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. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
40 * Non-Western note names and accidentals::
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,fragment]
67 @cindex octave changing mark
72 Other octaves may be specified with a single quote@tie{}(@code{'})
73 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
74 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
77 @lilypond[verbatim,quote,fragment]
95 @node Relative octave entry
96 @unnumberedsubsubsec Relative octave entry
99 @cindex relative octave entry
100 @cindex octave entry, relative
101 @cindex relative octave specification
102 @cindex ocatve specification, relative
107 When octaves are specified in absolute mode it is easy to
108 accidentally put a pitch in the wrong octave. Relative octave
109 mode reduces these errors since most of the time it is not
110 necessary to indicate any octaves at all. Furthermore, in
111 absolute mode a single mistake may be difficult to spot, while in
112 relative mode a single error puts the rest of the piece off by one
116 \relative @var{startpitch} @var{musicexpr}
119 In relative mode, each note is assumed to be as close to the
120 previous note as possible. This means that the octave of each
121 pitch inside @var{musicexpr} is calculated as follows:
125 If no octave changing mark is used on a pitch, its octave is
126 calculated so that the interval with the previous note is less
127 than a fifth. This interval is determined without considering
131 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
132 added to respectively raise or lower a pitch by an extra octave,
133 relative to the pitch calculated without an octave mark.
136 Multiple octave changing marks can be used. For example,
137 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
141 The pitch of the first note is relative to
142 @code{@var{startpitch}}. @var{startpitch} is specified in
143 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 @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]
390 {preventing-extra-naturals-from-being-automatically-added.ly}
397 @rglos{double sharp},
400 @rglos{quarter tone}.
403 @rlearning{Accidentals and key signatures}.
406 @ref{Automatic accidentals},
407 @ref{Annotational accidentals (musica ficta)},
408 @ref{Note names in other languages}.
414 @rinternals{Accidental_engraver},
415 @rinternals{Accidental},
416 @rinternals{AccidentalCautionary},
417 @rinternals{accidental-interface}.
420 @cindex accidental, quarter-tone
421 @cindex quarter-tone accidental
425 There are no generally accepted standards for denoting
426 quarter-tone accidentals, so LilyPond's symbol does not conform to
431 @node Note names in other languages
432 @unnumberedsubsubsec Note names in other languages
434 @cindex note names, other languages
435 @cindex pitch names, other languages
436 @cindex language, note names in other
437 @cindex language, pitch names in other
439 There are predefined sets of note and accidental names for various
440 other languages. To use them, include the language-specific init
441 file listed below. For example, to use English note names, add
442 @code{@w{\include "english.ly"}} to the input file.
444 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
445 use default (Nederlands) note names, the @code{@bs{}include}
446 command for the language file should be placed after all other
447 LilyPond distribution files.}
449 The available language files and the note names they define are:
452 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
453 @headitem Language File
455 @item @file{nederlands.ly}
456 @tab c d e f g a bes b
457 @item @file{arabic.ly}
458 @tab do re mi fa sol la sib si
459 @item @file{catalan.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{deutsch.ly}
463 @item @file{english.ly}
464 @tab c d e f g a bf b
465 @item @file{espanol.ly}
466 @tab do re mi fa sol la sib si
467 @item @file{italiano.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{norsk.ly}
471 @item @file{portugues.ly}
472 @tab do re mi fa sol la sib si
473 @item @file{suomi.ly}
475 @item @file{svenska.ly}
477 @item @file{vlaams.ly}
478 @tab do re mi fa sol la sib si
483 and the accidental suffixes they define are:
486 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
487 @headitem Language File
488 @tab sharp @tab flat @tab double sharp @tab double flat
489 @item @file{nederlands.ly}
490 @tab -is @tab -es @tab -isis @tab -eses
491 @item @file{arabic.ly}
492 @tab -d @tab -b @tab -dd @tab -bb
493 @item @file{catalan.ly}
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
495 @item @file{deutsch.ly}
496 @tab -is @tab -es @tab -isis @tab -eses
497 @item @file{english.ly}
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
500 @item @file{espanol.ly}
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @file{italiano.ly}
503 @tab -d @tab -b @tab -dd @tab -bb
504 @item @file{norsk.ly}
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @file{portugues.ly}
508 @tab -s @tab -b @tab -ss @tab -bb
509 @item @file{suomi.ly}
510 @tab -is @tab -es @tab -isis @tab -eses
511 @item @file{svenska.ly}
512 @tab -iss @tab -ess @tab -ississ @tab -essess
513 @item @file{vlaams.ly}
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The note names for quarter-tones
538 defined in the various language files are listed in the following
539 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
540 mean @q{half} and @q{one and a half}, respectively. For the other
541 languages, no special names have been defined yet.
544 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
545 @headitem Language File
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @file{nederlands.ly}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
550 @item @file{arabic.ly}
551 @tab -sd @tab -sb @tab -dsd @tab -bsb
552 @item @file{deutsch.ly}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
554 @item @file{english.ly}
555 @tab -qs @tab -qf @tab -tqs @tab -tqf
556 @item @file{espanol.ly}
557 @tab -cs @tab -cb @tab -tcs @tab -tcb
558 @item @file{italiano.ly}
559 @tab -sd @tab -sb @tab -dsd @tab -bsb
560 @item @file{portugues.ly}
561 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
574 @node Non-Western note names and accidentals
575 @unnumberedsubsubsec Non-Western note names and accidentals
577 Many non-Western musics (and some Western folk and
578 traditional musics) employ alternative or extended tuning
579 systems that do not fit readily into standard classical
582 In some cases standard notation is still used, with the
583 pitch differences being implicit. For example, Arabic
584 music is notated with standard semitone and quarter-tone
585 accidentals, with the precise pitch alterations being
586 determined by context. Others require extended or unique
589 @notation{Turkish classical music}, or Ottoman music,
590 employs melodic forms known as @notation{makamlar}, whose
591 intervals are based on 1/9 divisions of the whole tone.
592 From a modern notational point of view, it is convenient
593 to use the standard Western staff notes (c, d, e, ...)
594 with special accidentals unique to Turkish music. These
595 accidentals are defined in @file{makam.ly} (to locate this
596 file on your system, see
597 @rlearning{Other sources of information}). The following
598 table gives their names, the accidental suffix that must
599 be added to notes, and their pitch alteration as a
600 fraction of one whole tone.
602 @c TODO: can we include the actual accidentals in this table?
604 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
605 @headitem Accidental name
606 @tab suffix @tab pitch alteration
608 @item büyük mücenneb (sharp)
610 @item kücük mücenneb (sharp)
621 @item kücük mücenneb (flat)
623 @item büyük mücenneb (flat)
628 For further information on Turkish classical music and
629 makamlar, see @ref{Turkish classical music}.
634 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
638 @node Changing multiple pitches
639 @subsection Changing multiple pitches
641 This section discusses how to modify pitches.
649 @unnumberedsubsubsec Octave checks
651 @cindex octave correction
653 @cindex control pitch
656 @funindex \octaveCheck
657 @funindex octaveCheck
658 @funindex controlpitch
660 In relative mode, it is easy to forget an octave changing mark.
661 Octave checks make such errors easier to find by displaying a
662 warning and correcting the octave if a note is found in an
665 To check the octave of a note, specify the absolute octave after
666 the @code{=}@tie{}symbol. This example will generate a warning
667 (and change the pitch) because the second note is the absolute
668 octave @code{d''} instead of @code{d'} as indicated by the octave
671 @lilypond[verbatim,quote]
678 The octave of notes may also be checked with the
679 @code{\octaveCheck}@tie{}@var{controlpitch} command.
680 @var{controlpitch} is specified in absolute mode. This checks
681 that the interval between the previous note and the
682 @var{controlpitch} is within a fourth (i.e., the normal
683 calculation of relative mode). If this check fails, a warning is
684 printed, but the previous note is not changed. Future notes are
685 relative to the @var{controlpitch}.
687 @lilypond[verbatim,quote]
695 Compare the two bars below. The first and third @code{\octaveCheck}
696 checks fail, but the second one does not fail.
698 @lilypond[verbatim,quote]
718 @rinternals{RelativeOctaveCheck}.
722 @unnumberedsubsubsec Transpose
726 @cindex transposition
727 @cindex transposition of pitches
728 @cindex transposition of notes
729 @cindex pitches, transposition of
730 @cindex notes, transposition of
735 A music expression can be transposed with @code{\transpose}. The
739 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
743 This means that @var{musicexpr} is transposed by the interval
744 between the pitches @var{frompitch} and @var{topitch}: any note
745 with pitch @var{frompitch} is changed to @var{topitch} and any
746 other note is transposed by the same interval. Both pitches are
747 entered in absolute mode.
749 @warning{Music inside a @code{@bs{}transpose} block is absolute
750 unless a @code{@bs{}relative} is included in the block.}
752 Consider a piece written in the key of D-major. It can be
753 transposed up to E-major; note that the key signature is
754 automatically transposed as well.
756 @lilypond[verbatim,quote]
765 @cindex transposing instruments
766 @cindex instruments, transposing
768 If a part written in C (normal @notation{concert pitch}) is to be
769 played on the A clarinet (for which an A is notated as a C and
770 thus sounds a minor third lower than notated), the appropriate
771 part will be produced with:
773 @lilypond[verbatim,quote]
783 Note that we specify @w{@code{\key c \major}} explicitly. If we
784 do not specify a key signature, the notes will be transposed but
785 no key signature will be printed.
787 @code{\transpose} distinguishes between enharmonic pitches: both
788 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
789 transpose up a semitone. The first version will print sharps and
790 the notes will remain on the same scale step, the second version
791 will print flats on the scale step above.
793 @lilypond[verbatim,quote]
794 music = \relative c' { c d e f }
796 \transpose c cis { \music }
797 \transpose c des { \music }
802 @code{\transpose} may also be used in a different way, to input
803 written notes for a transposing instrument. The previous examples
804 show how to enter pitches in C (or @notation{concert pitch}) and
805 typeset them for a transposing instrument, but the opposite is
806 also possible if you for example have a set of instrumental parts
807 and want to print a conductor's score. For example, when entering
808 music for a B-flat trumpet that begins on a notated E (concert D),
812 musicInBflat = @{ e4 @dots{} @}
813 \transpose c bes, \musicInBflat
817 To print this music in F (e.g., rearranging to a French horn) you
818 could wrap the existing music with another @code{\transpose}:
821 musicInBflat = @{ e4 @dots{} @}
822 \transpose f c' @{ \transpose c bes, \musicInBflat @}
826 For more information about transposing instruments,
827 see @ref{Instrument transpositions}.
832 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
833 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
838 @ref{Relative octave entry},
839 @ref{Instrument transpositions}.
845 @rinternals{TransposedMusic}.
857 The relative conversion will not affect @code{\transpose},
858 @code{\chordmode} or @code{\relative} sections in its argument.
859 To use relative mode within transposed music, an additional
860 @code{\relative} must be placed inside @code{\transpose}.
862 @node Displaying pitches
863 @subsection Displaying pitches
865 This section discusses how to alter the output of pitches.
871 * Instrument transpositions::
872 * Automatic accidentals::
878 @unnumberedsubsubsec Clef
890 @cindex mezzosoprano clef
891 @cindex baritone clef
892 @cindex varbaritone clef
896 @cindex clef, ancient
906 @cindex clef, soprano
907 @cindex clef, mezzosoprano
908 @cindex clef, baritone
909 @cindex clef, varbaritone
910 @cindex subbass clef, subbass
915 The clef may be altered. Middle C is shown in every example.
917 @lilypond[verbatim,quote,relative=1]
930 @lilypond[verbatim,quote,relative=1]
962 Further supported clefs are described under @ref{Mensural clefs}
963 and @ref{Gregorian clefs}.
965 @cindex transposing clefs
966 @cindex clef, transposing
967 @cindex octave transposition
968 @cindex choral tenor clef
969 @cindex tenor clef, choral
971 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
972 clef is transposed one octave down or up, respectively,
973 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
974 The clef name must be enclosed in quotes when it contains
975 underscores or digits.
977 @lilypond[verbatim,quote,relative=2]
989 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
990 {tweaking-clef-properties.ly}
995 @ref{Mensural clefs},
996 @ref{Gregorian clefs}.
1001 Internals Reference:
1002 @rinternals{Clef_engraver},
1004 @rinternals{OctavateEight},
1005 @rinternals{clef-interface}.
1009 @unnumberedsubsubsec Key signature
1011 @cindex key signature
1016 @c duplicated in Key signature and Accidentals
1017 @warning{New users are sometimes confused about accidentals and
1018 key signatures. In LilyPond, note names are the raw input; key
1019 signatures and clefs determine how this raw input is displayed.
1020 An unaltered note like@tie{}@code{c} means @q{C natural},
1021 regardless of the key signature or clef. For more information,
1022 see @rlearning{Accidentals and key signatures}.}
1024 The key signature indicates the tonality in which a piece is
1025 played. It is denoted by a set of alterations (flats or sharps)
1026 at the start of the staff. The key signature may be altered:
1029 \key @var{pitch} @var{mode}
1042 @funindex \mixolydian
1043 @funindex mixolydian
1051 @cindex church modes
1064 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
1065 key signature of @var{pitch}-major or @var{pitch}-minor,
1066 respectively. You may also use the standard mode names, also
1067 called @notation{church modes}: @code{\ionian}, @code{\dorian},
1068 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
1069 @code{\aeolian}, and @code{\locrian}.
1071 @lilypond[verbatim,quote,relative=2]
1081 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1082 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1084 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1085 {non-traditional-key-signatures.ly}
1090 @rglos{church mode},
1094 @rlearning{Accidentals and key signatures}.
1099 Internals Reference:
1100 @rinternals{KeyChangeEvent},
1101 @rinternals{Key_engraver},
1102 @rinternals{Key_performer},
1103 @rinternals{KeyCancellation},
1104 @rinternals{KeySignature},
1105 @rinternals{key-cancellation-interface},
1106 @rinternals{key-signature-interface}.
1109 @node Ottava brackets
1110 @unnumberedsubsubsec Ottava brackets
1118 @funindex set-octavation
1122 @notation{Ottava brackets} introduce an extra transposition of an
1123 octave for the staff:
1125 @lilypond[verbatim,quote,relative=2]
1133 The @code{ottava} function also takes -1 (for 8va bassa),
1134 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1139 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1150 Internals Reference:
1151 @rinternals{Ottava_spanner_engraver},
1152 @rinternals{OttavaBracket},
1153 @rinternals{ottava-bracket-interface}.
1156 @node Instrument transpositions
1157 @unnumberedsubsubsec Instrument transpositions
1159 @cindex transposition, MIDI
1160 @cindex transposition, instrument
1161 @cindex transposing instrument
1163 @cindex MIDI transposition
1165 @funindex \transposition
1166 @funindex transposition
1168 When typesetting scores that involve transposing instruments, some
1169 parts can be typeset in a different pitch than the
1170 @notation{concert pitch}. In these cases, the key of the
1171 @notation{transposing instrument} should be specified; otherwise
1172 the MIDI output and cues in other parts will produce incorrect
1173 pitches. For more information about quotations, see
1174 @ref{Quoting other voices}.
1177 \transposition @var{pitch}
1180 The pitch to use for @code{\transposition} should correspond to
1181 the real sound heard when a@tie{}@code{c'} written on the staff is
1182 played by the transposing instrument. This pitch is entered in
1183 absolute mode, so an instrument that produces a real sound which
1184 is one tone higher than the printed music should use
1185 @w{@code{\transposition d'}}. @code{\transposition} should
1186 @emph{only} be used if the pitches are @emph{not} being entered in
1189 Here are a few notes for violin and B-flat clarinet where the
1190 parts have been entered using the notes and key as they appear in
1191 each part of the conductor's score. The two instruments are
1194 @lilypond[verbatim,quote]
1196 \new Staff = "violin" {
1198 \set Staff.instrumentName = #"Vln"
1199 \set Staff.midiInstrument = #"violin"
1200 % not strictly necessary, but a good reminder
1207 \new Staff = "clarinet" {
1209 \set Staff.instrumentName = \markup { Cl (B\flat) }
1210 \set Staff.midiInstrument = #"clarinet"
1220 The @code{\transposition} may be changed during a piece. For
1221 example, a clarinetist may switch from an A clarinet to a B-flat
1224 @lilypond[verbatim,quote,relative=2]
1225 \set Staff.instrumentName = #"Cl (A)"
1230 s1*0^\markup { Switch to B\flat clarinet }
1241 @rglos{concert pitch},
1242 @rglos{transposing instrument}.
1245 @ref{Quoting other voices},
1252 @node Automatic accidentals
1253 @unnumberedsubsubsec Automatic accidentals
1255 @cindex accidental style
1256 @cindex accidental style, default
1258 @cindex accidentals, automatic
1259 @cindex automatic accidentals
1260 @cindex default accidental style
1262 @funindex set-accidental-style
1266 There are many different conventions on how to typeset
1267 accidentals. LilyPond provides a function to specify which
1268 accidental style to use. This function is called as follows:
1272 #(set-accidental-style 'voice)
1277 The accidental style applies to the current @code{Staff} by
1278 default (with the exception of the styles @code{piano} and
1279 @code{piano-cautionary}, which are explained below). Optionally,
1280 the function can take a second argument that determines in which
1281 scope the style should be changed. For example, to use the same
1282 style in all staves of the current @code{StaffGroup}, use:
1285 #(set-accidental-style 'voice 'StaffGroup)
1288 The following accidental styles are supported. To demonstrate
1289 each style, we use the following example:
1292 @lilypond[verbatim,quote]
1296 cis'8 fis, d'4 <a cis>8 f bis4 |
1310 \voiceTwo \relative c' {
1311 <fis, a cis>8 <fis a cis>
1314 \change Staff = down
1319 \change Staff = down
1320 <fis, a cis>4 gis <f a d>2 |
1327 \context Staff = "up" {
1328 #(set-accidental-style 'default)
1331 \context Staff = "down" {
1332 #(set-accidental-style 'default)
1339 Note that the last lines of this example can be replaced by the
1340 following, as long as the same accidental style should be used in
1346 \context Staff = "up" @{
1347 %%% change the next line as desired:
1348 #(set-accidental-style 'default 'Score)
1351 \context Staff = "down" @{
1359 @c don't use verbatim in this table.
1363 @cindex default accidental style
1364 @cindex accidental style, default
1368 This is the default typesetting behavior. It corresponds to
1369 eighteenth-century common practice: accidentals are remembered to
1370 the end of the measure in which they occur and only in their own
1371 octave. Thus, in the example below, no natural signs are printed
1372 before the@tie{}@code{b} in the second measure or the
1379 cis'8 fis, d'4 <a cis>8 f bis4 |
1393 \voiceTwo \relative c' {
1394 <fis, a cis>8 <fis a cis>
1397 \change Staff = down
1402 \change Staff = down
1403 <fis, a cis>4 gis <f a d>2 |
1410 \context Staff = "up" {
1411 #(set-accidental-style 'default)
1414 \context Staff = "down" {
1415 #(set-accidental-style 'default)
1424 @cindex accidental style, voice
1425 @cindex voice accidental style
1426 @cindex accidental style, modern
1427 @cindex modern accidental style
1428 @cindex accidental style, modern-cautionary
1429 @cindex modern-cautionary accidental style
1433 The normal behavior is to remember the accidentals at
1434 @code{Staff}-level. In this style, however, accidentals are
1435 typeset individually for each voice. Apart from that, the rule is
1436 similar to @code{default}.
1438 As a result, accidentals from one voice do not get canceled in
1439 other voices, which is often an unwanted result: in the following
1440 example, it is hard to determine whether the second@tie{}@code{a}
1441 should be played natural or sharp. The @code{voice} option should
1442 therefore be used only if the voices are to be read solely by
1443 individual musicians. If the staff is to be used by one musician
1444 (e.g., a conductor or in a piano score) then @code{modern} or
1445 @code{modern-cautionary} should be used instead.
1452 cis'8 fis, d'4 <a cis>8 f bis4 |
1466 \voiceTwo \relative c' {
1467 <fis, a cis>8 <fis a cis>
1470 \change Staff = down
1475 \change Staff = down
1476 <fis, a cis>4 gis <f a d>2 |
1483 \context Staff = "up" {
1484 #(set-accidental-style 'voice)
1487 \context Staff = "down" {
1488 #(set-accidental-style 'voice)
1497 @cindex accidentals, modern style
1498 @cindex modern style accidentals
1502 This rule corresponds to the common practice in the twentieth
1503 century. It prints the same accidentals as @code{default}, with
1504 two exceptions that serve to avoid ambiguity: after temporary
1505 accidentals, cancellation marks are printed also in the following
1506 measure (for notes in the same octave) and, in the same measure,
1507 for notes in other octaves. Hence the naturals before
1508 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1515 cis'8 fis, d'4 <a cis>8 f bis4 |
1529 \voiceTwo \relative c' {
1530 <fis, a cis>8 <fis a cis>
1533 \change Staff = down
1538 \change Staff = down
1539 <fis, a cis>4 gis <f a d>2 |
1546 \context Staff = "up" {
1547 #(set-accidental-style 'modern)
1550 \context Staff = "down" {
1551 #(set-accidental-style 'modern)
1558 @item modern-cautionary
1560 @cindex accidentals, modern cautionary style
1561 @cindex modern accidental style
1562 @cindex modern cautionary accidental style
1563 @cindex modern style accidentals
1564 @cindex modern style cautionary accidentals
1566 @funindex modern-cautionary
1568 This rule is similar to @code{modern}, but the @q{extra}
1569 accidentals (the ones not typeset by @code{default}) are typeset
1570 as cautionary accidentals. They are by default printed with
1571 parentheses, but they can also be printed in reduced size by
1572 defining the @code{cautionary-style} property of
1573 @code{AccidentalSuggestion}.
1579 cis'8 fis, d'4 <a cis>8 f bis4 |
1593 \voiceTwo \relative c' {
1594 <fis, a cis>8 <fis a cis>
1597 \change Staff = down
1602 \change Staff = down
1603 <fis, a cis>4 gis <f a d>2 |
1610 \context Staff = "up" {
1611 #(set-accidental-style 'modern-cautionary)
1614 \context Staff = "down" {
1615 #(set-accidental-style 'modern-cautionary)
1624 @cindex accidental style, modern
1625 @cindex accidentals, modern
1626 @cindex accidentals, multivoice
1627 @cindex modern accidental style
1628 @cindex modern accidentals
1629 @cindex multivoice accidentals
1631 @funindex modern-voice
1633 This rule is used for multivoice accidentals to be read both by
1634 musicians playing one voice and musicians playing all voices.
1635 Accidentals are typeset for each voice, but they @emph{are}
1636 canceled across voices in the same @code{Staff}. Hence,
1637 the@tie{}@code{a} in the last measure is canceled because the
1638 previous cancellation was in a different voice, and
1639 the@tie{}@code{d} in the lower staff is canceled because of the
1640 accidental in a different voice in the previous measure:
1646 cis'8 fis, d'4 <a cis>8 f bis4 |
1660 \voiceTwo \relative c' {
1661 <fis, a cis>8 <fis a cis>
1664 \change Staff = down
1669 \change Staff = down
1670 <fis, a cis>4 gis <f a d>2 |
1677 \context Staff = "up" {
1678 #(set-accidental-style 'modern-voice)
1681 \context Staff = "down" {
1682 #(set-accidental-style 'modern-voice)
1689 @cindex accidental style, cautionary, modern voice
1690 @cindex accidental style, modern voice cautionary
1691 @cindex accidental style, voice, modern cautionary
1693 @funindex modern-voice-cautionary
1695 @item modern-voice-cautionary
1697 This rule is the same as @code{modern-voice}, but with the extra
1698 accidentals (the ones not typeset by @code{voice}) typeset as
1699 cautionaries. Even though all accidentals typeset by
1700 @code{default} @emph{are} typeset with this rule, some of them are
1701 typeset as cautionaries.
1707 cis'8 fis, d'4 <a cis>8 f bis4 |
1721 \voiceTwo \relative c' {
1722 <fis, a cis>8 <fis a cis>
1725 \change Staff = down
1730 \change Staff = down
1731 <fis, a cis>4 gis <f a d>2 |
1738 \context Staff = "up" {
1739 #(set-accidental-style 'modern-voice-cautionary)
1742 \context Staff = "down" {
1743 #(set-accidental-style 'modern-voice-cautionary)
1752 @cindex accidental style, piano
1753 @cindex accidentals, piano
1754 @cindex piano accidental style
1755 @cindex piano accidentals
1759 This rule reflects twentieth-century practice for piano notation.
1760 Its behavior is very similar to @code{modern} style, but here
1761 accidentals also get canceled across the staves in the same
1762 @code{GrandStaff} or @code{PianoStaff}, hence all the
1763 cancellations of the final notes.
1765 This accidental style applies to the current @code{GrandStaff} or
1766 @code{PianoStaff} by default.
1772 cis'8 fis, d'4 <a cis>8 f bis4 |
1786 \voiceTwo \relative c' {
1787 <fis, a cis>8 <fis a cis>
1790 \change Staff = down
1795 \change Staff = down
1796 <fis, a cis>4 gis <f a d>2 |
1803 \context Staff = "up" {
1804 #(set-accidental-style 'piano)
1807 \context Staff = "down" {
1814 @item piano-cautionary
1816 @cindex accidentals, piano cautionary
1817 @cindex cautionary accidentals, piano
1818 @cindex piano cautionary accidentals
1819 @cindex accidental style, piano cautionary
1820 @cindex cautionary accidental style, piano
1821 @cindex piano cautionary accidental style
1823 @funindex piano-cautionary
1825 This is the same as @code{piano} but with the extra accidentals
1826 typeset as cautionaries.
1832 cis'8 fis, d'4 <a cis>8 f bis4 |
1846 \voiceTwo \relative c' {
1847 <fis, a cis>8 <fis a cis>
1850 \change Staff = down
1855 \change Staff = down
1856 <fis, a cis>4 gis <f a d>2 |
1863 \context Staff = "up" {
1864 #(set-accidental-style 'piano-cautionary)
1867 \context Staff = "down" {
1877 @cindex neo-modern accidental style
1878 @cindex accidental style, neo-modern
1880 @funindex neo-modern
1882 This rule reproduces a common practice in contemporary music:
1883 accidentals are printed like with @code{modern}, but they are printed
1884 again if the same note appears later in the same measure -- except
1885 if the note is immediately repeated.
1891 cis'8 fis, d'4 <a cis>8 f bis4 |
1905 \voiceTwo \relative c' {
1906 <fis, a cis>8 <fis a cis>
1909 \change Staff = down
1914 \change Staff = down
1915 <fis, a cis>4 gis <f a d>2 |
1922 \context Staff = "up" {
1923 #(set-accidental-style 'neo-modern)
1926 \context Staff = "down" {
1927 #(set-accidental-style 'neo-modern)
1934 @item neo-modern-cautionary
1936 @cindex neo-modern-cautionary accidental style
1937 @cindex accidental style, neo-modern-cautionary
1939 @funindex neo-modern-cautionary
1941 This rule is similar to @code{neo-modern}, but the extra
1942 accidentals are printed as cautionary accidentals.
1948 cis'8 fis, d'4 <a cis>8 f bis4 |
1962 \voiceTwo \relative c' {
1963 <fis, a cis>8 <fis a cis>
1966 \change Staff = down
1971 \change Staff = down
1972 <fis, a cis>4 gis <f a d>2 |
1979 \context Staff = "up" {
1980 #(set-accidental-style 'neo-modern-cautionary)
1983 \context Staff = "down" {
1984 #(set-accidental-style 'neo-modern-cautionary)
1992 @item neo-modern-voice
1994 @cindex neo-modern-voice accidental style
1995 @cindex accidental style, neo-modern-voice
1997 @funindex neo-modern-voice
1999 This rule is used for multivoice accidentals to be read both by
2000 musicians playing one voice and musicians playing all voices.
2001 Accidentals are typeset for each voice as with @code{neo-modern},
2002 but they are canceled across voices in the same @code{Staff}.
2008 cis'8 fis, d'4 <a cis>8 f bis4 |
2022 \voiceTwo \relative c' {
2023 <fis, a cis>8 <fis a cis>
2026 \change Staff = down
2031 \change Staff = down
2032 <fis, a cis>4 gis <f a d>2 |
2039 \context Staff = "up" {
2040 #(set-accidental-style 'neo-modern-voice)
2043 \context Staff = "down" {
2044 #(set-accidental-style 'neo-modern-voice)
2051 @item neo-modern-voice-cautionary
2053 @cindex neo-modern-voice-cautionary accidental style
2054 @cindex accidental style, neo-modern-voice-cautionary
2056 @funindex neo-modern-voice-cautionary
2058 This rule is similar to @code{neo-modern-voice}, but the extra
2059 accidentals are printed as cautionary accidentals.
2065 cis'8 fis, d'4 <a cis>8 f bis4 |
2079 \voiceTwo \relative c' {
2080 <fis, a cis>8 <fis a cis>
2083 \change Staff = down
2088 \change Staff = down
2089 <fis, a cis>4 gis <f a d>2 |
2096 \context Staff = "up" {
2097 #(set-accidental-style 'neo-modern-voice-cautionary)
2100 \context Staff = "down" {
2101 #(set-accidental-style 'neo-modern-voice-cautionary)
2110 @cindex dodecaphonic accidental style
2111 @cindex dodecaphonic style, neo-modern
2113 @funindex dodecaphonic
2115 This rule reflects a practice introduced by composers at
2116 the beginning of the 20th century, in an attempt to
2117 abolish the hierarchy between natural and non-natural notes.
2118 With this style, @emph{every} note gets an accidental sign,
2119 including natural signs.
2125 cis'8 fis, d'4 <a cis>8 f bis4 |
2139 \voiceTwo \relative c' {
2140 <fis, a cis>8 <fis a cis>
2143 \change Staff = down
2148 \change Staff = down
2149 <fis, a cis>4 gis <f a d>2 |
2156 \context Staff = "up" {
2157 #(set-accidental-style 'dodecaphonic)
2160 \context Staff = "down" {
2161 #(set-accidental-style 'dodecaphonic)
2171 @cindex teaching accidental style
2172 @cindex accidental style, teaching
2176 This rule is intended for students, and makes it easy to create
2177 scale sheets with automagically created cautionary accidentals.
2178 Accidentals are printed like with @code{modern}, but cautionary
2179 accidentals are added for all sharp or flat tones specified by the
2180 key signature, except if the note is immediately repeated.
2186 cis'8 fis, d'4 <a cis>8 f bis4 |
2200 \voiceTwo \relative c' {
2201 <fis, a cis>8 <fis a cis>
2204 \change Staff = down
2209 \change Staff = down
2210 <fis, a cis>4 gis <f a d>2 |
2217 \context Staff = "up" {
2219 #(set-accidental-style 'teaching)
2222 \context Staff = "down" {
2224 #(set-accidental-style 'teaching)
2235 @cindex accidental style, no reset
2236 @cindex no reset accidental style
2240 This is the same as @code{default} but with accidentals lasting
2241 @q{forever} and not only within the same measure:
2247 cis'8 fis, d'4 <a cis>8 f bis4 |
2261 \voiceTwo \relative c' {
2262 <fis, a cis>8 <fis a cis>
2265 \change Staff = down
2270 \change Staff = down
2271 <fis, a cis>4 gis <f a d>2 |
2278 \context Staff = "up" {
2279 #(set-accidental-style 'no-reset)
2282 \context Staff = "down" {
2283 #(set-accidental-style 'no-reset)
2292 @cindex forget accidental style
2293 @cindex accidental style, forget
2297 This is the opposite of @code{no-reset}: Accidentals are not
2298 remembered at all -- and hence all accidentals are typeset
2299 relative to the key signature, regardless of what came before in
2300 the music. Unlike @code{dodecaphonic}, this rule never prints
2307 cis'8 fis, d'4 <a cis>8 f bis4 |
2321 \voiceTwo \relative c' {
2322 <fis, a cis>8 <fis a cis>
2325 \change Staff = down
2330 \change Staff = down
2331 <fis, a cis>4 gis <f a d>2 |
2338 \context Staff = "up" {
2339 #(set-accidental-style 'forget)
2342 \context Staff = "down" {
2343 #(set-accidental-style 'forget)
2353 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2354 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2361 Internals Reference:
2362 @rinternals{Accidental},
2363 @rinternals{Accidental_engraver},
2364 @rinternals{GrandStaff},
2365 @rinternals{PianoStaff},
2367 @rinternals{AccidentalSuggestion},
2368 @rinternals{AccidentalPlacement},
2369 @rinternals{accidental-suggestion-interface}.
2372 @cindex accidentals and simultaneous notes
2373 @cindex simultaneous notes and accidentals
2374 @cindex accidentals in chords
2375 @cindex chords, accidentals in
2379 Simultaneous notes are considered to be entered in sequential
2380 mode. This means that in a chord the accidentals are typeset as
2381 if the notes in the chord happen one at a time, in the order in
2382 which they appear in the input file. This is a problem when
2383 accidentals in a chord depend on each other, which does not happen
2384 for the default accidental style. The problem can be solved by
2385 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2389 Cautionary cancellation of accidentals is done by looking at previous measure.
2390 However, in the @code{\alternative} block following a @code{\repeat volta N}
2391 section, one would expect the cancellation being calculated using the previous
2392 @emph{played} measure, not previous @emph{printed} measure.
2393 In the following example, the natural @code{c} in the second alternative does
2394 not need a natural sign:
2398 #(set-accidental-style 'modern)
2410 The following work-around can be used: define a function that locally changes
2411 the accidental style to @code{forget}:
2413 @lilypond[verbatim,quote]
2414 forget = #(define-music-function (parser location music) (ly:music?) #{
2415 #(set-accidental-style 'forget)
2417 #(set-accidental-style 'modern)
2420 #(set-accidental-style 'modern)
2433 @unnumberedsubsubsec Ambitus
2436 @cindex range of pitches
2439 The term @notation{ambitus} (pl. ambitus) denotes a range of
2440 pitches for a given voice in a part of music. It may also denote
2441 the pitch range that a musical instrument is capable of playing.
2442 Ambitus are printed on vocal parts so that performers can easily
2443 determine if it matches their capabilities.
2445 Ambitus are denoted at the beginning of a piece near the initial
2446 clef. The range is graphically specified by two note heads that
2447 represent the lowest and highest pitches. Accidentals are only
2448 printed if they are not part of the key signature.
2450 @lilypond[verbatim,quote]
2454 \consists "Ambitus_engraver"
2467 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2468 {adding-ambitus-per-voice.ly}
2470 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2471 {ambitus-with-multiple-voices.ly}
2481 Internals Reference:
2482 @rinternals{Ambitus_engraver},
2485 @rinternals{Ambitus},
2486 @rinternals{AmbitusAccidental},
2487 @rinternals{AmbitusLine},
2488 @rinternals{AmbitusNoteHead},
2489 @rinternals{ambitus-interface}.
2494 There is no collision handling in the case of multiple per-voice
2499 @subsection Note heads
2501 This section suggests ways of altering note heads.
2504 * Special note heads::
2505 * Easy notation note heads::
2506 * Shape note heads::
2510 @node Special note heads
2511 @unnumberedsubsubsec Special note heads
2513 @cindex note heads, special
2514 @cindex note heads, cross
2515 @cindex note heads, diamond
2516 @cindex note heads, parlato
2517 @cindex note heads, harmonic
2518 @cindex note heads, guitar
2519 @cindex special note heads
2520 @cindex cross note heads
2521 @cindex diamond note heads
2522 @cindex parlato note heads
2523 @cindex harmonic note heads
2524 @cindex guitar note heads
2525 @cindex note head styles
2526 @cindex styles, note heads
2530 The appearance of note heads may be altered:
2532 @lilypond[verbatim,quote,relative=2]
2534 \override NoteHead #'style = #'cross
2536 \revert NoteHead #'style
2538 \override NoteHead #'style = #'harmonic
2540 \revert NoteHead #'style
2544 To see all note head styles, see @ref{Note head styles}.
2546 The @code{cross} style is used to represent a variety of musical
2547 intentions. The following generic predefined commands modify the
2548 note head in both staff and tablature contexts and can be used to
2549 represent any musical meaning:
2551 @lilypond[verbatim,quote,relative=2]
2559 The music function form of this predefined command may be used
2560 inside and outside chords to generate crossed note heads in both
2561 staff and tablature contexts:
2563 @lilypond[verbatim,quote,relative=2]
2566 c b < g \xNote c f > b
2569 There is also a shorthand for diamond shapes which can be used
2572 @lilypond[verbatim,quote,relative=2]
2573 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2588 @ref{Note head styles},
2589 @ref{Chorded notes}.
2591 Internals Reference:
2592 @rinternals{note-event},
2593 @rinternals{Note_heads_engraver},
2594 @rinternals{Ledger_line_engraver},
2595 @rinternals{NoteHead},
2596 @rinternals{LedgerLineSpanner},
2597 @rinternals{note-head-interface},
2598 @rinternals{ledger-line-spanner-interface}.
2601 @node Easy notation note heads
2602 @unnumberedsubsubsec Easy notation note heads
2604 @cindex note heads, practice
2605 @cindex practice note heads
2606 @cindex note heads, easy notation
2607 @cindex easy notation
2609 @cindex beginners' music
2610 @cindex music, beginners'
2611 @cindex easy play note heads
2612 @cindex note heads, easy play
2614 @funindex \easyHeadsOn
2615 @funindex easyHeadsOn
2616 @funindex \easyHeadsOff
2617 @funindex easyHeadsOff
2619 The @q{easy play} note head includes a note name inside the head.
2620 It is used in music for beginners. To make the letters readable,
2621 it should be printed in a large font size. To print with a larger
2622 font, see @ref{Setting the staff size}.
2624 @lilypond[verbatim,quote]
2625 #(set-global-staff-size 26)
2637 @code{\easyHeadsOn},
2638 @code{\easyHeadsOff}.
2644 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2645 {numbers-as-easy-note-heads.ly}
2650 @ref{Setting the staff size}.
2655 Internals Reference:
2656 @rinternals{note-event},
2657 @rinternals{Note_heads_engraver},
2658 @rinternals{NoteHead},
2659 @rinternals{note-head-interface}.
2662 @node Shape note heads
2663 @unnumberedsubsubsec Shape note heads
2665 @cindex note heads, shape
2666 @cindex note heads, Aiken
2667 @cindex note heads, sacred harp
2669 @cindex Aiken shape note heads
2670 @cindex sacred harp note heads
2674 @funindex \aikenHeads
2675 @funindex aikenHeads
2676 @funindex \sacredHarpHeads
2677 @funindex sacredHarpHeads
2679 In shape note head notation, the shape of the note head
2680 corresponds to the harmonic function of a note in the scale. This
2681 notation was popular in nineteenth-century American song books.
2682 Shape note heads can be produced:
2684 @lilypond[verbatim,quote,relative=2]
2691 Shapes are typeset according to the step in the scale, where the
2692 base of the scale is determined by the @code{\key} command.
2697 @code{\sacredHarpHeads}.
2703 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2704 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2706 To see all note head styles, see @ref{Note head styles}.
2714 @ref{Note head styles}.
2716 Internals Reference:
2717 @rinternals{note-event},
2718 @rinternals{Note_heads_engraver},
2719 @rinternals{NoteHead},
2720 @rinternals{note-head-interface}.
2724 @unnumberedsubsubsec Improvisation
2726 @cindex improvisation
2727 @cindex slashed note heads
2728 @cindex note heads, improvisation
2729 @cindex note heads, slashed
2731 @funindex \improvisationOn
2732 @funindex improvisationOn
2733 @funindex \improvisationOff
2734 @funindex improvisationOff
2736 Improvisation is sometimes denoted with slashed note heads, where
2737 the performer may choose any pitch but should play the specified
2738 rhythm. Such note heads can be created:
2740 @lilypond[verbatim,quote,relative=2]
2742 \consists "Pitch_squash_engraver"
2744 e8 e g a a16( bes) a8 g
2756 @code{\improvisationOn},
2757 @code{\improvisationOff}.
2765 Internals Reference:
2766 @rinternals{Pitch_squash_engraver},
2768 @rinternals{RhythmicStaff}.