1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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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]
98 @node Relative octave entry
99 @unnumberedsubsubsec Relative octave entry
102 @cindex relative octave entry
103 @cindex octave entry, relative
104 @cindex relative octave specification
105 @cindex octave specification, relative
110 When octaves are specified in absolute mode it is easy to
111 accidentally put a pitch in the wrong octave. Relative octave
112 mode reduces these errors since most of the time it is not
113 necessary to indicate any octaves at all. Furthermore, in
114 absolute mode a single mistake may be difficult to spot, while in
115 relative mode a single error puts the rest of the piece off by one
119 \relative @var{startpitch} @var{musicexpr}
122 In relative mode, each note is assumed to be as close to the
123 previous note as possible. This means that the octave of each
124 pitch inside @code{@var{musicexpr}} is calculated as follows:
128 If no octave changing mark is used on a pitch, its octave is
129 calculated so that the interval with the previous note is less
130 than a fifth. This interval is determined without considering
134 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
135 added to respectively raise or lower a pitch by an extra octave,
136 relative to the pitch calculated without an octave mark.
139 Multiple octave changing marks can be used. For example,
140 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
144 The pitch of the first note is relative to
145 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
146 absolute octave mode. Which choices are meaningful?
149 @item an octave of @code{c}
150 Identifying middle C with @code{c'} is quite basic, so finding
151 octaves of @code{c} tends to be straightforward. If your music
152 starts with @code{gis} above @code{c'''}, you'd write something
153 like @code{\relative c''' @{ gis' @dots{} @}}
155 @item an octave of the first note inside
156 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
157 determine the absolute pitch of the first note inside.
159 @item no explicit starting pitch
160 This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
161 viewed as a compact version of the previous option: the first note
162 inside is written in absolute pitch itself. This happens to be
163 equivalent to choosing @code{f} as the reference pitch.
166 The documentation will usually employ the first option.
169 Here is the relative mode shown in action:
171 @lilypond[verbatim,quote]
180 Octave changing marks are used for intervals greater than a
183 @lilypond[verbatim,quote]
190 A note sequence without a single octave mark can nevertheless span
193 @lilypond[verbatim,quote]
200 When @code{\relative} blocks are nested, the innermost
201 @code{\relative} block applies.
203 @lilypond[verbatim,quote]
212 @code{\relative} has no effect on @code{\chordmode} blocks.
214 @lilypond[verbatim,quote]
223 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
225 Music inside a @code{\transpose} block is absolute unless a
226 @code{\relative} is included.
228 @lilypond[verbatim,quote]
241 @cindex chords and relative octave entry
242 @cindex relative octave entry and chords
244 If the preceding item is a chord, the first note of the chord is
245 used as the reference point for the octave placement of a
246 following note or chord. Inside chords, the next note is always
247 relative to the preceding one. Examine the next example
248 carefully, paying attention to the @code{c} notes.
250 @lilypond[verbatim,quote]
259 As explained above, the octave of pitches is calculated only with
260 the note names, regardless of any alterations. Therefore, an
261 E-double-sharp following a B will be placed higher, while an
262 F-double-flat will be placed lower. In other words, a
263 double-augmented fourth is considered a smaller interval than a
264 double-diminished fifth, regardless of the number of semitones
265 that each interval contains.
267 @lilypond[verbatim,quote]
276 One consequence of these rules is that the first note inside
277 @code{@w{\relative f}} music is interpreted just the same as
278 if it was written in absolute pitch mode.
293 @rinternals{RelativeOctaveMusic}.
295 @cindex relative octave entry and transposition
296 @cindex transposition and relative octave entry
306 If no @code{@var{startpitch}} is specified for @code{\relative},
307 then@tie{}@code{c'} is assumed. However, this is a deprecated
308 option and may disappear in future versions, so its use is
313 @unnumberedsubsubsec Accidentals
316 @cindex key signature
319 @c duplicated in Key signature and Accidentals
320 @warning{New users are sometimes confused about accidentals and
321 key signatures. In LilyPond, note names are the raw input; key
322 signatures and clefs determine how this raw input is displayed.
323 An unaltered note like@tie{}@code{c} means @q{C natural},
324 regardless of the key signature or clef. For more information,
325 see @rlearning{Accidentals and key signatures}.}
327 @cindex note names, Dutch
328 @cindex note names, default
329 @cindex default note names
333 @cindex sharp, double
337 @cindex natural pitch
339 A @notation{sharp} pitch is made by adding @code{is} to the note
340 name, and a @notation{flat} pitch by adding @code{es}. As you
341 might expect, a @notation{double sharp} or @notation{double flat}
342 is made by adding @code{isis} or @code{eses}. This syntax is
343 derived from Dutch note naming conventions. To use other names
344 for accidentals, see @ref{Note names in other languages}.
346 @lilypond[verbatim,quote,relative=2]
350 A natural will cancel the effect of an accidental or key
351 signature. However, naturals are not encoded into the note name
352 syntax with a suffix; a natural pitch is shown as a simple note
355 @lilypond[verbatim,quote,relative=2]
359 @cindex quarter tones
363 Quarter tones may be added; the following is a series of Cs with
366 @lilypond[verbatim,quote,relative=2]
367 ceseh1 ces ceh c cih cis cisih
372 @cindex accidental, reminder
373 @cindex accidental, cautionary
374 @cindex accidental, parenthesized
375 @cindex reminder accidental
376 @cindex cautionary accidental
377 @cindex parenthesized accidental
383 Normally accidentals are printed automatically, but you may also
384 print them manually. A reminder accidental can be forced by
385 adding an exclamation mark@tie{}@code{!} after the pitch. A
386 cautionary accidental (i.e., an accidental within parentheses) can
387 be obtained by adding the question mark@tie{}@code{?} after the
388 pitch. These extra accidentals can also be used to produce
391 @lilypond[verbatim,quote,relative=2]
392 cis cis cis! cis? c c c! c?
395 @cindex accidental on tied note
396 @cindex tied note, accidental
398 Accidentals on tied notes are only printed at the beginning of a
401 @lilypond[verbatim,quote,relative=2]
410 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
411 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
413 @lilypondfile[verbatim,quote,texidoc,doctitle]
414 {preventing-extra-naturals-from-being-automatically-added.ly}
420 @rglos{double sharp},
423 @rglos{quarter tone}.
426 @rlearning{Accidentals and key signatures}.
429 @ref{Automatic accidentals},
430 @ref{Annotational accidentals (musica ficta)},
431 @ref{Note names in other languages}.
437 @rinternals{Accidental_engraver},
438 @rinternals{Accidental},
439 @rinternals{AccidentalCautionary},
440 @rinternals{accidental-interface}.
442 @cindex accidental, quarter-tone
443 @cindex quarter-tone accidental
446 There are no generally accepted standards for denoting
447 quarter-tone accidentals, so LilyPond's symbol does not conform to
451 @node Note names in other languages
452 @unnumberedsubsubsec Note names in other languages
454 @cindex note names, other languages
455 @cindex pitch names, other languages
456 @cindex language, note names in other
457 @cindex language, pitch names in other
459 There are predefined sets of note and accidental names for various
460 other languages. Selecting the note name language is usually done
461 at the beginning of the file; the following example is written
462 using Italian note names:
464 @lilypond[quote,verbatim]
472 The available languages and the note names they define are:
475 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
478 @item @code{nederlands}
479 @tab c d e f g a bes b
481 @tab do re mi fa sol la sib si
485 @tab c d e f g a bf b
486 @item @code{espanol} or @code{español}
487 @tab do re mi fa sol la sib si
488 @item @code{italiano} or @code{français}
489 @tab do re mi fa sol la sib si
492 @item @code{portugues}
493 @tab do re mi fa sol la sib si
499 @tab do re mi fa sol la sib si
503 In addition to note names, accidental suffixes may
504 also vary depending on the language:
507 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
509 @tab sharp @tab flat @tab double sharp @tab double flat
510 @item @code{nederlands}
511 @tab -is @tab -es @tab -isis @tab -eses
513 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
515 @tab -is @tab -es @tab -isis @tab -eses
517 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
519 @item @code{espanol} or @code{español}
520 @tab -s @tab -b @tab -ss/-x @tab -bb
521 @item @code{italiano} or @code{français}
522 @tab -d @tab -b @tab -dd @tab -bb
524 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
526 @item @code{portugues}
527 @tab -s @tab -b @tab -ss @tab -bb
529 @tab -is @tab -es @tab -isis @tab -eses
531 @tab -iss @tab -ess @tab -ississ @tab -essess
533 @tab -k @tab -b @tab -kk @tab -bb
537 In Dutch, @code{aes} is contracted to @code{as}, but both forms
538 are accepted in LilyPond. Similarly, both @code{es} and
539 @code{ees} are accepted. This also applies to
540 @code{aeses}@tie{}/@tie{}@code{ases} and
541 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
542 contracted names are defined in the corresponding language files.
544 @lilypond[verbatim,quote,relative=2]
545 a2 as e es a ases e eses
555 Some music uses microtones whose alterations are fractions of a
556 @q{normal} sharp or flat. The following table lists note names
557 for quarter-tone accidentals in various languages; here the prefixes
558 @notation{semi-} and @notation{sesqui-} respectively
559 mean @q{half} and @q{one and a half}. Languages that do not
560 appear in this table do not provide special note names yet.
563 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
565 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
567 @item @code{nederlands}
568 @tab -ih @tab -eh @tab -isih @tab -eseh
570 @tab -ih @tab -eh @tab -isih @tab -eseh
572 @tab -qs @tab -qf @tab -tqs @tab -tqf
573 @item @code{espanol} or @code{español}
574 @tab -cs @tab -cb @tab -tcs @tab -tcb
575 @item @code{italiano} or @code{français}
576 @tab -sd @tab -sb @tab -dsd @tab -bsb
577 @item @code{portugues}
578 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
582 Most languages presented here are commonly associated with
583 Western classical music, also referred to as
584 @notation{Common Practice Period}. However, alternate
585 pitches and tuning systems are also supported: see
586 @ref{Common notation for non-Western music}.
591 @rglos{Common Practice Period}.
594 @ref{Common notation for non-Western music}.
597 @file{scm/define-note-names.scm}.
603 @node Changing multiple pitches
604 @subsection Changing multiple pitches
606 This section discusses how to modify pitches.
613 * Modal transformations::
617 @unnumberedsubsubsec Octave checks
619 @cindex octave correction
621 @cindex control pitch
624 @funindex \octaveCheck
625 @funindex octaveCheck
626 @funindex controlpitch
628 In relative mode, it is easy to forget an octave changing mark.
629 Octave checks make such errors easier to find by displaying a
630 warning and correcting the octave if a note is found in an
633 To check the octave of a note, specify the absolute octave after
634 the @code{=}@tie{}symbol. This example will generate a warning
635 (and change the pitch) because the second note is the absolute
636 octave @code{d''} instead of @code{d'} as indicated by the octave
639 @lilypond[verbatim,quote]
646 The octave of notes may also be checked with the
647 @code{\octaveCheck@tie{}@var{controlpitch}} command.
648 @code{@var{controlpitch}} is specified in absolute mode. This
649 checks that the interval between the previous note and the
650 @code{@var{controlpitch}} is within a fourth (i.e., the normal
651 calculation of relative mode). If this check fails, a warning is
652 printed, but the previous note is not changed. Future notes are
653 relative to the @code{@var{controlpitch}}.
655 @lilypond[verbatim,quote]
663 Compare the two bars below. The first and third @code{\octaveCheck}
664 checks fail, but the second one does not fail.
666 @lilypond[verbatim,quote]
685 @rinternals{RelativeOctaveCheck}.
689 @unnumberedsubsubsec Transpose
693 @cindex transposition
694 @cindex transposition of pitches
695 @cindex transposition of notes
696 @cindex pitches, transposition of
697 @cindex notes, transposition of
702 A music expression can be transposed with @code{\transpose}. The
706 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
710 This means that @code{@var{musicexpr}} is transposed by the
711 interval between the pitches @code{@var{frompitch}} and
712 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
713 is changed to @code{@var{topitch}} and any other note is
714 transposed by the same interval. Both pitches are entered in
717 @warning{Music inside a @code{@bs{}transpose} block is absolute
718 unless a @code{@bs{}relative} is included in the block.}
720 Consider a piece written in the key of D-major. It can be
721 transposed up to E-major; note that the key signature is
722 automatically transposed as well.
724 @lilypond[verbatim,quote]
733 @cindex transposing instruments
734 @cindex instruments, transposing
736 If a part written in C (normal @notation{concert pitch}) is to be
737 played on the A clarinet (for which an A is notated as a C and
738 thus sounds a minor third lower than notated), the appropriate
739 part will be produced with:
741 @lilypond[verbatim,quote]
751 Note that we specify @w{@code{\key c \major}} explicitly. If we
752 do not specify a key signature, the notes will be transposed but
753 no key signature will be printed.
755 @code{\transpose} distinguishes between enharmonic pitches: both
756 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
757 transpose up a semitone. The first version will print sharps and
758 the notes will remain on the same scale step, the second version
759 will print flats on the scale step above.
761 @lilypond[verbatim,quote]
762 music = \relative c' { c d e f }
764 \transpose c cis { \music }
765 \transpose c des { \music }
770 @code{\transpose} may also be used in a different way, to input
771 written notes for a transposing instrument. The previous examples
772 show how to enter pitches in C (or @notation{concert pitch}) and
773 typeset them for a transposing instrument, but the opposite is
774 also possible if you for example have a set of instrumental parts
775 and want to print a conductor's score. For example, when entering
776 music for a B-flat trumpet that begins on a notated E (concert D),
780 musicInBflat = @{ e4 @dots{} @}
781 \transpose c bes, \musicInBflat
785 To print this music in F (e.g., rearranging to a French horn) you
786 could wrap the existing music with another @code{\transpose}:
789 musicInBflat = @{ e4 @dots{} @}
790 \transpose f c' @{ \transpose c bes, \musicInBflat @}
794 For more information about transposing instruments,
795 see @ref{Instrument transpositions}.
800 @lilypondfile[verbatim,quote,texidoc,doctitle]
801 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
805 @ref{Instrument transpositions},
807 @ref{Modal transformations},
808 @ref{Relative octave entry},
815 @rinternals{TransposedMusic}.
825 The relative conversion will not affect @code{\transpose},
826 @code{\chordmode} or @code{\relative} sections in its argument. To use
827 relative mode within transposed music, an additional @code{\relative}
828 must be placed inside @code{\transpose}.
830 Triple accidentals will not be printed if using @code{\transpose}. An
831 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
832 rather than e-triple-flat).
836 @unnumberedsubsubsec Inversion
839 @cindex operation, inversion
842 A music expression can be inverted and transposed in a single
846 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
849 The @code{@var{musicexpr}} is inverted interval-by-interval around
850 @code{@var{around-pitch}}, and then transposed so that
851 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
853 @lilypond[verbatim,quote]
854 music = \relative c' { c d e f }
857 \inversion d' d' \music
858 \inversion d' ees' \music
862 @warning{Motifs to be inverted should be expressed in absolute form
863 or be first converted to absolute form by enclosing them in a
864 @code{\relative} block.}
868 @ref{Modal transformations},
874 @unnumberedsubsubsec Retrograde
876 @cindex retrograde transformation
877 @cindex transformation, retrograde
878 @cindex operation, retrograde
879 @funindex \retrograde
882 A music expression can be reversed to produce its retrograde:
884 @lilypond[verbatim,quote]
885 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
894 Manual ties inside @code{\retrograde} will be broken and
895 generate warnings. Some ties can be generated automatically
896 by enabling @ref{Automatic note splitting}.
901 @ref{Modal transformations},
905 @node Modal transformations
906 @unnumberedsubsubsec Modal transformations
908 @cindex modal transformations
909 @cindex transformations, modal
910 @cindex operations, modal
912 In a musical composition that is based on a scale, a motif is
913 frequently transformed in various ways. It may be
914 @notation{transposed} to start at different places in the scale or
915 it may be @notation{inverted} around a pivot point in the scale.
916 It may also be reversed to produce its @notation{retrograde}, see
919 @warning{Any note that does not lie within the given scale will be
922 @subsubsubheading Modal transposition
924 @cindex modal transposition
925 @cindex transposition, modal
926 @cindex operation, transposition
927 @funindex \modalTranspose
928 @funindex modalTranspose
930 A motif can be transposed within a given scale with:
933 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
936 The notes of @var{motif} are shifted within the @var{scale} by the
937 number of scale degrees given by the interval between @var{to-pitch}
938 and @var{from-pitch}:
940 @lilypond[verbatim,quote]
941 diatonicScale = \relative c' { c d e f g a b }
942 motif = \relative c' { c8 d e f g a b c }
946 \modalTranspose c f \diatonicScale \motif
947 \modalTranspose c b, \diatonicScale \motif
951 An ascending scale of any length and with any intervals may be
954 @lilypond[verbatim,quote]
955 pentatonicScale = \relative c' { ges aes bes des ees }
956 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
960 \modalTranspose ges ees' \pentatonicScale \motif
964 When used with a chromatic scale @code{\modalTranspose} has a
965 similar effect to @code{\transpose}, but with the ability to
966 specify the names of the notes to be used:
968 @lilypond[verbatim,quote]
969 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
970 motif = \relative c' { c8 d e f g a b c }
974 \transpose c f \motif
975 \modalTranspose c f \chromaticScale \motif
979 @subsubsubheading Modal inversion
981 @cindex modal inversion
982 @cindex inversion, modal
983 @cindex operation, modal inversion
984 @funindex \modalInversion
985 @funindex modalInversion
987 A motif can be inverted within a given scale around a given pivot
988 note and transposed in a single operation with:
991 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
994 The notes of @var{motif} are placed the same number of scale degrees
995 from the @var{around-pitch} note within the @var{scale}, but in the
996 opposite direction, and the result is then shifted within the
997 @var{scale} by the number of scale degrees given by the interval between
998 @var{to-pitch} and @var{around-pitch}.
1000 So to simply invert around a note in the scale use the same value for
1001 @var{around-pitch} and @var{to-pitch}:
1003 @lilypond[verbatim,quote]
1004 octatonicScale = \relative c' { ees f fis gis a b c d }
1005 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1009 \modalInversion fis' fis' \octatonicScale \motif
1013 To invert around a pivot between two notes in the scale, invert around
1014 one of the notes and then transpose by one scale degree. The two notes
1015 specified can be interpreted as bracketing the pivot point:
1017 @lilypond[verbatim,quote]
1018 scale = \relative c' { c g' }
1019 motive = \relative c' { c c g' c, }
1023 \modalInversion c' g' \scale \motive
1027 The combined operation of inversion and retrograde produce the
1028 retrograde-inversion:
1030 @lilypond[verbatim,quote]
1031 octatonicScale = \relative c' { ees f fis gis a b c d }
1032 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1036 \retrograde \modalInversion c' c' \octatonicScale \motif
1047 @node Displaying pitches
1048 @subsection Displaying pitches
1050 This section discusses how to alter the output of pitches.
1056 * Instrument transpositions::
1057 * Automatic accidentals::
1063 @unnumberedsubsubsec Clef
1074 @cindex soprano clef
1075 @cindex mezzosoprano clef
1076 @cindex baritone clef
1077 @cindex varbaritone clef
1078 @cindex subbass clef
1080 @cindex ancient clef
1081 @cindex clef, ancient
1085 @cindex clef, treble
1086 @cindex clef, violin
1090 @cindex clef, french
1091 @cindex clef, soprano
1092 @cindex clef, mezzosoprano
1093 @cindex clef, baritone
1094 @cindex clef, varbaritone
1095 @cindex clef, subbass
1101 The clef may be altered. Middle C is shown in every example. The
1102 following clef names can (but do not need to) be enclosed in quotes.
1104 @lilypond[verbatim,quote,relative=1]
1115 Other clefs include:
1117 @lilypond[verbatim,quote,relative=1]
1138 \clef G % synonym for treble
1140 \clef F % synonym for bass
1142 \clef C % synonym for alto
1146 @cindex transposing clef
1147 @cindex clef, transposing
1148 @cindex octave transposition
1149 @cindex optional octave transposition
1150 @cindex octave transposition, optional
1151 @cindex choral tenor clef
1152 @cindex tenor clef, choral
1154 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1155 clef is transposed one octave down or up respectively,
1156 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1157 Other integers can be used if required. Clef names containing
1158 non-alphabetic characters must be enclosed in quotes
1160 @lilypond[verbatim,quote,relative=1]
1175 Optional octavation can be obtained by enclosing the numeric
1176 argument in parentheses or brackets:
1178 @lilypond[verbatim,quote,relative=1]
1185 The pitches are displayed as if the numeric argument were
1186 given without parentheses/brackets.
1188 Some special purpose clefs are described in @ref{Mensural clefs},
1189 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1190 tablatures}. For mixing different clefs when using cue notes within a
1191 score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
1192 in @ref{Formatting cue notes}.
1196 @lilypondfile[verbatim,quote,texidoc,doctitle]
1197 {tweaking-clef-properties.ly}
1201 @ref{Mensural clefs},
1202 @ref{Gregorian clefs},
1203 @ref{Default tablatures},
1204 @ref{Custom tablatures},
1205 @ref{Formatting cue notes}.
1210 Internals Reference:
1211 @rinternals{Clef_engraver},
1213 @rinternals{OctavateEight},
1214 @rinternals{clef-interface}.
1217 Ottavation numbers attached to clefs are treated as separate grobs. So
1218 any @code{\override} done to the @var{Clef} will also need to be
1219 applied, as a separate @code{\override}, to the @var{OctavateEight}
1222 @lilypond[fragment,quote,relative=1]
1224 \override OctavateEight.color = #red
1225 \override Clef.color = #blue
1233 @unnumberedsubsubsec Key signature
1235 @cindex key signature
1240 @c duplicated in Key signature and Accidentals
1241 @warning{New users are sometimes confused about accidentals and
1242 key signatures. In LilyPond, note names are the raw input; key
1243 signatures and clefs determine how this raw input is displayed.
1244 An unaltered note like@tie{}@code{c} means @q{C natural},
1245 regardless of the key signature or clef. For more information,
1246 see @rlearning{Accidentals and key signatures}.}
1248 The key signature indicates the tonality in which a piece is
1249 played. It is denoted by a set of alterations (flats or sharps)
1250 at the start of the staff. The key signature may be altered:
1253 \key @var{pitch} @var{mode}
1266 @funindex \mixolydian
1267 @funindex mixolydian
1275 @cindex church modes
1288 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1289 to get a key signature of @code{@var{pitch}}-major or
1290 @code{@var{pitch}}-minor, respectively. You may also use the
1291 standard mode names, also called @notation{church modes}:
1292 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1293 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1295 @lilypond[verbatim,quote,relative=2]
1302 Additional modes can be defined, by listing the alterations
1303 for each scale step when the mode starts on C.
1305 @lilypond[verbatim,quote]
1306 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1307 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1310 \key c\freygish c4 des e f
1311 \bar "||" \key d\freygish d es fis g
1315 Accidentals in the key signature may be printed in octaves other
1316 than their traditional positions, or in multiple octaves, by
1317 using the @code{flat-positions} and @code{sharp-positions}
1318 properties of @code{KeySignature}. Entries in these properties
1319 specify the range of staff-positions where accidentals will be
1320 printed. If a single position is specified in an entry, the
1321 accidentals are placed within the octave ending at that staff
1324 @lilypond[verbatim, quote,relative=0]
1325 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1326 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1327 \clef bass \key es\major es g bes d
1328 \clef treble \bar "||" \key es\major es g bes d
1330 \override Staff.KeySignature.sharp-positions = #'(2)
1331 \bar "||" \key b\major b fis b2
1336 @lilypondfile[verbatim,quote,texidoc,doctitle]
1337 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1339 @lilypondfile[verbatim,quote,texidoc,doctitle]
1340 {non-traditional-key-signatures.ly}
1344 @rglos{church mode},
1348 @rlearning{Accidentals and key signatures}.
1353 Internals Reference:
1354 @rinternals{KeyChangeEvent},
1355 @rinternals{Key_engraver},
1356 @rinternals{Key_performer},
1357 @rinternals{KeyCancellation},
1358 @rinternals{KeySignature},
1359 @rinternals{key-signature-interface}.
1362 @node Ottava brackets
1363 @unnumberedsubsubsec Ottava brackets
1371 @funindex set-octavation
1375 @notation{Ottava brackets} introduce an extra transposition of an
1376 octave for the staff:
1378 @lilypond[verbatim,quote,relative=2]
1394 @lilypondfile[verbatim,quote,texidoc,doctitle]
1404 Internals Reference:
1405 @rinternals{Ottava_spanner_engraver},
1406 @rinternals{OttavaBracket},
1407 @rinternals{ottava-bracket-interface}.
1410 @node Instrument transpositions
1411 @unnumberedsubsubsec Instrument transpositions
1413 @cindex transposition, MIDI
1414 @cindex transposition, instrument
1415 @cindex transposing instrument
1417 @cindex MIDI transposition
1419 @funindex \transposition
1420 @funindex transposition
1422 When typesetting scores that involve transposing instruments, some
1423 parts can be typeset in a different pitch than the
1424 @notation{concert pitch}. In these cases, the key of the
1425 @notation{transposing instrument} should be specified; otherwise
1426 the MIDI output and cues in other parts will produce incorrect
1427 pitches. For more information about quotations, see
1428 @ref{Quoting other voices}.
1431 \transposition @var{pitch}
1434 The pitch to use for @code{\transposition} should correspond to
1435 the real sound heard when a@tie{}@code{c'} written on the staff is
1436 played by the transposing instrument. This pitch is entered in
1437 absolute mode, so an instrument that produces a real sound which
1438 is one tone higher than the printed music should use
1439 @w{@code{\transposition d'}}. @code{\transposition} should
1440 @emph{only} be used if the pitches are @emph{not} being entered in
1443 Here are a few notes for violin and B-flat clarinet where the
1444 parts have been entered using the notes and key as they appear in
1445 each part of the conductor's score. The two instruments are
1448 @lilypond[verbatim,quote]
1450 \new Staff = "violin" {
1452 \set Staff.instrumentName = #"Vln"
1453 \set Staff.midiInstrument = #"violin"
1454 % not strictly necessary, but a good reminder
1461 \new Staff = "clarinet" {
1463 \set Staff.instrumentName = \markup { Cl (B\flat) }
1464 \set Staff.midiInstrument = #"clarinet"
1474 The @code{\transposition} may be changed during a piece. For
1475 example, a clarinetist may be required to switch from an A clarinet
1476 to a B-flat clarinet.
1478 @lilypond[verbatim,quote]
1479 flute = \relative c'' {
1481 \cueDuring #"clarinet" #DOWN {
1482 R1 _\markup\tiny "clarinet"
1484 R1 _\markup\tiny "clarinet"
1487 clarinet = \relative c'' {
1491 R1^\markup { muta in B\flat }
1496 \addQuote "clarinet" \clarinet
1498 \new Staff \with { instrumentName = #"Flute" }
1500 \new Staff \with { instrumentName = #"Cl (A)" }
1507 @rglos{concert pitch},
1508 @rglos{transposing instrument}.
1511 @ref{Quoting other voices},
1518 @node Automatic accidentals
1519 @unnumberedsubsubsec Automatic accidentals
1521 @cindex accidental style
1522 @cindex accidental style, default
1524 @cindex accidentals, automatic
1525 @cindex automatic accidentals
1526 @cindex default accidental style
1528 @funindex \accidentalStyle
1532 There are many different conventions on how to typeset
1533 accidentals. LilyPond provides a function to specify which
1534 accidental style to use. This function is called as follows:
1538 \accidentalStyle voice
1543 The accidental style applies to the current @code{Staff} by
1544 default (with the exception of the styles @code{piano} and
1545 @code{piano-cautionary}, which are explained below). Optionally,
1546 the function can take a second argument that determines in which
1547 scope the style should be changed. For example, to use the same
1548 style in all staves of the current @code{StaffGroup}, use:
1551 \accidentalStyle StaffGroup.voice
1554 The following accidental styles are supported. To demonstrate
1555 each style, we use the following example:
1558 @lilypond[verbatim,quote]
1562 cis'8 fis, bes4 <a cis>8 f bis4 |
1576 \voiceTwo \relative c' {
1577 <fis, a cis>8[ <fis a cis>
1580 \change Staff = down
1585 \change Staff = down
1586 <fis, a cis>4 gis <f a d>2 |
1593 \context Staff = "up" {
1594 \accidentalStyle default
1597 \context Staff = "down" {
1598 \accidentalStyle default
1605 Note that the last lines of this example can be replaced by the
1606 following, as long as the same accidental style should be used in
1612 \context Staff = "up" @{
1613 %%% change the next line as desired:
1614 \accidentalStyle Score.default
1617 \context Staff = "down" @{
1625 @c don't use verbatim in this table.
1629 @cindex default accidental style
1630 @cindex accidental style, default
1634 This is the default typesetting behavior. It corresponds to
1635 eighteenth-century common practice: accidentals are remembered to
1636 the end of the measure in which they occur and only in their own
1637 octave. Thus, in the example below, no natural signs are printed
1638 before the@tie{}@code{b} in the second measure or the
1645 cis'8 fis, bes4 <a cis>8 f bis4 |
1659 \voiceTwo \relative c' {
1660 <fis, a cis>8[ <fis a cis>
1663 \change Staff = down
1668 \change Staff = down
1669 <fis, a cis>4 gis <f a d>2 |
1676 \context Staff = "up" {
1677 \accidentalStyle default
1680 \context Staff = "down" {
1681 \accidentalStyle default
1690 @cindex accidental style, voice
1691 @cindex voice accidental style
1692 @cindex accidental style, modern
1693 @cindex modern accidental style
1694 @cindex accidental style, modern-cautionary
1695 @cindex modern-cautionary accidental style
1699 The normal behavior is to remember the accidentals at
1700 @code{Staff}-level. In this style, however, accidentals are
1701 typeset individually for each voice. Apart from that, the rule is
1702 similar to @code{default}.
1704 As a result, accidentals from one voice do not get canceled in
1705 other voices, which is often an unwanted result: in the following
1706 example, it is hard to determine whether the second@tie{}@code{a}
1707 should be played natural or sharp. The @code{voice} option should
1708 therefore be used only if the voices are to be read solely by
1709 individual musicians. If the staff is to be used by one musician
1710 (e.g., a conductor or in a piano score) then @code{modern} or
1711 @code{modern-cautionary} should be used instead.
1718 cis'8 fis, bes4 <a cis>8 f bis4 |
1732 \voiceTwo \relative c' {
1733 <fis, a cis>8[ <fis a cis>
1736 \change Staff = down
1741 \change Staff = down
1742 <fis, a cis>4 gis <f a d>2 |
1749 \context Staff = "up" {
1750 \accidentalStyle voice
1753 \context Staff = "down" {
1754 \accidentalStyle voice
1763 @cindex accidentals, modern style
1764 @cindex modern style accidentals
1768 This rule corresponds to the common practice in the twentieth
1769 century. It omits some extra natural signs, which were
1770 traditionally prefixed to a sharp following a double sharp,
1771 or a flat following a double flat. The @code{modern} rule
1772 prints the same accidentals as @code{default}, with
1773 two additions that serve to avoid ambiguity: after temporary
1774 accidentals, cancellation marks are printed also in the following
1775 measure (for notes in the same octave) and, in the same measure,
1776 for notes in other octaves. Hence the naturals before
1777 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1784 cis'8 fis, bes4 <a cis>8 f bis4 |
1798 \voiceTwo \relative c' {
1799 <fis, a cis>8[ <fis a cis>
1802 \change Staff = down
1807 \change Staff = down
1808 <fis, a cis>4 gis <f a d>2 |
1815 \context Staff = "up" {
1816 \accidentalStyle modern
1819 \context Staff = "down" {
1820 \accidentalStyle modern
1827 @item modern-cautionary
1829 @cindex accidentals, modern cautionary style
1830 @cindex modern accidental style
1831 @cindex modern cautionary accidental style
1832 @cindex modern style accidentals
1833 @cindex modern style cautionary accidentals
1835 @funindex modern-cautionary
1837 This rule is similar to @code{modern}, but the @q{extra}
1838 accidentals (the ones not typeset by @code{default}) are typeset
1839 as cautionary accidentals. They are by default printed with
1840 parentheses, but they can also be printed in reduced size by
1841 defining the @code{cautionary-style} property of
1842 @code{AccidentalSuggestion}.
1848 cis'8 fis, bes4 <a cis>8 f bis4 |
1862 \voiceTwo \relative c' {
1863 <fis, a cis>8[ <fis a cis>
1866 \change Staff = down
1871 \change Staff = down
1872 <fis, a cis>4 gis <f a d>2 |
1879 \context Staff = "up" {
1880 \accidentalStyle modern-cautionary
1883 \context Staff = "down" {
1884 \accidentalStyle modern-cautionary
1893 @cindex accidental style, modern
1894 @cindex accidentals, modern
1895 @cindex accidentals, multivoice
1896 @cindex modern accidental style
1897 @cindex modern accidentals
1898 @cindex multivoice accidentals
1900 @funindex modern-voice
1902 This rule is used for multivoice accidentals to be read both by
1903 musicians playing one voice and musicians playing all voices.
1904 Accidentals are typeset for each voice, but they @emph{are}
1905 canceled across voices in the same @code{Staff}. Hence,
1906 the@tie{}@code{a} in the last measure is canceled because the
1907 previous cancellation was in a different voice, and
1908 the@tie{}@code{d} in the lower staff is canceled because of the
1909 accidental in a different voice in the previous measure:
1915 cis'8 fis, bes4 <a cis>8 f bis4 |
1929 \voiceTwo \relative c' {
1930 <fis, a cis>8[ <fis a cis>
1933 \change Staff = down
1938 \change Staff = down
1939 <fis, a cis>4 gis <f a d>2 |
1946 \context Staff = "up" {
1947 \accidentalStyle modern-voice
1950 \context Staff = "down" {
1951 \accidentalStyle modern-voice
1958 @cindex accidental style, cautionary, modern voice
1959 @cindex accidental style, modern voice cautionary
1960 @cindex accidental style, voice, modern cautionary
1962 @funindex modern-voice-cautionary
1964 @item modern-voice-cautionary
1966 This rule is the same as @code{modern-voice}, but with the extra
1967 accidentals (the ones not typeset by @code{voice}) typeset as
1968 cautionaries. Even though all accidentals typeset by
1969 @code{default} @emph{are} typeset with this rule, some of them are
1970 typeset as cautionaries.
1976 cis'8 fis, bes4 <a cis>8 f bis4 |
1990 \voiceTwo \relative c' {
1991 <fis, a cis>8[ <fis a cis>
1994 \change Staff = down
1999 \change Staff = down
2000 <fis, a cis>4 gis <f a d>2 |
2007 \context Staff = "up" {
2008 \accidentalStyle modern-voice-cautionary
2011 \context Staff = "down" {
2012 \accidentalStyle modern-voice-cautionary
2021 @cindex accidental style, piano
2022 @cindex accidentals, piano
2023 @cindex piano accidental style
2024 @cindex piano accidentals
2028 This rule reflects twentieth-century practice for piano notation.
2029 Its behavior is very similar to @code{modern} style, but here
2030 accidentals also get canceled across the staves in the same
2031 @code{GrandStaff} or @code{PianoStaff}, hence all the
2032 cancellations of the final notes.
2034 This accidental style applies to the current @code{GrandStaff} or
2035 @code{PianoStaff} by default.
2041 cis'8 fis, bes4 <a cis>8 f bis4 |
2055 \voiceTwo \relative c' {
2056 <fis, a cis>8[ <fis a cis>
2059 \change Staff = down
2064 \change Staff = down
2065 <fis, a cis>4 gis <f a d>2 |
2072 \context Staff = "up" {
2073 \accidentalStyle piano
2076 \context Staff = "down" {
2083 @item piano-cautionary
2085 @cindex accidentals, piano cautionary
2086 @cindex cautionary accidentals, piano
2087 @cindex piano cautionary accidentals
2088 @cindex accidental style, piano cautionary
2089 @cindex cautionary accidental style, piano
2090 @cindex piano cautionary accidental style
2092 @funindex piano-cautionary
2094 This is the same as @code{piano} but with the extra accidentals
2095 typeset as cautionaries.
2101 cis'8 fis, bes4 <a cis>8 f bis4 |
2115 \voiceTwo \relative c' {
2116 <fis, a cis>8[ <fis a cis>
2119 \change Staff = down
2124 \change Staff = down
2125 <fis, a cis>4 gis <f a d>2 |
2132 \context Staff = "up" {
2133 \accidentalStyle piano-cautionary
2136 \context Staff = "down" {
2146 @cindex neo-modern accidental style
2147 @cindex accidental style, neo-modern
2149 @funindex neo-modern
2151 This rule reproduces a common practice in contemporary music:
2152 accidentals are printed like with @code{modern}, but they are printed
2153 again if the same note appears later in the same measure -- except
2154 if the note is immediately repeated.
2160 cis'8 fis, bes4 <a cis>8 f bis4 |
2174 \voiceTwo \relative c' {
2175 <fis, a cis>8[ <fis a cis>
2178 \change Staff = down
2183 \change Staff = down
2184 <fis, a cis>4 gis <f a d>2 |
2191 \context Staff = "up" {
2192 \accidentalStyle neo-modern
2195 \context Staff = "down" {
2196 \accidentalStyle neo-modern
2203 @item neo-modern-cautionary
2205 @cindex neo-modern-cautionary accidental style
2206 @cindex accidental style, neo-modern-cautionary
2208 @funindex neo-modern-cautionary
2210 This rule is similar to @code{neo-modern}, but the extra
2211 accidentals are printed as cautionary accidentals.
2217 cis'8 fis, bes4 <a cis>8 f bis4 |
2231 \voiceTwo \relative c' {
2232 <fis, a cis>8[ <fis a cis>
2235 \change Staff = down
2240 \change Staff = down
2241 <fis, a cis>4 gis <f a d>2 |
2248 \context Staff = "up" {
2249 \accidentalStyle neo-modern-cautionary
2252 \context Staff = "down" {
2253 \accidentalStyle neo-modern-cautionary
2261 @item neo-modern-voice
2263 @cindex neo-modern-voice accidental style
2264 @cindex accidental style, neo-modern-voice
2266 @funindex neo-modern-voice
2268 This rule is used for multivoice accidentals to be read both by
2269 musicians playing one voice and musicians playing all voices.
2270 Accidentals are typeset for each voice as with @code{neo-modern},
2271 but they are canceled across voices in the same @code{Staff}.
2277 cis'8 fis, bes4 <a cis>8 f bis4 |
2291 \voiceTwo \relative c' {
2292 <fis, a cis>8[ <fis a cis>
2295 \change Staff = down
2300 \change Staff = down
2301 <fis, a cis>4 gis <f a d>2 |
2308 \context Staff = "up" {
2309 \accidentalStyle neo-modern-voice
2312 \context Staff = "down" {
2313 \accidentalStyle neo-modern-voice
2320 @item neo-modern-voice-cautionary
2322 @cindex neo-modern-voice-cautionary accidental style
2323 @cindex accidental style, neo-modern-voice-cautionary
2325 @funindex neo-modern-voice-cautionary
2327 This rule is similar to @code{neo-modern-voice}, but the extra
2328 accidentals are printed as cautionary accidentals.
2334 cis'8 fis, bes4 <a cis>8 f bis4 |
2348 \voiceTwo \relative c' {
2349 <fis, a cis>8[ <fis a cis>
2352 \change Staff = down
2357 \change Staff = down
2358 <fis, a cis>4 gis <f a d>2 |
2365 \context Staff = "up" {
2366 \accidentalStyle neo-modern-voice-cautionary
2369 \context Staff = "down" {
2370 \accidentalStyle neo-modern-voice-cautionary
2379 @cindex dodecaphonic accidental style
2380 @cindex dodecaphonic style, neo-modern
2382 @funindex dodecaphonic
2384 This rule reflects a practice introduced by composers at
2385 the beginning of the 20th century, in an attempt to
2386 abolish the hierarchy between natural and non-natural notes.
2387 With this style, @emph{every} note gets an accidental sign,
2388 including natural signs.
2394 cis'8 fis, bes4 <a cis>8 f bis4 |
2408 \voiceTwo \relative c' {
2409 <fis, a cis>8[ <fis a cis>
2412 \change Staff = down
2417 \change Staff = down
2418 <fis, a cis>4 gis <f a d>2 |
2425 \context Staff = "up" {
2426 \accidentalStyle dodecaphonic
2429 \context Staff = "down" {
2430 \accidentalStyle dodecaphonic
2440 @cindex teaching accidental style
2441 @cindex accidental style, teaching
2445 This rule is intended for students, and makes it easy to create
2446 scale sheets with automatically created cautionary accidentals.
2447 Accidentals are printed like with @code{modern}, but cautionary
2448 accidentals are added for all sharp or flat tones specified by the
2449 key signature, except if the note is immediately repeated.
2451 @lilypond[quote,staffsize=18]
2455 cis'8 fis, bes4 <a cis>8 f bis4 |
2469 \voiceTwo \relative c' {
2470 <fis, a cis>8[ <fis a cis>
2473 \change Staff = down
2478 \change Staff = down
2479 <fis, a cis>4 gis <f a d>2 |
2486 \context Staff = "up" {
2488 \accidentalStyle teaching
2491 \context Staff = "down" {
2493 \accidentalStyle teaching
2504 @cindex accidental style, no reset
2505 @cindex no reset accidental style
2509 This is the same as @code{default} but with accidentals lasting
2510 @q{forever} and not only within the same measure:
2516 cis'8 fis, bes4 <a cis>8 f bis4 |
2530 \voiceTwo \relative c' {
2531 <fis, a cis>8[ <fis a cis>
2534 \change Staff = down
2539 \change Staff = down
2540 <fis, a cis>4 gis <f a d>2 |
2547 \context Staff = "up" {
2548 \accidentalStyle no-reset
2551 \context Staff = "down" {
2552 \accidentalStyle no-reset
2561 @cindex forget accidental style
2562 @cindex accidental style, forget
2566 This is the opposite of @code{no-reset}: Accidentals are not
2567 remembered at all -- and hence all accidentals are typeset
2568 relative to the key signature, regardless of what came before in
2575 cis'8 fis, bes4 <a cis>8 f bis4 |
2589 \voiceTwo \relative c' {
2590 <fis, a cis>8[ <fis a cis>
2593 \change Staff = down
2598 \change Staff = down
2599 <fis, a cis>4 gis <f a d>2 |
2606 \context Staff = "up" {
2607 \accidentalStyle forget
2610 \context Staff = "down" {
2611 \accidentalStyle forget
2623 Internals Reference:
2624 @rinternals{Accidental},
2625 @rinternals{Accidental_engraver},
2626 @rinternals{GrandStaff},
2627 @rinternals{PianoStaff},
2629 @rinternals{AccidentalSuggestion},
2630 @rinternals{AccidentalPlacement},
2631 @rinternals{accidental-suggestion-interface}.
2633 @cindex accidentals and simultaneous notes
2634 @cindex simultaneous notes and accidentals
2635 @cindex accidentals in chords
2636 @cindex chords, accidentals in
2639 Simultaneous notes are not considered in the automatic
2640 determination of accidentals; only previous notes and the key
2641 signature are considered. Forcing accidentals with@tie{}@code{!}
2642 or@tie{}@code{?} may be required when the same note name occurs
2643 simultaneously with different alterations, as in @samp{<f! fis!>}.
2645 Cautionary cancellation of accidentals is done by looking at previous measure.
2646 However, in the @code{\alternative} block following a @code{\repeat volta N}
2647 section, one would expect the cancellation being calculated using the previous
2648 @emph{played} measure, not previous @emph{printed} measure.
2649 In the following example, the natural @code{c} in the second alternative does
2650 not need a natural sign:
2654 \accidentalStyle modern
2666 The following work-around can be used: define a function that locally changes
2667 the accidental style to @code{forget}:
2669 @lilypond[verbatim,quote]
2670 forget = #(define-music-function (parser location music) (ly:music?) #{
2671 \accidentalStyle forget
2673 \accidentalStyle modern
2676 \accidentalStyle modern
2690 @unnumberedsubsubsec Ambitus
2693 @cindex range of pitches
2696 The term @notation{ambitus} (pl. ambitus) denotes a range of
2697 pitches for a given voice in a part of music. It may also denote
2698 the pitch range that a musical instrument is capable of playing.
2699 Ambitus are printed on vocal parts so that performers can easily
2700 determine if it matches their capabilities.
2702 Ambitus are denoted at the beginning of a piece near the initial
2703 clef. The range is graphically specified by two note heads that
2704 represent the lowest and highest pitches. Accidentals are only
2705 printed if they are not part of the key signature.
2707 @lilypond[verbatim,quote]
2711 \consists "Ambitus_engraver"
2724 @lilypondfile[verbatim,quote,texidoc,doctitle]
2725 {adding-ambitus-per-voice.ly}
2727 @lilypondfile[verbatim,quote,texidoc,doctitle]
2728 {ambitus-with-multiple-voices.ly}
2730 @lilypondfile[verbatim,quote,texidoc,doctitle]
2731 {changing-the-ambitus-gap.ly}
2740 Internals Reference:
2741 @rinternals{Ambitus_engraver},
2744 @rinternals{Ambitus},
2745 @rinternals{AmbitusAccidental},
2746 @rinternals{AmbitusLine},
2747 @rinternals{AmbitusNoteHead},
2748 @rinternals{ambitus-interface}.
2751 There is no collision handling in the case of multiple per-voice
2756 @subsection Note heads
2758 This section suggests ways of altering note heads.
2761 * Special note heads::
2762 * Easy notation note heads::
2763 * Shape note heads::
2767 @node Special note heads
2768 @unnumberedsubsubsec Special note heads
2770 @cindex note heads, special
2771 @cindex note heads, cross
2772 @cindex note heads, diamond
2773 @cindex note heads, parlato
2774 @cindex note heads, harmonic
2775 @cindex note heads, guitar
2776 @cindex special note heads
2777 @cindex cross note heads
2778 @cindex diamond note heads
2779 @cindex parlato note heads
2780 @cindex harmonic note heads
2781 @cindex guitar note heads
2782 @cindex note head styles
2783 @cindex styles, note heads
2787 The appearance of note heads may be altered:
2789 @lilypond[verbatim,quote,relative=2]
2791 \override NoteHead.style = #'cross
2793 \revert NoteHead.style
2795 \override NoteHead.style = #'harmonic
2797 \revert NoteHead.style
2801 To see all note head styles, see @ref{Note head styles}.
2803 The @code{cross} style is used to represent a variety of musical
2804 intentions. The following generic predefined commands modify the
2805 note head in both staff and tablature contexts and can be used to
2806 represent any musical meaning:
2808 @lilypond[verbatim,quote,relative=2]
2816 The music function form of this predefined command may be used
2817 inside and outside chords to generate crossed note heads in both
2818 staff and tablature contexts:
2820 @lilypond[verbatim,quote,relative=2]
2823 c b < g \xNote c f > b
2826 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2827 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2828 be used. The term @notation{dead note} is commonly used by guitarists.
2830 There is also a shorthand for diamond shapes which can be used
2833 @lilypond[verbatim,quote,relative=2]
2834 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2849 @ref{Note head styles},
2850 @ref{Chorded notes},
2851 @ref{Indicating harmonics and dampened notes}.
2853 Internals Reference:
2854 @rinternals{note-event},
2855 @rinternals{Note_heads_engraver},
2856 @rinternals{Ledger_line_engraver},
2857 @rinternals{NoteHead},
2858 @rinternals{LedgerLineSpanner},
2859 @rinternals{note-head-interface},
2860 @rinternals{ledger-line-spanner-interface}.
2863 @node Easy notation note heads
2864 @unnumberedsubsubsec Easy notation note heads
2866 @cindex note heads, practice
2867 @cindex practice note heads
2868 @cindex note heads, easy notation
2869 @cindex easy notation
2870 @cindex beginners' music
2871 @cindex music, beginners'
2872 @cindex easy play note heads
2873 @cindex note heads, easy play
2875 @funindex \easyHeadsOn
2876 @funindex easyHeadsOn
2877 @funindex \easyHeadsOff
2878 @funindex easyHeadsOff
2880 The @q{easy play} note head includes a note name inside the head.
2881 It is used in music for beginners. To make the letters readable,
2882 it should be printed in a large font size. To print with a larger
2883 font, see @ref{Setting the staff size}.
2885 @lilypond[verbatim,quote]
2886 #(set-global-staff-size 26)
2898 @code{\easyHeadsOn},
2899 @code{\easyHeadsOff}.
2905 @lilypondfile[verbatim,quote,texidoc,doctitle]
2906 {numbers-as-easy-note-heads.ly}
2910 @ref{Setting the staff size}.
2915 Internals Reference:
2916 @rinternals{note-event},
2917 @rinternals{Note_heads_engraver},
2918 @rinternals{NoteHead},
2919 @rinternals{note-head-interface}.
2922 @node Shape note heads
2923 @unnumberedsubsubsec Shape note heads
2925 @cindex note heads, shape
2926 @cindex note heads, Aiken
2927 @cindex note heads, sacred harp
2929 @cindex Aiken shape note heads
2930 @cindex sacred harp note heads
2931 @cindex note heads, Southern Harmony
2932 @cindex Southern Harmony note heads
2933 @cindex Funk shape note heads
2934 @cindex note heads, Funk
2935 @cindex note heads, Harmonica Sacra
2936 @cindex Harmonica Sacra note heads
2937 @cindex Christian Harmony note heads
2938 @cindex note heads, Christian Harmony
2939 @cindex Walker shape note heads
2940 @cindex note heads, Walker
2942 @funindex \aikenHeads
2943 @funindex aikenHeads
2944 @funindex \sacredHarpHeads
2945 @funindex sacredHarpHeads
2946 @funindex \southernHarmonyHeads
2947 @funindex southernHarmonyHeads
2948 @funindex \funkHeads
2950 @funindex \walkerHeads
2951 @funindex walkerHeads
2953 In shape note head notation, the shape of the note head
2954 corresponds to the harmonic function of a note in the scale. This
2955 notation was popular in nineteenth-century American song books.
2956 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2957 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2959 @lilypond[verbatim,quote,relative=2]
2961 c, d e f g2 a b1 c \break
2963 c,4 d e f g2 a b1 c \break
2964 \southernHarmonyHeads
2965 c,4 d e f g2 a b1 c \break
2967 c,4 d e f g2 a b1 c \break
2969 c,4 d e f g2 a b1 c \break
2974 @funindex \aikenHeadsMinor
2975 @funindex aikenHeadsMinor
2976 @funindex \sacredHarpHeadsMinor
2977 @funindex sacredHarpHeadsMinor
2978 @funindex \southernHarmonyHeadsMinor
2979 @funindex southernHarmonyHeadsMinor
2980 @funindex \funkHeadsMinor
2981 @funindex funkHeadsMinor
2982 @funindex \walkerHeadsMinor
2983 @funindex walkerHeadsMinor
2985 Shapes are typeset according to the step in the scale, where the base
2986 of the scale is determined by the @code{\key} command. When writing
2987 in a minor key, the scale step can be determined from the relative
2990 @lilypond[verbatim,quote,relative=2]
2993 a b c d e2 f g1 a \break
2995 a,4 b c d e2 f g1 a \break
2996 \sacredHarpHeadsMinor
2998 \southernHarmonyHeadsMinor
3010 @code{\aikenHeadsMinor},
3012 @code{\funkHeadsMinor},
3013 @code{\sacredHarpHeads},
3014 @code{\sacredHarpHeadsMinor},
3015 @code{\southernHarmonyHeads},
3016 @code{\southernHarmonyHeadsMinor},
3017 @code{\walkerHeads},
3018 @code{\walkerHeadsMinor}.
3024 @lilypondfile[verbatim,quote,texidoc,doctitle]
3025 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3027 To see all note head styles, see @ref{Note head styles}.
3034 @ref{Note head styles}.
3036 Internals Reference:
3037 @rinternals{note-event},
3038 @rinternals{Note_heads_engraver},
3039 @rinternals{NoteHead},
3040 @rinternals{note-head-interface}.
3044 @unnumberedsubsubsec Improvisation
3046 @cindex improvisation
3047 @cindex slashed note heads
3048 @cindex note heads, improvisation
3049 @cindex note heads, slashed
3051 @funindex \improvisationOn
3052 @funindex improvisationOn
3053 @funindex \improvisationOff
3054 @funindex improvisationOff
3056 Improvisation is sometimes denoted with slashed note heads, where
3057 the performer may choose any pitch but should play the specified
3058 rhythm. Such note heads can be created:
3060 @lilypond[verbatim,quote,relative=2]
3062 \consists "Pitch_squash_engraver"
3064 e8 e g a a16( bes) a8 g
3075 @code{\improvisationOn},
3076 @code{\improvisationOff}.
3083 Internals Reference:
3084 @rinternals{Pitch_squash_engraver},
3086 @rinternals{RhythmicStaff}.