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'
7 Guide, node Updating translation committishes..
16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
99 @node Relative octave entry
100 @unnumberedsubsubsec Relative octave entry
103 @cindex relative octave entry
104 @cindex octave entry, relative
105 @cindex relative octave specification
106 @cindex octave specification, relative
111 When octaves are specified in absolute mode it is easy to
112 accidentally put a pitch in the wrong octave. Relative octave
113 mode reduces these errors since most of the time it is not
114 necessary to indicate any octaves at all. Furthermore, in
115 absolute mode a single mistake may be difficult to spot, while in
116 relative mode a single error puts the rest of the piece off by one
120 \relative @var{startpitch} @var{musicexpr}
123 In relative mode, each note is assumed to be as close to the
124 previous note as possible. This means that the octave of each
125 pitch inside @code{@var{musicexpr}} is calculated as follows:
129 If no octave changing mark is used on a pitch, its octave is
130 calculated so that the interval with the previous note is less
131 than a fifth. This interval is determined without considering
135 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
136 added to respectively raise or lower a pitch by an extra octave,
137 relative to the pitch calculated without an octave mark.
140 Multiple octave changing marks can be used. For example,
141 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
145 The pitch of the first note is relative to
146 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
147 absolute octave mode, and it is recommended that it be a octave of
151 Here is the relative mode shown in action:
153 @lilypond[verbatim,quote]
162 Octave changing marks are used for intervals greater than a
165 @lilypond[verbatim,quote]
172 A note sequence without a single octave mark can nevertheless span
175 @lilypond[verbatim,quote]
182 When @code{\relative} blocks are nested, the innermost
183 @code{\relative} block applies.
185 @lilypond[verbatim,quote]
194 @code{\relative} has no effect on @code{\chordmode} blocks.
196 @lilypond[verbatim,quote]
205 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
207 Music inside a @code{\transpose} block is absolute unless a
208 @code{\relative} is included.
210 @lilypond[verbatim,quote]
223 @cindex chords and relative octave entry
224 @cindex relative octave entry and chords
226 If the preceding item is a chord, the first note of the chord is
227 used as the reference point for the octave placement of a
228 following note or chord. Inside chords, the next note is always
229 relative to the preceding one. Examine the next example
230 carefully, paying attention to the @code{c} notes.
232 @lilypond[verbatim,quote]
241 As explained above, the octave of pitches is calculated only with
242 the note names, regardless of any alterations. Therefore, an
243 E-double-sharp following a B will be placed higher, while an
244 F-double-flat will be placed lower. In other words, a
245 double-augmented fourth is considered a smaller interval than a
246 double-diminished fifth, regardless of the number of semitones
247 that each interval contains.
249 @lilypond[verbatim,quote]
272 @rinternals{RelativeOctaveMusic}.
275 @cindex relative octave entry and transposition
276 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
295 @unnumberedsubsubsec Accidentals
298 @cindex key signature
301 @c duplicated in Key signature and Accidentals
302 @warning{New users are sometimes confused about accidentals and
303 key signatures. In LilyPond, note names are the raw input; key
304 signatures and clefs determine how this raw input is displayed.
305 An unaltered note like@tie{}@code{c} means @q{C natural},
306 regardless of the key signature or clef. For more information,
307 see @rlearning{Accidentals and key signatures}.}
309 @cindex note names, Dutch
310 @cindex note names, default
311 @cindex default note names
315 @cindex sharp, double
319 @cindex natural pitch
321 A @notation{sharp} pitch is made by adding @code{is} to the note
322 name, and a @notation{flat} pitch by adding @code{es}. As you
323 might expect, a @notation{double sharp} or @notation{double flat}
324 is made by adding @code{isis} or @code{eses}. This syntax is
325 derived from Dutch note naming conventions. To use other names
326 for accidentals, see @ref{Note names in other languages}.
328 @lilypond[verbatim,quote,relative=2]
332 A natural will cancel the effect of an accidental or key
333 signature. However, naturals are not encoded into the note name
334 syntax with a suffix; a natural pitch is shown as a simple note
337 @lilypond[verbatim,quote,relative=2]
341 @cindex quarter tones
345 Quarter tones may be added; the following is a series of Cs with
348 @lilypond[verbatim,quote,relative=2]
349 ceseh1 ces ceh c cih cis cisih
354 @cindex accidental, reminder
355 @cindex accidental, cautionary
356 @cindex accidental, parenthesized
357 @cindex reminder accidental
358 @cindex cautionary accidental
359 @cindex parenthesized accidental
365 Normally accidentals are printed automatically, but you may also
366 print them manually. A reminder accidental can be forced by
367 adding an exclamation mark@tie{}@code{!} after the pitch. A
368 cautionary accidental (i.e., an accidental within parentheses) can
369 be obtained by adding the question mark@tie{}@code{?} after the
370 pitch. These extra accidentals can also be used to produce
373 @lilypond[verbatim,quote,relative=2]
374 cis cis cis! cis? c c c! c?
377 @cindex accidental on tied note
378 @cindex tied note, accidental
380 Accidentals on tied notes are only printed at the beginning of a
383 @lilypond[verbatim,quote,relative=2]
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
393 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
395 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
396 {preventing-extra-naturals-from-being-automatically-added.ly}
402 @rglos{double sharp},
405 @rglos{quarter tone}.
408 @rlearning{Accidentals and key signatures}.
411 @ref{Automatic accidentals},
412 @ref{Annotational accidentals (musica ficta)},
413 @ref{Note names in other languages}.
419 @rinternals{Accidental_engraver},
420 @rinternals{Accidental},
421 @rinternals{AccidentalCautionary},
422 @rinternals{accidental-interface}.
425 @cindex accidental, quarter-tone
426 @cindex quarter-tone accidental
430 There are no generally accepted standards for denoting
431 quarter-tone accidentals, so LilyPond's symbol does not conform to
436 @node Note names in other languages
437 @unnumberedsubsubsec Note names in other languages
439 @cindex note names, other languages
440 @cindex pitch names, other languages
441 @cindex language, note names in other
442 @cindex language, pitch names in other
444 There are predefined sets of note and accidental names for various
445 other languages. Selecting the note name language is usually done
446 at the beginning of the file; the following example is written
447 using Italian note names:
449 @lilypond[quote,verbatim]
457 The available languages and the note names they define are:
460 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
463 @item @code{nederlands}
464 @tab c d e f g a bes b
466 @tab do re mi fa sol la sib si
470 @tab c d e f g a bf b
472 @tab do re mi fa sol la sib si
473 @item @code{italiano}
474 @tab do re mi fa sol la sib si
477 @item @code{portugues}
478 @tab do re mi fa sol la sib si
484 @tab do re mi fa sol la sib si
488 In addition to note names, accidental suffixes may
489 also vary depending on the language:
492 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
494 @tab sharp @tab flat @tab double sharp @tab double flat
495 @item @code{nederlands}
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
500 @tab -is @tab -es @tab -isis @tab -eses
502 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
505 @tab -s @tab -b @tab -ss/-x @tab -bb
506 @item @code{italiano}
507 @tab -d @tab -b @tab -dd @tab -bb
509 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
511 @item @code{portugues}
512 @tab -s @tab -b @tab -ss @tab -bb
514 @tab -is @tab -es @tab -isis @tab -eses
516 @tab -iss @tab -ess @tab -ississ @tab -essess
518 @tab -k @tab -b @tab -kk @tab -bb
522 In Dutch, @code{aes} is contracted to @code{as}, but both forms
523 are accepted in LilyPond. Similarly, both @code{es} and
524 @code{ees} are accepted. This also applies to
525 @code{aeses}@tie{}/@tie{}@code{ases} and
526 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
527 contracted names are defined in the corresponding language files.
529 @lilypond[verbatim,quote,relative=2]
530 a2 as e es a ases e eses
540 Some music uses microtones whose alterations are fractions of a
541 @q{normal} sharp or flat. The following table lists note names
542 for quarter-tone accidentals in various languages; here the prefixes
543 @notation{semi-} and @notation{sesqui-} respectively
544 mean @q{half} and @q{one and a half}. Languages that do not
545 appear in this table do not provide special note names yet.
548 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
550 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
552 @item @code{nederlands}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
555 @tab -ih @tab -eh @tab -isih @tab -eseh
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @code{italiano}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @code{portugues}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
567 Most languages presented here are commonly associated with
568 Western classical music, also referred to as
569 @notation{Common Practice Period}. However, alternate
570 pitches and tuning systems are also supported: see
571 @ref{Common notation for non-Western music}.
577 @rglos{Common Practice Period}.
580 @ref{Common notation for non-Western music}.
583 @file{scm/define-note-names.scm}.
589 @node Changing multiple pitches
590 @subsection Changing multiple pitches
592 This section discusses how to modify pitches.
598 * Modal transformations::
602 @unnumberedsubsubsec Octave checks
604 @cindex octave correction
606 @cindex control pitch
609 @funindex \octaveCheck
610 @funindex octaveCheck
611 @funindex controlpitch
613 In relative mode, it is easy to forget an octave changing mark.
614 Octave checks make such errors easier to find by displaying a
615 warning and correcting the octave if a note is found in an
618 To check the octave of a note, specify the absolute octave after
619 the @code{=}@tie{}symbol. This example will generate a warning
620 (and change the pitch) because the second note is the absolute
621 octave @code{d''} instead of @code{d'} as indicated by the octave
624 @lilypond[verbatim,quote]
631 The octave of notes may also be checked with the
632 @code{\octaveCheck@tie{}@var{controlpitch}} command.
633 @code{@var{controlpitch}} is specified in absolute mode. This
634 checks that the interval between the previous note and the
635 @code{@var{controlpitch}} is within a fourth (i.e., the normal
636 calculation of relative mode). If this check fails, a warning is
637 printed, but the previous note is not changed. Future notes are
638 relative to the @code{@var{controlpitch}}.
640 @lilypond[verbatim,quote]
648 Compare the two bars below. The first and third @code{\octaveCheck}
649 checks fail, but the second one does not fail.
651 @lilypond[verbatim,quote]
671 @rinternals{RelativeOctaveCheck}.
675 @unnumberedsubsubsec Transpose
679 @cindex transposition
680 @cindex transposition of pitches
681 @cindex transposition of notes
682 @cindex pitches, transposition of
683 @cindex notes, transposition of
688 A music expression can be transposed with @code{\transpose}. The
692 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
696 This means that @code{@var{musicexpr}} is transposed by the
697 interval between the pitches @code{@var{frompitch}} and
698 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
699 is changed to @code{@var{topitch}} and any other note is
700 transposed by the same interval. Both pitches are entered in
703 @warning{Music inside a @code{@bs{}transpose} block is absolute
704 unless a @code{@bs{}relative} is included in the block.}
706 Consider a piece written in the key of D-major. It can be
707 transposed up to E-major; note that the key signature is
708 automatically transposed as well.
710 @lilypond[verbatim,quote]
719 @cindex transposing instruments
720 @cindex instruments, transposing
722 If a part written in C (normal @notation{concert pitch}) is to be
723 played on the A clarinet (for which an A is notated as a C and
724 thus sounds a minor third lower than notated), the appropriate
725 part will be produced with:
727 @lilypond[verbatim,quote]
737 Note that we specify @w{@code{\key c \major}} explicitly. If we
738 do not specify a key signature, the notes will be transposed but
739 no key signature will be printed.
741 @code{\transpose} distinguishes between enharmonic pitches: both
742 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
743 transpose up a semitone. The first version will print sharps and
744 the notes will remain on the same scale step, the second version
745 will print flats on the scale step above.
747 @lilypond[verbatim,quote]
748 music = \relative c' { c d e f }
750 \transpose c cis { \music }
751 \transpose c des { \music }
756 @code{\transpose} may also be used in a different way, to input
757 written notes for a transposing instrument. The previous examples
758 show how to enter pitches in C (or @notation{concert pitch}) and
759 typeset them for a transposing instrument, but the opposite is
760 also possible if you for example have a set of instrumental parts
761 and want to print a conductor's score. For example, when entering
762 music for a B-flat trumpet that begins on a notated E (concert D),
766 musicInBflat = @{ e4 @dots{} @}
767 \transpose c bes, \musicInBflat
771 To print this music in F (e.g., rearranging to a French horn) you
772 could wrap the existing music with another @code{\transpose}:
775 musicInBflat = @{ e4 @dots{} @}
776 \transpose f c' @{ \transpose c bes, \musicInBflat @}
780 For more information about transposing instruments,
781 see @ref{Instrument transpositions}.
786 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
787 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
792 @ref{Relative octave entry},
793 @ref{Modal transformations},
794 @ref{Instrument transpositions}.
800 @rinternals{TransposedMusic}.
812 The relative conversion will not affect @code{\transpose},
813 @code{\chordmode} or @code{\relative} sections in its argument.
814 To use relative mode within transposed music, an additional
815 @code{\relative} must be placed inside @code{\transpose}.
818 @unnumberedsubsubsec Inversion
821 @cindex operation, inversion
824 A music expression can be inverted with:
827 \inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
830 The @code{@var{musicexpr}} is inverted interval-by-interval,
831 and then transposed so that @code{@var{from-pitch}} is mapped
832 to @code{@var{to-pitch}}.
834 @lilypond[verbatim,quote]
835 music = \relative c' { c d e f }
838 \inversion d' d' \music
839 \inversion d' ees' \music
843 @node Modal transformations
844 @unnumberedsubsubsec Modal transformations
846 @cindex modal transformations
847 @cindex transformations, modal
848 @cindex operations, modal
850 In a musical composition that is based on a scale, a motif is
851 frequently transformed in various ways. It may be
852 @notation{transposed} to start at different places in the scale, it
853 may be @notation{inverted} around a pivot point in the scale, and/or
854 it may be converted to its @notation{retrograde} (written backwards).
856 @warning{Any note that does not lie within the given scale will be
859 @subsubheading Modal transposition
861 @cindex modal transposition
862 @cindex transposition, modal
863 @cindex operation, transposition
864 @funindex \modalTranspose
865 @funindex modalTranspose
867 A motif can be transposed within a given scale with:
870 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
873 The notes of @var{motif} are shifted within the @var{scale} by the
874 number of scale degrees given by the interval between @var{to-pitch}
875 and @var{from-pitch}:
877 @lilypond[verbatim,quote]
878 diatonicScale = \relative c' { c d e f g a b }
879 motif = \relative c' { c8 d e f g a b c }
883 \modalTranspose c f \diatonicScale \motif
884 \modalTranspose c b, \diatonicScale \motif
888 An ascending scale of any length and with any intervals may be
891 @lilypond[verbatim,quote]
892 pentatonicScale = \relative c' { ges aes bes des ees }
893 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
897 \modalTranspose ges ees' \pentatonicScale \motif
901 When used with a chromatic scale @code{\modalTranspose} has a
902 similar effect to @code{\transpose}, but with the ability to
903 specify the names of the notes to be used:
905 @lilypond[verbatim,quote]
906 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
907 motif = \relative c' { c8 d e f g a b c }
911 \transpose c f \motif
912 \modalTranspose c f \chromaticScale \motif
916 @subsubheading Modal inversion
918 @cindex modal inversion
919 @cindex inversion, modal
920 @cindex operation, modal inversion
921 @funindex \modalInversion
922 @funindex modalInversion
924 A motif can be inverted within a given scale around a given pivot
925 note and transposed in a single operation with:
928 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
931 The notes of @var{motif} are placed the same number of scale degrees
932 from the @var{around-pitch} note within the @var{scale}, but in the
933 opposite direction, and the result is then shifted within the
934 @var{scale} by the number of scale degrees given by the interval between
935 @var{to-pitch} and @var{around-pitch}.
937 So to simply invert around a note in the scale use the same value for
938 @var{around-pitch} and @var{to-pitch}:
940 @lilypond[verbatim,quote]
941 octatonicScale = \relative c' { ees f fis gis a b c d }
942 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
946 \modalInversion fis' fis' \octatonicScale \motif
950 To invert around a pivot between two notes in the scale, invert around
951 one of the notes and then transpose by one scale degree. The two notes
952 specified can be interpreted as bracketing the pivot point:
954 @lilypond[verbatim,quote]
955 scale = \relative c' { c g' }
956 motive = \relative c' { c c g' c, }
960 \modalInversion c' g' \scale \motive
965 @subsubheading Retrograde transformation
967 @cindex retrograde transformation
968 @cindex transformation, retrograde
969 @cindex operation, retrograde
970 @funindex \retrograde
973 A motif can be reversed to produce its retrograde:
975 @lilypond[verbatim,quote]
976 motif = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
984 The combined operation of inversion and retrograde produce the
985 retrograde-inversion:
987 @lilypond[verbatim,quote]
988 octatonicScale = \relative c' { ees f fis gis a b c d }
989 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
993 \retrograde \modalInversion c' c' \octatonicScale \motif
1002 Manual ties inside @code{\retrograde} will be broken and
1003 generate warnings. Some ties can be generated automatically
1004 by enabling @ref{Automatic note splitting}.
1007 @node Displaying pitches
1008 @subsection Displaying pitches
1010 This section discusses how to alter the output of pitches.
1016 * Instrument transpositions::
1017 * Automatic accidentals::
1023 @unnumberedsubsubsec Clef
1034 @cindex soprano clef
1035 @cindex mezzosoprano clef
1036 @cindex baritone clef
1037 @cindex varbaritone clef
1038 @cindex subbass clef
1040 @cindex ancient clef
1041 @cindex clef, ancient
1045 @cindex clef, treble
1046 @cindex clef, violin
1050 @cindex clef, french
1051 @cindex clef, soprano
1052 @cindex clef, mezzosoprano
1053 @cindex clef, baritone
1054 @cindex clef, varbaritone
1055 @cindex clef, subbass
1061 The clef may be altered. Middle C is shown in every example. The
1062 following clef names can (but do not need to) be enclosed in quotes.
1064 @lilypond[verbatim,quote,relative=1]
1075 Other clefs include:
1077 @lilypond[verbatim,quote,relative=1]
1098 \clef G % synonym for treble
1100 \clef F % synonym for bass
1102 \clef C % synonym for alto
1106 @cindex transposing clef
1107 @cindex clef, transposing
1108 @cindex octave transposition
1109 @cindex choral tenor clef
1110 @cindex tenor clef, choral
1112 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1113 clef is transposed one octave down or up respectively,
1114 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1115 Other integers can be used if required. Clef names containing
1116 non-alphabetic characters must be enclosed in quotes
1118 @lilypond[verbatim,quote,relative=1]
1133 Some special purpose clefs are described in @ref{Mensural clefs},
1134 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1139 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1140 {tweaking-clef-properties.ly}
1145 @ref{Mensural clefs},
1146 @ref{Gregorian clefs},
1147 @ref{Default tablatures},
1148 @ref{Custom tablatures}.
1153 Internals Reference:
1154 @rinternals{Clef_engraver},
1156 @rinternals{OctavateEight},
1157 @rinternals{clef-interface}.
1161 @unnumberedsubsubsec Key signature
1163 @cindex key signature
1168 @c duplicated in Key signature and Accidentals
1169 @warning{New users are sometimes confused about accidentals and
1170 key signatures. In LilyPond, note names are the raw input; key
1171 signatures and clefs determine how this raw input is displayed.
1172 An unaltered note like@tie{}@code{c} means @q{C natural},
1173 regardless of the key signature or clef. For more information,
1174 see @rlearning{Accidentals and key signatures}.}
1176 The key signature indicates the tonality in which a piece is
1177 played. It is denoted by a set of alterations (flats or sharps)
1178 at the start of the staff. The key signature may be altered:
1181 \key @var{pitch} @var{mode}
1194 @funindex \mixolydian
1195 @funindex mixolydian
1203 @cindex church modes
1216 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1217 to get a key signature of @code{@var{pitch}}-major or
1218 @code{@var{pitch}}-minor, respectively. You may also use the
1219 standard mode names, also called @notation{church modes}:
1220 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1221 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1223 @lilypond[verbatim,quote,relative=2]
1233 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1234 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1236 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1237 {non-traditional-key-signatures.ly}
1242 @rglos{church mode},
1246 @rlearning{Accidentals and key signatures}.
1251 Internals Reference:
1252 @rinternals{KeyChangeEvent},
1253 @rinternals{Key_engraver},
1254 @rinternals{Key_performer},
1255 @rinternals{KeyCancellation},
1256 @rinternals{KeySignature},
1257 @rinternals{key-cancellation-interface},
1258 @rinternals{key-signature-interface}.
1261 @node Ottava brackets
1262 @unnumberedsubsubsec Ottava brackets
1270 @funindex set-octavation
1274 @notation{Ottava brackets} introduce an extra transposition of an
1275 octave for the staff:
1277 @lilypond[verbatim,quote,relative=2]
1293 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1304 Internals Reference:
1305 @rinternals{Ottava_spanner_engraver},
1306 @rinternals{OttavaBracket},
1307 @rinternals{ottava-bracket-interface}.
1310 @node Instrument transpositions
1311 @unnumberedsubsubsec Instrument transpositions
1313 @cindex transposition, MIDI
1314 @cindex transposition, instrument
1315 @cindex transposing instrument
1317 @cindex MIDI transposition
1319 @funindex \transposition
1320 @funindex transposition
1322 When typesetting scores that involve transposing instruments, some
1323 parts can be typeset in a different pitch than the
1324 @notation{concert pitch}. In these cases, the key of the
1325 @notation{transposing instrument} should be specified; otherwise
1326 the MIDI output and cues in other parts will produce incorrect
1327 pitches. For more information about quotations, see
1328 @ref{Quoting other voices}.
1331 \transposition @var{pitch}
1334 The pitch to use for @code{\transposition} should correspond to
1335 the real sound heard when a@tie{}@code{c'} written on the staff is
1336 played by the transposing instrument. This pitch is entered in
1337 absolute mode, so an instrument that produces a real sound which
1338 is one tone higher than the printed music should use
1339 @w{@code{\transposition d'}}. @code{\transposition} should
1340 @emph{only} be used if the pitches are @emph{not} being entered in
1343 Here are a few notes for violin and B-flat clarinet where the
1344 parts have been entered using the notes and key as they appear in
1345 each part of the conductor's score. The two instruments are
1348 @lilypond[verbatim,quote]
1350 \new Staff = "violin" {
1352 \set Staff.instrumentName = #"Vln"
1353 \set Staff.midiInstrument = #"violin"
1354 % not strictly necessary, but a good reminder
1361 \new Staff = "clarinet" {
1363 \set Staff.instrumentName = \markup { Cl (B\flat) }
1364 \set Staff.midiInstrument = #"clarinet"
1374 The @code{\transposition} may be changed during a piece. For
1375 example, a clarinetist may switch from an A clarinet to a B-flat
1378 @lilypond[verbatim,quote,relative=2]
1379 \set Staff.instrumentName = #"Cl (A)"
1384 s1*0^\markup { Switch to B\flat clarinet }
1395 @rglos{concert pitch},
1396 @rglos{transposing instrument}.
1399 @ref{Quoting other voices},
1406 @node Automatic accidentals
1407 @unnumberedsubsubsec Automatic accidentals
1409 @cindex accidental style
1410 @cindex accidental style, default
1412 @cindex accidentals, automatic
1413 @cindex automatic accidentals
1414 @cindex default accidental style
1416 @funindex set-accidental-style
1420 There are many different conventions on how to typeset
1421 accidentals. LilyPond provides a function to specify which
1422 accidental style to use. This function is called as follows:
1426 #(set-accidental-style 'voice)
1431 The accidental style applies to the current @code{Staff} by
1432 default (with the exception of the styles @code{piano} and
1433 @code{piano-cautionary}, which are explained below). Optionally,
1434 the function can take a second argument that determines in which
1435 scope the style should be changed. For example, to use the same
1436 style in all staves of the current @code{StaffGroup}, use:
1439 #(set-accidental-style 'voice 'StaffGroup)
1442 The following accidental styles are supported. To demonstrate
1443 each style, we use the following example:
1446 @lilypond[verbatim,quote]
1450 cis'8 fis, d'4 <a cis>8 f bis4 |
1464 \voiceTwo \relative c' {
1465 <fis, a cis>8 <fis a cis>
1468 \change Staff = down
1473 \change Staff = down
1474 <fis, a cis>4 gis <f a d>2 |
1481 \context Staff = "up" {
1482 #(set-accidental-style 'default)
1485 \context Staff = "down" {
1486 #(set-accidental-style 'default)
1493 Note that the last lines of this example can be replaced by the
1494 following, as long as the same accidental style should be used in
1500 \context Staff = "up" @{
1501 %%% change the next line as desired:
1502 #(set-accidental-style 'default 'Score)
1505 \context Staff = "down" @{
1513 @c don't use verbatim in this table.
1517 @cindex default accidental style
1518 @cindex accidental style, default
1522 This is the default typesetting behavior. It corresponds to
1523 eighteenth-century common practice: accidentals are remembered to
1524 the end of the measure in which they occur and only in their own
1525 octave. Thus, in the example below, no natural signs are printed
1526 before the@tie{}@code{b} in the second measure or the
1533 cis'8 fis, d'4 <a cis>8 f bis4 |
1547 \voiceTwo \relative c' {
1548 <fis, a cis>8 <fis a cis>
1551 \change Staff = down
1556 \change Staff = down
1557 <fis, a cis>4 gis <f a d>2 |
1564 \context Staff = "up" {
1565 #(set-accidental-style 'default)
1568 \context Staff = "down" {
1569 #(set-accidental-style 'default)
1578 @cindex accidental style, voice
1579 @cindex voice accidental style
1580 @cindex accidental style, modern
1581 @cindex modern accidental style
1582 @cindex accidental style, modern-cautionary
1583 @cindex modern-cautionary accidental style
1587 The normal behavior is to remember the accidentals at
1588 @code{Staff}-level. In this style, however, accidentals are
1589 typeset individually for each voice. Apart from that, the rule is
1590 similar to @code{default}.
1592 As a result, accidentals from one voice do not get canceled in
1593 other voices, which is often an unwanted result: in the following
1594 example, it is hard to determine whether the second@tie{}@code{a}
1595 should be played natural or sharp. The @code{voice} option should
1596 therefore be used only if the voices are to be read solely by
1597 individual musicians. If the staff is to be used by one musician
1598 (e.g., a conductor or in a piano score) then @code{modern} or
1599 @code{modern-cautionary} should be used instead.
1606 cis'8 fis, d'4 <a cis>8 f bis4 |
1620 \voiceTwo \relative c' {
1621 <fis, a cis>8 <fis a cis>
1624 \change Staff = down
1629 \change Staff = down
1630 <fis, a cis>4 gis <f a d>2 |
1637 \context Staff = "up" {
1638 #(set-accidental-style 'voice)
1641 \context Staff = "down" {
1642 #(set-accidental-style 'voice)
1651 @cindex accidentals, modern style
1652 @cindex modern style accidentals
1656 This rule corresponds to the common practice in the twentieth
1657 century. It prints the same accidentals as @code{default}, with
1658 two exceptions that serve to avoid ambiguity: after temporary
1659 accidentals, cancellation marks are printed also in the following
1660 measure (for notes in the same octave) and, in the same measure,
1661 for notes in other octaves. Hence the naturals before
1662 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1669 cis'8 fis, d'4 <a cis>8 f bis4 |
1683 \voiceTwo \relative c' {
1684 <fis, a cis>8 <fis a cis>
1687 \change Staff = down
1692 \change Staff = down
1693 <fis, a cis>4 gis <f a d>2 |
1700 \context Staff = "up" {
1701 #(set-accidental-style 'modern)
1704 \context Staff = "down" {
1705 #(set-accidental-style 'modern)
1712 @item modern-cautionary
1714 @cindex accidentals, modern cautionary style
1715 @cindex modern accidental style
1716 @cindex modern cautionary accidental style
1717 @cindex modern style accidentals
1718 @cindex modern style cautionary accidentals
1720 @funindex modern-cautionary
1722 This rule is similar to @code{modern}, but the @q{extra}
1723 accidentals (the ones not typeset by @code{default}) are typeset
1724 as cautionary accidentals. They are by default printed with
1725 parentheses, but they can also be printed in reduced size by
1726 defining the @code{cautionary-style} property of
1727 @code{AccidentalSuggestion}.
1733 cis'8 fis, d'4 <a cis>8 f bis4 |
1747 \voiceTwo \relative c' {
1748 <fis, a cis>8 <fis a cis>
1751 \change Staff = down
1756 \change Staff = down
1757 <fis, a cis>4 gis <f a d>2 |
1764 \context Staff = "up" {
1765 #(set-accidental-style 'modern-cautionary)
1768 \context Staff = "down" {
1769 #(set-accidental-style 'modern-cautionary)
1778 @cindex accidental style, modern
1779 @cindex accidentals, modern
1780 @cindex accidentals, multivoice
1781 @cindex modern accidental style
1782 @cindex modern accidentals
1783 @cindex multivoice accidentals
1785 @funindex modern-voice
1787 This rule is used for multivoice accidentals to be read both by
1788 musicians playing one voice and musicians playing all voices.
1789 Accidentals are typeset for each voice, but they @emph{are}
1790 canceled across voices in the same @code{Staff}. Hence,
1791 the@tie{}@code{a} in the last measure is canceled because the
1792 previous cancellation was in a different voice, and
1793 the@tie{}@code{d} in the lower staff is canceled because of the
1794 accidental in a different voice in the previous measure:
1800 cis'8 fis, d'4 <a cis>8 f bis4 |
1814 \voiceTwo \relative c' {
1815 <fis, a cis>8 <fis a cis>
1818 \change Staff = down
1823 \change Staff = down
1824 <fis, a cis>4 gis <f a d>2 |
1831 \context Staff = "up" {
1832 #(set-accidental-style 'modern-voice)
1835 \context Staff = "down" {
1836 #(set-accidental-style 'modern-voice)
1843 @cindex accidental style, cautionary, modern voice
1844 @cindex accidental style, modern voice cautionary
1845 @cindex accidental style, voice, modern cautionary
1847 @funindex modern-voice-cautionary
1849 @item modern-voice-cautionary
1851 This rule is the same as @code{modern-voice}, but with the extra
1852 accidentals (the ones not typeset by @code{voice}) typeset as
1853 cautionaries. Even though all accidentals typeset by
1854 @code{default} @emph{are} typeset with this rule, some of them are
1855 typeset as cautionaries.
1861 cis'8 fis, d'4 <a cis>8 f bis4 |
1875 \voiceTwo \relative c' {
1876 <fis, a cis>8 <fis a cis>
1879 \change Staff = down
1884 \change Staff = down
1885 <fis, a cis>4 gis <f a d>2 |
1892 \context Staff = "up" {
1893 #(set-accidental-style 'modern-voice-cautionary)
1896 \context Staff = "down" {
1897 #(set-accidental-style 'modern-voice-cautionary)
1906 @cindex accidental style, piano
1907 @cindex accidentals, piano
1908 @cindex piano accidental style
1909 @cindex piano accidentals
1913 This rule reflects twentieth-century practice for piano notation.
1914 Its behavior is very similar to @code{modern} style, but here
1915 accidentals also get canceled across the staves in the same
1916 @code{GrandStaff} or @code{PianoStaff}, hence all the
1917 cancellations of the final notes.
1919 This accidental style applies to the current @code{GrandStaff} or
1920 @code{PianoStaff} by default.
1926 cis'8 fis, d'4 <a cis>8 f bis4 |
1940 \voiceTwo \relative c' {
1941 <fis, a cis>8 <fis a cis>
1944 \change Staff = down
1949 \change Staff = down
1950 <fis, a cis>4 gis <f a d>2 |
1957 \context Staff = "up" {
1958 #(set-accidental-style 'piano)
1961 \context Staff = "down" {
1968 @item piano-cautionary
1970 @cindex accidentals, piano cautionary
1971 @cindex cautionary accidentals, piano
1972 @cindex piano cautionary accidentals
1973 @cindex accidental style, piano cautionary
1974 @cindex cautionary accidental style, piano
1975 @cindex piano cautionary accidental style
1977 @funindex piano-cautionary
1979 This is the same as @code{piano} but with the extra accidentals
1980 typeset as cautionaries.
1986 cis'8 fis, d'4 <a cis>8 f bis4 |
2000 \voiceTwo \relative c' {
2001 <fis, a cis>8 <fis a cis>
2004 \change Staff = down
2009 \change Staff = down
2010 <fis, a cis>4 gis <f a d>2 |
2017 \context Staff = "up" {
2018 #(set-accidental-style 'piano-cautionary)
2021 \context Staff = "down" {
2031 @cindex neo-modern accidental style
2032 @cindex accidental style, neo-modern
2034 @funindex neo-modern
2036 This rule reproduces a common practice in contemporary music:
2037 accidentals are printed like with @code{modern}, but they are printed
2038 again if the same note appears later in the same measure -- except
2039 if the note is immediately repeated.
2045 cis'8 fis, d'4 <a cis>8 f bis4 |
2059 \voiceTwo \relative c' {
2060 <fis, a cis>8 <fis a cis>
2063 \change Staff = down
2068 \change Staff = down
2069 <fis, a cis>4 gis <f a d>2 |
2076 \context Staff = "up" {
2077 #(set-accidental-style 'neo-modern)
2080 \context Staff = "down" {
2081 #(set-accidental-style 'neo-modern)
2088 @item neo-modern-cautionary
2090 @cindex neo-modern-cautionary accidental style
2091 @cindex accidental style, neo-modern-cautionary
2093 @funindex neo-modern-cautionary
2095 This rule is similar to @code{neo-modern}, but the extra
2096 accidentals are printed as cautionary accidentals.
2102 cis'8 fis, d'4 <a cis>8 f bis4 |
2116 \voiceTwo \relative c' {
2117 <fis, a cis>8 <fis a cis>
2120 \change Staff = down
2125 \change Staff = down
2126 <fis, a cis>4 gis <f a d>2 |
2133 \context Staff = "up" {
2134 #(set-accidental-style 'neo-modern-cautionary)
2137 \context Staff = "down" {
2138 #(set-accidental-style 'neo-modern-cautionary)
2146 @item neo-modern-voice
2148 @cindex neo-modern-voice accidental style
2149 @cindex accidental style, neo-modern-voice
2151 @funindex neo-modern-voice
2153 This rule is used for multivoice accidentals to be read both by
2154 musicians playing one voice and musicians playing all voices.
2155 Accidentals are typeset for each voice as with @code{neo-modern},
2156 but they are canceled across voices in the same @code{Staff}.
2162 cis'8 fis, d'4 <a cis>8 f bis4 |
2176 \voiceTwo \relative c' {
2177 <fis, a cis>8 <fis a cis>
2180 \change Staff = down
2185 \change Staff = down
2186 <fis, a cis>4 gis <f a d>2 |
2193 \context Staff = "up" {
2194 #(set-accidental-style 'neo-modern-voice)
2197 \context Staff = "down" {
2198 #(set-accidental-style 'neo-modern-voice)
2205 @item neo-modern-voice-cautionary
2207 @cindex neo-modern-voice-cautionary accidental style
2208 @cindex accidental style, neo-modern-voice-cautionary
2210 @funindex neo-modern-voice-cautionary
2212 This rule is similar to @code{neo-modern-voice}, but the extra
2213 accidentals are printed as cautionary accidentals.
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" {
2251 #(set-accidental-style 'neo-modern-voice-cautionary)
2254 \context Staff = "down" {
2255 #(set-accidental-style 'neo-modern-voice-cautionary)
2264 @cindex dodecaphonic accidental style
2265 @cindex dodecaphonic style, neo-modern
2267 @funindex dodecaphonic
2269 This rule reflects a practice introduced by composers at
2270 the beginning of the 20th century, in an attempt to
2271 abolish the hierarchy between natural and non-natural notes.
2272 With this style, @emph{every} note gets an accidental sign,
2273 including natural signs.
2279 cis'8 fis, d'4 <a cis>8 f bis4 |
2293 \voiceTwo \relative c' {
2294 <fis, a cis>8 <fis a cis>
2297 \change Staff = down
2302 \change Staff = down
2303 <fis, a cis>4 gis <f a d>2 |
2310 \context Staff = "up" {
2311 #(set-accidental-style 'dodecaphonic)
2314 \context Staff = "down" {
2315 #(set-accidental-style 'dodecaphonic)
2325 @cindex teaching accidental style
2326 @cindex accidental style, teaching
2330 This rule is intended for students, and makes it easy to create
2331 scale sheets with automatically created cautionary accidentals.
2332 Accidentals are printed like with @code{modern}, but cautionary
2333 accidentals are added for all sharp or flat tones specified by the
2334 key signature, except if the note is immediately repeated.
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" {
2373 #(set-accidental-style 'teaching)
2376 \context Staff = "down" {
2378 #(set-accidental-style 'teaching)
2389 @cindex accidental style, no reset
2390 @cindex no reset accidental style
2394 This is the same as @code{default} but with accidentals lasting
2395 @q{forever} and not only within the same measure:
2401 cis'8 fis, d'4 <a cis>8 f bis4 |
2415 \voiceTwo \relative c' {
2416 <fis, a cis>8 <fis a cis>
2419 \change Staff = down
2424 \change Staff = down
2425 <fis, a cis>4 gis <f a d>2 |
2432 \context Staff = "up" {
2433 #(set-accidental-style 'no-reset)
2436 \context Staff = "down" {
2437 #(set-accidental-style 'no-reset)
2446 @cindex forget accidental style
2447 @cindex accidental style, forget
2451 This is the opposite of @code{no-reset}: Accidentals are not
2452 remembered at all -- and hence all accidentals are typeset
2453 relative to the key signature, regardless of what came before in
2454 the music. Unlike @code{dodecaphonic}, this rule never prints
2461 cis'8 fis, d'4 <a cis>8 f bis4 |
2475 \voiceTwo \relative c' {
2476 <fis, a cis>8 <fis a cis>
2479 \change Staff = down
2484 \change Staff = down
2485 <fis, a cis>4 gis <f a d>2 |
2492 \context Staff = "up" {
2493 #(set-accidental-style 'forget)
2496 \context Staff = "down" {
2497 #(set-accidental-style 'forget)
2507 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2508 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2515 Internals Reference:
2516 @rinternals{Accidental},
2517 @rinternals{Accidental_engraver},
2518 @rinternals{GrandStaff},
2519 @rinternals{PianoStaff},
2521 @rinternals{AccidentalSuggestion},
2522 @rinternals{AccidentalPlacement},
2523 @rinternals{accidental-suggestion-interface}.
2526 @cindex accidentals and simultaneous notes
2527 @cindex simultaneous notes and accidentals
2528 @cindex accidentals in chords
2529 @cindex chords, accidentals in
2533 Simultaneous notes are not considered in the automatic
2534 determination of accidentals; only previous notes and the key
2535 signature are considered. Forcing accidentals with@tie{}@code{!}
2536 or@tie{}@code{?} may be required when the same note name occurs
2537 simultaneously with different alterations, as in @samp{<f! fis!>}.
2539 Cautionary cancellation of accidentals is done by looking at previous measure.
2540 However, in the @code{\alternative} block following a @code{\repeat volta N}
2541 section, one would expect the cancellation being calculated using the previous
2542 @emph{played} measure, not previous @emph{printed} measure.
2543 In the following example, the natural @code{c} in the second alternative does
2544 not need a natural sign:
2548 #(set-accidental-style 'modern)
2560 The following work-around can be used: define a function that locally changes
2561 the accidental style to @code{forget}:
2563 @lilypond[verbatim,quote]
2564 forget = #(define-music-function (parser location music) (ly:music?) #{
2565 #(set-accidental-style 'forget)
2567 #(set-accidental-style 'modern)
2570 #(set-accidental-style 'modern)
2583 @unnumberedsubsubsec Ambitus
2586 @cindex range of pitches
2589 The term @notation{ambitus} (pl. ambitus) denotes a range of
2590 pitches for a given voice in a part of music. It may also denote
2591 the pitch range that a musical instrument is capable of playing.
2592 Ambitus are printed on vocal parts so that performers can easily
2593 determine if it matches their capabilities.
2595 Ambitus are denoted at the beginning of a piece near the initial
2596 clef. The range is graphically specified by two note heads that
2597 represent the lowest and highest pitches. Accidentals are only
2598 printed if they are not part of the key signature.
2600 @lilypond[verbatim,quote]
2604 \consists "Ambitus_engraver"
2617 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2618 {adding-ambitus-per-voice.ly}
2620 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2621 {ambitus-with-multiple-voices.ly}
2623 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2624 {changing-the-ambitus-gap.ly}
2634 Internals Reference:
2635 @rinternals{Ambitus_engraver},
2638 @rinternals{Ambitus},
2639 @rinternals{AmbitusAccidental},
2640 @rinternals{AmbitusLine},
2641 @rinternals{AmbitusNoteHead},
2642 @rinternals{ambitus-interface}.
2647 There is no collision handling in the case of multiple per-voice
2652 @subsection Note heads
2654 This section suggests ways of altering note heads.
2657 * Special note heads::
2658 * Easy notation note heads::
2659 * Shape note heads::
2663 @node Special note heads
2664 @unnumberedsubsubsec Special note heads
2666 @cindex note heads, special
2667 @cindex note heads, cross
2668 @cindex note heads, diamond
2669 @cindex note heads, parlato
2670 @cindex note heads, harmonic
2671 @cindex note heads, guitar
2672 @cindex special note heads
2673 @cindex cross note heads
2674 @cindex diamond note heads
2675 @cindex parlato note heads
2676 @cindex harmonic note heads
2677 @cindex guitar note heads
2678 @cindex note head styles
2679 @cindex styles, note heads
2683 The appearance of note heads may be altered:
2685 @lilypond[verbatim,quote,relative=2]
2687 \override NoteHead #'style = #'cross
2689 \revert NoteHead #'style
2691 \override NoteHead #'style = #'harmonic
2693 \revert NoteHead #'style
2697 To see all note head styles, see @ref{Note head styles}.
2699 The @code{cross} style is used to represent a variety of musical
2700 intentions. The following generic predefined commands modify the
2701 note head in both staff and tablature contexts and can be used to
2702 represent any musical meaning:
2704 @lilypond[verbatim,quote,relative=2]
2712 The music function form of this predefined command may be used
2713 inside and outside chords to generate crossed note heads in both
2714 staff and tablature contexts:
2716 @lilypond[verbatim,quote,relative=2]
2719 c b < g \xNote c f > b
2722 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2723 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2724 be used. The term @notation{dead note} is commonly used by guitarists.
2726 There is also a shorthand for diamond shapes which can be used
2729 @lilypond[verbatim,quote,relative=2]
2730 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2745 @ref{Note head styles},
2746 @ref{Chorded notes},
2747 @ref{Indicating harmonics and dampened notes}.
2749 Internals Reference:
2750 @rinternals{note-event},
2751 @rinternals{Note_heads_engraver},
2752 @rinternals{Ledger_line_engraver},
2753 @rinternals{NoteHead},
2754 @rinternals{LedgerLineSpanner},
2755 @rinternals{note-head-interface},
2756 @rinternals{ledger-line-spanner-interface}.
2759 @node Easy notation note heads
2760 @unnumberedsubsubsec Easy notation note heads
2762 @cindex note heads, practice
2763 @cindex practice note heads
2764 @cindex note heads, easy notation
2765 @cindex easy notation
2766 @cindex beginners' music
2767 @cindex music, beginners'
2768 @cindex easy play note heads
2769 @cindex note heads, easy play
2771 @funindex \easyHeadsOn
2772 @funindex easyHeadsOn
2773 @funindex \easyHeadsOff
2774 @funindex easyHeadsOff
2776 The @q{easy play} note head includes a note name inside the head.
2777 It is used in music for beginners. To make the letters readable,
2778 it should be printed in a large font size. To print with a larger
2779 font, see @ref{Setting the staff size}.
2781 @lilypond[verbatim,quote]
2782 #(set-global-staff-size 26)
2794 @code{\easyHeadsOn},
2795 @code{\easyHeadsOff}.
2801 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2802 {numbers-as-easy-note-heads.ly}
2807 @ref{Setting the staff size}.
2812 Internals Reference:
2813 @rinternals{note-event},
2814 @rinternals{Note_heads_engraver},
2815 @rinternals{NoteHead},
2816 @rinternals{note-head-interface}.
2819 @node Shape note heads
2820 @unnumberedsubsubsec Shape note heads
2822 @cindex note heads, shape
2823 @cindex note heads, Aiken
2824 @cindex note heads, sacred harp
2826 @cindex Aiken shape note heads
2827 @cindex sacred harp note heads
2828 @cindex note heads, Southern Harmony
2829 @cindex Southern Harmony note heads
2830 @cindex Funk shape note heads
2831 @cindex note heads, Funk
2832 @cindex note heads, Harmonica Sacra
2833 @cindex Harmonica Sacra note heads
2834 @cindex Christian Harmony note heads
2835 @cindex note heads, Christian Harmony
2836 @cindex Walker shape note heads
2837 @cindex note heads, Walker
2839 @funindex \aikenHeads
2840 @funindex aikenHeads
2841 @funindex \sacredHarpHeads
2842 @funindex sacredHarpHeads
2843 @funindex \southernHarmonyHeads
2844 @funindex southernHarmonyHeads
2845 @funindex \funkHeads
2847 @funindex \walkerHeads
2848 @funindex walkerHeads
2850 In shape note head notation, the shape of the note head
2851 corresponds to the harmonic function of a note in the scale. This
2852 notation was popular in nineteenth-century American song books.
2853 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2854 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2856 @lilypond[verbatim,quote,relative=2]
2858 c, d e f g2 a b1 c \break
2860 c,4 d e f g2 a b1 c \break
2861 \southernHarmonyHeads
2862 c,4 d e f g2 a b1 c \break
2864 c,4 d e f g2 a b1 c \break
2866 c,4 d e f g2 a b1 c \break
2871 @funindex \aikenHeadsMinor
2872 @funindex aikenHeadsMinor
2873 @funindex \sacredHarpHeadsMinor
2874 @funindex sacredHarpHeadsMinor
2875 @funindex \southernHarmonyHeadsMinor
2876 @funindex southernHarmonyHeadsMinor
2877 @funindex \funkHeadsMinor
2878 @funindex funkHeadsMinor
2879 @funindex \walkerHeadsMinor
2880 @funindex walkerHeadsMinor
2882 Shapes are typeset according to the step in the scale, where the base
2883 of the scale is determined by the @code{\key} command. When writing
2884 in a minor key, the scale step can be determined from the relative
2887 @lilypond[verbatim,quote,relative=2]
2890 a b c d e2 f g1 a \break
2892 a,4 b c d e2 f g1 a \break
2893 \sacredHarpHeadsMinor
2895 \southernHarmonyHeadsMinor
2907 @code{\aikenHeadsMinor},
2909 @code{\funkHeadsMinor},
2910 @code{\sacredHarpHeads},
2911 @code{\sacredHarpHeadsMinor},
2912 @code{\southernHarmonyHeads},
2913 @code{\southernHarmonyHeadsMinor},
2914 @code{\walkerHeads},
2915 @code{\walkerHeadsMinor}.
2921 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2922 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2924 To see all note head styles, see @ref{Note head styles}.
2932 @ref{Note head styles}.
2934 Internals Reference:
2935 @rinternals{note-event},
2936 @rinternals{Note_heads_engraver},
2937 @rinternals{NoteHead},
2938 @rinternals{note-head-interface}.
2942 @unnumberedsubsubsec Improvisation
2944 @cindex improvisation
2945 @cindex slashed note heads
2946 @cindex note heads, improvisation
2947 @cindex note heads, slashed
2949 @funindex \improvisationOn
2950 @funindex improvisationOn
2951 @funindex \improvisationOff
2952 @funindex improvisationOff
2954 Improvisation is sometimes denoted with slashed note heads, where
2955 the performer may choose any pitch but should play the specified
2956 rhythm. Such note heads can be created:
2958 @lilypond[verbatim,quote,relative=2]
2960 \consists "Pitch_squash_engraver"
2962 e8 e g a a16( bes) a8 g
2974 @code{\improvisationOn},
2975 @code{\improvisationOff}.
2983 Internals Reference:
2984 @rinternals{Pitch_squash_engraver},
2986 @rinternals{RhythmicStaff}.