1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
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 Clef names containing non-alphabetic characters must be enclosed
974 @lilypond[verbatim,quote,relative=1]
987 Some special purpose clefs are described in @ref{Mensural clefs},
988 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
993 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
994 {tweaking-clef-properties.ly}
999 @ref{Mensural clefs},
1000 @ref{Gregorian clefs},
1001 @ref{Default tablatures},
1002 @ref{Custom tablatures}.
1007 Internals Reference:
1008 @rinternals{Clef_engraver},
1010 @rinternals{OctavateEight},
1011 @rinternals{clef-interface}.
1015 @unnumberedsubsubsec Key signature
1017 @cindex key signature
1022 @c duplicated in Key signature and Accidentals
1023 @warning{New users are sometimes confused about accidentals and
1024 key signatures. In LilyPond, note names are the raw input; key
1025 signatures and clefs determine how this raw input is displayed.
1026 An unaltered note like@tie{}@code{c} means @q{C natural},
1027 regardless of the key signature or clef. For more information,
1028 see @rlearning{Accidentals and key signatures}.}
1030 The key signature indicates the tonality in which a piece is
1031 played. It is denoted by a set of alterations (flats or sharps)
1032 at the start of the staff. The key signature may be altered:
1035 \key @var{pitch} @var{mode}
1048 @funindex \mixolydian
1049 @funindex mixolydian
1057 @cindex church modes
1070 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
1071 key signature of @var{pitch}-major or @var{pitch}-minor,
1072 respectively. You may also use the standard mode names, also
1073 called @notation{church modes}: @code{\ionian}, @code{\dorian},
1074 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
1075 @code{\aeolian}, and @code{\locrian}.
1077 @lilypond[verbatim,quote,relative=2]
1087 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1088 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1090 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1091 {non-traditional-key-signatures.ly}
1096 @rglos{church mode},
1100 @rlearning{Accidentals and key signatures}.
1105 Internals Reference:
1106 @rinternals{KeyChangeEvent},
1107 @rinternals{Key_engraver},
1108 @rinternals{Key_performer},
1109 @rinternals{KeyCancellation},
1110 @rinternals{KeySignature},
1111 @rinternals{key-cancellation-interface},
1112 @rinternals{key-signature-interface}.
1115 @node Ottava brackets
1116 @unnumberedsubsubsec Ottava brackets
1124 @funindex set-octavation
1128 @notation{Ottava brackets} introduce an extra transposition of an
1129 octave for the staff:
1131 @lilypond[verbatim,quote,relative=2]
1147 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1158 Internals Reference:
1159 @rinternals{Ottava_spanner_engraver},
1160 @rinternals{OttavaBracket},
1161 @rinternals{ottava-bracket-interface}.
1164 @node Instrument transpositions
1165 @unnumberedsubsubsec Instrument transpositions
1167 @cindex transposition, MIDI
1168 @cindex transposition, instrument
1169 @cindex transposing instrument
1171 @cindex MIDI transposition
1173 @funindex \transposition
1174 @funindex transposition
1176 When typesetting scores that involve transposing instruments, some
1177 parts can be typeset in a different pitch than the
1178 @notation{concert pitch}. In these cases, the key of the
1179 @notation{transposing instrument} should be specified; otherwise
1180 the MIDI output and cues in other parts will produce incorrect
1181 pitches. For more information about quotations, see
1182 @ref{Quoting other voices}.
1185 \transposition @var{pitch}
1188 The pitch to use for @code{\transposition} should correspond to
1189 the real sound heard when a@tie{}@code{c'} written on the staff is
1190 played by the transposing instrument. This pitch is entered in
1191 absolute mode, so an instrument that produces a real sound which
1192 is one tone higher than the printed music should use
1193 @w{@code{\transposition d'}}. @code{\transposition} should
1194 @emph{only} be used if the pitches are @emph{not} being entered in
1197 Here are a few notes for violin and B-flat clarinet where the
1198 parts have been entered using the notes and key as they appear in
1199 each part of the conductor's score. The two instruments are
1202 @lilypond[verbatim,quote]
1204 \new Staff = "violin" {
1206 \set Staff.instrumentName = #"Vln"
1207 \set Staff.midiInstrument = #"violin"
1208 % not strictly necessary, but a good reminder
1215 \new Staff = "clarinet" {
1217 \set Staff.instrumentName = \markup { Cl (B\flat) }
1218 \set Staff.midiInstrument = #"clarinet"
1228 The @code{\transposition} may be changed during a piece. For
1229 example, a clarinetist may switch from an A clarinet to a B-flat
1232 @lilypond[verbatim,quote,relative=2]
1233 \set Staff.instrumentName = #"Cl (A)"
1238 s1*0^\markup { Switch to B\flat clarinet }
1249 @rglos{concert pitch},
1250 @rglos{transposing instrument}.
1253 @ref{Quoting other voices},
1260 @node Automatic accidentals
1261 @unnumberedsubsubsec Automatic accidentals
1263 @cindex accidental style
1264 @cindex accidental style, default
1266 @cindex accidentals, automatic
1267 @cindex automatic accidentals
1268 @cindex default accidental style
1270 @funindex set-accidental-style
1274 There are many different conventions on how to typeset
1275 accidentals. LilyPond provides a function to specify which
1276 accidental style to use. This function is called as follows:
1280 #(set-accidental-style 'voice)
1285 The accidental style applies to the current @code{Staff} by
1286 default (with the exception of the styles @code{piano} and
1287 @code{piano-cautionary}, which are explained below). Optionally,
1288 the function can take a second argument that determines in which
1289 scope the style should be changed. For example, to use the same
1290 style in all staves of the current @code{StaffGroup}, use:
1293 #(set-accidental-style 'voice 'StaffGroup)
1296 The following accidental styles are supported. To demonstrate
1297 each style, we use the following example:
1300 @lilypond[verbatim,quote]
1304 cis'8 fis, d'4 <a cis>8 f bis4 |
1318 \voiceTwo \relative c' {
1319 <fis, a cis>8 <fis a cis>
1322 \change Staff = down
1327 \change Staff = down
1328 <fis, a cis>4 gis <f a d>2 |
1335 \context Staff = "up" {
1336 #(set-accidental-style 'default)
1339 \context Staff = "down" {
1340 #(set-accidental-style 'default)
1347 Note that the last lines of this example can be replaced by the
1348 following, as long as the same accidental style should be used in
1354 \context Staff = "up" @{
1355 %%% change the next line as desired:
1356 #(set-accidental-style 'default 'Score)
1359 \context Staff = "down" @{
1367 @c don't use verbatim in this table.
1371 @cindex default accidental style
1372 @cindex accidental style, default
1376 This is the default typesetting behavior. It corresponds to
1377 eighteenth-century common practice: accidentals are remembered to
1378 the end of the measure in which they occur and only in their own
1379 octave. Thus, in the example below, no natural signs are printed
1380 before the@tie{}@code{b} in the second measure or the
1387 cis'8 fis, d'4 <a cis>8 f bis4 |
1401 \voiceTwo \relative c' {
1402 <fis, a cis>8 <fis a cis>
1405 \change Staff = down
1410 \change Staff = down
1411 <fis, a cis>4 gis <f a d>2 |
1418 \context Staff = "up" {
1419 #(set-accidental-style 'default)
1422 \context Staff = "down" {
1423 #(set-accidental-style 'default)
1432 @cindex accidental style, voice
1433 @cindex voice accidental style
1434 @cindex accidental style, modern
1435 @cindex modern accidental style
1436 @cindex accidental style, modern-cautionary
1437 @cindex modern-cautionary accidental style
1441 The normal behavior is to remember the accidentals at
1442 @code{Staff}-level. In this style, however, accidentals are
1443 typeset individually for each voice. Apart from that, the rule is
1444 similar to @code{default}.
1446 As a result, accidentals from one voice do not get canceled in
1447 other voices, which is often an unwanted result: in the following
1448 example, it is hard to determine whether the second@tie{}@code{a}
1449 should be played natural or sharp. The @code{voice} option should
1450 therefore be used only if the voices are to be read solely by
1451 individual musicians. If the staff is to be used by one musician
1452 (e.g., a conductor or in a piano score) then @code{modern} or
1453 @code{modern-cautionary} should be used instead.
1460 cis'8 fis, d'4 <a cis>8 f bis4 |
1474 \voiceTwo \relative c' {
1475 <fis, a cis>8 <fis a cis>
1478 \change Staff = down
1483 \change Staff = down
1484 <fis, a cis>4 gis <f a d>2 |
1491 \context Staff = "up" {
1492 #(set-accidental-style 'voice)
1495 \context Staff = "down" {
1496 #(set-accidental-style 'voice)
1505 @cindex accidentals, modern style
1506 @cindex modern style accidentals
1510 This rule corresponds to the common practice in the twentieth
1511 century. It prints the same accidentals as @code{default}, with
1512 two exceptions that serve to avoid ambiguity: after temporary
1513 accidentals, cancellation marks are printed also in the following
1514 measure (for notes in the same octave) and, in the same measure,
1515 for notes in other octaves. Hence the naturals before
1516 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1523 cis'8 fis, d'4 <a cis>8 f bis4 |
1537 \voiceTwo \relative c' {
1538 <fis, a cis>8 <fis a cis>
1541 \change Staff = down
1546 \change Staff = down
1547 <fis, a cis>4 gis <f a d>2 |
1554 \context Staff = "up" {
1555 #(set-accidental-style 'modern)
1558 \context Staff = "down" {
1559 #(set-accidental-style 'modern)
1566 @item modern-cautionary
1568 @cindex accidentals, modern cautionary style
1569 @cindex modern accidental style
1570 @cindex modern cautionary accidental style
1571 @cindex modern style accidentals
1572 @cindex modern style cautionary accidentals
1574 @funindex modern-cautionary
1576 This rule is similar to @code{modern}, but the @q{extra}
1577 accidentals (the ones not typeset by @code{default}) are typeset
1578 as cautionary accidentals. They are by default printed with
1579 parentheses, but they can also be printed in reduced size by
1580 defining the @code{cautionary-style} property of
1581 @code{AccidentalSuggestion}.
1587 cis'8 fis, d'4 <a cis>8 f bis4 |
1601 \voiceTwo \relative c' {
1602 <fis, a cis>8 <fis a cis>
1605 \change Staff = down
1610 \change Staff = down
1611 <fis, a cis>4 gis <f a d>2 |
1618 \context Staff = "up" {
1619 #(set-accidental-style 'modern-cautionary)
1622 \context Staff = "down" {
1623 #(set-accidental-style 'modern-cautionary)
1632 @cindex accidental style, modern
1633 @cindex accidentals, modern
1634 @cindex accidentals, multivoice
1635 @cindex modern accidental style
1636 @cindex modern accidentals
1637 @cindex multivoice accidentals
1639 @funindex modern-voice
1641 This rule is used for multivoice accidentals to be read both by
1642 musicians playing one voice and musicians playing all voices.
1643 Accidentals are typeset for each voice, but they @emph{are}
1644 canceled across voices in the same @code{Staff}. Hence,
1645 the@tie{}@code{a} in the last measure is canceled because the
1646 previous cancellation was in a different voice, and
1647 the@tie{}@code{d} in the lower staff is canceled because of the
1648 accidental in a different voice in the previous measure:
1654 cis'8 fis, d'4 <a cis>8 f bis4 |
1668 \voiceTwo \relative c' {
1669 <fis, a cis>8 <fis a cis>
1672 \change Staff = down
1677 \change Staff = down
1678 <fis, a cis>4 gis <f a d>2 |
1685 \context Staff = "up" {
1686 #(set-accidental-style 'modern-voice)
1689 \context Staff = "down" {
1690 #(set-accidental-style 'modern-voice)
1697 @cindex accidental style, cautionary, modern voice
1698 @cindex accidental style, modern voice cautionary
1699 @cindex accidental style, voice, modern cautionary
1701 @funindex modern-voice-cautionary
1703 @item modern-voice-cautionary
1705 This rule is the same as @code{modern-voice}, but with the extra
1706 accidentals (the ones not typeset by @code{voice}) typeset as
1707 cautionaries. Even though all accidentals typeset by
1708 @code{default} @emph{are} typeset with this rule, some of them are
1709 typeset as cautionaries.
1715 cis'8 fis, d'4 <a cis>8 f bis4 |
1729 \voiceTwo \relative c' {
1730 <fis, a cis>8 <fis a cis>
1733 \change Staff = down
1738 \change Staff = down
1739 <fis, a cis>4 gis <f a d>2 |
1746 \context Staff = "up" {
1747 #(set-accidental-style 'modern-voice-cautionary)
1750 \context Staff = "down" {
1751 #(set-accidental-style 'modern-voice-cautionary)
1760 @cindex accidental style, piano
1761 @cindex accidentals, piano
1762 @cindex piano accidental style
1763 @cindex piano accidentals
1767 This rule reflects twentieth-century practice for piano notation.
1768 Its behavior is very similar to @code{modern} style, but here
1769 accidentals also get canceled across the staves in the same
1770 @code{GrandStaff} or @code{PianoStaff}, hence all the
1771 cancellations of the final notes.
1773 This accidental style applies to the current @code{GrandStaff} or
1774 @code{PianoStaff} by default.
1780 cis'8 fis, d'4 <a cis>8 f bis4 |
1794 \voiceTwo \relative c' {
1795 <fis, a cis>8 <fis a cis>
1798 \change Staff = down
1803 \change Staff = down
1804 <fis, a cis>4 gis <f a d>2 |
1811 \context Staff = "up" {
1812 #(set-accidental-style 'piano)
1815 \context Staff = "down" {
1822 @item piano-cautionary
1824 @cindex accidentals, piano cautionary
1825 @cindex cautionary accidentals, piano
1826 @cindex piano cautionary accidentals
1827 @cindex accidental style, piano cautionary
1828 @cindex cautionary accidental style, piano
1829 @cindex piano cautionary accidental style
1831 @funindex piano-cautionary
1833 This is the same as @code{piano} but with the extra accidentals
1834 typeset as cautionaries.
1840 cis'8 fis, d'4 <a cis>8 f bis4 |
1854 \voiceTwo \relative c' {
1855 <fis, a cis>8 <fis a cis>
1858 \change Staff = down
1863 \change Staff = down
1864 <fis, a cis>4 gis <f a d>2 |
1871 \context Staff = "up" {
1872 #(set-accidental-style 'piano-cautionary)
1875 \context Staff = "down" {
1885 @cindex neo-modern accidental style
1886 @cindex accidental style, neo-modern
1888 @funindex neo-modern
1890 This rule reproduces a common practice in contemporary music:
1891 accidentals are printed like with @code{modern}, but they are printed
1892 again if the same note appears later in the same measure -- except
1893 if the note is immediately repeated.
1899 cis'8 fis, d'4 <a cis>8 f bis4 |
1913 \voiceTwo \relative c' {
1914 <fis, a cis>8 <fis a cis>
1917 \change Staff = down
1922 \change Staff = down
1923 <fis, a cis>4 gis <f a d>2 |
1930 \context Staff = "up" {
1931 #(set-accidental-style 'neo-modern)
1934 \context Staff = "down" {
1935 #(set-accidental-style 'neo-modern)
1942 @item neo-modern-cautionary
1944 @cindex neo-modern-cautionary accidental style
1945 @cindex accidental style, neo-modern-cautionary
1947 @funindex neo-modern-cautionary
1949 This rule is similar to @code{neo-modern}, but the extra
1950 accidentals are printed as cautionary accidentals.
1956 cis'8 fis, d'4 <a cis>8 f bis4 |
1970 \voiceTwo \relative c' {
1971 <fis, a cis>8 <fis a cis>
1974 \change Staff = down
1979 \change Staff = down
1980 <fis, a cis>4 gis <f a d>2 |
1987 \context Staff = "up" {
1988 #(set-accidental-style 'neo-modern-cautionary)
1991 \context Staff = "down" {
1992 #(set-accidental-style 'neo-modern-cautionary)
2000 @item neo-modern-voice
2002 @cindex neo-modern-voice accidental style
2003 @cindex accidental style, neo-modern-voice
2005 @funindex neo-modern-voice
2007 This rule is used for multivoice accidentals to be read both by
2008 musicians playing one voice and musicians playing all voices.
2009 Accidentals are typeset for each voice as with @code{neo-modern},
2010 but they are canceled across voices in the same @code{Staff}.
2016 cis'8 fis, d'4 <a cis>8 f bis4 |
2030 \voiceTwo \relative c' {
2031 <fis, a cis>8 <fis a cis>
2034 \change Staff = down
2039 \change Staff = down
2040 <fis, a cis>4 gis <f a d>2 |
2047 \context Staff = "up" {
2048 #(set-accidental-style 'neo-modern-voice)
2051 \context Staff = "down" {
2052 #(set-accidental-style 'neo-modern-voice)
2059 @item neo-modern-voice-cautionary
2061 @cindex neo-modern-voice-cautionary accidental style
2062 @cindex accidental style, neo-modern-voice-cautionary
2064 @funindex neo-modern-voice-cautionary
2066 This rule is similar to @code{neo-modern-voice}, but the extra
2067 accidentals are printed as cautionary accidentals.
2073 cis'8 fis, d'4 <a cis>8 f bis4 |
2087 \voiceTwo \relative c' {
2088 <fis, a cis>8 <fis a cis>
2091 \change Staff = down
2096 \change Staff = down
2097 <fis, a cis>4 gis <f a d>2 |
2104 \context Staff = "up" {
2105 #(set-accidental-style 'neo-modern-voice-cautionary)
2108 \context Staff = "down" {
2109 #(set-accidental-style 'neo-modern-voice-cautionary)
2118 @cindex dodecaphonic accidental style
2119 @cindex dodecaphonic style, neo-modern
2121 @funindex dodecaphonic
2123 This rule reflects a practice introduced by composers at
2124 the beginning of the 20th century, in an attempt to
2125 abolish the hierarchy between natural and non-natural notes.
2126 With this style, @emph{every} note gets an accidental sign,
2127 including natural signs.
2133 cis'8 fis, d'4 <a cis>8 f bis4 |
2147 \voiceTwo \relative c' {
2148 <fis, a cis>8 <fis a cis>
2151 \change Staff = down
2156 \change Staff = down
2157 <fis, a cis>4 gis <f a d>2 |
2164 \context Staff = "up" {
2165 #(set-accidental-style 'dodecaphonic)
2168 \context Staff = "down" {
2169 #(set-accidental-style 'dodecaphonic)
2179 @cindex teaching accidental style
2180 @cindex accidental style, teaching
2184 This rule is intended for students, and makes it easy to create
2185 scale sheets with automagically created cautionary accidentals.
2186 Accidentals are printed like with @code{modern}, but cautionary
2187 accidentals are added for all sharp or flat tones specified by the
2188 key signature, except if the note is immediately repeated.
2194 cis'8 fis, d'4 <a cis>8 f bis4 |
2208 \voiceTwo \relative c' {
2209 <fis, a cis>8 <fis a cis>
2212 \change Staff = down
2217 \change Staff = down
2218 <fis, a cis>4 gis <f a d>2 |
2225 \context Staff = "up" {
2227 #(set-accidental-style 'teaching)
2230 \context Staff = "down" {
2232 #(set-accidental-style 'teaching)
2243 @cindex accidental style, no reset
2244 @cindex no reset accidental style
2248 This is the same as @code{default} but with accidentals lasting
2249 @q{forever} and not only within the same measure:
2255 cis'8 fis, d'4 <a cis>8 f bis4 |
2269 \voiceTwo \relative c' {
2270 <fis, a cis>8 <fis a cis>
2273 \change Staff = down
2278 \change Staff = down
2279 <fis, a cis>4 gis <f a d>2 |
2286 \context Staff = "up" {
2287 #(set-accidental-style 'no-reset)
2290 \context Staff = "down" {
2291 #(set-accidental-style 'no-reset)
2300 @cindex forget accidental style
2301 @cindex accidental style, forget
2305 This is the opposite of @code{no-reset}: Accidentals are not
2306 remembered at all -- and hence all accidentals are typeset
2307 relative to the key signature, regardless of what came before in
2308 the music. Unlike @code{dodecaphonic}, this rule never prints
2315 cis'8 fis, d'4 <a cis>8 f bis4 |
2329 \voiceTwo \relative c' {
2330 <fis, a cis>8 <fis a cis>
2333 \change Staff = down
2338 \change Staff = down
2339 <fis, a cis>4 gis <f a d>2 |
2346 \context Staff = "up" {
2347 #(set-accidental-style 'forget)
2350 \context Staff = "down" {
2351 #(set-accidental-style 'forget)
2361 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2362 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2369 Internals Reference:
2370 @rinternals{Accidental},
2371 @rinternals{Accidental_engraver},
2372 @rinternals{GrandStaff},
2373 @rinternals{PianoStaff},
2375 @rinternals{AccidentalSuggestion},
2376 @rinternals{AccidentalPlacement},
2377 @rinternals{accidental-suggestion-interface}.
2380 @cindex accidentals and simultaneous notes
2381 @cindex simultaneous notes and accidentals
2382 @cindex accidentals in chords
2383 @cindex chords, accidentals in
2387 Simultaneous notes are considered to be entered in sequential
2388 mode. This means that in a chord the accidentals are typeset as
2389 if the notes in the chord happen one at a time, in the order in
2390 which they appear in the input file. This is a problem when
2391 accidentals in a chord depend on each other, which does not happen
2392 for the default accidental style. The problem can be solved by
2393 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2397 Cautionary cancellation of accidentals is done by looking at previous measure.
2398 However, in the @code{\alternative} block following a @code{\repeat volta N}
2399 section, one would expect the cancellation being calculated using the previous
2400 @emph{played} measure, not previous @emph{printed} measure.
2401 In the following example, the natural @code{c} in the second alternative does
2402 not need a natural sign:
2406 #(set-accidental-style 'modern)
2418 The following work-around can be used: define a function that locally changes
2419 the accidental style to @code{forget}:
2421 @lilypond[verbatim,quote]
2422 forget = #(define-music-function (parser location music) (ly:music?) #{
2423 #(set-accidental-style 'forget)
2425 #(set-accidental-style 'modern)
2428 #(set-accidental-style 'modern)
2441 @unnumberedsubsubsec Ambitus
2444 @cindex range of pitches
2447 The term @notation{ambitus} (pl. ambitus) denotes a range of
2448 pitches for a given voice in a part of music. It may also denote
2449 the pitch range that a musical instrument is capable of playing.
2450 Ambitus are printed on vocal parts so that performers can easily
2451 determine if it matches their capabilities.
2453 Ambitus are denoted at the beginning of a piece near the initial
2454 clef. The range is graphically specified by two note heads that
2455 represent the lowest and highest pitches. Accidentals are only
2456 printed if they are not part of the key signature.
2458 @lilypond[verbatim,quote]
2462 \consists "Ambitus_engraver"
2475 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2476 {adding-ambitus-per-voice.ly}
2478 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2479 {ambitus-with-multiple-voices.ly}
2489 Internals Reference:
2490 @rinternals{Ambitus_engraver},
2493 @rinternals{Ambitus},
2494 @rinternals{AmbitusAccidental},
2495 @rinternals{AmbitusLine},
2496 @rinternals{AmbitusNoteHead},
2497 @rinternals{ambitus-interface}.
2502 There is no collision handling in the case of multiple per-voice
2507 @subsection Note heads
2509 This section suggests ways of altering note heads.
2512 * Special note heads::
2513 * Easy notation note heads::
2514 * Shape note heads::
2518 @node Special note heads
2519 @unnumberedsubsubsec Special note heads
2521 @cindex note heads, special
2522 @cindex note heads, cross
2523 @cindex note heads, diamond
2524 @cindex note heads, parlato
2525 @cindex note heads, harmonic
2526 @cindex note heads, guitar
2527 @cindex special note heads
2528 @cindex cross note heads
2529 @cindex diamond note heads
2530 @cindex parlato note heads
2531 @cindex harmonic note heads
2532 @cindex guitar note heads
2533 @cindex note head styles
2534 @cindex styles, note heads
2538 The appearance of note heads may be altered:
2540 @lilypond[verbatim,quote,relative=2]
2542 \override NoteHead #'style = #'cross
2544 \revert NoteHead #'style
2546 \override NoteHead #'style = #'harmonic
2548 \revert NoteHead #'style
2552 To see all note head styles, see @ref{Note head styles}.
2554 The @code{cross} style is used to represent a variety of musical
2555 intentions. The following generic predefined commands modify the
2556 note head in both staff and tablature contexts and can be used to
2557 represent any musical meaning:
2559 @lilypond[verbatim,quote,relative=2]
2567 The music function form of this predefined command may be used
2568 inside and outside chords to generate crossed note heads in both
2569 staff and tablature contexts:
2571 @lilypond[verbatim,quote,relative=2]
2574 c b < g \xNote c f > b
2577 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2578 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2579 be used. The term @notation{dead note} is commonly used by guitarists.
2581 There is also a shorthand for diamond shapes which can be used
2584 @lilypond[verbatim,quote,relative=2]
2585 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2600 @ref{Note head styles},
2601 @ref{Chorded notes},
2602 @ref{Indicating harmonics and dampened notes}.
2604 Internals Reference:
2605 @rinternals{note-event},
2606 @rinternals{Note_heads_engraver},
2607 @rinternals{Ledger_line_engraver},
2608 @rinternals{NoteHead},
2609 @rinternals{LedgerLineSpanner},
2610 @rinternals{note-head-interface},
2611 @rinternals{ledger-line-spanner-interface}.
2614 @node Easy notation note heads
2615 @unnumberedsubsubsec Easy notation note heads
2617 @cindex note heads, practice
2618 @cindex practice note heads
2619 @cindex note heads, easy notation
2620 @cindex easy notation
2622 @cindex beginners' music
2623 @cindex music, beginners'
2624 @cindex easy play note heads
2625 @cindex note heads, easy play
2627 @funindex \easyHeadsOn
2628 @funindex easyHeadsOn
2629 @funindex \easyHeadsOff
2630 @funindex easyHeadsOff
2632 The @q{easy play} note head includes a note name inside the head.
2633 It is used in music for beginners. To make the letters readable,
2634 it should be printed in a large font size. To print with a larger
2635 font, see @ref{Setting the staff size}.
2637 @lilypond[verbatim,quote]
2638 #(set-global-staff-size 26)
2650 @code{\easyHeadsOn},
2651 @code{\easyHeadsOff}.
2657 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2658 {numbers-as-easy-note-heads.ly}
2663 @ref{Setting the staff size}.
2668 Internals Reference:
2669 @rinternals{note-event},
2670 @rinternals{Note_heads_engraver},
2671 @rinternals{NoteHead},
2672 @rinternals{note-head-interface}.
2675 @node Shape note heads
2676 @unnumberedsubsubsec Shape note heads
2678 @cindex note heads, shape
2679 @cindex note heads, Aiken
2680 @cindex note heads, sacred harp
2682 @cindex Aiken shape note heads
2683 @cindex sacred harp note heads
2684 @cindex note heads, Southern Harmony
2685 @cindex Southern Harmony note heads
2687 @funindex \aikenHeads
2688 @funindex aikenHeads
2689 @funindex \sacredHarpHeads
2690 @funindex sacredHarpHeads
2691 @funindex \southernHarmonyHeads
2692 @funindex southernHarmonyHeads
2694 In shape note head notation, the shape of the note head
2695 corresponds to the harmonic function of a note in the scale. This
2696 notation was popular in nineteenth-century American song books.
2697 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2698 and Aiken (Christian Harmony) styles:
2700 @lilypond[verbatim,quote,relative=2]
2702 c, d e f g2 a b1 c \break
2704 c,4 d e f g2 a b1 c \break
2705 \southernHarmonyHeads
2706 c,4 d e f g2 a b1 c \break
2711 @funindex \aikenHeadsMinor
2712 @funindex aikenHeadsMinor
2713 @funindex \sacredHarpHeadsMinor
2714 @funindex sacredHarpHeadsMinor
2715 @funindex \southernHarmonyHeadsMinor
2716 @funindex southernHarmonyHeadsMinor
2718 Shapes are typeset according to the step in the scale, where the
2719 base of the scale is determined by the @code{\key} command.
2720 When when writing in a minor key, the scale step can be determined
2721 from the relative major:
2723 @lilypond[verbatim,quote,relative=2]
2726 a b c d e2 f g1 a \break
2728 a,4 b c d e2 f g1 a \break
2729 \sacredHarpHeadsMinor
2731 \southernHarmonyHeadsMinor
2738 @code{\aikenHeadsMinor},
2739 @code{\sacredHarpHeads},
2740 @code{\sacredHarpHeadsMinor},
2741 @code{\southernHarmonyHeads},
2742 @code{\southernHarmonyHeadsMinor}.
2748 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2749 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2751 To see all note head styles, see @ref{Note head styles}.
2759 @ref{Note head styles}.
2761 Internals Reference:
2762 @rinternals{note-event},
2763 @rinternals{Note_heads_engraver},
2764 @rinternals{NoteHead},
2765 @rinternals{note-head-interface}.
2769 @unnumberedsubsubsec Improvisation
2771 @cindex improvisation
2772 @cindex slashed note heads
2773 @cindex note heads, improvisation
2774 @cindex note heads, slashed
2776 @funindex \improvisationOn
2777 @funindex improvisationOn
2778 @funindex \improvisationOff
2779 @funindex improvisationOff
2781 Improvisation is sometimes denoted with slashed note heads, where
2782 the performer may choose any pitch but should play the specified
2783 rhythm. Such note heads can be created:
2785 @lilypond[verbatim,quote,relative=2]
2787 \consists "Pitch_squash_engraver"
2789 e8 e g a a16( bes) a8 g
2801 @code{\improvisationOn},
2802 @code{\improvisationOff}.
2810 Internals Reference:
2811 @rinternals{Pitch_squash_engraver},
2813 @rinternals{RhythmicStaff}.