument that produces a real sound which
1453 is one tone higher than the printed music should use
1454 @w{@code{\transposition d'}}. @code{\transposition} should
1455 @emph{only} be used if the pitches are @emph{not} being entered in
1458 Here are a few notes for violin and B-flat clarinet where the
1459 parts have been entered using the notes and key as they appear in
1460 each part of the conductor's score. The two instruments are
1463 @lilypond[verbatim,quote]
1465 \new Staff = "violin" {
1467 \set Staff.instrumentName = #"Vln"
1468 \set Staff.midiInstrument = #"violin"
1469 % not strictly necessary, but a good reminder
1476 \new Staff = "clarinet" {
1478 \set Staff.instrumentName = \markup { Cl (B\flat) }
1479 \set Staff.midiInstrument = #"clarinet"
1489 The @code{\transposition} may be changed during a piece. For
1490 example, a clarinetist may be required to switch from an A clarinet
1491 to a B-flat clarinet.
1493 @lilypond[verbatim,quote]
1494 flute = \relative c'' {
1496 \cueDuring #"clarinet" #DOWN {
1497 R1 _\markup\tiny "clarinet"
1499 R1 _\markup\tiny "clarinet"
1502 clarinet = \relative c'' {
1506 R1^\markup { muta in B\flat }
1511 \addQuote "clarinet" \clarinet
1513 \new Staff \with { instrumentName = #"Flute" }
1515 \new Staff \with { instrumentName = #"Cl (A)" }
1522 @rglos{concert pitch},
1523 @rglos{transposing instrument}.
1526 @ref{Quoting other voices},
1533 @node Automatic accidentals
1534 @unnumberedsubsubsec Automatic accidentals
1536 @cindex accidental style
1537 @cindex accidental style, default
1539 @cindex accidentals, automatic
1540 @cindex automatic accidentals
1541 @cindex default accidental style
1543 @funindex \accidentalStyle
1547 There are many different conventions on how to typeset
1548 accidentals. LilyPond provides a function to specify which
1549 accidental style to use. This function is called as follows:
1553 \accidentalStyle voice
1558 The accidental style applies to the current @code{Staff} by
1559 default (with the exception of the styles @code{piano} and
1560 @code{piano-cautionary}, which are explained below). Optionally,
1561 the function can take a second argument that determines in which
1562 scope the style should be changed. For example, to use the same
1563 style in all staves of the current @code{StaffGroup}, use:
1566 \accidentalStyle StaffGroup.voice
1569 The following accidental styles are supported. To demonstrate
1570 each style, we use the following example:
1573 @lilypond[verbatim,quote]
1577 cis'8 fis, bes4 <a cis>8 f bis4 |
1591 \voiceTwo \relative c' {
1592 <fis, a cis>8[ <fis a cis>
1595 \change Staff = down
1600 \change Staff = down
1601 <fis, a cis>4 gis <f a d>2 |
1608 \context Staff = "up" {
1609 \accidentalStyle default
1612 \context Staff = "down" {
1613 \accidentalStyle default
1620 Note that the last lines of this example can be replaced by the
1621 following, as long as the same accidental style should be used in
1627 \context Staff = "up" @{
1628 %%% change the next line as desired:
1629 \accidentalStyle Score.default
1632 \context Staff = "down" @{
1640 @c don't use verbatim in this table.
1644 @cindex default accidental style
1645 @cindex accidental style, default
1649 This is the default typesetting behavior. It corresponds to
1650 eighteenth-century common practice: accidentals are remembered to
1651 the end of the measure in which they occur and only in their own
1652 octave. Thus, in the example below, no natural signs are printed
1653 before the@tie{}@code{b} in the second measure or the
1660 cis'8 fis, bes4 <a cis>8 f bis4 |
1674 \voiceTwo \relative c' {
1675 <fis, a cis>8[ <fis a cis>
1678 \change Staff = down
1683 \change Staff = down
1684 <fis, a cis>4 gis <f a d>2 |
1691 \context Staff = "up" {
1692 \accidentalStyle default
1695 \context Staff = "down" {
1696 \accidentalStyle default
1705 @cindex accidental style, voice
1706 @cindex voice accidental style
1707 @cindex accidental style, modern
1708 @cindex modern accidental style
1709 @cindex accidental style, modern-cautionary
1710 @cindex modern-cautionary accidental style
1714 The normal behavior is to remember the accidentals at
1715 @code{Staff}-level. In this style, however, accidentals are
1716 typeset individually for each voice. Apart from that, the rule is
1717 similar to @code{default}.
1719 As a result, accidentals from one voice do not get canceled in
1720 other voices, which is often an unwanted result: in the following
1721 example, it is hard to determine whether the second@tie{}@code{a}
1722 should be played natural or sharp. The @code{voice} option should
1723 therefore be used only if the voices are to be read solely by
1724 individual musicians. If the staff is to be used by one musician
1725 (e.g., a conductor or in a piano score) then @code{modern} or
1726 @code{modern-cautionary} should be used instead.
1733 cis'8 fis, bes4 <a cis>8 f bis4 |
1747 \voiceTwo \relative c' {
1748 <fis, a cis>8[ <fis a cis>
1751 \change Staff = down
1756 \change Staff = down
1757 <fis, a cis>4 gis <f a d>2 |
1764 \context Staff = "up" {
1765 \accidentalStyle voice
1768 \context Staff = "down" {
1769 \accidentalStyle voice
1778 @cindex accidentals, modern style
1779 @cindex modern style accidentals
1783 This rule corresponds to the common practice in the twentieth
1784 century. It omits some extra natural signs, which were
1785 traditionally prefixed to a sharp following a double sharp,
1786 or a flat following a double flat. The @code{modern} rule
1787 prints the same accidentals as @code{default}, with
1788 two additions that serve to avoid ambiguity: after temporary
1789 accidentals, cancellation marks are printed also in the following
1790 measure (for notes in the same octave) and, in the same measure,
1791 for notes in other octaves. Hence the naturals before
1792 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1799 cis'8 fis, bes4 <a cis>8 f bis4 |
1813 \voiceTwo \relative c' {
1814 <fis, a cis>8[ <fis a cis>
1817 \change Staff = down
1822 \change Staff = down
1823 <fis, a cis>4 gis <f a d>2 |
1830 \context Staff = "up" {
1831 \accidentalStyle modern
1834 \context Staff = "down" {
1835 \accidentalStyle modern
1842 @item modern-cautionary
1844 @cindex accidentals, modern cautionary style
1845 @cindex modern accidental style
1846 @cindex modern cautionary accidental style
1847 @cindex modern style accidentals
1848 @cindex modern style cautionary accidentals
1850 @funindex modern-cautionary
1852 This rule is similar to @code{modern}, but the @q{extra}
1853 accidentals (the ones not typeset by @code{default}) are typeset
1854 as cautionary accidentals. They are by default printed with
1855 parentheses, but they can also be printed in reduced size by
1856 defining the @code{cautionary-style} property of
1857 @code{AccidentalSuggestion}.
1863 cis'8 fis, bes4 <a cis>8 f bis4 |
1877 \voiceTwo \relative c' {
1878 <fis, a cis>8[ <fis a cis>
1881 \change Staff = down
1886 \change Staff = down
1887 <fis, a cis>4 gis <f a d>2 |
1894 \context Staff = "up" {
1895 \accidentalStyle modern-cautionary
1898 \context Staff = "down" {
1899 \accidentalStyle modern-cautionary
1908 @cindex accidental style, modern
1909 @cindex accidentals, modern
1910 @cindex accidentals, multivoice
1911 @cindex modern accidental style
1912 @cindex modern accidentals
1913 @cindex multivoice accidentals
1915 @funindex modern-voice
1917 This rule is used for multivoice accidentals to be read both by
1918 musicians playing one voice and musicians playing all voices.
1919 Accidentals are typeset for each voice, but they @emph{are}
1920 canceled across voices in the same @code{Staff}. Hence,
1921 the@tie{}@code{a} in the last measure is canceled because the
1922 previous cancellation was in a different voice, and
1923 the@tie{}@code{d} in the lower staff is canceled because of the
1924 accidental in a different voice in the previous measure:
1930 cis'8 fis, bes4 <a cis>8 f bis4 |
1944 \voiceTwo \relative c' {
1945 <fis, a cis>8[ <fis a cis>
1948 \change Staff = down
1953 \change Staff = down
1954 <fis, a cis>4 gis <f a d>2 |
1961 \context Staff = "up" {
1962 \accidentalStyle modern-voice
1965 \context Staff = "down" {
1966 \accidentalStyle modern-voice
1973 @cindex accidental style, cautionary, modern voice
1974 @cindex accidental style, modern voice cautionary
1975 @cindex accidental style, voice, modern cautionary
1977 @funindex modern-voice-cautionary
1979 @item modern-voice-cautionary
1981 This rule is the same as @code{modern-voice}, but with the extra
1982 accidentals (the ones not typeset by @code{voice}) typeset as
1983 cautionaries. Even though all accidentals typeset by
1984 @code{default} @emph{are} typeset with this rule, some of them are
1985 typeset as cautionaries.
1991 cis'8 fis, bes4 <a cis>8 f bis4 |
2005 \voiceTwo \relative c' {
2006 <fis, a cis>8[ <fis a cis>
2009 \change Staff = down
2014 \change Staff = down
2015 <fis, a cis>4 gis <f a d>2 |
2022 \context Staff = "up" {
2023 \accidentalStyle modern-voice-cautionary
2026 \context Staff = "down" {
2027 \accidentalStyle modern-voice-cautionary
2036 @cindex accidental style, piano
2037 @cindex accidentals, piano
2038 @cindex piano accidental style
2039 @cindex piano accidentals
2043 This rule reflects twentieth-century practice for piano notation.
2044 Its behavior is very similar to @code{modern} style, but here
2045 accidentals also get canceled across the staves in the same
2046 @code{GrandStaff} or @code{PianoStaff}, hence all the
2047 cancellations of the final notes.
2049 This accidental style applies to the current @code{GrandStaff} or
2050 @code{PianoStaff} by default.
2056 cis'8 fis, bes4 <a cis>8 f bis4 |
2070 \voiceTwo \relative c' {
2071 <fis, a cis>8[ <fis a cis>
2074 \change Staff = down
2079 \change Staff = down
2080 <fis, a cis>4 gis <f a d>2 |
2087 \context Staff = "up" {
2088 \accidentalStyle piano
2091 \context Staff = "down" {
2098 @item piano-cautionary
2100 @cindex accidentals, piano cautionary
2101 @cindex cautionary accidentals, piano
2102 @cindex piano cautionary accidentals
2103 @cindex accidental style, piano cautionary
2104 @cindex cautionary accidental style, piano
2105 @cindex piano cautionary accidental style
2107 @funindex piano-cautionary
2109 This is the same as @code{piano} but with the extra accidentals
2110 typeset as cautionaries.
2116 cis'8 fis, bes4 <a cis>8 f bis4 |
2130 \voiceTwo \relative c' {
2131 <fis, a cis>8[ <fis a cis>
2134 \change Staff = down
2139 \change Staff = down
2140 <fis, a cis>4 gis <f a d>2 |
2147 \context Staff = "up" {
2148 \accidentalStyle piano-cautionary
2151 \context Staff = "down" {
2161 @cindex neo-modern accidental style
2162 @cindex accidental style, neo-modern
2164 @funindex neo-modern
2166 This rule reproduces a common practice in contemporary music:
2167 accidentals are printed like with @code{modern}, but they are printed
2168 again if the same note appears later in the same measure -- except
2169 if the note is immediately repeated.
2175 cis'8 fis, bes4 <a cis>8 f bis4 |
2189 \voiceTwo \relative c' {
2190 <fis, a cis>8[ <fis a cis>
2193 \change Staff = down
2198 \change Staff = down
2199 <fis, a cis>4 gis <f a d>2 |
2206 \context Staff = "up" {
2207 \accidentalStyle neo-modern
2210 \context Staff = "down" {
2211 \accidentalStyle neo-modern
2218 @item neo-modern-cautionary
2220 @cindex neo-modern-cautionary accidental style
2221 @cindex accidental style, neo-modern-cautionary
2223 @funindex neo-modern-cautionary
2225 This rule is similar to @code{neo-modern}, but the extra
2226 accidentals are printed as cautionary accidentals.
2232 cis'8 fis, bes4 <a cis>8 f bis4 |
2246 \voiceTwo \relative c' {
2247 <fis, a cis>8[ <fis a cis>
2250 \change Staff = down
2255 \change Staff = down
2256 <fis, a cis>4 gis <f a d>2 |
2263 \context Staff = "up" {
2264 \accidentalStyle neo-modern-cautionary
2267 \context Staff = "down" {
2268 \accidentalStyle neo-modern-cautionary
2276 @item neo-modern-voice
2278 @cindex neo-modern-voice accidental style
2279 @cindex accidental style, neo-modern-voice
2281 @funindex neo-modern-voice
2283 This rule is used for multivoice accidentals to be read both by
2284 musicians playing one voice and musicians playing all voices.
2285 Accidentals are typeset for each voice as with @code{neo-modern},
2286 but they are canceled across voices in the same @code{Staff}.
2292 cis'8 fis, bes4 <a cis>8 f bis4 |
2306 \voiceTwo \relative c' {
2307 <fis, a cis>8[ <fis a cis>
2310 \change Staff = down
2315 \change Staff = down
2316 <fis, a cis>4 gis <f a d>2 |
2323 \context Staff = "up" {
2324 \accidentalStyle neo-modern-voice
2327 \context Staff = "down" {
2328 \accidentalStyle neo-modern-voice
2335 @item neo-modern-voice-cautionary
2337 @cindex neo-modern-voice-cautionary accidental style
2338 @cindex accidental style, neo-modern-voice-cautionary
2340 @funindex neo-modern-voice-cautionary
2342 This rule is similar to @code{neo-modern-voice}, but the extra
2343 accidentals are printed as cautionary accidentals.
2349 cis'8 fis, bes4 <a cis>8 f bis4 |
2363 \voiceTwo \relative c' {
2364 <fis, a cis>8[ <fis a cis>
2367 \change Staff = down
2372 \change Staff = down
2373 <fis, a cis>4 gis <f a d>2 |
2380 \context Staff = "up" {
2381 \accidentalStyle neo-modern-voice-cautionary
2384 \context Staff = "down" {
2385 \accidentalStyle neo-modern-voice-cautionary
2394 @cindex dodecaphonic accidental style
2395 @cindex dodecaphonic style, neo-modern
2397 @funindex dodecaphonic
2399 This rule reflects a practice introduced by composers at
2400 the beginning of the 20th century, in an attempt to
2401 abolish the hierarchy between natural and non-natural notes.
2402 With this style, @emph{every} note gets an accidental sign,
2403 including natural signs.
2409 cis'8 fis, bes4 <a cis>8 f bis4 |
2423 \voiceTwo \relative c' {
2424 <fis, a cis>8[ <fis a cis>
2427 \change Staff = down
2432 \change Staff = down
2433 <fis, a cis>4 gis <f a d>2 |
2440 \context Staff = "up" {
2441 \accidentalStyle dodecaphonic
2444 \context Staff = "down" {
2445 \accidentalStyle dodecaphonic
2455 @cindex teaching accidental style
2456 @cindex accidental style, teaching
2460 This rule is intended for students, and makes it easy to create
2461 scale sheets with automatically created cautionary accidentals.
2462 Accidentals are printed like with @code{modern}, but cautionary
2463 accidentals are added for all sharp or flat tones specified by the
2464 key signature, except if the note is immediately repeated.
2466 @lilypond[quote,staffsize=18]
2470 cis'8 fis, bes4 <a cis>8 f bis4 |
2484 \voiceTwo \relative c' {
2485 <fis, a cis>8[ <fis a cis>
2488 \change Staff = down
2493 \change Staff = down
2494 <fis, a cis>4 gis <f a d>2 |
2501 \context Staff = "up" {
2503 \accidentalStyle teaching
2506 \context Staff = "down" {
2508 \accidentalStyle teaching
2519 @cindex accidental style, no reset
2520 @cindex no reset accidental style
2524 This is the same as @code{default} but with accidentals lasting
2525 @q{forever} and not only within the same measure:
2531 cis'8 fis, bes4 <a cis>8 f bis4 |
2545 \voiceTwo \relative c' {
2546 <fis, a cis>8[ <fis a cis>
2549 \change Staff = down
2554 \change Staff = down
2555 <fis, a cis>4 gis <f a d>2 |
2562 \context Staff = "up" {
2563 \accidentalStyle no-reset
2566 \context Staff = "down" {
2567 \accidentalStyle no-reset
2576 @cindex forget accidental style
2577 @cindex accidental style, forget
2581 This is the opposite of @code{no-reset}: Accidentals are not
2582 remembered at all -- and hence all accidentals are typeset
2583 relative to the key signature, regardless of what came before in
2590 cis'8 fis, bes4 <a cis>8 f bis4 |
2604 \voiceTwo \relative c' {
2605 <fis, a cis>8[ <fis a cis>
2608 \change Staff = down
2613 \change Staff = down
2614 <fis, a cis>4 gis <f a d>2 |
2621 \context Staff = "up" {
2622 \accidentalStyle forget
2625 \context Staff = "down" {
2626 \accidentalStyle forget
2638 Internals Reference:
2639 @rinternals{Accidental},
2640 @rinternals{Accidental_engraver},
2641 @rinternals{GrandStaff},
2642 @rinternals{PianoStaff},
2644 @rinternals{AccidentalSuggestion},
2645 @rinternals{AccidentalPlacement},
2646 @rinternals{accidental-suggestion-interface}.
2648 @cindex accidentals and simultaneous notes
2649 @cindex simultaneous notes and accidentals
2650 @cindex accidentals in chords
2651 @cindex chords, accidentals in
2654 Simultaneous notes are not considered in the automatic
2655 determination of accidentals; only previous notes and the key
2656 signature are considered. Forcing accidentals with@tie{}@code{!}
2657 or@tie{}@code{?} may be required when the same note name occurs
2658 simultaneously with different alterations, as in @samp{<f! fis!>}.
2660 Cautionary cancellation of accidentals is done by looking at previous measure.
2661 However, in the @code{\alternative} block following a @code{\repeat volta N}
2662 section, one would expect the cancellation being calculated using the previous
2663 @emph{played} measure, not previous @emph{printed} measure.
2664 In the following example, the natural @code{c} in the second alternative does
2665 not need a natural sign:
2669 \accidentalStyle modern
2681 The following work-around can be used: define a function that locally changes
2682 the accidental style to @code{forget}:
2684 @lilypond[verbatim,quote]
2685 forget = #(define-music-function (parser location music) (ly:music?) #{
2686 \accidentalStyle forget
2688 \accidentalStyle modern
2691 \accidentalStyle modern
2705 @unnumberedsubsubsec Ambitus
2708 @cindex range of pitches
2711 The term @notation{ambitus} (pl. ambitus) denotes a range of
2712 pitches for a given voice in a part of music. It may also denote
2713 the pitch range that a musical instrument is capable of playing.
2714 Ambitus are printed on vocal parts so that performers can easily
2715 determine if it matches their capabilities.
2717 Ambitus are denoted at the beginning of a piece near the initial
2718 clef. The range is graphically specified by two note heads that
2719 represent the lowest and highest pitches. Accidentals are only
2720 printed if they are not part of the key signature.
2722 @lilypond[verbatim,quote]
2726 \consists "Ambitus_engraver"
2739 @lilypondfile[verbatim,quote,texidoc,doctitle]
2740 {adding-ambitus-per-voice.ly}
2742 @lilypondfile[verbatim,quote,texidoc,doctitle]
2743 {ambitus-with-multiple-voices.ly}
2745 @lilypondfile[verbatim,quote,texidoc,doctitle]
2746 {changing-the-ambitus-gap.ly}
2755 Internals Reference:
2756 @rinternals{Ambitus_engraver},
2759 @rinternals{Ambitus},
2760 @rinternals{AmbitusAccidental},
2761 @rinternals{AmbitusLine},
2762 @rinternals{AmbitusNoteHead},
2763 @rinternals{ambitus-interface}.
2766 There is no collision handling in the case of multiple per-voice
2771 @subsection Note heads
2773 This section suggests ways of altering note heads.
2776 * Special note heads::
2777 * Easy notation note heads::
2778 * Shape note heads::
2782 @node Special note heads
2783 @unnumberedsubsubsec Special note heads
2785 @cindex note heads, special
2786 @cindex note heads, cross
2787 @cindex note heads, diamond
2788 @cindex note heads, parlato
2789 @cindex note heads, harmonic
2790 @cindex note heads, guitar
2791 @cindex special note heads
2792 @cindex cross note heads
2793 @cindex diamond note heads
2794 @cindex parlato note heads
2795 @cindex harmonic note heads
2796 @cindex guitar note heads
2797 @cindex note head styles
2798 @cindex styles, note heads
2802 The appearance of note heads may be altered:
2804 @lilypond[verbatim,quote,relative=2]
2806 \override NoteHead.style = #'cross
2808 \revert NoteHead.style
2810 \override NoteHead.style = #'harmonic
2812 \revert NoteHead.style
2816 To see all note head styles, see @ref{Note head styles}.
2818 The @code{cross} style is used to represent a variety of musical
2819 intentions. The following generic predefined commands modify the
2820 note head in both staff and tablature contexts and can be used to
2821 represent any musical meaning:
2823 @lilypond[verbatim,quote,relative=2]
2831 The music function form of this predefined command may be used
2832 inside and outside chords to generate crossed note heads in both
2833 staff and tablature contexts:
2835 @lilypond[verbatim,quote,relative=2]
2838 c b < g \xNote c f > b
2841 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2842 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2843 be used. The term @notation{dead note} is commonly used by guitarists.
2845 There is also a shorthand for diamond shapes which can be used
2848 @lilypond[verbatim,quote,relative=2]
2849 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2864 @ref{Note head styles},
2865 @ref{Chorded notes},
2866 @ref{Indicating harmonics and dampened notes}.
2868 Internals Reference:
2869 @rinternals{note-event},
2870 @rinternals{Note_heads_engraver},
2871 @rinternals{Ledger_line_engraver},
2872 @rinternals{NoteHead},
2873 @rinternals{LedgerLineSpanner},
2874 @rinternals{note-head-interface},
2875 @rinternals{ledger-line-spanner-interface}.
2878 @node Easy notation note heads
2879 @unnumberedsubsubsec Easy notation note heads
2881 @cindex note heads, practice
2882 @cindex practice note heads
2883 @cindex note heads, easy notation
2884 @cindex easy notation
2885 @cindex beginners' music
2886 @cindex music, beginners'
2887 @cindex easy play note heads
2888 @cindex note heads, easy play
2890 @funindex \easyHeadsOn
2891 @funindex easyHeadsOn
2892 @funindex \easyHeadsOff
2893 @funindex easyHeadsOff
2895 The @q{easy play} note head includes a note name inside the head.
2896 It is used in music for beginners. To make the letters readable,
2897 it should be printed in a large font size. To print with a larger
2898 font, see @ref{Setting the staff size}.
2900 @lilypond[verbatim,quote]
2901 #(set-global-staff-size 26)
2913 @code{\easyHeadsOn},
2914 @code{\easyHeadsOff}.
2920 @lilypondfile[verbatim,quote,texidoc,doctitle]
2921 {numbers-as-easy-note-heads.ly}
2925 @ref{Setting the staff size}.
2930 Internals Reference:
2931 @rinternals{note-event},
2932 @rinternals{Note_heads_engraver},
2933 @rinternals{NoteHead},
2934 @rinternals{note-head-interface}.
2937 @node Shape note heads
2938 @unnumberedsubsubsec Shape note heads
2940 @cindex note heads, shape
2941 @cindex note heads, Aiken
2942 @cindex note heads, sacred harp
2944 @cindex Aiken shape note heads
2945 @cindex sacred harp note heads
2946 @cindex note heads, Southern Harmony
2947 @cindex Southern Harmony note heads
2948 @cindex Funk shape note heads
2949 @cindex note heads, Funk
2950 @cindex note heads, Harmonica Sacra
2951 @cindex Harmonica Sacra note heads
2952 @cindex Christian Harmony note heads
2953 @cindex note heads, Christian Harmony
2954 @cindex Walker shape note heads
2955 @cindex note heads, Walker
2957 @funindex \aikenHeads
2958 @funindex aikenHeads
2959 @funindex \sacredHarpHeads
2960 @funindex sacredHarpHeads
2961 @funindex \southernHarmonyHeads
2962 @funindex southernHarmonyHeads
2963 @funindex \funkHeads
2965 @funindex \walkerHeads
2966 @funindex walkerHeads
2968 In shape note head notation, the shape of the note head
2969 corresponds to the harmonic function of a note in the scale. This
2970 notation was popular in nineteenth-century American song books.
2971 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2972 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2974 @lilypond[verbatim,quote,relative=2]
2976 c, d e f g2 a b1 c \break
2978 c,4 d e f g2 a b1 c \break
2979 \southernHarmonyHeads
2980 c,4 d e f g2 a b1 c \break
2982 c,4 d e f g2 a b1 c \break
2984 c,4 d e f g2 a b1 c \break
2989 @funindex \aikenHeadsMinor
2990 @funindex aikenHeadsMinor
2991 @funindex \sacredHarpHeadsMinor
2992 @funindex sacredHarpHeadsMinor
2993 @funindex \southernHarmonyHeadsMinor
2994 @funindex southernHarmonyHeadsMinor
2995 @funindex \funkHeadsMinor
2996 @funindex funkHeadsMinor
2997 @funindex \walkerHeadsMinor
2998 @funindex walkerHeadsMinor
3000 Shapes are typeset according to the step in the scale, where the base
3001 of the scale is determined by the @code{\key} command. When writing
3002 in a minor key, the scale step can be determined from the relative
3005 @lilypond[verbatim,quote,relative=2]
3008 a b c d e2 f g1 a \break
3010 a,4 b c d e2 f g1 a \break
3011 \sacredHarpHeadsMinor
3013 \southernHarmonyHeadsMinor
3025 @code{\aikenHeadsMinor},
3027 @code{\funkHeadsMinor},
3028 @code{\sacredHarpHeads},
3029 @code{\sacredHarpHeadsMinor},
3030 @code{\southernHarmonyHeads},
3031 @code{\southernHarmonyHeadsMinor},
3032 @code{\walkerHeads},
3033 @code{\walkerHeadsMinor}.
3039 @lilypondfile[verbatim,quote,texidoc,doctitle]
3040 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3042 To see all note head styles, see @ref{Note head styles}.
3049 @ref{Note head styles}.
3051 Internals Reference:
3052 @rinternals{note-event},
3053 @rinternals{Note_heads_engraver},
3054 @rinternals{NoteHead},
3055 @rinternals{note-head-interface}.
3059 @unnumberedsubsubsec Improvisation
3061 @cindex improvisation
3062 @cindex slashed note heads
3063 @cindex note heads, improvisation
3064 @cindex note heads, slashed
3066 @funindex \improvisationOn
3067 @funindex improvisationOn
3068 @funindex \improvisationOff
3069 @funindex improvisationOff
3071 Improvisation is sometimes denoted with slashed note heads, where
3072 the performer may choose any pitch but should play the specified
3073 rhythm. Such note heads can be created:
3075 @lilypond[verbatim,quote,relative=2]
3077 \consists "Pitch_squash_engraver"
3079 e8 e g a a16( bes) a8 g
3090 @code{\improvisationOn},
3091 @code{\improvisationOff}.
3098 Internals Reference:
3099 @rinternals{Pitch_squash_engraver},
3101 @rinternals{RhythmicStaff}.