1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
41 * Non-Western note names and accidentals::
45 @node Absolute octave entry
46 @unnumberedsubsubsec Absolute octave entry
51 @cindex absolute octave specification
52 @cindex octave specification, absolute
53 @cindex absolute octave entry
54 @cindex octave entry, absolute
56 A pitch name is specified using lowercase letters@tie{}@code{a}
57 through@tie{}@code{g}. The note names @code{c} to @code{b} are
58 engraved in the octave below middle C.
61 @lilypond[verbatim,quote,fragment]
68 @cindex octave changing mark
73 Other octaves may be specified with a single quote@tie{}(@code{'})
74 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
75 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
78 @lilypond[verbatim,quote,fragment]
96 @node Relative octave entry
97 @unnumberedsubsubsec Relative octave entry
100 @cindex relative octave entry
101 @cindex octave entry, relative
102 @cindex relative octave specification
103 @cindex ocatve specification, relative
108 When octaves are specified in absolute mode it is easy to
109 accidentally put a pitch in the wrong octave. Relative octave
110 mode reduces these errors since most of the time it is not
111 necessary to indicate any octaves at all. Furthermore, in
112 absolute mode a single mistake may be difficult to spot, while in
113 relative mode a single error puts the rest of the piece off by one
117 \relative @var{startpitch} @var{musicexpr}
120 In relative mode, each note is assumed to be as close to the
121 previous note as possible. This means that the octave of each
122 pitch inside @var{musicexpr} is calculated as follows:
126 If no octave changing mark is used on a pitch, its octave is
127 calculated so that the interval with the previous note is less
128 than a fifth. This interval is determined without considering
132 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
133 added to respectively raise or lower a pitch by an extra octave,
134 relative to the pitch calculated without an octave mark.
137 Multiple octave changing marks can be used. For example,
138 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
142 The pitch of the first note is relative to
143 @code{@var{startpitch}}. @var{startpitch} is specified in
144 absolute octave mode, and it is recommended that it be a octave of
149 Here is the relative mode shown in action:
151 @lilypond[verbatim,quote]
160 Octave changing marks are used for intervals greater than a
163 @lilypond[verbatim,quote]
170 A note sequence without a single octave mark can nevertheless span
173 @lilypond[verbatim,quote]
180 When @code{\relative} blocks are nested, the innermost
181 @code{\relative} block applies.
183 @lilypond[verbatim,quote]
192 @code{\relative} has no effect on @code{\chordmode} blocks.
194 @lilypond[verbatim,quote]
203 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
205 Music inside a @code{\transpose} block is absolute unless a
206 @code{\relative} is included.
208 @lilypond[verbatim,quote]
221 @cindex chords and relative octave entry
222 @cindex relative octave entry and chords
224 If the preceding item is a chord, the first note of the chord is
225 used as the reference point for the octave placement of a
226 following note or chord. Inside chords, the next note is always
227 relative to the preceding one. Examine the next example
228 carefully, paying attention to the @code{c} notes.
230 @lilypond[verbatim,quote]
239 As explained above, the octave of pitches is calculated only with
240 the note names, regardless of any alterations. Therefore, an
241 E-double-sharp following a B will be placed higher, while an
242 F-double-flat will be placed lower. In other words, a
243 double-augmented fourth is considered a smaller interval than a
244 double-diminished fifth, regardless of the number of semitones
245 that each interval contains.
247 @lilypond[verbatim,quote]
270 @rinternals{RelativeOctaveMusic}.
273 @cindex relative octave entry and transposition
274 @cindex transposition and relative octave entry
285 If no @var{startpitch} is specified for @code{\relative},
286 then@tie{}@code{c'} is assumed. However, this is a deprecated
287 option and may disappear in future versions, so its use is
293 @unnumberedsubsubsec Accidentals
296 @cindex key signature
299 @c duplicated in Key signature and Accidentals
300 @warning{New users are sometimes confused about accidentals and
301 key signatures. In LilyPond, note names are the raw input; key
302 signatures and clefs determine how this raw input is displayed.
303 An unaltered note like@tie{}@code{c} means @q{C natural},
304 regardless of the key signature or clef. For more information,
305 see @rlearning{Accidentals and key signatures}.}
307 @cindex note names, Dutch
308 @cindex note names, default
309 @cindex default note names
313 @cindex sharp, double
317 @cindex natural pitch
319 A @notation{sharp} pitch is made by adding @code{is} to the note
320 name, and a @notation{flat} pitch by adding @code{es}. As you
321 might expect, a @notation{double sharp} or @notation{double flat}
322 is made by adding @code{isis} or @code{eses}. This syntax is
323 derived from Dutch note naming conventions. To use other names
324 for accidentals, see @ref{Note names in other languages}.
326 @lilypond[verbatim,quote,relative=2]
330 A natural will cancel the effect of an accidental or key
331 signature. However, naturals are not encoded into the note name
332 syntax with a suffix; a natural pitch is shown as a simple note
335 @lilypond[verbatim,quote,relative=2]
339 @cindex quarter tones
343 Quarter tones may be added; the following is a series of Cs with
346 @lilypond[verbatim,quote,relative=2]
347 ceseh1 ces ceh c cih cis cisih
352 @cindex accidental, reminder
353 @cindex accidental, cautionary
354 @cindex accidental, parenthesized
355 @cindex reminder accidental
356 @cindex cautionary accidental
357 @cindex parenthesized accidental
363 Normally accidentals are printed automatically, but you may also
364 print them manually. A reminder accidental can be forced by
365 adding an exclamation mark@tie{}@code{!} after the pitch. A
366 cautionary accidental (i.e., an accidental within parentheses) can
367 be obtained by adding the question mark@tie{}@code{?} after the
368 pitch. These extra accidentals can also be used to produce
371 @lilypond[verbatim,quote,relative=2]
372 cis cis cis! cis? c c c! c?
375 @cindex accidental on tied note
376 @cindex tied note, accidental
378 Accidentals on tied notes are only printed at the beginning of a
381 @lilypond[verbatim,quote,relative=2]
390 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
391 {preventing-extra-naturals-from-being-automatically-added.ly}
398 @rglos{double sharp},
401 @rglos{quarter tone}.
404 @rlearning{Accidentals and key signatures}.
407 @ref{Automatic accidentals},
408 @ref{Annotational accidentals (musica ficta)},
409 @ref{Note names in other languages}.
415 @rinternals{Accidental_engraver},
416 @rinternals{Accidental},
417 @rinternals{AccidentalCautionary},
418 @rinternals{accidental-interface}.
421 @cindex accidental, quarter-tone
422 @cindex quarter-tone accidental
426 There are no generally accepted standards for denoting
427 quarter-tone accidentals, so LilyPond's symbol does not conform to
432 @node Note names in other languages
433 @unnumberedsubsubsec Note names in other languages
435 @cindex note names, other languages
436 @cindex pitch names, other languages
437 @cindex language, note names in other
438 @cindex language, pitch names in other
440 There are predefined sets of note and accidental names for various
441 other languages. To use them, include the language-specific init
442 file listed below. For example, to use English note names, add
443 @code{@w{\include "english.ly"}} to the input file.
445 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
446 use default (Nederlands) note names, the @code{@bs{}include}
447 command for the language file should be placed after all other
448 LilyPond distribution files.}
450 The available language files and the note names they define are:
453 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
454 @headitem Language File
456 @item @file{nederlands.ly}
457 @tab c d e f g a bes b
458 @item @file{arabic.ly}
459 @tab do re mi fa sol la sib si
460 @item @file{catalan.ly}
461 @tab do re mi fa sol la sib si
462 @item @file{deutsch.ly}
464 @item @file{english.ly}
465 @tab c d e f g a bf b
466 @item @file{espanol.ly}
467 @tab do re mi fa sol la sib si
468 @item @file{italiano.ly}
469 @tab do re mi fa sol la sib si
470 @item @file{norsk.ly}
472 @item @file{portugues.ly}
473 @tab do re mi fa sol la sib si
474 @item @file{suomi.ly}
476 @item @file{svenska.ly}
478 @item @file{vlaams.ly}
479 @tab do re mi fa sol la sib si
484 and the accidental suffixes they define are:
487 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
488 @headitem Language File
489 @tab sharp @tab flat @tab double sharp @tab double flat
490 @item @file{nederlands.ly}
491 @tab -is @tab -es @tab -isis @tab -eses
492 @item @file{arabic.ly}
493 @tab -d @tab -b @tab -dd @tab -bb
494 @item @file{catalan.ly}
495 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
496 @item @file{deutsch.ly}
497 @tab -is @tab -es @tab -isis @tab -eses
498 @item @file{english.ly}
499 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
501 @item @file{espanol.ly}
502 @tab -s @tab -b @tab -ss/-x @tab -bb
503 @item @file{italiano.ly}
504 @tab -d @tab -b @tab -dd @tab -bb
505 @item @file{norsk.ly}
506 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
508 @item @file{portugues.ly}
509 @tab -s @tab -b @tab -ss @tab -bb
510 @item @file{suomi.ly}
511 @tab -is @tab -es @tab -isis @tab -eses
512 @item @file{svenska.ly}
513 @tab -iss @tab -ess @tab -ississ @tab -essess
514 @item @file{vlaams.ly}
515 @tab -k @tab -b @tab -kk @tab -bb
519 In Dutch, @code{aes} is contracted to @code{as}, but both forms
520 are accepted in LilyPond. Similarly, both @code{es} and
521 @code{ees} are accepted. This also applies to
522 @code{aeses}@tie{}/@tie{}@code{ases} and
523 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
524 contracted names are defined in the corresponding language files.
526 @lilypond[verbatim,quote,relative=2]
527 a2 as e es a ases e eses
537 Some music uses microtones whose alterations are fractions of a
538 @q{normal} sharp or flat. The note names for quarter-tones
539 defined in the various language files are listed in the following
540 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
541 mean @q{half} and @q{one and a half}, respectively. For the other
542 languages, no special names have been defined yet.
545 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
546 @headitem Language File
547 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
549 @item @file{nederlands.ly}
550 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @item @file{arabic.ly}
552 @tab -sd @tab -sb @tab -dsd @tab -bsb
553 @item @file{deutsch.ly}
554 @tab -ih @tab -eh @tab -isih @tab -eseh
555 @item @file{english.ly}
556 @tab -qs @tab -qf @tab -tqs @tab -tqf
557 @item @file{espanol.ly}
558 @tab -cs @tab -cb @tab -tcs @tab -tcb
559 @item @file{italiano.ly}
560 @tab -sd @tab -sb @tab -dsd @tab -bsb
561 @item @file{portugues.ly}
562 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
575 @node Non-Western note names and accidentals
576 @unnumberedsubsubsec Non-Western note names and accidentals
578 Many non-Western musics (and some Western folk and
579 traditional musics) employ alternative or extended tuning
580 systems that do not fit readily into standard classical
583 In some cases standard notation is still used, with the
584 pitch differences being implicit. For example, Arabic
585 music is notated with standard semitone and quarter-tone
586 accidentals, with the precise pitch alterations being
587 determined by context. Others require extended or unique
590 @notation{Turkish classical music}, or Ottoman music,
591 employs melodic forms known as @notation{makamlar}, whose
592 intervals are based on 1/9 divisions of the whole tone.
593 From a modern notational point of view, it is convenient
594 to use the standard Western staff notes (c, d, e, ...)
595 with special accidentals unique to Turkish music. These
596 accidentals are defined in @file{makam.ly} (to locate this
597 file on your system, see
598 @rlearning{Other sources of information}). The following
599 table gives their names, the accidental suffix that must
600 be added to notes, and their pitch alteration as a
601 fraction of one whole tone.
603 @c TODO: can we include the actual accidentals in this table?
605 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
606 @headitem Accidental name
607 @tab suffix @tab pitch alteration
609 @item büyük mücenneb (sharp)
611 @item kücük mücenneb (sharp)
622 @item kücük mücenneb (flat)
624 @item büyük mücenneb (flat)
629 For further information on Turkish classical music and
630 makamlar, see @ref{Turkish classical music}.
635 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
639 @node Changing multiple pitches
640 @subsection Changing multiple pitches
642 This section discusses how to modify pitches.
650 @unnumberedsubsubsec Octave checks
652 @cindex octave correction
654 @cindex control pitch
657 @funindex \octaveCheck
658 @funindex octaveCheck
659 @funindex controlpitch
661 In relative mode, it is easy to forget an octave changing mark.
662 Octave checks make such errors easier to find by displaying a
663 warning and correcting the octave if a note is found in an
666 To check the octave of a note, specify the absolute octave after
667 the @code{=}@tie{}symbol. This example will generate a warning
668 (and change the pitch) because the second note is the absolute
669 octave @code{d''} instead of @code{d'} as indicated by the octave
672 @lilypond[verbatim,quote]
679 The octave of notes may also be checked with the
680 @code{\octaveCheck}@tie{}@var{controlpitch} command.
681 @var{controlpitch} is specified in absolute mode. This checks
682 that the interval between the previous note and the
683 @var{controlpitch} is within a fourth (i.e., the normal
684 calculation of relative mode). If this check fails, a warning is
685 printed, but the previous note is not changed. Future notes are
686 relative to the @var{controlpitch}.
688 @lilypond[verbatim,quote]
696 Compare the two bars below. The first and third @code{\octaveCheck}
697 checks fail, but the second one does not fail.
699 @lilypond[verbatim,quote]
719 @rinternals{RelativeOctaveCheck}.
723 @unnumberedsubsubsec Transpose
727 @cindex transposition
728 @cindex transposition of pitches
729 @cindex transposition of notes
730 @cindex pitches, transposition of
731 @cindex notes, transposition of
736 A music expression can be transposed with @code{\transpose}. The
740 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
744 This means that @var{musicexpr} is transposed by the interval
745 between the pitches @var{frompitch} and @var{topitch}: any note
746 with pitch @var{frompitch} is changed to @var{topitch} and any
747 other note is transposed by the same interval. Both pitches are
748 entered in absolute mode.
750 @warning{Music inside a @code{@bs{}transpose} block is absolute
751 unless a @code{@bs{}relative} is included in the block.}
753 Consider a piece written in the key of D-major. It can be
754 transposed up to E-major; note that the key signature is
755 automatically transposed as well.
757 @lilypond[verbatim,quote]
766 @cindex transposing instruments
767 @cindex instruments, transposing
769 If a part written in C (normal @notation{concert pitch}) is to be
770 played on the A clarinet (for which an A is notated as a C and
771 thus sounds a minor third lower than notated), the appropriate
772 part will be produced with:
774 @lilypond[verbatim,quote]
784 Note that we specify @w{@code{\key c \major}} explicitly. If we
785 do not specify a key signature, the notes will be transposed but
786 no key signature will be printed.
788 @code{\transpose} distinguishes between enharmonic pitches: both
789 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
790 transpose up a semitone. The first version will print sharps and
791 the notes will remain on the same scale step, the second version
792 will print flats on the scale step above.
794 @lilypond[verbatim,quote]
795 music = \relative c' { c d e f }
797 \transpose c cis { \music }
798 \transpose c des { \music }
803 @code{\transpose} may also be used in a different way, to input
804 written notes for a transposing instrument. The previous examples
805 show how to enter pitches in C (or @notation{concert pitch}) and
806 typeset them for a transposing instrument, but the opposite is
807 also possible if you for example have a set of instrumental parts
808 and want to print a conductor's score. For example, when entering
809 music for a B-flat trumpet that begins on a notated E (concert D),
813 musicInBflat = @{ e4 @dots{} @}
814 \transpose c bes, \musicInBflat
818 To print this music in F (e.g., rearranging to a French horn) you
819 could wrap the existing music with another @code{\transpose}:
822 musicInBflat = @{ e4 @dots{} @}
823 \transpose f c' @{ \transpose c bes, \musicInBflat @}
827 For more information about transposing instruments,
828 see @ref{Instrument transpositions}.
833 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
834 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
839 @ref{Relative octave entry},
840 @ref{Instrument transpositions}.
846 @rinternals{TransposedMusic}.
858 The relative conversion will not affect @code{\transpose},
859 @code{\chordmode} or @code{\relative} sections in its argument.
860 To use relative mode within transposed music, an additional
861 @code{\relative} must be placed inside @code{\transpose}.
863 @node Displaying pitches
864 @subsection Displaying pitches
866 This section discusses how to alter the output of pitches.
872 * Instrument transpositions::
873 * Automatic accidentals::
879 @unnumberedsubsubsec Clef
891 @cindex mezzosoprano clef
892 @cindex baritone clef
893 @cindex varbaritone clef
897 @cindex clef, ancient
907 @cindex clef, soprano
908 @cindex clef, mezzosoprano
909 @cindex clef, baritone
910 @cindex clef, varbaritone
911 @cindex clef, subbass
917 The clef may be altered. Middle C is shown in every example. The
918 following clef names can (but do not need to) be enclosed in quotes.
920 @lilypond[verbatim,quote,relative=1]
933 @lilypond[verbatim,quote,relative=1]
954 \clef G % synonym for treble
956 \clef F % synonym for bass
958 \clef C % synonym for alto
962 @cindex transposing clef
963 @cindex clef, transposing
964 @cindex octave transposition
965 @cindex choral tenor clef
966 @cindex tenor clef, choral
968 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
969 clef is transposed one octave down or up respectively,
970 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
971 Other integers can be used if required. Clef names containing
972 non-alphabetic characters must be enclosed in quotes
974 @lilypond[verbatim,quote,relative=1]
989 Some special purpose clefs are described in @ref{Mensural clefs},
990 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
995 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
996 {tweaking-clef-properties.ly}
1001 @ref{Mensural clefs},
1002 @ref{Gregorian clefs},
1003 @ref{Default tablatures},
1004 @ref{Custom tablatures}.
1009 Internals Reference:
1010 @rinternals{Clef_engraver},
1012 @rinternals{OctavateEight},
1013 @rinternals{clef-interface}.
1017 @unnumberedsubsubsec Key signature
1019 @cindex key signature
1024 @c duplicated in Key signature and Accidentals
1025 @warning{New users are sometimes confused about accidentals and
1026 key signatures. In LilyPond, note names are the raw input; key
1027 signatures and clefs determine how this raw input is displayed.
1028 An unaltered note like@tie{}@code{c} means @q{C natural},
1029 regardless of the key signature or clef. For more information,
1030 see @rlearning{Accidentals and key signatures}.}
1032 The key signature indicates the tonality in which a piece is
1033 played. It is denoted by a set of alterations (flats or sharps)
1034 at the start of the staff. The key signature may be altered:
1037 \key @var{pitch} @var{mode}
1050 @funindex \mixolydian
1051 @funindex mixolydian
1059 @cindex church modes
1072 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
1073 key signature of @var{pitch}-major or @var{pitch}-minor,
1074 respectively. You may also use the standard mode names, also
1075 called @notation{church modes}: @code{\ionian}, @code{\dorian},
1076 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
1077 @code{\aeolian}, and @code{\locrian}.
1079 @lilypond[verbatim,quote,relative=2]
1089 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1090 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1092 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1093 {non-traditional-key-signatures.ly}
1098 @rglos{church mode},
1102 @rlearning{Accidentals and key signatures}.
1107 Internals Reference:
1108 @rinternals{KeyChangeEvent},
1109 @rinternals{Key_engraver},
1110 @rinternals{Key_performer},
1111 @rinternals{KeyCancellation},
1112 @rinternals{KeySignature},
1113 @rinternals{key-cancellation-interface},
1114 @rinternals{key-signature-interface}.
1117 @node Ottava brackets
1118 @unnumberedsubsubsec Ottava brackets
1126 @funindex set-octavation
1130 @notation{Ottava brackets} introduce an extra transposition of an
1131 octave for the staff:
1133 @lilypond[verbatim,quote,relative=2]
1149 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1160 Internals Reference:
1161 @rinternals{Ottava_spanner_engraver},
1162 @rinternals{OttavaBracket},
1163 @rinternals{ottava-bracket-interface}.
1166 @node Instrument transpositions
1167 @unnumberedsubsubsec Instrument transpositions
1169 @cindex transposition, MIDI
1170 @cindex transposition, instrument
1171 @cindex transposing instrument
1173 @cindex MIDI transposition
1175 @funindex \transposition
1176 @funindex transposition
1178 When typesetting scores that involve transposing instruments, some
1179 parts can be typeset in a different pitch than the
1180 @notation{concert pitch}. In these cases, the key of the
1181 @notation{transposing instrument} should be specified; otherwise
1182 the MIDI output and cues in other parts will produce incorrect
1183 pitches. For more information about quotations, see
1184 @ref{Quoting other voices}.
1187 \transposition @var{pitch}
1190 The pitch to use for @code{\transposition} should correspond to
1191 the real sound heard when a@tie{}@code{c'} written on the staff is
1192 played by the transposing instrument. This pitch is entered in
1193 absolute mode, so an instrument that produces a real sound which
1194 is one tone higher than the printed music should use
1195 @w{@code{\transposition d'}}. @code{\transposition} should
1196 @emph{only} be used if the pitches are @emph{not} being entered in
1199 Here are a few notes for violin and B-flat clarinet where the
1200 parts have been entered using the notes and key as they appear in
1201 each part of the conductor's score. The two instruments are
1204 @lilypond[verbatim,quote]
1206 \new Staff = "violin" {
1208 \set Staff.instrumentName = #"Vln"
1209 \set Staff.midiInstrument = #"violin"
1210 % not strictly necessary, but a good reminder
1217 \new Staff = "clarinet" {
1219 \set Staff.instrumentName = \markup { Cl (B\flat) }
1220 \set Staff.midiInstrument = #"clarinet"
1230 The @code{\transposition} may be changed during a piece. For
1231 example, a clarinetist may switch from an A clarinet to a B-flat
1234 @lilypond[verbatim,quote,relative=2]
1235 \set Staff.instrumentName = #"Cl (A)"
1240 s1*0^\markup { Switch to B\flat clarinet }
1251 @rglos{concert pitch},
1252 @rglos{transposing instrument}.
1255 @ref{Quoting other voices},
1262 @node Automatic accidentals
1263 @unnumberedsubsubsec Automatic accidentals
1265 @cindex accidental style
1266 @cindex accidental style, default
1268 @cindex accidentals, automatic
1269 @cindex automatic accidentals
1270 @cindex default accidental style
1272 @funindex set-accidental-style
1276 There are many different conventions on how to typeset
1277 accidentals. LilyPond provides a function to specify which
1278 accidental style to use. This function is called as follows:
1282 #(set-accidental-style 'voice)
1287 The accidental style applies to the current @code{Staff} by
1288 default (with the exception of the styles @code{piano} and
1289 @code{piano-cautionary}, which are explained below). Optionally,
1290 the function can take a second argument that determines in which
1291 scope the style should be changed. For example, to use the same
1292 style in all staves of the current @code{StaffGroup}, use:
1295 #(set-accidental-style 'voice 'StaffGroup)
1298 The following accidental styles are supported. To demonstrate
1299 each style, we use the following example:
1302 @lilypond[verbatim,quote]
1306 cis'8 fis, d'4 <a cis>8 f bis4 |
1320 \voiceTwo \relative c' {
1321 <fis, a cis>8 <fis a cis>
1324 \change Staff = down
1329 \change Staff = down
1330 <fis, a cis>4 gis <f a d>2 |
1337 \context Staff = "up" {
1338 #(set-accidental-style 'default)
1341 \context Staff = "down" {
1342 #(set-accidental-style 'default)
1349 Note that the last lines of this example can be replaced by the
1350 following, as long as the same accidental style should be used in
1356 \context Staff = "up" @{
1357 %%% change the next line as desired:
1358 #(set-accidental-style 'default 'Score)
1361 \context Staff = "down" @{
1369 @c don't use verbatim in this table.
1373 @cindex default accidental style
1374 @cindex accidental style, default
1378 This is the default typesetting behavior. It corresponds to
1379 eighteenth-century common practice: accidentals are remembered to
1380 the end of the measure in which they occur and only in their own
1381 octave. Thus, in the example below, no natural signs are printed
1382 before the@tie{}@code{b} in the second measure or the
1389 cis'8 fis, d'4 <a cis>8 f bis4 |
1403 \voiceTwo \relative c' {
1404 <fis, a cis>8 <fis a cis>
1407 \change Staff = down
1412 \change Staff = down
1413 <fis, a cis>4 gis <f a d>2 |
1420 \context Staff = "up" {
1421 #(set-accidental-style 'default)
1424 \context Staff = "down" {
1425 #(set-accidental-style 'default)
1434 @cindex accidental style, voice
1435 @cindex voice accidental style
1436 @cindex accidental style, modern
1437 @cindex modern accidental style
1438 @cindex accidental style, modern-cautionary
1439 @cindex modern-cautionary accidental style
1443 The normal behavior is to remember the accidentals at
1444 @code{Staff}-level. In this style, however, accidentals are
1445 typeset individually for each voice. Apart from that, the rule is
1446 similar to @code{default}.
1448 As a result, accidentals from one voice do not get canceled in
1449 other voices, which is often an unwanted result: in the following
1450 example, it is hard to determine whether the second@tie{}@code{a}
1451 should be played natural or sharp. The @code{voice} option should
1452 therefore be used only if the voices are to be read solely by
1453 individual musicians. If the staff is to be used by one musician
1454 (e.g., a conductor or in a piano score) then @code{modern} or
1455 @code{modern-cautionary} should be used instead.
1462 cis'8 fis, d'4 <a cis>8 f bis4 |
1476 \voiceTwo \relative c' {
1477 <fis, a cis>8 <fis a cis>
1480 \change Staff = down
1485 \change Staff = down
1486 <fis, a cis>4 gis <f a d>2 |
1493 \context Staff = "up" {
1494 #(set-accidental-style 'voice)
1497 \context Staff = "down" {
1498 #(set-accidental-style 'voice)
1507 @cindex accidentals, modern style
1508 @cindex modern style accidentals
1512 This rule corresponds to the common practice in the twentieth
1513 century. It prints the same accidentals as @code{default}, with
1514 two exceptions that serve to avoid ambiguity: after temporary
1515 accidentals, cancellation marks are printed also in the following
1516 measure (for notes in the same octave) and, in the same measure,
1517 for notes in other octaves. Hence the naturals before
1518 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1525 cis'8 fis, d'4 <a cis>8 f bis4 |
1539 \voiceTwo \relative c' {
1540 <fis, a cis>8 <fis a cis>
1543 \change Staff = down
1548 \change Staff = down
1549 <fis, a cis>4 gis <f a d>2 |
1556 \context Staff = "up" {
1557 #(set-accidental-style 'modern)
1560 \context Staff = "down" {
1561 #(set-accidental-style 'modern)
1568 @item modern-cautionary
1570 @cindex accidentals, modern cautionary style
1571 @cindex modern accidental style
1572 @cindex modern cautionary accidental style
1573 @cindex modern style accidentals
1574 @cindex modern style cautionary accidentals
1576 @funindex modern-cautionary
1578 This rule is similar to @code{modern}, but the @q{extra}
1579 accidentals (the ones not typeset by @code{default}) are typeset
1580 as cautionary accidentals. They are by default printed with
1581 parentheses, but they can also be printed in reduced size by
1582 defining the @code{cautionary-style} property of
1583 @code{AccidentalSuggestion}.
1589 cis'8 fis, d'4 <a cis>8 f bis4 |
1603 \voiceTwo \relative c' {
1604 <fis, a cis>8 <fis a cis>
1607 \change Staff = down
1612 \change Staff = down
1613 <fis, a cis>4 gis <f a d>2 |
1620 \context Staff = "up" {
1621 #(set-accidental-style 'modern-cautionary)
1624 \context Staff = "down" {
1625 #(set-accidental-style 'modern-cautionary)
1634 @cindex accidental style, modern
1635 @cindex accidentals, modern
1636 @cindex accidentals, multivoice
1637 @cindex modern accidental style
1638 @cindex modern accidentals
1639 @cindex multivoice accidentals
1641 @funindex modern-voice
1643 This rule is used for multivoice accidentals to be read both by
1644 musicians playing one voice and musicians playing all voices.
1645 Accidentals are typeset for each voice, but they @emph{are}
1646 canceled across voices in the same @code{Staff}. Hence,
1647 the@tie{}@code{a} in the last measure is canceled because the
1648 previous cancellation was in a different voice, and
1649 the@tie{}@code{d} in the lower staff is canceled because of the
1650 accidental in a different voice in the previous measure:
1656 cis'8 fis, d'4 <a cis>8 f bis4 |
1670 \voiceTwo \relative c' {
1671 <fis, a cis>8 <fis a cis>
1674 \change Staff = down
1679 \change Staff = down
1680 <fis, a cis>4 gis <f a d>2 |
1687 \context Staff = "up" {
1688 #(set-accidental-style 'modern-voice)
1691 \context Staff = "down" {
1692 #(set-accidental-style 'modern-voice)
1699 @cindex accidental style, cautionary, modern voice
1700 @cindex accidental style, modern voice cautionary
1701 @cindex accidental style, voice, modern cautionary
1703 @funindex modern-voice-cautionary
1705 @item modern-voice-cautionary
1707 This rule is the same as @code{modern-voice}, but with the extra
1708 accidentals (the ones not typeset by @code{voice}) typeset as
1709 cautionaries. Even though all accidentals typeset by
1710 @code{default} @emph{are} typeset with this rule, some of them are
1711 typeset as cautionaries.
1717 cis'8 fis, d'4 <a cis>8 f bis4 |
1731 \voiceTwo \relative c' {
1732 <fis, a cis>8 <fis a cis>
1735 \change Staff = down
1740 \change Staff = down
1741 <fis, a cis>4 gis <f a d>2 |
1748 \context Staff = "up" {
1749 #(set-accidental-style 'modern-voice-cautionary)
1752 \context Staff = "down" {
1753 #(set-accidental-style 'modern-voice-cautionary)
1762 @cindex accidental style, piano
1763 @cindex accidentals, piano
1764 @cindex piano accidental style
1765 @cindex piano accidentals
1769 This rule reflects twentieth-century practice for piano notation.
1770 Its behavior is very similar to @code{modern} style, but here
1771 accidentals also get canceled across the staves in the same
1772 @code{GrandStaff} or @code{PianoStaff}, hence all the
1773 cancellations of the final notes.
1775 This accidental style applies to the current @code{GrandStaff} or
1776 @code{PianoStaff} by default.
1782 cis'8 fis, d'4 <a cis>8 f bis4 |
1796 \voiceTwo \relative c' {
1797 <fis, a cis>8 <fis a cis>
1800 \change Staff = down
1805 \change Staff = down
1806 <fis, a cis>4 gis <f a d>2 |
1813 \context Staff = "up" {
1814 #(set-accidental-style 'piano)
1817 \context Staff = "down" {
1824 @item piano-cautionary
1826 @cindex accidentals, piano cautionary
1827 @cindex cautionary accidentals, piano
1828 @cindex piano cautionary accidentals
1829 @cindex accidental style, piano cautionary
1830 @cindex cautionary accidental style, piano
1831 @cindex piano cautionary accidental style
1833 @funindex piano-cautionary
1835 This is the same as @code{piano} but with the extra accidentals
1836 typeset as cautionaries.
1842 cis'8 fis, d'4 <a cis>8 f bis4 |
1856 \voiceTwo \relative c' {
1857 <fis, a cis>8 <fis a cis>
1860 \change Staff = down
1865 \change Staff = down
1866 <fis, a cis>4 gis <f a d>2 |
1873 \context Staff = "up" {
1874 #(set-accidental-style 'piano-cautionary)
1877 \context Staff = "down" {
1887 @cindex neo-modern accidental style
1888 @cindex accidental style, neo-modern
1890 @funindex neo-modern
1892 This rule reproduces a common practice in contemporary music:
1893 accidentals are printed like with @code{modern}, but they are printed
1894 again if the same note appears later in the same measure -- except
1895 if the note is immediately repeated.
1901 cis'8 fis, d'4 <a cis>8 f bis4 |
1915 \voiceTwo \relative c' {
1916 <fis, a cis>8 <fis a cis>
1919 \change Staff = down
1924 \change Staff = down
1925 <fis, a cis>4 gis <f a d>2 |
1932 \context Staff = "up" {
1933 #(set-accidental-style 'neo-modern)
1936 \context Staff = "down" {
1937 #(set-accidental-style 'neo-modern)
1944 @item neo-modern-cautionary
1946 @cindex neo-modern-cautionary accidental style
1947 @cindex accidental style, neo-modern-cautionary
1949 @funindex neo-modern-cautionary
1951 This rule is similar to @code{neo-modern}, but the extra
1952 accidentals are printed as cautionary accidentals.
1958 cis'8 fis, d'4 <a cis>8 f bis4 |
1972 \voiceTwo \relative c' {
1973 <fis, a cis>8 <fis a cis>
1976 \change Staff = down
1981 \change Staff = down
1982 <fis, a cis>4 gis <f a d>2 |
1989 \context Staff = "up" {
1990 #(set-accidental-style 'neo-modern-cautionary)
1993 \context Staff = "down" {
1994 #(set-accidental-style 'neo-modern-cautionary)
2002 @item neo-modern-voice
2004 @cindex neo-modern-voice accidental style
2005 @cindex accidental style, neo-modern-voice
2007 @funindex neo-modern-voice
2009 This rule is used for multivoice accidentals to be read both by
2010 musicians playing one voice and musicians playing all voices.
2011 Accidentals are typeset for each voice as with @code{neo-modern},
2012 but they are canceled across voices in the same @code{Staff}.
2018 cis'8 fis, d'4 <a cis>8 f bis4 |
2032 \voiceTwo \relative c' {
2033 <fis, a cis>8 <fis a cis>
2036 \change Staff = down
2041 \change Staff = down
2042 <fis, a cis>4 gis <f a d>2 |
2049 \context Staff = "up" {
2050 #(set-accidental-style 'neo-modern-voice)
2053 \context Staff = "down" {
2054 #(set-accidental-style 'neo-modern-voice)
2061 @item neo-modern-voice-cautionary
2063 @cindex neo-modern-voice-cautionary accidental style
2064 @cindex accidental style, neo-modern-voice-cautionary
2066 @funindex neo-modern-voice-cautionary
2068 This rule is similar to @code{neo-modern-voice}, but the extra
2069 accidentals are printed as cautionary accidentals.
2075 cis'8 fis, d'4 <a cis>8 f bis4 |
2089 \voiceTwo \relative c' {
2090 <fis, a cis>8 <fis a cis>
2093 \change Staff = down
2098 \change Staff = down
2099 <fis, a cis>4 gis <f a d>2 |
2106 \context Staff = "up" {
2107 #(set-accidental-style 'neo-modern-voice-cautionary)
2110 \context Staff = "down" {
2111 #(set-accidental-style 'neo-modern-voice-cautionary)
2120 @cindex dodecaphonic accidental style
2121 @cindex dodecaphonic style, neo-modern
2123 @funindex dodecaphonic
2125 This rule reflects a practice introduced by composers at
2126 the beginning of the 20th century, in an attempt to
2127 abolish the hierarchy between natural and non-natural notes.
2128 With this style, @emph{every} note gets an accidental sign,
2129 including natural signs.
2135 cis'8 fis, d'4 <a cis>8 f bis4 |
2149 \voiceTwo \relative c' {
2150 <fis, a cis>8 <fis a cis>
2153 \change Staff = down
2158 \change Staff = down
2159 <fis, a cis>4 gis <f a d>2 |
2166 \context Staff = "up" {
2167 #(set-accidental-style 'dodecaphonic)
2170 \context Staff = "down" {
2171 #(set-accidental-style 'dodecaphonic)
2181 @cindex teaching accidental style
2182 @cindex accidental style, teaching
2186 This rule is intended for students, and makes it easy to create
2187 scale sheets with automagically created cautionary accidentals.
2188 Accidentals are printed like with @code{modern}, but cautionary
2189 accidentals are added for all sharp or flat tones specified by the
2190 key signature, except if the note is immediately repeated.
2196 cis'8 fis, d'4 <a cis>8 f bis4 |
2210 \voiceTwo \relative c' {
2211 <fis, a cis>8 <fis a cis>
2214 \change Staff = down
2219 \change Staff = down
2220 <fis, a cis>4 gis <f a d>2 |
2227 \context Staff = "up" {
2229 #(set-accidental-style 'teaching)
2232 \context Staff = "down" {
2234 #(set-accidental-style 'teaching)
2245 @cindex accidental style, no reset
2246 @cindex no reset accidental style
2250 This is the same as @code{default} but with accidentals lasting
2251 @q{forever} and not only within the same measure:
2257 cis'8 fis, d'4 <a cis>8 f bis4 |
2271 \voiceTwo \relative c' {
2272 <fis, a cis>8 <fis a cis>
2275 \change Staff = down
2280 \change Staff = down
2281 <fis, a cis>4 gis <f a d>2 |
2288 \context Staff = "up" {
2289 #(set-accidental-style 'no-reset)
2292 \context Staff = "down" {
2293 #(set-accidental-style 'no-reset)
2302 @cindex forget accidental style
2303 @cindex accidental style, forget
2307 This is the opposite of @code{no-reset}: Accidentals are not
2308 remembered at all -- and hence all accidentals are typeset
2309 relative to the key signature, regardless of what came before in
2310 the music. Unlike @code{dodecaphonic}, this rule never prints
2317 cis'8 fis, d'4 <a cis>8 f bis4 |
2331 \voiceTwo \relative c' {
2332 <fis, a cis>8 <fis a cis>
2335 \change Staff = down
2340 \change Staff = down
2341 <fis, a cis>4 gis <f a d>2 |
2348 \context Staff = "up" {
2349 #(set-accidental-style 'forget)
2352 \context Staff = "down" {
2353 #(set-accidental-style 'forget)
2363 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2364 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2371 Internals Reference:
2372 @rinternals{Accidental},
2373 @rinternals{Accidental_engraver},
2374 @rinternals{GrandStaff},
2375 @rinternals{PianoStaff},
2377 @rinternals{AccidentalSuggestion},
2378 @rinternals{AccidentalPlacement},
2379 @rinternals{accidental-suggestion-interface}.
2382 @cindex accidentals and simultaneous notes
2383 @cindex simultaneous notes and accidentals
2384 @cindex accidentals in chords
2385 @cindex chords, accidentals in
2389 Simultaneous notes are considered to be entered in sequential
2390 mode. This means that in a chord the accidentals are typeset as
2391 if the notes in the chord happen one at a time, in the order in
2392 which they appear in the input file. This is a problem when
2393 accidentals in a chord depend on each other, which does not happen
2394 for the default accidental style. The problem can be solved by
2395 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2399 Cautionary cancellation of accidentals is done by looking at previous measure.
2400 However, in the @code{\alternative} block following a @code{\repeat volta N}
2401 section, one would expect the cancellation being calculated using the previous
2402 @emph{played} measure, not previous @emph{printed} measure.
2403 In the following example, the natural @code{c} in the second alternative does
2404 not need a natural sign:
2408 #(set-accidental-style 'modern)
2420 The following work-around can be used: define a function that locally changes
2421 the accidental style to @code{forget}:
2423 @lilypond[verbatim,quote]
2424 forget = #(define-music-function (parser location music) (ly:music?) #{
2425 #(set-accidental-style 'forget)
2427 #(set-accidental-style 'modern)
2430 #(set-accidental-style 'modern)
2443 @unnumberedsubsubsec Ambitus
2446 @cindex range of pitches
2449 The term @notation{ambitus} (pl. ambitus) denotes a range of
2450 pitches for a given voice in a part of music. It may also denote
2451 the pitch range that a musical instrument is capable of playing.
2452 Ambitus are printed on vocal parts so that performers can easily
2453 determine if it matches their capabilities.
2455 Ambitus are denoted at the beginning of a piece near the initial
2456 clef. The range is graphically specified by two note heads that
2457 represent the lowest and highest pitches. Accidentals are only
2458 printed if they are not part of the key signature.
2460 @lilypond[verbatim,quote]
2464 \consists "Ambitus_engraver"
2477 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2478 {adding-ambitus-per-voice.ly}
2480 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2481 {ambitus-with-multiple-voices.ly}
2491 Internals Reference:
2492 @rinternals{Ambitus_engraver},
2495 @rinternals{Ambitus},
2496 @rinternals{AmbitusAccidental},
2497 @rinternals{AmbitusLine},
2498 @rinternals{AmbitusNoteHead},
2499 @rinternals{ambitus-interface}.
2504 There is no collision handling in the case of multiple per-voice
2509 @subsection Note heads
2511 This section suggests ways of altering note heads.
2514 * Special note heads::
2515 * Easy notation note heads::
2516 * Shape note heads::
2520 @node Special note heads
2521 @unnumberedsubsubsec Special note heads
2523 @cindex note heads, special
2524 @cindex note heads, cross
2525 @cindex note heads, diamond
2526 @cindex note heads, parlato
2527 @cindex note heads, harmonic
2528 @cindex note heads, guitar
2529 @cindex special note heads
2530 @cindex cross note heads
2531 @cindex diamond note heads
2532 @cindex parlato note heads
2533 @cindex harmonic note heads
2534 @cindex guitar note heads
2535 @cindex note head styles
2536 @cindex styles, note heads
2540 The appearance of note heads may be altered:
2542 @lilypond[verbatim,quote,relative=2]
2544 \override NoteHead #'style = #'cross
2546 \revert NoteHead #'style
2548 \override NoteHead #'style = #'harmonic
2550 \revert NoteHead #'style
2554 To see all note head styles, see @ref{Note head styles}.
2556 The @code{cross} style is used to represent a variety of musical
2557 intentions. The following generic predefined commands modify the
2558 note head in both staff and tablature contexts and can be used to
2559 represent any musical meaning:
2561 @lilypond[verbatim,quote,relative=2]
2569 The music function form of this predefined command may be used
2570 inside and outside chords to generate crossed note heads in both
2571 staff and tablature contexts:
2573 @lilypond[verbatim,quote,relative=2]
2576 c b < g \xNote c f > b
2579 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2580 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2581 be used. The term @notation{dead note} is commonly used by guitarists.
2583 There is also a shorthand for diamond shapes which can be used
2586 @lilypond[verbatim,quote,relative=2]
2587 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2602 @ref{Note head styles},
2603 @ref{Chorded notes},
2604 @ref{Indicating harmonics and dampened notes}.
2606 Internals Reference:
2607 @rinternals{note-event},
2608 @rinternals{Note_heads_engraver},
2609 @rinternals{Ledger_line_engraver},
2610 @rinternals{NoteHead},
2611 @rinternals{LedgerLineSpanner},
2612 @rinternals{note-head-interface},
2613 @rinternals{ledger-line-spanner-interface}.
2616 @node Easy notation note heads
2617 @unnumberedsubsubsec Easy notation note heads
2619 @cindex note heads, practice
2620 @cindex practice note heads
2621 @cindex note heads, easy notation
2622 @cindex easy notation
2624 @cindex beginners' music
2625 @cindex music, beginners'
2626 @cindex easy play note heads
2627 @cindex note heads, easy play
2629 @funindex \easyHeadsOn
2630 @funindex easyHeadsOn
2631 @funindex \easyHeadsOff
2632 @funindex easyHeadsOff
2634 The @q{easy play} note head includes a note name inside the head.
2635 It is used in music for beginners. To make the letters readable,
2636 it should be printed in a large font size. To print with a larger
2637 font, see @ref{Setting the staff size}.
2639 @lilypond[verbatim,quote]
2640 #(set-global-staff-size 26)
2652 @code{\easyHeadsOn},
2653 @code{\easyHeadsOff}.
2659 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2660 {numbers-as-easy-note-heads.ly}
2665 @ref{Setting the staff size}.
2670 Internals Reference:
2671 @rinternals{note-event},
2672 @rinternals{Note_heads_engraver},
2673 @rinternals{NoteHead},
2674 @rinternals{note-head-interface}.
2677 @node Shape note heads
2678 @unnumberedsubsubsec Shape note heads
2680 @cindex note heads, shape
2681 @cindex note heads, Aiken
2682 @cindex note heads, sacred harp
2684 @cindex Aiken shape note heads
2685 @cindex sacred harp note heads
2686 @cindex note heads, Southern Harmony
2687 @cindex Southern Harmony note heads
2689 @funindex \aikenHeads
2690 @funindex aikenHeads
2691 @funindex \sacredHarpHeads
2692 @funindex sacredHarpHeads
2693 @funindex \southernHarmonyHeads
2694 @funindex southernHarmonyHeads
2696 In shape note head notation, the shape of the note head
2697 corresponds to the harmonic function of a note in the scale. This
2698 notation was popular in nineteenth-century American song books.
2699 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2700 and Aiken (Christian Harmony) styles:
2702 @lilypond[verbatim,quote,relative=2]
2704 c, d e f g2 a b1 c \break
2706 c,4 d e f g2 a b1 c \break
2707 \southernHarmonyHeads
2708 c,4 d e f g2 a b1 c \break
2713 @funindex \aikenHeadsMinor
2714 @funindex aikenHeadsMinor
2715 @funindex \sacredHarpHeadsMinor
2716 @funindex sacredHarpHeadsMinor
2717 @funindex \southernHarmonyHeadsMinor
2718 @funindex southernHarmonyHeadsMinor
2720 Shapes are typeset according to the step in the scale, where the base
2721 of the scale is determined by the @code{\key} command. When writing
2722 in a minor key, the scale step can be determined from the relative
2725 @lilypond[verbatim,quote,relative=2]
2728 a b c d e2 f g1 a \break
2730 a,4 b c d e2 f g1 a \break
2731 \sacredHarpHeadsMinor
2733 \southernHarmonyHeadsMinor
2740 @code{\aikenHeadsMinor},
2741 @code{\sacredHarpHeads},
2742 @code{\sacredHarpHeadsMinor},
2743 @code{\southernHarmonyHeads},
2744 @code{\southernHarmonyHeadsMinor}.
2750 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2751 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2753 To see all note head styles, see @ref{Note head styles}.
2761 @ref{Note head styles}.
2763 Internals Reference:
2764 @rinternals{note-event},
2765 @rinternals{Note_heads_engraver},
2766 @rinternals{NoteHead},
2767 @rinternals{note-head-interface}.
2771 @unnumberedsubsubsec Improvisation
2773 @cindex improvisation
2774 @cindex slashed note heads
2775 @cindex note heads, improvisation
2776 @cindex note heads, slashed
2778 @funindex \improvisationOn
2779 @funindex improvisationOn
2780 @funindex \improvisationOff
2781 @funindex improvisationOff
2783 Improvisation is sometimes denoted with slashed note heads, where
2784 the performer may choose any pitch but should play the specified
2785 rhythm. Such note heads can be created:
2787 @lilypond[verbatim,quote,relative=2]
2789 \consists "Pitch_squash_engraver"
2791 e8 e g a a16( bes) a8 g
2803 @code{\improvisationOn},
2804 @code{\improvisationOff}.
2812 Internals Reference:
2813 @rinternals{Pitch_squash_engraver},
2815 @rinternals{RhythmicStaff}.