1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
41 * Non-Western note names and accidentals::
45 @node Absolute octave entry
46 @unnumberedsubsubsec Absolute octave entry
51 @cindex absolute octave specification
52 @cindex octave specification, absolute
53 @cindex absolute octave entry
54 @cindex octave entry, absolute
56 A pitch name is specified using lowercase letters@tie{}@code{a}
57 through@tie{}@code{g}. The note names @code{c} to @code{b} are
58 engraved in the octave below middle C.
61 @lilypond[verbatim,quote,fragment]
68 @cindex octave changing mark
73 Other octaves may be specified with a single quote@tie{}(@code{'})
74 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
75 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
78 @lilypond[verbatim,quote,fragment]
96 @node Relative octave entry
97 @unnumberedsubsubsec Relative octave entry
100 @cindex relative octave entry
101 @cindex octave entry, relative
102 @cindex relative octave specification
103 @cindex octave specification, relative
108 When octaves are specified in absolute mode it is easy to
109 accidentally put a pitch in the wrong octave. Relative octave
110 mode reduces these errors since most of the time it is not
111 necessary to indicate any octaves at all. Furthermore, in
112 absolute mode a single mistake may be difficult to spot, while in
113 relative mode a single error puts the rest of the piece off by one
117 \relative @var{startpitch} @var{musicexpr}
120 In relative mode, each note is assumed to be as close to the
121 previous note as possible. This means that the octave of each
122 pitch inside @code{@var{musicexpr}} is calculated as follows:
126 If no octave changing mark is used on a pitch, its octave is
127 calculated so that the interval with the previous note is less
128 than a fifth. This interval is determined without considering
132 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
133 added to respectively raise or lower a pitch by an extra octave,
134 relative to the pitch calculated without an octave mark.
137 Multiple octave changing marks can be used. For example,
138 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
142 The pitch of the first note is relative to
143 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
144 absolute octave mode, and it is recommended that it be a octave of
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote]
159 Octave changing marks are used for intervals greater than a
162 @lilypond[verbatim,quote]
169 A note sequence without a single octave mark can nevertheless span
172 @lilypond[verbatim,quote]
179 When @code{\relative} blocks are nested, the innermost
180 @code{\relative} block applies.
182 @lilypond[verbatim,quote]
191 @code{\relative} has no effect on @code{\chordmode} blocks.
193 @lilypond[verbatim,quote]
202 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
204 Music inside a @code{\transpose} block is absolute unless a
205 @code{\relative} is included.
207 @lilypond[verbatim,quote]
220 @cindex chords and relative octave entry
221 @cindex relative octave entry and chords
223 If the preceding item is a chord, the first note of the chord is
224 used as the reference point for the octave placement of a
225 following note or chord. Inside chords, the next note is always
226 relative to the preceding one. Examine the next example
227 carefully, paying attention to the @code{c} notes.
229 @lilypond[verbatim,quote]
238 As explained above, the octave of pitches is calculated only with
239 the note names, regardless of any alterations. Therefore, an
240 E-double-sharp following a B will be placed higher, while an
241 F-double-flat will be placed lower. In other words, a
242 double-augmented fourth is considered a smaller interval than a
243 double-diminished fifth, regardless of the number of semitones
244 that each interval contains.
246 @lilypond[verbatim,quote]
269 @rinternals{RelativeOctaveMusic}.
272 @cindex relative octave entry and transposition
273 @cindex transposition and relative octave entry
284 If no @code{@var{startpitch}} is specified for @code{\relative},
285 then@tie{}@code{c'} is assumed. However, this is a deprecated
286 option and may disappear in future versions, so its use is
292 @unnumberedsubsubsec Accidentals
295 @cindex key signature
298 @c duplicated in Key signature and Accidentals
299 @warning{New users are sometimes confused about accidentals and
300 key signatures. In LilyPond, note names are the raw input; key
301 signatures and clefs determine how this raw input is displayed.
302 An unaltered note like@tie{}@code{c} means @q{C natural},
303 regardless of the key signature or clef. For more information,
304 see @rlearning{Accidentals and key signatures}.}
306 @cindex note names, Dutch
307 @cindex note names, default
308 @cindex default note names
312 @cindex sharp, double
316 @cindex natural pitch
318 A @notation{sharp} pitch is made by adding @code{is} to the note
319 name, and a @notation{flat} pitch by adding @code{es}. As you
320 might expect, a @notation{double sharp} or @notation{double flat}
321 is made by adding @code{isis} or @code{eses}. This syntax is
322 derived from Dutch note naming conventions. To use other names
323 for accidentals, see @ref{Note names in other languages}.
325 @lilypond[verbatim,quote,relative=2]
329 A natural will cancel the effect of an accidental or key
330 signature. However, naturals are not encoded into the note name
331 syntax with a suffix; a natural pitch is shown as a simple note
334 @lilypond[verbatim,quote,relative=2]
338 @cindex quarter tones
342 Quarter tones may be added; the following is a series of Cs with
345 @lilypond[verbatim,quote,relative=2]
346 ceseh1 ces ceh c cih cis cisih
351 @cindex accidental, reminder
352 @cindex accidental, cautionary
353 @cindex accidental, parenthesized
354 @cindex reminder accidental
355 @cindex cautionary accidental
356 @cindex parenthesized accidental
362 Normally accidentals are printed automatically, but you may also
363 print them manually. A reminder accidental can be forced by
364 adding an exclamation mark@tie{}@code{!} after the pitch. A
365 cautionary accidental (i.e., an accidental within parentheses) can
366 be obtained by adding the question mark@tie{}@code{?} after the
367 pitch. These extra accidentals can also be used to produce
370 @lilypond[verbatim,quote,relative=2]
371 cis cis cis! cis? c c c! c?
374 @cindex accidental on tied note
375 @cindex tied note, accidental
377 Accidentals on tied notes are only printed at the beginning of a
380 @lilypond[verbatim,quote,relative=2]
389 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
390 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
393 {preventing-extra-naturals-from-being-automatically-added.ly}
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. These may be selected using the following
450 for Italian note names, or any other supported language listed below.
451 Alternatively, the relevant language-specific file may be directly
452 included in the input file; the previous example could equally be
456 \include "italiano.ly"
460 The latter syntax is actually more reliable, in that it allows for more
461 complex files to be included: for instance the @file{arabic.ly} file is
462 not supported by the @code{@bs{}language} shortcut, and can only be
463 processed through the @code{@bs{}include} command.
465 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
466 use default (Nederlands) note names, it is recommended to select the note name language
467 @emph{after} having included all other LilyPond distribution files.}
469 The available language files and the note names they define are:
472 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
473 @headitem Language File
475 @item @file{nederlands.ly}
476 @tab c d e f g a bes b
477 @item @file{arabic.ly}
478 @tab do re mi fa sol la sib si
479 @item @file{catalan.ly}
480 @tab do re mi fa sol la sib si
481 @item @file{deutsch.ly}
483 @item @file{english.ly}
484 @tab c d e f g a bf b
485 @item @file{espanol.ly}
486 @tab do re mi fa sol la sib si
487 @item @file{italiano.ly}
488 @tab do re mi fa sol la sib si
489 @item @file{norsk.ly}
491 @item @file{portugues.ly}
492 @tab do re mi fa sol la sib si
493 @item @file{suomi.ly}
495 @item @file{svenska.ly}
497 @item @file{vlaams.ly}
498 @tab do re mi fa sol la sib si
503 and the accidental suffixes they define are:
506 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
507 @headitem Language File
508 @tab sharp @tab flat @tab double sharp @tab double flat
509 @item @file{nederlands.ly}
510 @tab -is @tab -es @tab -isis @tab -eses
511 @item @file{arabic.ly}
512 @tab -d @tab -b @tab -dd @tab -bb
513 @item @file{catalan.ly}
514 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
515 @item @file{deutsch.ly}
516 @tab -is @tab -es @tab -isis @tab -eses
517 @item @file{english.ly}
518 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
520 @item @file{espanol.ly}
521 @tab -s @tab -b @tab -ss/-x @tab -bb
522 @item @file{italiano.ly}
523 @tab -d @tab -b @tab -dd @tab -bb
524 @item @file{norsk.ly}
525 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
527 @item @file{portugues.ly}
528 @tab -s @tab -b @tab -ss @tab -bb
529 @item @file{suomi.ly}
530 @tab -is @tab -es @tab -isis @tab -eses
531 @item @file{svenska.ly}
532 @tab -iss @tab -ess @tab -ississ @tab -essess
533 @item @file{vlaams.ly}
534 @tab -k @tab -b @tab -kk @tab -bb
538 In Dutch, @code{aes} is contracted to @code{as}, but both forms
539 are accepted in LilyPond. Similarly, both @code{es} and
540 @code{ees} are accepted. This also applies to
541 @code{aeses}@tie{}/@tie{}@code{ases} and
542 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
543 contracted names are defined in the corresponding language files.
545 @lilypond[verbatim,quote,relative=2]
546 a2 as e es a ases e eses
556 Some music uses microtones whose alterations are fractions of a
557 @q{normal} sharp or flat. The note names for quarter-tones
558 defined in the various language files are listed in the following
559 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
560 mean @q{half} and @q{one and a half}, respectively. For the other
561 languages, no special names have been defined yet.
564 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
565 @headitem Language File
566 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
568 @item @file{nederlands.ly}
569 @tab -ih @tab -eh @tab -isih @tab -eseh
570 @item @file{arabic.ly}
571 @tab -sd @tab -sb @tab -dsd @tab -bsb
572 @item @file{deutsch.ly}
573 @tab -ih @tab -eh @tab -isih @tab -eseh
574 @item @file{english.ly}
575 @tab -qs @tab -qf @tab -tqs @tab -tqf
576 @item @file{espanol.ly}
577 @tab -cs @tab -cb @tab -tcs @tab -tcb
578 @item @file{italiano.ly}
579 @tab -sd @tab -sb @tab -dsd @tab -bsb
580 @item @file{portugues.ly}
581 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
594 @node Non-Western note names and accidentals
595 @unnumberedsubsubsec Non-Western note names and accidentals
597 Many non-Western musics (and some Western folk and
598 traditional musics) employ alternative or extended tuning
599 systems that do not fit readily into standard classical
602 In some cases standard notation is still used, with the
603 pitch differences being implicit. For example, Arabic
604 music is notated with standard semitone and quarter-tone
605 accidentals, with the precise pitch alterations being
606 determined by context. Others require extended or unique
609 @notation{Turkish classical music}, or Ottoman music,
610 employs melodic forms known as @notation{makamlar}, whose
611 intervals are based on 1/9 divisions of the whole tone.
612 From a modern notational point of view, it is convenient
613 to use the standard Western staff notes (c, d, e, ...)
614 with special accidentals unique to Turkish music. These
615 accidentals are defined in @file{makam.ly} (to locate this
616 file on your system, see
617 @rlearning{Other sources of information}). The following
618 table gives their names, the accidental suffix that must
619 be added to notes, and their pitch alteration as a
620 fraction of one whole tone.
622 @c TODO: can we include the actual accidentals in this table?
624 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
625 @headitem Accidental name
626 @tab suffix @tab pitch alteration
628 @item büyük mücenneb (sharp)
630 @item kücük mücenneb (sharp)
641 @item kücük mücenneb (flat)
643 @item büyük mücenneb (flat)
648 For further information on Turkish classical music and
649 makamlar, see @ref{Turkish classical music}.
654 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
658 @node Changing multiple pitches
659 @subsection Changing multiple pitches
661 This section discusses how to modify pitches.
669 @unnumberedsubsubsec Octave checks
671 @cindex octave correction
673 @cindex control pitch
676 @funindex \octaveCheck
677 @funindex octaveCheck
678 @funindex controlpitch
680 In relative mode, it is easy to forget an octave changing mark.
681 Octave checks make such errors easier to find by displaying a
682 warning and correcting the octave if a note is found in an
685 To check the octave of a note, specify the absolute octave after
686 the @code{=}@tie{}symbol. This example will generate a warning
687 (and change the pitch) because the second note is the absolute
688 octave @code{d''} instead of @code{d'} as indicated by the octave
691 @lilypond[verbatim,quote]
698 The octave of notes may also be checked with the
699 @code{\octaveCheck@tie{}@var{controlpitch}} command.
700 @code{@var{controlpitch}} is specified in absolute mode. This
701 checks that the interval between the previous note and the
702 @code{@var{controlpitch}} is within a fourth (i.e., the normal
703 calculation of relative mode). If this check fails, a warning is
704 printed, but the previous note is not changed. Future notes are
705 relative to the @code{@var{controlpitch}}.
707 @lilypond[verbatim,quote]
715 Compare the two bars below. The first and third @code{\octaveCheck}
716 checks fail, but the second one does not fail.
718 @lilypond[verbatim,quote]
738 @rinternals{RelativeOctaveCheck}.
742 @unnumberedsubsubsec Transpose
746 @cindex transposition
747 @cindex transposition of pitches
748 @cindex transposition of notes
749 @cindex pitches, transposition of
750 @cindex notes, transposition of
755 A music expression can be transposed with @code{\transpose}. The
759 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
763 This means that @code{@var{musicexpr}} is transposed by the
764 interval between the pitches @code{@var{frompitch}} and
765 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
766 is changed to @code{@var{topitch}} and any other note is
767 transposed by the same interval. Both pitches are entered in
770 @warning{Music inside a @code{@bs{}transpose} block is absolute
771 unless a @code{@bs{}relative} is included in the block.}
773 Consider a piece written in the key of D-major. It can be
774 transposed up to E-major; note that the key signature is
775 automatically transposed as well.
777 @lilypond[verbatim,quote]
786 @cindex transposing instruments
787 @cindex instruments, transposing
789 If a part written in C (normal @notation{concert pitch}) is to be
790 played on the A clarinet (for which an A is notated as a C and
791 thus sounds a minor third lower than notated), the appropriate
792 part will be produced with:
794 @lilypond[verbatim,quote]
804 Note that we specify @w{@code{\key c \major}} explicitly. If we
805 do not specify a key signature, the notes will be transposed but
806 no key signature will be printed.
808 @code{\transpose} distinguishes between enharmonic pitches: both
809 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
810 transpose up a semitone. The first version will print sharps and
811 the notes will remain on the same scale step, the second version
812 will print flats on the scale step above.
814 @lilypond[verbatim,quote]
815 music = \relative c' { c d e f }
817 \transpose c cis { \music }
818 \transpose c des { \music }
823 @code{\transpose} may also be used in a different way, to input
824 written notes for a transposing instrument. The previous examples
825 show how to enter pitches in C (or @notation{concert pitch}) and
826 typeset them for a transposing instrument, but the opposite is
827 also possible if you for example have a set of instrumental parts
828 and want to print a conductor's score. For example, when entering
829 music for a B-flat trumpet that begins on a notated E (concert D),
833 musicInBflat = @{ e4 @dots{} @}
834 \transpose c bes, \musicInBflat
838 To print this music in F (e.g., rearranging to a French horn) you
839 could wrap the existing music with another @code{\transpose}:
842 musicInBflat = @{ e4 @dots{} @}
843 \transpose f c' @{ \transpose c bes, \musicInBflat @}
847 For more information about transposing instruments,
848 see @ref{Instrument transpositions}.
853 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
854 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
859 @ref{Relative octave entry},
860 @ref{Instrument transpositions}.
866 @rinternals{TransposedMusic}.
878 The relative conversion will not affect @code{\transpose},
879 @code{\chordmode} or @code{\relative} sections in its argument.
880 To use relative mode within transposed music, an additional
881 @code{\relative} must be placed inside @code{\transpose}.
883 @node Displaying pitches
884 @subsection Displaying pitches
886 This section discusses how to alter the output of pitches.
892 * Instrument transpositions::
893 * Automatic accidentals::
899 @unnumberedsubsubsec Clef
911 @cindex mezzosoprano clef
912 @cindex baritone clef
913 @cindex varbaritone clef
917 @cindex clef, ancient
927 @cindex clef, soprano
928 @cindex clef, mezzosoprano
929 @cindex clef, baritone
930 @cindex clef, varbaritone
931 @cindex clef, subbass
937 The clef may be altered. Middle C is shown in every example. The
938 following clef names can (but do not need to) be enclosed in quotes.
940 @lilypond[verbatim,quote,relative=1]
953 @lilypond[verbatim,quote,relative=1]
974 \clef G % synonym for treble
976 \clef F % synonym for bass
978 \clef C % synonym for alto
982 @cindex transposing clef
983 @cindex clef, transposing
984 @cindex octave transposition
985 @cindex choral tenor clef
986 @cindex tenor clef, choral
988 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
989 clef is transposed one octave down or up respectively,
990 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
991 Other integers can be used if required. Clef names containing
992 non-alphabetic characters must be enclosed in quotes
994 @lilypond[verbatim,quote,relative=1]
1009 Some special purpose clefs are described in @ref{Mensural clefs},
1010 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1015 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1016 {tweaking-clef-properties.ly}
1021 @ref{Mensural clefs},
1022 @ref{Gregorian clefs},
1023 @ref{Default tablatures},
1024 @ref{Custom tablatures}.
1029 Internals Reference:
1030 @rinternals{Clef_engraver},
1032 @rinternals{OctavateEight},
1033 @rinternals{clef-interface}.
1037 @unnumberedsubsubsec Key signature
1039 @cindex key signature
1044 @c duplicated in Key signature and Accidentals
1045 @warning{New users are sometimes confused about accidentals and
1046 key signatures. In LilyPond, note names are the raw input; key
1047 signatures and clefs determine how this raw input is displayed.
1048 An unaltered note like@tie{}@code{c} means @q{C natural},
1049 regardless of the key signature or clef. For more information,
1050 see @rlearning{Accidentals and key signatures}.}
1052 The key signature indicates the tonality in which a piece is
1053 played. It is denoted by a set of alterations (flats or sharps)
1054 at the start of the staff. The key signature may be altered:
1057 \key @var{pitch} @var{mode}
1070 @funindex \mixolydian
1071 @funindex mixolydian
1079 @cindex church modes
1092 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1093 to get a key signature of @code{@var{pitch}}-major or
1094 @code{@var{pitch}}-minor, respectively. You may also use the
1095 standard mode names, also called @notation{church modes}:
1096 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1097 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1099 @lilypond[verbatim,quote,relative=2]
1109 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1110 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1112 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1113 {non-traditional-key-signatures.ly}
1118 @rglos{church mode},
1122 @rlearning{Accidentals and key signatures}.
1127 Internals Reference:
1128 @rinternals{KeyChangeEvent},
1129 @rinternals{Key_engraver},
1130 @rinternals{Key_performer},
1131 @rinternals{KeyCancellation},
1132 @rinternals{KeySignature},
1133 @rinternals{key-cancellation-interface},
1134 @rinternals{key-signature-interface}.
1137 @node Ottava brackets
1138 @unnumberedsubsubsec Ottava brackets
1146 @funindex set-octavation
1150 @notation{Ottava brackets} introduce an extra transposition of an
1151 octave for the staff:
1153 @lilypond[verbatim,quote,relative=2]
1169 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1180 Internals Reference:
1181 @rinternals{Ottava_spanner_engraver},
1182 @rinternals{OttavaBracket},
1183 @rinternals{ottava-bracket-interface}.
1186 @node Instrument transpositions
1187 @unnumberedsubsubsec Instrument transpositions
1189 @cindex transposition, MIDI
1190 @cindex transposition, instrument
1191 @cindex transposing instrument
1193 @cindex MIDI transposition
1195 @funindex \transposition
1196 @funindex transposition
1198 When typesetting scores that involve transposing instruments, some
1199 parts can be typeset in a different pitch than the
1200 @notation{concert pitch}. In these cases, the key of the
1201 @notation{transposing instrument} should be specified; otherwise
1202 the MIDI output and cues in other parts will produce incorrect
1203 pitches. For more information about quotations, see
1204 @ref{Quoting other voices}.
1207 \transposition @var{pitch}
1210 The pitch to use for @code{\transposition} should correspond to
1211 the real sound heard when a@tie{}@code{c'} written on the staff is
1212 played by the transposing instrument. This pitch is entered in
1213 absolute mode, so an instrument that produces a real sound which
1214 is one tone higher than the printed music should use
1215 @w{@code{\transposition d'}}. @code{\transposition} should
1216 @emph{only} be used if the pitches are @emph{not} being entered in
1219 Here are a few notes for violin and B-flat clarinet where the
1220 parts have been entered using the notes and key as they appear in
1221 each part of the conductor's score. The two instruments are
1224 @lilypond[verbatim,quote]
1226 \new Staff = "violin" {
1228 \set Staff.instrumentName = #"Vln"
1229 \set Staff.midiInstrument = #"violin"
1230 % not strictly necessary, but a good reminder
1237 \new Staff = "clarinet" {
1239 \set Staff.instrumentName = \markup { Cl (B\flat) }
1240 \set Staff.midiInstrument = #"clarinet"
1250 The @code{\transposition} may be changed during a piece. For
1251 example, a clarinetist may switch from an A clarinet to a B-flat
1254 @lilypond[verbatim,quote,relative=2]
1255 \set Staff.instrumentName = #"Cl (A)"
1260 s1*0^\markup { Switch to B\flat clarinet }
1271 @rglos{concert pitch},
1272 @rglos{transposing instrument}.
1275 @ref{Quoting other voices},
1282 @node Automatic accidentals
1283 @unnumberedsubsubsec Automatic accidentals
1285 @cindex accidental style
1286 @cindex accidental style, default
1288 @cindex accidentals, automatic
1289 @cindex automatic accidentals
1290 @cindex default accidental style
1292 @funindex set-accidental-style
1296 There are many different conventions on how to typeset
1297 accidentals. LilyPond provides a function to specify which
1298 accidental style to use. This function is called as follows:
1302 #(set-accidental-style 'voice)
1307 The accidental style applies to the current @code{Staff} by
1308 default (with the exception of the styles @code{piano} and
1309 @code{piano-cautionary}, which are explained below). Optionally,
1310 the function can take a second argument that determines in which
1311 scope the style should be changed. For example, to use the same
1312 style in all staves of the current @code{StaffGroup}, use:
1315 #(set-accidental-style 'voice 'StaffGroup)
1318 The following accidental styles are supported. To demonstrate
1319 each style, we use the following example:
1322 @lilypond[verbatim,quote]
1326 cis'8 fis, d'4 <a cis>8 f bis4 |
1340 \voiceTwo \relative c' {
1341 <fis, a cis>8 <fis a cis>
1344 \change Staff = down
1349 \change Staff = down
1350 <fis, a cis>4 gis <f a d>2 |
1357 \context Staff = "up" {
1358 #(set-accidental-style 'default)
1361 \context Staff = "down" {
1362 #(set-accidental-style 'default)
1369 Note that the last lines of this example can be replaced by the
1370 following, as long as the same accidental style should be used in
1376 \context Staff = "up" @{
1377 %%% change the next line as desired:
1378 #(set-accidental-style 'default 'Score)
1381 \context Staff = "down" @{
1389 @c don't use verbatim in this table.
1393 @cindex default accidental style
1394 @cindex accidental style, default
1398 This is the default typesetting behavior. It corresponds to
1399 eighteenth-century common practice: accidentals are remembered to
1400 the end of the measure in which they occur and only in their own
1401 octave. Thus, in the example below, no natural signs are printed
1402 before the@tie{}@code{b} in the second measure or the
1409 cis'8 fis, d'4 <a cis>8 f bis4 |
1423 \voiceTwo \relative c' {
1424 <fis, a cis>8 <fis a cis>
1427 \change Staff = down
1432 \change Staff = down
1433 <fis, a cis>4 gis <f a d>2 |
1440 \context Staff = "up" {
1441 #(set-accidental-style 'default)
1444 \context Staff = "down" {
1445 #(set-accidental-style 'default)
1454 @cindex accidental style, voice
1455 @cindex voice accidental style
1456 @cindex accidental style, modern
1457 @cindex modern accidental style
1458 @cindex accidental style, modern-cautionary
1459 @cindex modern-cautionary accidental style
1463 The normal behavior is to remember the accidentals at
1464 @code{Staff}-level. In this style, however, accidentals are
1465 typeset individually for each voice. Apart from that, the rule is
1466 similar to @code{default}.
1468 As a result, accidentals from one voice do not get canceled in
1469 other voices, which is often an unwanted result: in the following
1470 example, it is hard to determine whether the second@tie{}@code{a}
1471 should be played natural or sharp. The @code{voice} option should
1472 therefore be used only if the voices are to be read solely by
1473 individual musicians. If the staff is to be used by one musician
1474 (e.g., a conductor or in a piano score) then @code{modern} or
1475 @code{modern-cautionary} should be used instead.
1482 cis'8 fis, d'4 <a cis>8 f bis4 |
1496 \voiceTwo \relative c' {
1497 <fis, a cis>8 <fis a cis>
1500 \change Staff = down
1505 \change Staff = down
1506 <fis, a cis>4 gis <f a d>2 |
1513 \context Staff = "up" {
1514 #(set-accidental-style 'voice)
1517 \context Staff = "down" {
1518 #(set-accidental-style 'voice)
1527 @cindex accidentals, modern style
1528 @cindex modern style accidentals
1532 This rule corresponds to the common practice in the twentieth
1533 century. It prints the same accidentals as @code{default}, with
1534 two exceptions that serve to avoid ambiguity: after temporary
1535 accidentals, cancellation marks are printed also in the following
1536 measure (for notes in the same octave) and, in the same measure,
1537 for notes in other octaves. Hence the naturals before
1538 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1545 cis'8 fis, d'4 <a cis>8 f bis4 |
1559 \voiceTwo \relative c' {
1560 <fis, a cis>8 <fis a cis>
1563 \change Staff = down
1568 \change Staff = down
1569 <fis, a cis>4 gis <f a d>2 |
1576 \context Staff = "up" {
1577 #(set-accidental-style 'modern)
1580 \context Staff = "down" {
1581 #(set-accidental-style 'modern)
1588 @item modern-cautionary
1590 @cindex accidentals, modern cautionary style
1591 @cindex modern accidental style
1592 @cindex modern cautionary accidental style
1593 @cindex modern style accidentals
1594 @cindex modern style cautionary accidentals
1596 @funindex modern-cautionary
1598 This rule is similar to @code{modern}, but the @q{extra}
1599 accidentals (the ones not typeset by @code{default}) are typeset
1600 as cautionary accidentals. They are by default printed with
1601 parentheses, but they can also be printed in reduced size by
1602 defining the @code{cautionary-style} property of
1603 @code{AccidentalSuggestion}.
1609 cis'8 fis, d'4 <a cis>8 f bis4 |
1623 \voiceTwo \relative c' {
1624 <fis, a cis>8 <fis a cis>
1627 \change Staff = down
1632 \change Staff = down
1633 <fis, a cis>4 gis <f a d>2 |
1640 \context Staff = "up" {
1641 #(set-accidental-style 'modern-cautionary)
1644 \context Staff = "down" {
1645 #(set-accidental-style 'modern-cautionary)
1654 @cindex accidental style, modern
1655 @cindex accidentals, modern
1656 @cindex accidentals, multivoice
1657 @cindex modern accidental style
1658 @cindex modern accidentals
1659 @cindex multivoice accidentals
1661 @funindex modern-voice
1663 This rule is used for multivoice accidentals to be read both by
1664 musicians playing one voice and musicians playing all voices.
1665 Accidentals are typeset for each voice, but they @emph{are}
1666 canceled across voices in the same @code{Staff}. Hence,
1667 the@tie{}@code{a} in the last measure is canceled because the
1668 previous cancellation was in a different voice, and
1669 the@tie{}@code{d} in the lower staff is canceled because of the
1670 accidental in a different voice in the previous measure:
1676 cis'8 fis, d'4 <a cis>8 f bis4 |
1690 \voiceTwo \relative c' {
1691 <fis, a cis>8 <fis a cis>
1694 \change Staff = down
1699 \change Staff = down
1700 <fis, a cis>4 gis <f a d>2 |
1707 \context Staff = "up" {
1708 #(set-accidental-style 'modern-voice)
1711 \context Staff = "down" {
1712 #(set-accidental-style 'modern-voice)
1719 @cindex accidental style, cautionary, modern voice
1720 @cindex accidental style, modern voice cautionary
1721 @cindex accidental style, voice, modern cautionary
1723 @funindex modern-voice-cautionary
1725 @item modern-voice-cautionary
1727 This rule is the same as @code{modern-voice}, but with the extra
1728 accidentals (the ones not typeset by @code{voice}) typeset as
1729 cautionaries. Even though all accidentals typeset by
1730 @code{default} @emph{are} typeset with this rule, some of them are
1731 typeset as cautionaries.
1737 cis'8 fis, d'4 <a cis>8 f bis4 |
1751 \voiceTwo \relative c' {
1752 <fis, a cis>8 <fis a cis>
1755 \change Staff = down
1760 \change Staff = down
1761 <fis, a cis>4 gis <f a d>2 |
1768 \context Staff = "up" {
1769 #(set-accidental-style 'modern-voice-cautionary)
1772 \context Staff = "down" {
1773 #(set-accidental-style 'modern-voice-cautionary)
1782 @cindex accidental style, piano
1783 @cindex accidentals, piano
1784 @cindex piano accidental style
1785 @cindex piano accidentals
1789 This rule reflects twentieth-century practice for piano notation.
1790 Its behavior is very similar to @code{modern} style, but here
1791 accidentals also get canceled across the staves in the same
1792 @code{GrandStaff} or @code{PianoStaff}, hence all the
1793 cancellations of the final notes.
1795 This accidental style applies to the current @code{GrandStaff} or
1796 @code{PianoStaff} by default.
1802 cis'8 fis, d'4 <a cis>8 f bis4 |
1816 \voiceTwo \relative c' {
1817 <fis, a cis>8 <fis a cis>
1820 \change Staff = down
1825 \change Staff = down
1826 <fis, a cis>4 gis <f a d>2 |
1833 \context Staff = "up" {
1834 #(set-accidental-style 'piano)
1837 \context Staff = "down" {
1844 @item piano-cautionary
1846 @cindex accidentals, piano cautionary
1847 @cindex cautionary accidentals, piano
1848 @cindex piano cautionary accidentals
1849 @cindex accidental style, piano cautionary
1850 @cindex cautionary accidental style, piano
1851 @cindex piano cautionary accidental style
1853 @funindex piano-cautionary
1855 This is the same as @code{piano} but with the extra accidentals
1856 typeset as cautionaries.
1862 cis'8 fis, d'4 <a cis>8 f bis4 |
1876 \voiceTwo \relative c' {
1877 <fis, a cis>8 <fis a cis>
1880 \change Staff = down
1885 \change Staff = down
1886 <fis, a cis>4 gis <f a d>2 |
1893 \context Staff = "up" {
1894 #(set-accidental-style 'piano-cautionary)
1897 \context Staff = "down" {
1907 @cindex neo-modern accidental style
1908 @cindex accidental style, neo-modern
1910 @funindex neo-modern
1912 This rule reproduces a common practice in contemporary music:
1913 accidentals are printed like with @code{modern}, but they are printed
1914 again if the same note appears later in the same measure -- except
1915 if the note is immediately repeated.
1921 cis'8 fis, d'4 <a cis>8 f bis4 |
1935 \voiceTwo \relative c' {
1936 <fis, a cis>8 <fis a cis>
1939 \change Staff = down
1944 \change Staff = down
1945 <fis, a cis>4 gis <f a d>2 |
1952 \context Staff = "up" {
1953 #(set-accidental-style 'neo-modern)
1956 \context Staff = "down" {
1957 #(set-accidental-style 'neo-modern)
1964 @item neo-modern-cautionary
1966 @cindex neo-modern-cautionary accidental style
1967 @cindex accidental style, neo-modern-cautionary
1969 @funindex neo-modern-cautionary
1971 This rule is similar to @code{neo-modern}, but the extra
1972 accidentals are printed as cautionary accidentals.
1978 cis'8 fis, d'4 <a cis>8 f bis4 |
1992 \voiceTwo \relative c' {
1993 <fis, a cis>8 <fis a cis>
1996 \change Staff = down
2001 \change Staff = down
2002 <fis, a cis>4 gis <f a d>2 |
2009 \context Staff = "up" {
2010 #(set-accidental-style 'neo-modern-cautionary)
2013 \context Staff = "down" {
2014 #(set-accidental-style 'neo-modern-cautionary)
2022 @item neo-modern-voice
2024 @cindex neo-modern-voice accidental style
2025 @cindex accidental style, neo-modern-voice
2027 @funindex neo-modern-voice
2029 This rule is used for multivoice accidentals to be read both by
2030 musicians playing one voice and musicians playing all voices.
2031 Accidentals are typeset for each voice as with @code{neo-modern},
2032 but they are canceled across voices in the same @code{Staff}.
2038 cis'8 fis, d'4 <a cis>8 f bis4 |
2052 \voiceTwo \relative c' {
2053 <fis, a cis>8 <fis a cis>
2056 \change Staff = down
2061 \change Staff = down
2062 <fis, a cis>4 gis <f a d>2 |
2069 \context Staff = "up" {
2070 #(set-accidental-style 'neo-modern-voice)
2073 \context Staff = "down" {
2074 #(set-accidental-style 'neo-modern-voice)
2081 @item neo-modern-voice-cautionary
2083 @cindex neo-modern-voice-cautionary accidental style
2084 @cindex accidental style, neo-modern-voice-cautionary
2086 @funindex neo-modern-voice-cautionary
2088 This rule is similar to @code{neo-modern-voice}, but the extra
2089 accidentals are printed as cautionary accidentals.
2095 cis'8 fis, d'4 <a cis>8 f bis4 |
2109 \voiceTwo \relative c' {
2110 <fis, a cis>8 <fis a cis>
2113 \change Staff = down
2118 \change Staff = down
2119 <fis, a cis>4 gis <f a d>2 |
2126 \context Staff = "up" {
2127 #(set-accidental-style 'neo-modern-voice-cautionary)
2130 \context Staff = "down" {
2131 #(set-accidental-style 'neo-modern-voice-cautionary)
2140 @cindex dodecaphonic accidental style
2141 @cindex dodecaphonic style, neo-modern
2143 @funindex dodecaphonic
2145 This rule reflects a practice introduced by composers at
2146 the beginning of the 20th century, in an attempt to
2147 abolish the hierarchy between natural and non-natural notes.
2148 With this style, @emph{every} note gets an accidental sign,
2149 including natural signs.
2155 cis'8 fis, d'4 <a cis>8 f bis4 |
2169 \voiceTwo \relative c' {
2170 <fis, a cis>8 <fis a cis>
2173 \change Staff = down
2178 \change Staff = down
2179 <fis, a cis>4 gis <f a d>2 |
2186 \context Staff = "up" {
2187 #(set-accidental-style 'dodecaphonic)
2190 \context Staff = "down" {
2191 #(set-accidental-style 'dodecaphonic)
2201 @cindex teaching accidental style
2202 @cindex accidental style, teaching
2206 This rule is intended for students, and makes it easy to create
2207 scale sheets with automagically created cautionary accidentals.
2208 Accidentals are printed like with @code{modern}, but cautionary
2209 accidentals are added for all sharp or flat tones specified by the
2210 key signature, except if the note is immediately repeated.
2216 cis'8 fis, d'4 <a cis>8 f bis4 |
2230 \voiceTwo \relative c' {
2231 <fis, a cis>8 <fis a cis>
2234 \change Staff = down
2239 \change Staff = down
2240 <fis, a cis>4 gis <f a d>2 |
2247 \context Staff = "up" {
2249 #(set-accidental-style 'teaching)
2252 \context Staff = "down" {
2254 #(set-accidental-style 'teaching)
2265 @cindex accidental style, no reset
2266 @cindex no reset accidental style
2270 This is the same as @code{default} but with accidentals lasting
2271 @q{forever} and not only within the same measure:
2277 cis'8 fis, d'4 <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 #(set-accidental-style 'no-reset)
2312 \context Staff = "down" {
2313 #(set-accidental-style 'no-reset)
2322 @cindex forget accidental style
2323 @cindex accidental style, forget
2327 This is the opposite of @code{no-reset}: Accidentals are not
2328 remembered at all -- and hence all accidentals are typeset
2329 relative to the key signature, regardless of what came before in
2330 the music. Unlike @code{dodecaphonic}, this rule never prints
2337 cis'8 fis, d'4 <a cis>8 f bis4 |
2351 \voiceTwo \relative c' {
2352 <fis, a cis>8 <fis a cis>
2355 \change Staff = down
2360 \change Staff = down
2361 <fis, a cis>4 gis <f a d>2 |
2368 \context Staff = "up" {
2369 #(set-accidental-style 'forget)
2372 \context Staff = "down" {
2373 #(set-accidental-style 'forget)
2383 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2384 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2391 Internals Reference:
2392 @rinternals{Accidental},
2393 @rinternals{Accidental_engraver},
2394 @rinternals{GrandStaff},
2395 @rinternals{PianoStaff},
2397 @rinternals{AccidentalSuggestion},
2398 @rinternals{AccidentalPlacement},
2399 @rinternals{accidental-suggestion-interface}.
2402 @cindex accidentals and simultaneous notes
2403 @cindex simultaneous notes and accidentals
2404 @cindex accidentals in chords
2405 @cindex chords, accidentals in
2409 Simultaneous notes are considered to be entered in sequential
2410 mode. This means that in a chord the accidentals are typeset as
2411 if the notes in the chord happen one at a time, in the order in
2412 which they appear in the input file. This is a problem when
2413 accidentals in a chord depend on each other, which does not happen
2414 for the default accidental style. The problem can be solved by
2415 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2419 Cautionary cancellation of accidentals is done by looking at previous measure.
2420 However, in the @code{\alternative} block following a @code{\repeat volta N}
2421 section, one would expect the cancellation being calculated using the previous
2422 @emph{played} measure, not previous @emph{printed} measure.
2423 In the following example, the natural @code{c} in the second alternative does
2424 not need a natural sign:
2428 #(set-accidental-style 'modern)
2440 The following work-around can be used: define a function that locally changes
2441 the accidental style to @code{forget}:
2443 @lilypond[verbatim,quote]
2444 forget = #(define-music-function (parser location music) (ly:music?) #{
2445 #(set-accidental-style 'forget)
2447 #(set-accidental-style 'modern)
2450 #(set-accidental-style 'modern)
2463 @unnumberedsubsubsec Ambitus
2466 @cindex range of pitches
2469 The term @notation{ambitus} (pl. ambitus) denotes a range of
2470 pitches for a given voice in a part of music. It may also denote
2471 the pitch range that a musical instrument is capable of playing.
2472 Ambitus are printed on vocal parts so that performers can easily
2473 determine if it matches their capabilities.
2475 Ambitus are denoted at the beginning of a piece near the initial
2476 clef. The range is graphically specified by two note heads that
2477 represent the lowest and highest pitches. Accidentals are only
2478 printed if they are not part of the key signature.
2480 @lilypond[verbatim,quote]
2484 \consists "Ambitus_engraver"
2497 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2498 {adding-ambitus-per-voice.ly}
2500 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2501 {ambitus-with-multiple-voices.ly}
2503 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2504 {changing-the-ambitus-gap.ly}
2514 Internals Reference:
2515 @rinternals{Ambitus_engraver},
2518 @rinternals{Ambitus},
2519 @rinternals{AmbitusAccidental},
2520 @rinternals{AmbitusLine},
2521 @rinternals{AmbitusNoteHead},
2522 @rinternals{ambitus-interface}.
2527 There is no collision handling in the case of multiple per-voice
2532 @subsection Note heads
2534 This section suggests ways of altering note heads.
2537 * Special note heads::
2538 * Easy notation note heads::
2539 * Shape note heads::
2543 @node Special note heads
2544 @unnumberedsubsubsec Special note heads
2546 @cindex note heads, special
2547 @cindex note heads, cross
2548 @cindex note heads, diamond
2549 @cindex note heads, parlato
2550 @cindex note heads, harmonic
2551 @cindex note heads, guitar
2552 @cindex special note heads
2553 @cindex cross note heads
2554 @cindex diamond note heads
2555 @cindex parlato note heads
2556 @cindex harmonic note heads
2557 @cindex guitar note heads
2558 @cindex note head styles
2559 @cindex styles, note heads
2563 The appearance of note heads may be altered:
2565 @lilypond[verbatim,quote,relative=2]
2567 \override NoteHead #'style = #'cross
2569 \revert NoteHead #'style
2571 \override NoteHead #'style = #'harmonic
2573 \revert NoteHead #'style
2577 To see all note head styles, see @ref{Note head styles}.
2579 The @code{cross} style is used to represent a variety of musical
2580 intentions. The following generic predefined commands modify the
2581 note head in both staff and tablature contexts and can be used to
2582 represent any musical meaning:
2584 @lilypond[verbatim,quote,relative=2]
2592 The music function form of this predefined command may be used
2593 inside and outside chords to generate crossed note heads in both
2594 staff and tablature contexts:
2596 @lilypond[verbatim,quote,relative=2]
2599 c b < g \xNote c f > b
2602 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2603 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2604 be used. The term @notation{dead note} is commonly used by guitarists.
2606 There is also a shorthand for diamond shapes which can be used
2609 @lilypond[verbatim,quote,relative=2]
2610 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2625 @ref{Note head styles},
2626 @ref{Chorded notes},
2627 @ref{Indicating harmonics and dampened notes}.
2629 Internals Reference:
2630 @rinternals{note-event},
2631 @rinternals{Note_heads_engraver},
2632 @rinternals{Ledger_line_engraver},
2633 @rinternals{NoteHead},
2634 @rinternals{LedgerLineSpanner},
2635 @rinternals{note-head-interface},
2636 @rinternals{ledger-line-spanner-interface}.
2639 @node Easy notation note heads
2640 @unnumberedsubsubsec Easy notation note heads
2642 @cindex note heads, practice
2643 @cindex practice note heads
2644 @cindex note heads, easy notation
2645 @cindex easy notation
2646 @cindex beginners' music
2647 @cindex music, beginners'
2648 @cindex easy play note heads
2649 @cindex note heads, easy play
2651 @funindex \easyHeadsOn
2652 @funindex easyHeadsOn
2653 @funindex \easyHeadsOff
2654 @funindex easyHeadsOff
2656 The @q{easy play} note head includes a note name inside the head.
2657 It is used in music for beginners. To make the letters readable,
2658 it should be printed in a large font size. To print with a larger
2659 font, see @ref{Setting the staff size}.
2661 @lilypond[verbatim,quote]
2662 #(set-global-staff-size 26)
2674 @code{\easyHeadsOn},
2675 @code{\easyHeadsOff}.
2681 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2682 {numbers-as-easy-note-heads.ly}
2687 @ref{Setting the staff size}.
2692 Internals Reference:
2693 @rinternals{note-event},
2694 @rinternals{Note_heads_engraver},
2695 @rinternals{NoteHead},
2696 @rinternals{note-head-interface}.
2699 @node Shape note heads
2700 @unnumberedsubsubsec Shape note heads
2702 @cindex note heads, shape
2703 @cindex note heads, Aiken
2704 @cindex note heads, sacred harp
2706 @cindex Aiken shape note heads
2707 @cindex sacred harp note heads
2708 @cindex note heads, Southern Harmony
2709 @cindex Southern Harmony note heads
2710 @cindex Funk shape note heads
2711 @cindex note heads, Funk
2712 @cindex note heads, Harmonica Sacra
2713 @cindex Harmonica Sacra note heads
2714 @cindex Christian Harmony note heads
2715 @cindex note heads, Christian Harmony
2716 @cindex Walker shape note heads
2717 @cindex note heads, Walker
2719 @funindex \aikenHeads
2720 @funindex aikenHeads
2721 @funindex \sacredHarpHeads
2722 @funindex sacredHarpHeads
2723 @funindex \southernHarmonyHeads
2724 @funindex southernHarmonyHeads
2725 @funindex \funkHeads
2727 @funindex \walkerHeads
2728 @funindex walkerHeads
2730 In shape note head notation, the shape of the note head
2731 corresponds to the harmonic function of a note in the scale. This
2732 notation was popular in nineteenth-century American song books.
2733 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2734 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2736 @lilypond[verbatim,quote,relative=2]
2738 c, d e f g2 a b1 c \break
2740 c,4 d e f g2 a b1 c \break
2741 \southernHarmonyHeads
2742 c,4 d e f g2 a b1 c \break
2744 c,4 d e f g2 a b1 c \break
2746 c,4 d e f g2 a b1 c \break
2751 @funindex \aikenHeadsMinor
2752 @funindex aikenHeadsMinor
2753 @funindex \sacredHarpHeadsMinor
2754 @funindex sacredHarpHeadsMinor
2755 @funindex \southernHarmonyHeadsMinor
2756 @funindex southernHarmonyHeadsMinor
2757 @funindex \funkHeadsMinor
2758 @funindex funkHeadsMinor
2759 @funindex \walkerHeadsMinor
2760 @funindex walkerHeadsMinor
2762 Shapes are typeset according to the step in the scale, where the base
2763 of the scale is determined by the @code{\key} command. When writing
2764 in a minor key, the scale step can be determined from the relative
2767 @lilypond[verbatim,quote,relative=2]
2770 a b c d e2 f g1 a \break
2772 a,4 b c d e2 f g1 a \break
2773 \sacredHarpHeadsMinor
2775 \southernHarmonyHeadsMinor
2787 @code{\aikenHeadsMinor},
2789 @code{\funkHeadsMinor},
2790 @code{\sacredHarpHeads},
2791 @code{\sacredHarpHeadsMinor},
2792 @code{\southernHarmonyHeads},
2793 @code{\southernHarmonyHeadsMinor},
2794 @code{\walkerHeads},
2795 @code{\walkerHeadsMinor}.
2801 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2802 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2804 To see all note head styles, see @ref{Note head styles}.
2812 @ref{Note head styles}.
2814 Internals Reference:
2815 @rinternals{note-event},
2816 @rinternals{Note_heads_engraver},
2817 @rinternals{NoteHead},
2818 @rinternals{note-head-interface}.
2822 @unnumberedsubsubsec Improvisation
2824 @cindex improvisation
2825 @cindex slashed note heads
2826 @cindex note heads, improvisation
2827 @cindex note heads, slashed
2829 @funindex \improvisationOn
2830 @funindex improvisationOn
2831 @funindex \improvisationOff
2832 @funindex improvisationOff
2834 Improvisation is sometimes denoted with slashed note heads, where
2835 the performer may choose any pitch but should play the specified
2836 rhythm. Such note heads can be created:
2838 @lilypond[verbatim,quote,relative=2]
2840 \consists "Pitch_squash_engraver"
2842 e8 e g a a16( bes) a8 g
2854 @code{\improvisationOn},
2855 @code{\improvisationOff}.
2863 Internals Reference:
2864 @rinternals{Pitch_squash_engraver},
2866 @rinternals{RhythmicStaff}.