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
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
41 * Non-Western note names and accidentals::
45 @node Absolute octave entry
46 @unnumberedsubsubsec Absolute octave entry
51 @cindex absolute octave specification
52 @cindex octave specification, absolute
53 @cindex absolute octave entry
54 @cindex octave entry, absolute
56 A pitch name is specified using lowercase letters@tie{}@code{a}
57 through@tie{}@code{g}. The note names @code{c} to @code{b} are
58 engraved in the octave below middle C.
61 @lilypond[verbatim,quote,fragment]
68 @cindex octave changing mark
73 Other octaves may be specified with a single quote@tie{}(@code{'})
74 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
75 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
78 @lilypond[verbatim,quote,fragment]
96 @node Relative octave entry
97 @unnumberedsubsubsec Relative octave entry
100 @cindex relative octave entry
101 @cindex octave entry, relative
102 @cindex relative octave specification
103 @cindex octave specification, relative
108 When octaves are specified in absolute mode it is easy to
109 accidentally put a pitch in the wrong octave. Relative octave
110 mode reduces these errors since most of the time it is not
111 necessary to indicate any octaves at all. Furthermore, in
112 absolute mode a single mistake may be difficult to spot, while in
113 relative mode a single error puts the rest of the piece off by one
117 \relative @var{startpitch} @var{musicexpr}
120 In relative mode, each note is assumed to be as close to the
121 previous note as possible. This means that the octave of each
122 pitch inside @code{@var{musicexpr}} is calculated as follows:
126 If no octave changing mark is used on a pitch, its octave is
127 calculated so that the interval with the previous note is less
128 than a fifth. This interval is determined without considering
132 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
133 added to respectively raise or lower a pitch by an extra octave,
134 relative to the pitch calculated without an octave mark.
137 Multiple octave changing marks can be used. For example,
138 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
142 The pitch of the first note is relative to
143 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
144 absolute octave mode, and it is recommended that it be a octave of
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote]
159 Octave changing marks are used for intervals greater than a
162 @lilypond[verbatim,quote]
169 A note sequence without a single octave mark can nevertheless span
172 @lilypond[verbatim,quote]
179 When @code{\relative} blocks are nested, the innermost
180 @code{\relative} block applies.
182 @lilypond[verbatim,quote]
191 @code{\relative} has no effect on @code{\chordmode} blocks.
193 @lilypond[verbatim,quote]
202 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
204 Music inside a @code{\transpose} block is absolute unless a
205 @code{\relative} is included.
207 @lilypond[verbatim,quote]
220 @cindex chords and relative octave entry
221 @cindex relative octave entry and chords
223 If the preceding item is a chord, the first note of the chord is
224 used as the reference point for the octave placement of a
225 following note or chord. Inside chords, the next note is always
226 relative to the preceding one. Examine the next example
227 carefully, paying attention to the @code{c} notes.
229 @lilypond[verbatim,quote]
238 As explained above, the octave of pitches is calculated only with
239 the note names, regardless of any alterations. Therefore, an
240 E-double-sharp following a B will be placed higher, while an
241 F-double-flat will be placed lower. In other words, a
242 double-augmented fourth is considered a smaller interval than a
243 double-diminished fifth, regardless of the number of semitones
244 that each interval contains.
246 @lilypond[verbatim,quote]
269 @rinternals{RelativeOctaveMusic}.
272 @cindex relative octave entry and transposition
273 @cindex transposition and relative octave entry
284 If no @code{@var{startpitch}} is specified for @code{\relative},
285 then@tie{}@code{c'} is assumed. However, this is a deprecated
286 option and may disappear in future versions, so its use is
292 @unnumberedsubsubsec Accidentals
295 @cindex key signature
298 @c duplicated in Key signature and Accidentals
299 @warning{New users are sometimes confused about accidentals and
300 key signatures. In LilyPond, note names are the raw input; key
301 signatures and clefs determine how this raw input is displayed.
302 An unaltered note like@tie{}@code{c} means @q{C natural},
303 regardless of the key signature or clef. For more information,
304 see @rlearning{Accidentals and key signatures}.}
306 @cindex note names, Dutch
307 @cindex note names, default
308 @cindex default note names
312 @cindex sharp, double
316 @cindex natural pitch
318 A @notation{sharp} pitch is made by adding @code{is} to the note
319 name, and a @notation{flat} pitch by adding @code{es}. As you
320 might expect, a @notation{double sharp} or @notation{double flat}
321 is made by adding @code{isis} or @code{eses}. This syntax is
322 derived from Dutch note naming conventions. To use other names
323 for accidentals, see @ref{Note names in other languages}.
325 @lilypond[verbatim,quote,relative=2]
329 A natural will cancel the effect of an accidental or key
330 signature. However, naturals are not encoded into the note name
331 syntax with a suffix; a natural pitch is shown as a simple note
334 @lilypond[verbatim,quote,relative=2]
338 @cindex quarter tones
342 Quarter tones may be added; the following is a series of Cs with
345 @lilypond[verbatim,quote,relative=2]
346 ceseh1 ces ceh c cih cis cisih
351 @cindex accidental, reminder
352 @cindex accidental, cautionary
353 @cindex accidental, parenthesized
354 @cindex reminder accidental
355 @cindex cautionary accidental
356 @cindex parenthesized accidental
362 Normally accidentals are printed automatically, but you may also
363 print them manually. A reminder accidental can be forced by
364 adding an exclamation mark@tie{}@code{!} after the pitch. A
365 cautionary accidental (i.e., an accidental within parentheses) can
366 be obtained by adding the question mark@tie{}@code{?} after the
367 pitch. These extra accidentals can also be used to produce
370 @lilypond[verbatim,quote,relative=2]
371 cis cis cis! cis? c c c! c?
374 @cindex accidental on tied note
375 @cindex tied note, accidental
377 Accidentals on tied notes are only printed at the beginning of a
380 @lilypond[verbatim,quote,relative=2]
389 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
390 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
393 {preventing-extra-naturals-from-being-automatically-added.ly}
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. To use them, include the language-specific init
443 file listed below. For example, to use English note names, add
444 @code{@w{@bs{}include "english.ly"}} to the input file.
446 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
447 use default (Nederlands) note names, the @code{@bs{}include}
448 command for the language file should be placed after all other
449 LilyPond distribution files.}
451 The available language files and the note names they define are:
454 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
455 @headitem Language File
457 @item @file{nederlands.ly}
458 @tab c d e f g a bes b
459 @item @file{catalan.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{deutsch.ly}
463 @item @file{english.ly}
464 @tab c d e f g a bf b
465 @item @file{espanol.ly}
466 @tab do re mi fa sol la sib si
467 @item @file{italiano.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{norsk.ly}
471 @item @file{portugues.ly}
472 @tab do re mi fa sol la sib si
473 @item @file{suomi.ly}
475 @item @file{svenska.ly}
477 @item @file{vlaams.ly}
478 @tab do re mi fa sol la sib si
483 and the accidental suffixes they define are:
486 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
487 @headitem Language File
488 @tab sharp @tab flat @tab double sharp @tab double flat
489 @item @file{nederlands.ly}
490 @tab -d @tab -b @tab -dd @tab -bb
491 @item @file{catalan.ly}
492 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
493 @item @file{deutsch.ly}
494 @tab -is @tab -es @tab -isis @tab -eses
495 @item @file{english.ly}
496 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
498 @item @file{espanol.ly}
499 @tab -s @tab -b @tab -ss/-x @tab -bb
500 @item @file{italiano.ly}
501 @tab -d @tab -b @tab -dd @tab -bb
502 @item @file{norsk.ly}
503 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
505 @item @file{portugues.ly}
506 @tab -s @tab -b @tab -ss @tab -bb
507 @item @file{suomi.ly}
508 @tab -is @tab -es @tab -isis @tab -eses
509 @item @file{svenska.ly}
510 @tab -iss @tab -ess @tab -ississ @tab -essess
511 @item @file{vlaams.ly}
512 @tab -k @tab -b @tab -kk @tab -bb
516 In Dutch, @code{aes} is contracted to @code{as}, but both forms
517 are accepted in LilyPond. Similarly, both @code{es} and
518 @code{ees} are accepted. This also applies to
519 @code{aeses}@tie{}/@tie{}@code{ases} and
520 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
521 contracted names are defined in the corresponding language files.
523 @lilypond[verbatim,quote,relative=2]
524 a2 as e es a ases e eses
534 Some music uses microtones whose alterations are fractions of a
535 @q{normal} sharp or flat. The note names for quarter-tones
536 defined in the various language files are listed in the following
537 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
538 mean @q{half} and @q{one and a half}, respectively. For the other
539 languages, no special names have been defined yet.
542 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
543 @headitem Language File
544 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
546 @item @file{nederlands.ly}
547 @tab -ih @tab -eh @tab -isih @tab -eseh
548 @item @file{deutsch.ly}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
550 @item @file{english.ly}
551 @tab -qs @tab -qf @tab -tqs @tab -tqf
552 @item @file{espanol.ly}
553 @tab -cs @tab -cb @tab -tcs @tab -tcb
554 @item @file{italiano.ly}
555 @tab -sd @tab -sb @tab -dsd @tab -bsb
556 @item @file{portugues.ly}
557 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
564 Other languages and types of music may be supported by extending
565 these predefined sets of note names. For example, Arabic music
566 may be typeset using @code{@w{@bs{}include "arabic.ly"}} which
567 actually includes, in turn, the standard Italian note names as
568 defined in @file{italiano.ly}, and adds extra macros and definitions.
569 For details about non-Western music support, see
570 @ref{Non-Western note names and accidentals} and
576 @ref{Non-Western note names and accidentals},
586 @node Non-Western note names and accidentals
587 @unnumberedsubsubsec Non-Western note names and accidentals
589 Many non-Western musics (and some Western folk and
590 traditional musics) employ alternative or extended tuning
591 systems that do not fit readily into standard classical
594 In some cases standard notation is still used, with the
595 pitch differences being implicit. For example,
596 @notation{Arabic music} is typically notated in
597 standard @q{Italian} notation, with standard semitone and quarter-tone
598 accidentals, with the precise pitch alterations being
599 determined by context.
600 Italian note names and Arabic-specific tweaks are explained in
601 @ref{Note names in other languages}; Arabic notation is discussed
602 more extensively in @ref{Arabic music}.
604 Other types of music require extended or unique notations:
605 @notation{Turkish classical music}, or Ottoman music,
606 employs melodic forms known as @notation{makamlar}, whose
607 intervals are based on 1/9 divisions of the whole tone.
608 From a modern notational point of view, it is convenient
609 to use the standard Western staff notes (c, d, e, ...)
610 with special accidentals unique to Turkish music. These
611 accidentals are defined in @file{makam.ly} (to locate this
612 file on your system, see
613 @rlearning{Other sources of information}). The following
614 table gives their names, the accidental suffix that must
615 be added to notes, and their pitch alteration as a
616 fraction of one whole tone.
618 @c TODO: can we include the actual accidentals in this table?
620 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
621 @headitem Accidental name
622 @tab suffix @tab pitch alteration
624 @item büyük mücenneb (sharp)
626 @item kücük mücenneb (sharp)
637 @item kücük mücenneb (flat)
639 @item büyük mücenneb (flat)
644 For further information on Turkish classical music and
645 makamlar, see @ref{Turkish classical music}.
650 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
655 @ref{Note names in other languages},
658 @ref{Turkish classical music}.
661 @node Changing multiple pitches
662 @subsection Changing multiple pitches
664 This section discusses how to modify pitches.
672 @unnumberedsubsubsec Octave checks
674 @cindex octave correction
676 @cindex control pitch
679 @funindex \octaveCheck
680 @funindex octaveCheck
681 @funindex controlpitch
683 In relative mode, it is easy to forget an octave changing mark.
684 Octave checks make such errors easier to find by displaying a
685 warning and correcting the octave if a note is found in an
688 To check the octave of a note, specify the absolute octave after
689 the @code{=}@tie{}symbol. This example will generate a warning
690 (and change the pitch) because the second note is the absolute
691 octave @code{d''} instead of @code{d'} as indicated by the octave
694 @lilypond[verbatim,quote]
701 The octave of notes may also be checked with the
702 @code{\octaveCheck@tie{}@var{controlpitch}} command.
703 @code{@var{controlpitch}} is specified in absolute mode. This
704 checks that the interval between the previous note and the
705 @code{@var{controlpitch}} is within a fourth (i.e., the normal
706 calculation of relative mode). If this check fails, a warning is
707 printed, but the previous note is not changed. Future notes are
708 relative to the @code{@var{controlpitch}}.
710 @lilypond[verbatim,quote]
718 Compare the two bars below. The first and third @code{\octaveCheck}
719 checks fail, but the second one does not fail.
721 @lilypond[verbatim,quote]
741 @rinternals{RelativeOctaveCheck}.
745 @unnumberedsubsubsec Transpose
749 @cindex transposition
750 @cindex transposition of pitches
751 @cindex transposition of notes
752 @cindex pitches, transposition of
753 @cindex notes, transposition of
758 A music expression can be transposed with @code{\transpose}. The
762 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
766 This means that @code{@var{musicexpr}} is transposed by the
767 interval between the pitches @code{@var{frompitch}} and
768 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
769 is changed to @code{@var{topitch}} and any other note is
770 transposed by the same interval. Both pitches are entered in
773 @warning{Music inside a @code{@bs{}transpose} block is absolute
774 unless a @code{@bs{}relative} is included in the block.}
776 Consider a piece written in the key of D-major. It can be
777 transposed up to E-major; note that the key signature is
778 automatically transposed as well.
780 @lilypond[verbatim,quote]
789 @cindex transposing instruments
790 @cindex instruments, transposing
792 If a part written in C (normal @notation{concert pitch}) is to be
793 played on the A clarinet (for which an A is notated as a C and
794 thus sounds a minor third lower than notated), the appropriate
795 part will be produced with:
797 @lilypond[verbatim,quote]
807 Note that we specify @w{@code{\key c \major}} explicitly. If we
808 do not specify a key signature, the notes will be transposed but
809 no key signature will be printed.
811 @code{\transpose} distinguishes between enharmonic pitches: both
812 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
813 transpose up a semitone. The first version will print sharps and
814 the notes will remain on the same scale step, the second version
815 will print flats on the scale step above.
817 @lilypond[verbatim,quote]
818 music = \relative c' { c d e f }
820 \transpose c cis { \music }
821 \transpose c des { \music }
826 @code{\transpose} may also be used in a different way, to input
827 written notes for a transposing instrument. The previous examples
828 show how to enter pitches in C (or @notation{concert pitch}) and
829 typeset them for a transposing instrument, but the opposite is
830 also possible if you for example have a set of instrumental parts
831 and want to print a conductor's score. For example, when entering
832 music for a B-flat trumpet that begins on a notated E (concert D),
836 musicInBflat = @{ e4 @dots{} @}
837 \transpose c bes, \musicInBflat
841 To print this music in F (e.g., rearranging to a French horn) you
842 could wrap the existing music with another @code{\transpose}:
845 musicInBflat = @{ e4 @dots{} @}
846 \transpose f c' @{ \transpose c bes, \musicInBflat @}
850 For more information about transposing instruments,
851 see @ref{Instrument transpositions}.
856 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
857 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
862 @ref{Relative octave entry},
863 @ref{Instrument transpositions}.
869 @rinternals{TransposedMusic}.
881 The relative conversion will not affect @code{\transpose},
882 @code{\chordmode} or @code{\relative} sections in its argument.
883 To use relative mode within transposed music, an additional
884 @code{\relative} must be placed inside @code{\transpose}.
886 @node Displaying pitches
887 @subsection Displaying pitches
889 This section discusses how to alter the output of pitches.
895 * Instrument transpositions::
896 * Automatic accidentals::
902 @unnumberedsubsubsec Clef
914 @cindex mezzosoprano clef
915 @cindex baritone clef
916 @cindex varbaritone clef
920 @cindex clef, ancient
930 @cindex clef, soprano
931 @cindex clef, mezzosoprano
932 @cindex clef, baritone
933 @cindex clef, varbaritone
934 @cindex clef, subbass
940 The clef may be altered. Middle C is shown in every example. The
941 following clef names can (but do not need to) be enclosed in quotes.
943 @lilypond[verbatim,quote,relative=1]
956 @lilypond[verbatim,quote,relative=1]
977 \clef G % synonym for treble
979 \clef F % synonym for bass
981 \clef C % synonym for alto
985 @cindex transposing clef
986 @cindex clef, transposing
987 @cindex octave transposition
988 @cindex choral tenor clef
989 @cindex tenor clef, choral
991 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
992 clef is transposed one octave down or up respectively,
993 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
994 Other integers can be used if required. Clef names containing
995 non-alphabetic characters must be enclosed in quotes
997 @lilypond[verbatim,quote,relative=1]
1012 Some special purpose clefs are described in @ref{Mensural clefs},
1013 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1018 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1019 {tweaking-clef-properties.ly}
1024 @ref{Mensural clefs},
1025 @ref{Gregorian clefs},
1026 @ref{Default tablatures},
1027 @ref{Custom tablatures}.
1032 Internals Reference:
1033 @rinternals{Clef_engraver},
1035 @rinternals{OctavateEight},
1036 @rinternals{clef-interface}.
1040 @unnumberedsubsubsec Key signature
1042 @cindex key signature
1047 @c duplicated in Key signature and Accidentals
1048 @warning{New users are sometimes confused about accidentals and
1049 key signatures. In LilyPond, note names are the raw input; key
1050 signatures and clefs determine how this raw input is displayed.
1051 An unaltered note like@tie{}@code{c} means @q{C natural},
1052 regardless of the key signature or clef. For more information,
1053 see @rlearning{Accidentals and key signatures}.}
1055 The key signature indicates the tonality in which a piece is
1056 played. It is denoted by a set of alterations (flats or sharps)
1057 at the start of the staff. The key signature may be altered:
1060 \key @var{pitch} @var{mode}
1073 @funindex \mixolydian
1074 @funindex mixolydian
1082 @cindex church modes
1095 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1096 to get a key signature of @code{@var{pitch}}-major or
1097 @code{@var{pitch}}-minor, respectively. You may also use the
1098 standard mode names, also called @notation{church modes}:
1099 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1100 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1102 @lilypond[verbatim,quote,relative=2]
1112 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1113 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1115 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1116 {non-traditional-key-signatures.ly}
1121 @rglos{church mode},
1125 @rlearning{Accidentals and key signatures}.
1130 Internals Reference:
1131 @rinternals{KeyChangeEvent},
1132 @rinternals{Key_engraver},
1133 @rinternals{Key_performer},
1134 @rinternals{KeyCancellation},
1135 @rinternals{KeySignature},
1136 @rinternals{key-cancellation-interface},
1137 @rinternals{key-signature-interface}.
1140 @node Ottava brackets
1141 @unnumberedsubsubsec Ottava brackets
1149 @funindex set-octavation
1153 @notation{Ottava brackets} introduce an extra transposition of an
1154 octave for the staff:
1156 @lilypond[verbatim,quote,relative=2]
1172 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1183 Internals Reference:
1184 @rinternals{Ottava_spanner_engraver},
1185 @rinternals{OttavaBracket},
1186 @rinternals{ottava-bracket-interface}.
1189 @node Instrument transpositions
1190 @unnumberedsubsubsec Instrument transpositions
1192 @cindex transposition, MIDI
1193 @cindex transposition, instrument
1194 @cindex transposing instrument
1196 @cindex MIDI transposition
1198 @funindex \transposition
1199 @funindex transposition
1201 When typesetting scores that involve transposing instruments, some
1202 parts can be typeset in a different pitch than the
1203 @notation{concert pitch}. In these cases, the key of the
1204 @notation{transposing instrument} should be specified; otherwise
1205 the MIDI output and cues in other parts will produce incorrect
1206 pitches. For more information about quotations, see
1207 @ref{Quoting other voices}.
1210 \transposition @var{pitch}
1213 The pitch to use for @code{\transposition} should correspond to
1214 the real sound heard when a@tie{}@code{c'} written on the staff is
1215 played by the transposing instrument. This pitch is entered in
1216 absolute mode, so an instrument that produces a real sound which
1217 is one tone higher than the printed music should use
1218 @w{@code{\transposition d'}}. @code{\transposition} should
1219 @emph{only} be used if the pitches are @emph{not} being entered in
1222 Here are a few notes for violin and B-flat clarinet where the
1223 parts have been entered using the notes and key as they appear in
1224 each part of the conductor's score. The two instruments are
1227 @lilypond[verbatim,quote]
1229 \new Staff = "violin" {
1231 \set Staff.instrumentName = #"Vln"
1232 \set Staff.midiInstrument = #"violin"
1233 % not strictly necessary, but a good reminder
1240 \new Staff = "clarinet" {
1242 \set Staff.instrumentName = \markup { Cl (B\flat) }
1243 \set Staff.midiInstrument = #"clarinet"
1253 The @code{\transposition} may be changed during a piece. For
1254 example, a clarinetist may switch from an A clarinet to a B-flat
1257 @lilypond[verbatim,quote,relative=2]
1258 \set Staff.instrumentName = #"Cl (A)"
1263 s1*0^\markup { Switch to B\flat clarinet }
1274 @rglos{concert pitch},
1275 @rglos{transposing instrument}.
1278 @ref{Quoting other voices},
1285 @node Automatic accidentals
1286 @unnumberedsubsubsec Automatic accidentals
1288 @cindex accidental style
1289 @cindex accidental style, default
1291 @cindex accidentals, automatic
1292 @cindex automatic accidentals
1293 @cindex default accidental style
1295 @funindex set-accidental-style
1299 There are many different conventions on how to typeset
1300 accidentals. LilyPond provides a function to specify which
1301 accidental style to use. This function is called as follows:
1305 #(set-accidental-style 'voice)
1310 The accidental style applies to the current @code{Staff} by
1311 default (with the exception of the styles @code{piano} and
1312 @code{piano-cautionary}, which are explained below). Optionally,
1313 the function can take a second argument that determines in which
1314 scope the style should be changed. For example, to use the same
1315 style in all staves of the current @code{StaffGroup}, use:
1318 #(set-accidental-style 'voice 'StaffGroup)
1321 The following accidental styles are supported. To demonstrate
1322 each style, we use the following example:
1325 @lilypond[verbatim,quote]
1329 cis'8 fis, d'4 <a cis>8 f bis4 |
1343 \voiceTwo \relative c' {
1344 <fis, a cis>8 <fis a cis>
1347 \change Staff = down
1352 \change Staff = down
1353 <fis, a cis>4 gis <f a d>2 |
1360 \context Staff = "up" {
1361 #(set-accidental-style 'default)
1364 \context Staff = "down" {
1365 #(set-accidental-style 'default)
1372 Note that the last lines of this example can be replaced by the
1373 following, as long as the same accidental style should be used in
1379 \context Staff = "up" @{
1380 %%% change the next line as desired:
1381 #(set-accidental-style 'default 'Score)
1384 \context Staff = "down" @{
1392 @c don't use verbatim in this table.
1396 @cindex default accidental style
1397 @cindex accidental style, default
1401 This is the default typesetting behavior. It corresponds to
1402 eighteenth-century common practice: accidentals are remembered to
1403 the end of the measure in which they occur and only in their own
1404 octave. Thus, in the example below, no natural signs are printed
1405 before the@tie{}@code{b} in the second measure or the
1412 cis'8 fis, d'4 <a cis>8 f bis4 |
1426 \voiceTwo \relative c' {
1427 <fis, a cis>8 <fis a cis>
1430 \change Staff = down
1435 \change Staff = down
1436 <fis, a cis>4 gis <f a d>2 |
1443 \context Staff = "up" {
1444 #(set-accidental-style 'default)
1447 \context Staff = "down" {
1448 #(set-accidental-style 'default)
1457 @cindex accidental style, voice
1458 @cindex voice accidental style
1459 @cindex accidental style, modern
1460 @cindex modern accidental style
1461 @cindex accidental style, modern-cautionary
1462 @cindex modern-cautionary accidental style
1466 The normal behavior is to remember the accidentals at
1467 @code{Staff}-level. In this style, however, accidentals are
1468 typeset individually for each voice. Apart from that, the rule is
1469 similar to @code{default}.
1471 As a result, accidentals from one voice do not get canceled in
1472 other voices, which is often an unwanted result: in the following
1473 example, it is hard to determine whether the second@tie{}@code{a}
1474 should be played natural or sharp. The @code{voice} option should
1475 therefore be used only if the voices are to be read solely by
1476 individual musicians. If the staff is to be used by one musician
1477 (e.g., a conductor or in a piano score) then @code{modern} or
1478 @code{modern-cautionary} should be used instead.
1485 cis'8 fis, d'4 <a cis>8 f bis4 |
1499 \voiceTwo \relative c' {
1500 <fis, a cis>8 <fis a cis>
1503 \change Staff = down
1508 \change Staff = down
1509 <fis, a cis>4 gis <f a d>2 |
1516 \context Staff = "up" {
1517 #(set-accidental-style 'voice)
1520 \context Staff = "down" {
1521 #(set-accidental-style 'voice)
1530 @cindex accidentals, modern style
1531 @cindex modern style accidentals
1535 This rule corresponds to the common practice in the twentieth
1536 century. It prints the same accidentals as @code{default}, with
1537 two exceptions that serve to avoid ambiguity: after temporary
1538 accidentals, cancellation marks are printed also in the following
1539 measure (for notes in the same octave) and, in the same measure,
1540 for notes in other octaves. Hence the naturals before
1541 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1548 cis'8 fis, d'4 <a cis>8 f bis4 |
1562 \voiceTwo \relative c' {
1563 <fis, a cis>8 <fis a cis>
1566 \change Staff = down
1571 \change Staff = down
1572 <fis, a cis>4 gis <f a d>2 |
1579 \context Staff = "up" {
1580 #(set-accidental-style 'modern)
1583 \context Staff = "down" {
1584 #(set-accidental-style 'modern)
1591 @item modern-cautionary
1593 @cindex accidentals, modern cautionary style
1594 @cindex modern accidental style
1595 @cindex modern cautionary accidental style
1596 @cindex modern style accidentals
1597 @cindex modern style cautionary accidentals
1599 @funindex modern-cautionary
1601 This rule is similar to @code{modern}, but the @q{extra}
1602 accidentals (the ones not typeset by @code{default}) are typeset
1603 as cautionary accidentals. They are by default printed with
1604 parentheses, but they can also be printed in reduced size by
1605 defining the @code{cautionary-style} property of
1606 @code{AccidentalSuggestion}.
1612 cis'8 fis, d'4 <a cis>8 f bis4 |
1626 \voiceTwo \relative c' {
1627 <fis, a cis>8 <fis a cis>
1630 \change Staff = down
1635 \change Staff = down
1636 <fis, a cis>4 gis <f a d>2 |
1643 \context Staff = "up" {
1644 #(set-accidental-style 'modern-cautionary)
1647 \context Staff = "down" {
1648 #(set-accidental-style 'modern-cautionary)
1657 @cindex accidental style, modern
1658 @cindex accidentals, modern
1659 @cindex accidentals, multivoice
1660 @cindex modern accidental style
1661 @cindex modern accidentals
1662 @cindex multivoice accidentals
1664 @funindex modern-voice
1666 This rule is used for multivoice accidentals to be read both by
1667 musicians playing one voice and musicians playing all voices.
1668 Accidentals are typeset for each voice, but they @emph{are}
1669 canceled across voices in the same @code{Staff}. Hence,
1670 the@tie{}@code{a} in the last measure is canceled because the
1671 previous cancellation was in a different voice, and
1672 the@tie{}@code{d} in the lower staff is canceled because of the
1673 accidental in a different voice in the previous measure:
1679 cis'8 fis, d'4 <a cis>8 f bis4 |
1693 \voiceTwo \relative c' {
1694 <fis, a cis>8 <fis a cis>
1697 \change Staff = down
1702 \change Staff = down
1703 <fis, a cis>4 gis <f a d>2 |
1710 \context Staff = "up" {
1711 #(set-accidental-style 'modern-voice)
1714 \context Staff = "down" {
1715 #(set-accidental-style 'modern-voice)
1722 @cindex accidental style, cautionary, modern voice
1723 @cindex accidental style, modern voice cautionary
1724 @cindex accidental style, voice, modern cautionary
1726 @funindex modern-voice-cautionary
1728 @item modern-voice-cautionary
1730 This rule is the same as @code{modern-voice}, but with the extra
1731 accidentals (the ones not typeset by @code{voice}) typeset as
1732 cautionaries. Even though all accidentals typeset by
1733 @code{default} @emph{are} typeset with this rule, some of them are
1734 typeset as cautionaries.
1740 cis'8 fis, d'4 <a cis>8 f bis4 |
1754 \voiceTwo \relative c' {
1755 <fis, a cis>8 <fis a cis>
1758 \change Staff = down
1763 \change Staff = down
1764 <fis, a cis>4 gis <f a d>2 |
1771 \context Staff = "up" {
1772 #(set-accidental-style 'modern-voice-cautionary)
1775 \context Staff = "down" {
1776 #(set-accidental-style 'modern-voice-cautionary)
1785 @cindex accidental style, piano
1786 @cindex accidentals, piano
1787 @cindex piano accidental style
1788 @cindex piano accidentals
1792 This rule reflects twentieth-century practice for piano notation.
1793 Its behavior is very similar to @code{modern} style, but here
1794 accidentals also get canceled across the staves in the same
1795 @code{GrandStaff} or @code{PianoStaff}, hence all the
1796 cancellations of the final notes.
1798 This accidental style applies to the current @code{GrandStaff} or
1799 @code{PianoStaff} by default.
1805 cis'8 fis, d'4 <a cis>8 f bis4 |
1819 \voiceTwo \relative c' {
1820 <fis, a cis>8 <fis a cis>
1823 \change Staff = down
1828 \change Staff = down
1829 <fis, a cis>4 gis <f a d>2 |
1836 \context Staff = "up" {
1837 #(set-accidental-style 'piano)
1840 \context Staff = "down" {
1847 @item piano-cautionary
1849 @cindex accidentals, piano cautionary
1850 @cindex cautionary accidentals, piano
1851 @cindex piano cautionary accidentals
1852 @cindex accidental style, piano cautionary
1853 @cindex cautionary accidental style, piano
1854 @cindex piano cautionary accidental style
1856 @funindex piano-cautionary
1858 This is the same as @code{piano} but with the extra accidentals
1859 typeset as cautionaries.
1865 cis'8 fis, d'4 <a cis>8 f bis4 |
1879 \voiceTwo \relative c' {
1880 <fis, a cis>8 <fis a cis>
1883 \change Staff = down
1888 \change Staff = down
1889 <fis, a cis>4 gis <f a d>2 |
1896 \context Staff = "up" {
1897 #(set-accidental-style 'piano-cautionary)
1900 \context Staff = "down" {
1910 @cindex neo-modern accidental style
1911 @cindex accidental style, neo-modern
1913 @funindex neo-modern
1915 This rule reproduces a common practice in contemporary music:
1916 accidentals are printed like with @code{modern}, but they are printed
1917 again if the same note appears later in the same measure -- except
1918 if the note is immediately repeated.
1924 cis'8 fis, d'4 <a cis>8 f bis4 |
1938 \voiceTwo \relative c' {
1939 <fis, a cis>8 <fis a cis>
1942 \change Staff = down
1947 \change Staff = down
1948 <fis, a cis>4 gis <f a d>2 |
1955 \context Staff = "up" {
1956 #(set-accidental-style 'neo-modern)
1959 \context Staff = "down" {
1960 #(set-accidental-style 'neo-modern)
1967 @item neo-modern-cautionary
1969 @cindex neo-modern-cautionary accidental style
1970 @cindex accidental style, neo-modern-cautionary
1972 @funindex neo-modern-cautionary
1974 This rule is similar to @code{neo-modern}, but the extra
1975 accidentals are printed as cautionary accidentals.
1981 cis'8 fis, d'4 <a cis>8 f bis4 |
1995 \voiceTwo \relative c' {
1996 <fis, a cis>8 <fis a cis>
1999 \change Staff = down
2004 \change Staff = down
2005 <fis, a cis>4 gis <f a d>2 |
2012 \context Staff = "up" {
2013 #(set-accidental-style 'neo-modern-cautionary)
2016 \context Staff = "down" {
2017 #(set-accidental-style 'neo-modern-cautionary)
2025 @item neo-modern-voice
2027 @cindex neo-modern-voice accidental style
2028 @cindex accidental style, neo-modern-voice
2030 @funindex neo-modern-voice
2032 This rule is used for multivoice accidentals to be read both by
2033 musicians playing one voice and musicians playing all voices.
2034 Accidentals are typeset for each voice as with @code{neo-modern},
2035 but they are canceled across voices in the same @code{Staff}.
2041 cis'8 fis, d'4 <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 #(set-accidental-style 'neo-modern-voice)
2076 \context Staff = "down" {
2077 #(set-accidental-style 'neo-modern-voice)
2084 @item neo-modern-voice-cautionary
2086 @cindex neo-modern-voice-cautionary accidental style
2087 @cindex accidental style, neo-modern-voice-cautionary
2089 @funindex neo-modern-voice-cautionary
2091 This rule is similar to @code{neo-modern-voice}, but the extra
2092 accidentals are printed as cautionary accidentals.
2098 cis'8 fis, d'4 <a cis>8 f bis4 |
2112 \voiceTwo \relative c' {
2113 <fis, a cis>8 <fis a cis>
2116 \change Staff = down
2121 \change Staff = down
2122 <fis, a cis>4 gis <f a d>2 |
2129 \context Staff = "up" {
2130 #(set-accidental-style 'neo-modern-voice-cautionary)
2133 \context Staff = "down" {
2134 #(set-accidental-style 'neo-modern-voice-cautionary)
2143 @cindex dodecaphonic accidental style
2144 @cindex dodecaphonic style, neo-modern
2146 @funindex dodecaphonic
2148 This rule reflects a practice introduced by composers at
2149 the beginning of the 20th century, in an attempt to
2150 abolish the hierarchy between natural and non-natural notes.
2151 With this style, @emph{every} note gets an accidental sign,
2152 including natural signs.
2158 cis'8 fis, d'4 <a cis>8 f bis4 |
2172 \voiceTwo \relative c' {
2173 <fis, a cis>8 <fis a cis>
2176 \change Staff = down
2181 \change Staff = down
2182 <fis, a cis>4 gis <f a d>2 |
2189 \context Staff = "up" {
2190 #(set-accidental-style 'dodecaphonic)
2193 \context Staff = "down" {
2194 #(set-accidental-style 'dodecaphonic)
2204 @cindex teaching accidental style
2205 @cindex accidental style, teaching
2209 This rule is intended for students, and makes it easy to create
2210 scale sheets with automagically created cautionary accidentals.
2211 Accidentals are printed like with @code{modern}, but cautionary
2212 accidentals are added for all sharp or flat tones specified by the
2213 key signature, except if the note is immediately repeated.
2219 cis'8 fis, d'4 <a cis>8 f bis4 |
2233 \voiceTwo \relative c' {
2234 <fis, a cis>8 <fis a cis>
2237 \change Staff = down
2242 \change Staff = down
2243 <fis, a cis>4 gis <f a d>2 |
2250 \context Staff = "up" {
2252 #(set-accidental-style 'teaching)
2255 \context Staff = "down" {
2257 #(set-accidental-style 'teaching)
2268 @cindex accidental style, no reset
2269 @cindex no reset accidental style
2273 This is the same as @code{default} but with accidentals lasting
2274 @q{forever} and not only within the same measure:
2280 cis'8 fis, d'4 <a cis>8 f bis4 |
2294 \voiceTwo \relative c' {
2295 <fis, a cis>8 <fis a cis>
2298 \change Staff = down
2303 \change Staff = down
2304 <fis, a cis>4 gis <f a d>2 |
2311 \context Staff = "up" {
2312 #(set-accidental-style 'no-reset)
2315 \context Staff = "down" {
2316 #(set-accidental-style 'no-reset)
2325 @cindex forget accidental style
2326 @cindex accidental style, forget
2330 This is the opposite of @code{no-reset}: Accidentals are not
2331 remembered at all -- and hence all accidentals are typeset
2332 relative to the key signature, regardless of what came before in
2333 the music. Unlike @code{dodecaphonic}, this rule never prints
2340 cis'8 fis, d'4 <a cis>8 f bis4 |
2354 \voiceTwo \relative c' {
2355 <fis, a cis>8 <fis a cis>
2358 \change Staff = down
2363 \change Staff = down
2364 <fis, a cis>4 gis <f a d>2 |
2371 \context Staff = "up" {
2372 #(set-accidental-style 'forget)
2375 \context Staff = "down" {
2376 #(set-accidental-style 'forget)
2386 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2387 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2394 Internals Reference:
2395 @rinternals{Accidental},
2396 @rinternals{Accidental_engraver},
2397 @rinternals{GrandStaff},
2398 @rinternals{PianoStaff},
2400 @rinternals{AccidentalSuggestion},
2401 @rinternals{AccidentalPlacement},
2402 @rinternals{accidental-suggestion-interface}.
2405 @cindex accidentals and simultaneous notes
2406 @cindex simultaneous notes and accidentals
2407 @cindex accidentals in chords
2408 @cindex chords, accidentals in
2412 Simultaneous notes are considered to be entered in sequential
2413 mode. This means that in a chord the accidentals are typeset as
2414 if the notes in the chord happen one at a time, in the order in
2415 which they appear in the input file. This is a problem when
2416 accidentals in a chord depend on each other, which does not happen
2417 for the default accidental style. The problem can be solved by
2418 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2422 Cautionary cancellation of accidentals is done by looking at previous measure.
2423 However, in the @code{\alternative} block following a @code{\repeat volta N}
2424 section, one would expect the cancellation being calculated using the previous
2425 @emph{played} measure, not previous @emph{printed} measure.
2426 In the following example, the natural @code{c} in the second alternative does
2427 not need a natural sign:
2431 #(set-accidental-style 'modern)
2443 The following work-around can be used: define a function that locally changes
2444 the accidental style to @code{forget}:
2446 @lilypond[verbatim,quote]
2447 forget = #(define-music-function (parser location music) (ly:music?) #{
2448 #(set-accidental-style 'forget)
2450 #(set-accidental-style 'modern)
2453 #(set-accidental-style 'modern)
2466 @unnumberedsubsubsec Ambitus
2469 @cindex range of pitches
2472 The term @notation{ambitus} (pl. ambitus) denotes a range of
2473 pitches for a given voice in a part of music. It may also denote
2474 the pitch range that a musical instrument is capable of playing.
2475 Ambitus are printed on vocal parts so that performers can easily
2476 determine if it matches their capabilities.
2478 Ambitus are denoted at the beginning of a piece near the initial
2479 clef. The range is graphically specified by two note heads that
2480 represent the lowest and highest pitches. Accidentals are only
2481 printed if they are not part of the key signature.
2483 @lilypond[verbatim,quote]
2487 \consists "Ambitus_engraver"
2500 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2501 {adding-ambitus-per-voice.ly}
2503 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2504 {ambitus-with-multiple-voices.ly}
2506 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2507 {changing-the-ambitus-gap.ly}
2517 Internals Reference:
2518 @rinternals{Ambitus_engraver},
2521 @rinternals{Ambitus},
2522 @rinternals{AmbitusAccidental},
2523 @rinternals{AmbitusLine},
2524 @rinternals{AmbitusNoteHead},
2525 @rinternals{ambitus-interface}.
2530 There is no collision handling in the case of multiple per-voice
2535 @subsection Note heads
2537 This section suggests ways of altering note heads.
2540 * Special note heads::
2541 * Easy notation note heads::
2542 * Shape note heads::
2546 @node Special note heads
2547 @unnumberedsubsubsec Special note heads
2549 @cindex note heads, special
2550 @cindex note heads, cross
2551 @cindex note heads, diamond
2552 @cindex note heads, parlato
2553 @cindex note heads, harmonic
2554 @cindex note heads, guitar
2555 @cindex special note heads
2556 @cindex cross note heads
2557 @cindex diamond note heads
2558 @cindex parlato note heads
2559 @cindex harmonic note heads
2560 @cindex guitar note heads
2561 @cindex note head styles
2562 @cindex styles, note heads
2566 The appearance of note heads may be altered:
2568 @lilypond[verbatim,quote,relative=2]
2570 \override NoteHead #'style = #'cross
2572 \revert NoteHead #'style
2574 \override NoteHead #'style = #'harmonic
2576 \revert NoteHead #'style
2580 To see all note head styles, see @ref{Note head styles}.
2582 The @code{cross} style is used to represent a variety of musical
2583 intentions. The following generic predefined commands modify the
2584 note head in both staff and tablature contexts and can be used to
2585 represent any musical meaning:
2587 @lilypond[verbatim,quote,relative=2]
2595 The music function form of this predefined command may be used
2596 inside and outside chords to generate crossed note heads in both
2597 staff and tablature contexts:
2599 @lilypond[verbatim,quote,relative=2]
2602 c b < g \xNote c f > b
2605 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2606 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2607 be used. The term @notation{dead note} is commonly used by guitarists.
2609 There is also a shorthand for diamond shapes which can be used
2612 @lilypond[verbatim,quote,relative=2]
2613 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2628 @ref{Note head styles},
2629 @ref{Chorded notes},
2630 @ref{Indicating harmonics and dampened notes}.
2632 Internals Reference:
2633 @rinternals{note-event},
2634 @rinternals{Note_heads_engraver},
2635 @rinternals{Ledger_line_engraver},
2636 @rinternals{NoteHead},
2637 @rinternals{LedgerLineSpanner},
2638 @rinternals{note-head-interface},
2639 @rinternals{ledger-line-spanner-interface}.
2642 @node Easy notation note heads
2643 @unnumberedsubsubsec Easy notation note heads
2645 @cindex note heads, practice
2646 @cindex practice note heads
2647 @cindex note heads, easy notation
2648 @cindex easy notation
2649 @cindex beginners' music
2650 @cindex music, beginners'
2651 @cindex easy play note heads
2652 @cindex note heads, easy play
2654 @funindex \easyHeadsOn
2655 @funindex easyHeadsOn
2656 @funindex \easyHeadsOff
2657 @funindex easyHeadsOff
2659 The @q{easy play} note head includes a note name inside the head.
2660 It is used in music for beginners. To make the letters readable,
2661 it should be printed in a large font size. To print with a larger
2662 font, see @ref{Setting the staff size}.
2664 @lilypond[verbatim,quote]
2665 #(set-global-staff-size 26)
2677 @code{\easyHeadsOn},
2678 @code{\easyHeadsOff}.
2684 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2685 {numbers-as-easy-note-heads.ly}
2690 @ref{Setting the staff size}.
2695 Internals Reference:
2696 @rinternals{note-event},
2697 @rinternals{Note_heads_engraver},
2698 @rinternals{NoteHead},
2699 @rinternals{note-head-interface}.
2702 @node Shape note heads
2703 @unnumberedsubsubsec Shape note heads
2705 @cindex note heads, shape
2706 @cindex note heads, Aiken
2707 @cindex note heads, sacred harp
2709 @cindex Aiken shape note heads
2710 @cindex sacred harp note heads
2711 @cindex note heads, Southern Harmony
2712 @cindex Southern Harmony note heads
2713 @cindex Funk shape note heads
2714 @cindex note heads, Funk
2715 @cindex note heads, Harmonica Sacra
2716 @cindex Harmonica Sacra note heads
2717 @cindex Christian Harmony note heads
2718 @cindex note heads, Christian Harmony
2719 @cindex Walker shape note heads
2720 @cindex note heads, Walker
2722 @funindex \aikenHeads
2723 @funindex aikenHeads
2724 @funindex \sacredHarpHeads
2725 @funindex sacredHarpHeads
2726 @funindex \southernHarmonyHeads
2727 @funindex southernHarmonyHeads
2728 @funindex \funkHeads
2730 @funindex \walkerHeads
2731 @funindex walkerHeads
2733 In shape note head notation, the shape of the note head
2734 corresponds to the harmonic function of a note in the scale. This
2735 notation was popular in nineteenth-century American song books.
2736 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2737 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2739 @lilypond[verbatim,quote,relative=2]
2741 c, d e f g2 a b1 c \break
2743 c,4 d e f g2 a b1 c \break
2744 \southernHarmonyHeads
2745 c,4 d e f g2 a b1 c \break
2747 c,4 d e f g2 a b1 c \break
2749 c,4 d e f g2 a b1 c \break
2754 @funindex \aikenHeadsMinor
2755 @funindex aikenHeadsMinor
2756 @funindex \sacredHarpHeadsMinor
2757 @funindex sacredHarpHeadsMinor
2758 @funindex \southernHarmonyHeadsMinor
2759 @funindex southernHarmonyHeadsMinor
2760 @funindex \funkHeadsMinor
2761 @funindex funkHeadsMinor
2762 @funindex \walkerHeadsMinor
2763 @funindex walkerHeadsMinor
2765 Shapes are typeset according to the step in the scale, where the base
2766 of the scale is determined by the @code{\key} command. When writing
2767 in a minor key, the scale step can be determined from the relative
2770 @lilypond[verbatim,quote,relative=2]
2773 a b c d e2 f g1 a \break
2775 a,4 b c d e2 f g1 a \break
2776 \sacredHarpHeadsMinor
2778 \southernHarmonyHeadsMinor
2790 @code{\aikenHeadsMinor},
2792 @code{\funkHeadsMinor},
2793 @code{\sacredHarpHeads},
2794 @code{\sacredHarpHeadsMinor},
2795 @code{\southernHarmonyHeads},
2796 @code{\southernHarmonyHeadsMinor},
2797 @code{\walkerHeads},
2798 @code{\walkerHeadsMinor}.
2804 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2805 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2807 To see all note head styles, see @ref{Note head styles}.
2815 @ref{Note head styles}.
2817 Internals Reference:
2818 @rinternals{note-event},
2819 @rinternals{Note_heads_engraver},
2820 @rinternals{NoteHead},
2821 @rinternals{note-head-interface}.
2825 @unnumberedsubsubsec Improvisation
2827 @cindex improvisation
2828 @cindex slashed note heads
2829 @cindex note heads, improvisation
2830 @cindex note heads, slashed
2832 @funindex \improvisationOn
2833 @funindex improvisationOn
2834 @funindex \improvisationOff
2835 @funindex improvisationOff
2837 Improvisation is sometimes denoted with slashed note heads, where
2838 the performer may choose any pitch but should play the specified
2839 rhythm. Such note heads can be created:
2841 @lilypond[verbatim,quote,relative=2]
2843 \consists "Pitch_squash_engraver"
2845 e8 e g a a16( bes) a8 g
2857 @code{\improvisationOn},
2858 @code{\improvisationOff}.
2866 Internals Reference:
2867 @rinternals{Pitch_squash_engraver},
2869 @rinternals{RhythmicStaff}.