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
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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::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
91 Common octave marks can be entered just once on a reference pitch
92 after @code{\fixed} placed before the music. Pitches inside
93 @code{\fixed} only need @code{'} or@tie{}@code{,} marks
94 when they are above or below the octave of the reference pitch.
96 @lilypond[verbatim,quote]
111 Pitches in the music expression following @code{\fixed} are
112 unaffected by any enclosing @code{\relative}, discussed next.
122 @node Relative octave entry
123 @unnumberedsubsubsec Relative octave entry
126 @cindex relative octave entry
127 @cindex octave entry, relative
128 @cindex relative octave specification
129 @cindex octave specification, relative
133 Absolute octave entry requires specifying the octave for every
134 single note. Relative octave entry, in contrast, specifies each
135 octave in relation to the last note: changing one note's octave
136 will affect all of the following notes.
138 Relative note mode has to be entered explicitly using the
139 @code{\relative} command:
142 \relative @var{startpitch} @var{musicexpr}
145 In relative mode, each note is assumed to be as close to the
146 previous note as possible. This means that the octave of each
147 pitch inside @code{@var{musicexpr}} is calculated as follows:
151 If no octave changing mark is used on a pitch, its octave is
152 calculated so that the interval with the previous note is less
153 than a fifth. This interval is determined without considering
157 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
158 added to respectively raise or lower a pitch by an extra octave,
159 relative to the pitch calculated without an octave mark.
162 Multiple octave changing marks can be used. For example,
163 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
167 The pitch of the first note is relative to
168 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
169 absolute octave mode. Which choices are meaningful?
172 @item an octave of @code{c}
173 Identifying middle C with @code{c'} is quite basic, so finding
174 octaves of @code{c} tends to be straightforward. If your music
175 starts with @code{gis} above @code{c'''}, you'd write something
176 like @code{\relative c''' @{ gis' @dots{} @}}
178 @item an octave of the first note inside
179 Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to
180 determine the absolute pitch of the first note inside.
182 @item no explicit starting pitch
183 The form @code{\relative @{ gis''' @dots{} @}} serves
184 as a compact version of the previous option: the first note
185 inside is written in absolute pitch itself. (This happens to be
186 equivalent to choosing @code{f} as the reference pitch.)
189 The documentation will usually employ the last option.
192 Here is the relative mode shown in action:
194 @lilypond[verbatim,quote]
203 Octave changing marks are used for intervals greater than a
206 @lilypond[verbatim,quote]
213 A note sequence without a single octave mark can nevertheless span
216 @lilypond[verbatim,quote]
223 When @code{\relative} blocks are nested, the innermost
224 @code{\relative} block starts with its own reference pitch
225 independently of the outer @code{\relative}.
227 @lilypond[verbatim,quote]
236 @code{\relative} has no effect on @code{\chordmode} blocks.
238 @lilypond[verbatim,quote]
247 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
249 Music inside a @code{\transpose} block is absolute unless a
250 @code{\relative} is included.
252 @lilypond[verbatim,quote]
265 @cindex chords and relative octave entry
266 @cindex relative octave entry and chords
268 If the preceding item is a chord, the first note of the chord is
269 used as the reference point for the octave placement of a
270 following note or chord. Inside chords, the next note is always
271 relative to the preceding one. Examine the next example
272 carefully, paying attention to the @code{c} notes.
274 @lilypond[verbatim,quote]
283 As explained above, the octave of pitches is calculated only with
284 the note names, regardless of any alterations. Therefore, an
285 E-double-sharp following a B will be placed higher, while an
286 F-double-flat will be placed lower. In other words, a
287 double-augmented fourth is considered a smaller interval than a
288 double-diminished fifth, regardless of the number of semitones
289 that each interval contains.
291 @lilypond[verbatim,quote]
314 @rinternals{RelativeOctaveMusic}.
316 @cindex relative octave entry and transposition
317 @cindex transposition and relative octave entry
325 @unnumberedsubsubsec Accidentals
328 @cindex key signature
331 @c duplicated in Key signature and Accidentals
332 @warning{New users are sometimes confused about accidentals and
333 key signatures. In LilyPond, note names specify pitches; key
334 signatures and clefs determine how these pitches are displayed.
335 An unaltered note like@tie{}@code{c} means @q{C natural},
336 regardless of the key signature or clef. For more information,
337 see @rlearning{Pitches and key signatures}.}
339 @cindex note names, Dutch
340 @cindex note names, default
341 @cindex default note names
345 @cindex sharp, double
349 @cindex natural pitch
351 A @notation{sharp} pitch is made by adding @code{is} to the note
352 name, and a @notation{flat} pitch by adding @code{es}. As you
353 might expect, a @notation{double sharp} or @notation{double flat}
354 is made by adding @code{isis} or @code{eses}. This syntax is
355 derived from Dutch note naming conventions. To use other names
356 for accidentals, see @ref{Note names in other languages}.
358 @lilypond[verbatim,quote,fragment]
359 \relative c'' { ais1 aes aisis aeses }
362 A natural pitch is entered as a simple note name; no suffix is
363 required. A natural sign will be printed when needed to cancel
364 the effect of an earlier accidental or key signature.
366 @lilypond[verbatim,quote,fragment]
367 \relative c'' { a4 aes a2 }
370 @cindex quarter tones
374 Quarter tones may be added; the following is a series of Cs with
377 @lilypond[verbatim,quote,fragment]
378 \relative c'' { ceseh1 ces ceh c cih cis cisih }
383 @cindex accidental, reminder
384 @cindex accidental, cautionary
385 @cindex accidental, parenthesized
386 @cindex reminder accidental
387 @cindex cautionary accidental
388 @cindex parenthesized accidental
394 Normally accidentals are printed automatically, but you may also
395 print them manually. A reminder accidental can be forced by
396 adding an exclamation mark@tie{}@code{!} after the pitch. A
397 cautionary accidental (i.e., an accidental within parentheses) can
398 be obtained by adding the question mark@tie{}@code{?} after the
401 @lilypond[verbatim,quote,fragment]
402 \relative c'' { cis cis cis! cis? c c c! c? }
405 @cindex accidental on tied note
406 @cindex tied note, accidental
408 Accidentals on tied notes are only printed at the beginning of a
411 @lilypond[verbatim,quote,fragment,ragged-right]
422 @lilypondfile[verbatim,quote,texidoc,doctitle,ragged-right]
423 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
425 @lilypondfile[verbatim,quote,texidoc,doctitle]
426 {preventing-extra-naturals-from-being-automatically-added.ly}
432 @rglos{double sharp},
435 @rglos{quarter tone}.
438 @rlearning{Pitches and key signatures}.
441 @ref{Automatic accidentals},
442 @ref{Annotational accidentals (musica ficta)},
443 @ref{Note names in other languages}.
449 @rinternals{Accidental_engraver},
450 @rinternals{Accidental},
451 @rinternals{AccidentalCautionary},
452 @rinternals{accidental-interface}.
454 @cindex accidental, quarter-tone
455 @cindex quarter-tone accidental
458 There are no generally accepted standards for denoting
459 quarter-tone accidentals, so LilyPond's symbols do not conform to
463 @node Note names in other languages
464 @unnumberedsubsubsec Note names in other languages
466 @cindex note names, other languages
467 @cindex pitch names, other languages
468 @cindex language, note names in other
469 @cindex language, pitch names in other
471 There are predefined sets of note and accidental names for various
472 other languages. Selecting the note name language is usually done
473 at the beginning of the file; the following example is written
474 using Italian note names:
476 @lilypond[quote,verbatim]
484 The available languages and the note names they define are:
487 @multitable {@code{nederlands}} {do re/re mi fa sol la sib si}
490 @item @code{nederlands}
491 @tab c d e f g a bes b
493 @tab do re mi fa sol la sib si
497 @tab c d e f g a bf b
498 @item @code{espanol} or @code{español}
499 @tab do re mi fa sol la sib si
500 @item @code{français}
501 @tab do ré/re mi fa sol la sib si
502 @item @code{italiano}
503 @tab do re mi fa sol la sib si
506 @item @code{portugues}
507 @tab do re mi fa sol la sib si
513 @tab do re mi fa sol la sib si
517 In addition to note names, accidental suffixes may
518 also vary depending on the language:
521 @multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{f}/-@code{-flat}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{ff}/-@code{-flatflat}}
523 @tab sharp @tab flat @tab double sharp @tab double flat
524 @item @code{nederlands}
525 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
527 @tab -@code{d}/-@code{s} @tab -@code{b} @tab -@code{dd}/-@code{ss} @tab -@code{bb}
529 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
531 @tab -@code{s}/-@code{-sharp} @tab -@code{f}/-@code{-flat} @tab -@code{ss}/-@code{x}/-@code{-sharpsharp}
532 @tab -@code{ff}/-@code{-flatflat}
533 @item @code{espanol} or @code{español}
534 @tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb}
535 @item @code{français}
536 @tab -@code{d} @tab -@code{b} @tab -@code{dd}/-@code{x} @tab -@code{bb}
537 @item @code{italiano}
538 @tab -@code{d} @tab -@code{b} @tab -@code{dd} @tab -@code{bb}
540 @tab -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis}
541 @tab -@code{essess}/-@code{eses}
542 @item @code{portugues}
543 @tab -@code{s} @tab -@code{b} @tab -@code{ss} @tab -@code{bb}
545 @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
547 @tab -@code{iss} @tab -@code{ess} @tab -@code{ississ} @tab -@code{essess}
549 @tab -@code{k} @tab -@code{b} @tab -@code{kk} @tab -@code{bb}
553 In Dutch, @code{aes} is contracted to @code{as}, but both forms
554 are accepted in LilyPond. Similarly, both @code{es} and
555 @code{ees} are accepted. This also applies to
556 @code{aeses}@tie{}/@tie{}@code{ases} and
557 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
558 contracted names are defined in the corresponding language files.
560 @lilypond[verbatim,quote,fragment]
561 \relative c'' { a2 as e es a ases e eses }
571 Some music uses microtones whose alterations are fractions of a
572 @q{normal} sharp or flat. The following table lists note names
573 for quarter-tone accidentals in various languages; here the prefixes
574 @notation{semi-} and @notation{sesqui-} respectively
575 mean @q{half} and @q{one and a half}. Languages that do not
576 appear in this table do not provide special note names yet.
579 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
581 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
583 @item @code{nederlands}
584 @tab -ih @tab -eh @tab -isih @tab -eseh
586 @tab -ih @tab -eh @tab -isih @tab -eseh
588 @tab -qs @tab -qf @tab -tqs @tab -tqf
589 @item @code{espanol} or @code{español}
590 @tab -cs @tab -cb @tab -tcs @tab -tcb
591 @item @code{français}
592 @tab -sd @tab -sb @tab -dsd @tab -bsb
593 @item @code{italiano}
594 @tab -sd @tab -sb @tab -dsd @tab -bsb
595 @item @code{portugues}
596 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
600 Most languages presented here are commonly associated with
601 Western classical music, also referred to as
602 @notation{Common Practice Period}. However, alternate
603 pitches and tuning systems are also supported: see
604 @ref{Common notation for non-Western music}.
609 @rglos{Common Practice Period}.
612 @ref{Common notation for non-Western music}.
615 @file{scm/define-note-names.scm}.
621 @node Changing multiple pitches
622 @subsection Changing multiple pitches
624 This section discusses how to modify pitches.
631 * Modal transformations::
635 @unnumberedsubsubsec Octave checks
637 @cindex octave correction
639 @cindex control pitch
642 @funindex \octaveCheck
643 @funindex controlpitch
645 In relative mode, it is easy to forget an octave changing mark.
646 Octave checks make such errors easier to find by displaying a
647 warning and correcting the octave if a note is found in an
650 To check the octave of a note, specify the absolute octave after
651 the @code{=}@tie{}symbol. This example will generate a warning
652 (and change the pitch) because the second note is the absolute
653 octave @code{d''} instead of @code{d'} as indicated by the octave
656 @lilypond[verbatim,quote]
663 The octave of notes may also be checked with the
664 @code{\octaveCheck@tie{}@var{controlpitch}} command.
665 @code{@var{controlpitch}} is specified in absolute mode. This
666 checks that the interval between the previous note and the
667 @code{@var{controlpitch}} is within a fourth (i.e., the normal
668 calculation of relative mode). If this check fails, a warning is
669 printed. While the previous note itself is not changed, future
670 notes are relative to the corrected value.
672 @lilypond[verbatim,quote]
680 Compare the two bars below. The first and third @code{\octaveCheck}
681 checks fail, but the second one does not fail.
683 @lilypond[verbatim,quote]
702 @rinternals{RelativeOctaveCheck}.
706 @unnumberedsubsubsec Transpose
710 @cindex transposition
711 @cindex transposition of pitches
712 @cindex transposition of notes
713 @cindex pitches, transposition of
714 @cindex notes, transposition of
718 A music expression can be transposed with @code{\transpose}. The
722 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
726 This means that @code{@var{musicexpr}} is transposed by the
727 interval between the pitches @code{@var{frompitch}} and
728 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
729 is changed to @code{@var{topitch}} and any other note is
730 transposed by the same interval. Both pitches are entered in
733 @warning{Music inside a @code{@bs{}transpose} block is absolute
734 unless a @code{@bs{}relative} is included in the block.}
736 Consider a piece written in the key of D-major. It can be
737 transposed up to E-major; note that the key signature is
738 automatically transposed as well.
740 @lilypond[verbatim,quote]
749 @cindex transposing instruments
750 @cindex instruments, transposing
752 If a part written in C (normal @notation{concert pitch}) is to be
753 played on the A clarinet (for which an A is notated as a C and
754 thus sounds a minor third lower than notated), the appropriate
755 part will be produced with:
757 @lilypond[verbatim,quote]
767 Note that we specify @w{@code{\key c \major}} explicitly. If we
768 do not specify a key signature, the notes will be transposed but
769 no key signature will be printed.
771 @code{\transpose} distinguishes between enharmonic pitches: both
772 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
773 transpose up a semitone. The first version will print sharps and
774 the notes will remain on the same scale step, the second version
775 will print flats on the scale step above.
777 @lilypond[verbatim,quote]
778 music = \relative { c' d e f }
780 \transpose c cis { \music }
781 \transpose c des { \music }
786 @code{\transpose} may also be used in a different way, to input
787 written notes for a transposing instrument. The previous examples
788 show how to enter pitches in C (or @notation{concert pitch}) and
789 typeset them for a transposing instrument, but the opposite is
790 also possible if you for example have a set of instrumental parts
791 and want to print a conductor's score. For example, when entering
792 music for a B-flat trumpet that begins on a notated E (concert D),
796 musicInBflat = @{ e4 @dots{} @}
797 \transpose c bes, \musicInBflat
801 To print this music in F (e.g., rearranging to a French horn) you
802 could wrap the existing music with another @code{\transpose}:
805 musicInBflat = @{ e4 @dots{} @}
806 \transpose f c' @{ \transpose c bes, \musicInBflat @}
810 For more information about transposing instruments,
811 see @ref{Instrument transpositions}.
816 @lilypondfile[verbatim,quote,texidoc,doctitle]
817 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
821 @ref{Instrument transpositions},
823 @ref{Modal transformations},
824 @ref{Relative octave entry},
831 @rinternals{TransposedMusic}.
838 The relative conversion will not affect @code{\transpose},
839 @code{\chordmode} or @code{\relative} sections in its argument. To use
840 relative mode within transposed music, an additional @code{\relative}
841 must be placed inside @code{\transpose}.
843 Triple accidentals will not be printed if using @code{\transpose}. An
844 @q{enharmonically equivalent} pitch will be used instead (e.g., d-flat
845 rather than e-triple-flat).
849 @unnumberedsubsubsec Inversion
852 @cindex operation, inversion
855 A music expression can be inverted and transposed in a single
859 \inversion @var{around-pitch} @var{to-pitch} @var{musicexpr}
862 The @code{@var{musicexpr}} is inverted interval-by-interval around
863 @code{@var{around-pitch}}, and then transposed so that
864 @code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
866 @lilypond[verbatim,quote]
867 music = \relative { c' d e f }
870 \inversion d' d' \music
871 \inversion d' ees' \music
875 @warning{Motifs to be inverted should be expressed in absolute form
876 or be first converted to absolute form by enclosing them in a
877 @code{\relative} block.}
881 @ref{Modal transformations},
887 @unnumberedsubsubsec Retrograde
889 @cindex retrograde transformation
890 @cindex transformation, retrograde
891 @cindex operation, retrograde
892 @funindex \retrograde
894 A music expression can be reversed to produce its retrograde:
896 @lilypond[verbatim,quote]
897 music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
906 @code{\retrograde} is a rather simple tool. Since many events are
907 @q{mirrored} rather than exchanged, tweaks and directional
908 modifiers for opening spanners need to be added at the matching
909 closing spanners: @code{^(} needs to be ended by @code{^)}, every
910 @code{\<} or @code{\cresc} needs to be ended by @code{\!} or
911 @code{\endcr}, every @code{\>} or @code{\decr} needs to be ended
912 by @code{\enddecr}. Property-changing commands/overrides with a
913 lasting effect will likely cause surprises.
918 @ref{Modal transformations},
922 @node Modal transformations
923 @unnumberedsubsubsec Modal transformations
925 @cindex modal transformations
926 @cindex transformations, modal
927 @cindex operations, modal
929 In a musical composition that is based on a scale, a motif is
930 frequently transformed in various ways. It may be
931 @notation{transposed} to start at different places in the scale or
932 it may be @notation{inverted} around a pivot point in the scale.
933 It may also be reversed to produce its @notation{retrograde}, see
936 @warning{Any note that does not lie within the given scale will be
939 @subsubsubheading Modal transposition
941 @cindex modal transposition
942 @cindex transposition, modal
943 @cindex operation, transposition
944 @funindex \modalTranspose
946 A motif can be transposed within a given scale with:
949 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
952 The notes of @var{motif} are shifted within the @var{scale} by the
953 number of scale degrees given by the interval between @var{to-pitch}
954 and @var{from-pitch}:
956 @lilypond[verbatim,quote]
957 diatonicScale = \relative { c' d e f g a b }
958 motif = \relative { c'8 d e f g a b c }
962 \modalTranspose c f \diatonicScale \motif
963 \modalTranspose c b, \diatonicScale \motif
967 An ascending scale of any length and with any intervals may be
970 @lilypond[verbatim,quote]
971 pentatonicScale = \relative { ges aes bes des ees }
972 motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
976 \modalTranspose ges ees' \pentatonicScale \motif
980 When used with a chromatic scale @code{\modalTranspose} has a
981 similar effect to @code{\transpose}, but with the ability to
982 specify the names of the notes to be used:
984 @lilypond[verbatim,quote]
985 chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
986 motif = \relative { c'8 d e f g a b c }
990 \transpose c f \motif
991 \modalTranspose c f \chromaticScale \motif
995 @subsubsubheading Modal inversion
997 @cindex modal inversion
998 @cindex inversion, modal
999 @cindex operation, modal inversion
1000 @funindex \modalInversion
1002 A motif can be inverted within a given scale around a given pivot
1003 note and transposed in a single operation with:
1006 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
1009 The notes of @var{motif} are placed the same number of scale degrees
1010 from the @var{around-pitch} note within the @var{scale}, but in the
1011 opposite direction, and the result is then shifted within the
1012 @var{scale} by the number of scale degrees given by the interval between
1013 @var{to-pitch} and @var{around-pitch}.
1015 So to simply invert around a note in the scale use the same value for
1016 @var{around-pitch} and @var{to-pitch}:
1018 @lilypond[verbatim,quote]
1019 octatonicScale = \relative { ees' f fis gis a b c d }
1020 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1024 \modalInversion fis' fis' \octatonicScale \motif
1028 To invert around a pivot between two notes in the scale, invert around
1029 one of the notes and then transpose by one scale degree. The two notes
1030 specified can be interpreted as bracketing the pivot point:
1032 @lilypond[verbatim,quote]
1033 scale = \relative { c' g' }
1034 motive = \relative { c' c g' c, }
1038 \modalInversion c' g' \scale \motive
1042 The combined operation of inversion and retrograde produce the
1043 retrograde-inversion:
1045 @lilypond[verbatim,quote]
1046 octatonicScale = \relative { ees' f fis gis a b c d }
1047 motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
1051 \retrograde \modalInversion c' c' \octatonicScale \motif
1062 @node Displaying pitches
1063 @subsection Displaying pitches
1065 This section discusses how to alter the output of pitches.
1071 * Instrument transpositions::
1072 * Automatic accidentals::
1078 @unnumberedsubsubsec Clef
1089 @cindex soprano clef
1090 @cindex mezzosoprano clef
1091 @cindex baritone clef
1092 @cindex varbaritone clef
1093 @cindex subbass clef
1095 @cindex ancient clef
1096 @cindex clef, ancient
1100 @cindex clef, treble
1101 @cindex clef, violin
1105 @cindex clef, french
1106 @cindex clef, soprano
1107 @cindex clef, mezzosoprano
1108 @cindex clef, baritone
1109 @cindex clef, varbaritone
1110 @cindex clef, subbass
1115 Without any explicit command, the default clef for LilyPond is the
1116 treble (or @emph{G}) clef.
1118 @lilypond[verbatim,quote,fragment,ragged-right]
1122 However, the clef can be changed by using the @code{\clef} command and
1123 an appropriate clef name. @emph{Middle C} is shown in each of the
1126 @lilypond[verbatim,quote,fragment]
1137 For the full range of possible clef names see @ref{Clef styles}.
1139 Specialized clefs, such as those used in @emph{Ancient} music, are
1140 described in @ref{Mensural clefs} and @ref{Gregorian clefs}. Music that
1141 requires tablature clefs is discussed in @ref{Default tablatures} and
1142 @ref{Custom tablatures}.
1145 @cindex Clefs with cue notes
1146 For mixing clefs when using cue notes, see the @code{\cueClef} and
1147 @code{\cueDuringWithClef} commands in @ref{Formatting cue notes}.
1149 @cindex transposing clef
1150 @cindex clef, transposing
1151 @cindex octave transposition
1152 @cindex optional octave transposition
1153 @cindex octave transposition, optional
1154 @cindex choral tenor clef
1155 @cindex tenor clef, choral
1157 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1158 clef is transposed one octave down or up respectively,
1159 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1160 Other integers can be used if required. Clef names containing
1161 non-alphabetic characters must be enclosed in quotes
1163 @lilypond[verbatim,quote,fragment]
1178 Optional octavation can be obtained by enclosing the numeric
1179 argument in parentheses or brackets:
1181 @lilypond[verbatim,quote,fragment]
1188 The pitches are displayed as if the numeric argument were
1189 given without parentheses/brackets.
1191 By default, a clef change taking place at a line break will cause
1192 the new clef symbol to be printed at the end of the previous line,
1193 as a @emph{warning} clef, as well as the beginning of the next.
1194 This @emph{warning} clef can be suppressed.
1196 @lilypond[verbatim,quote,fragment]
1197 \clef treble { c'2 c' } \break
1198 \clef bass { c'2 c' } \break
1200 \set Staff.explicitClefVisibility = #end-of-line-invisible
1202 \unset Staff.explicitClefVisibility
1203 \clef bass { c'2 c' } \break
1206 By default, a clef that has previously been printed will not be
1207 re-printed if the same @code{\clef} command is issued again and
1208 will be ignored. The command
1209 @code{\set Staff.forceClef = ##t} changes this behaviour.
1211 @lilypond[verbatim,quote,fragment]
1216 \set Staff.forceClef = ##t
1223 To be more precise, it is not the @code{\clef} command itself that
1224 prints a clef. Instead, it sets or changes a property of the
1225 @code{Clef_engraver}, which then decides by its own whether to
1226 display a clef or not in the current staff. The @code{forceClef}
1227 property overrides this decision locally to re-print a clef once.
1229 When there is a manual clef change, the glyph of the changed clef
1230 will be smaller than normal. This behaviour can be overridden.
1232 @lilypond[verbatim,quote,fragment]
1239 \override Staff.Clef.full-size-change = ##t
1244 \revert Staff.Clef.full-size-change
1252 @lilypondfile[verbatim,quote,texidoc,doctitle]
1253 {tweaking-clef-properties.ly}
1257 @ref{Mensural clefs},
1258 @ref{Gregorian clefs},
1259 @ref{Default tablatures},
1260 @ref{Custom tablatures},
1261 @ref{Formatting cue notes}.
1264 @file{scm/parser-clef.scm}.
1269 Internals Reference:
1270 @rinternals{Clef_engraver},
1272 @rinternals{ClefModifier},
1273 @rinternals{clef-interface}.
1276 Ottavation numbers attached to clefs are treated as separate
1277 grobs. So any @code{\override} done to the @var{Clef} will also
1278 need to be applied, as a separate @code{\override}, to the
1279 @var{ClefModifier} grob.
1281 @lilypond[fragment,quote,verbatim]
1283 \override Clef.color = #blue
1284 \override ClefModifier.color = #red
1287 \clef "treble_8" c'4
1292 @unnumberedsubsubsec Key signature
1294 @cindex key signature
1298 @c duplicated in Key signature and Accidentals
1299 @warning{New users are sometimes confused about accidentals and
1300 key signatures. In LilyPond, note names are the raw input; key
1301 signatures and clefs determine how this raw input is displayed.
1302 An unaltered note like@tie{}@code{c} means @q{C natural},
1303 regardless of the key signature or clef. For more information,
1304 see @rlearning{Pitches and key signatures}.}
1306 The key signature indicates the tonality in which a piece is
1307 played. It is denoted by a set of alterations (flats or sharps)
1308 at the start of the staff. The key signature may be altered:
1311 \key @var{pitch} @var{mode}
1319 @funindex \mixolydian
1324 @cindex church modes
1337 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1338 to get a key signature of @code{@var{pitch}}-major or
1339 @code{@var{pitch}}-minor, respectively. You may also use the
1340 standard mode names, also called @notation{church modes}:
1341 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1342 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1344 @lilypond[verbatim,quote,fragment]
1353 Additional modes can be defined, by listing the alterations
1354 for each scale step when the mode starts on C.
1356 @lilypond[verbatim,quote]
1357 freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
1358 (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
1361 \key c \freygish c'4 des e f
1362 \bar "||" \key d \freygish d es fis g
1366 Accidentals in the key signature may be printed in octaves other
1367 than their traditional positions, or in multiple octaves, by
1368 using the @code{flat-positions} and @code{sharp-positions}
1369 properties of @code{KeySignature}. Entries in these properties
1370 specify the range of staff-positions where accidentals will be
1371 printed. If a single position is specified in an entry, the
1372 accidentals are placed within the octave ending at that staff
1375 @lilypond[verbatim, quote,fragment]
1376 \override Staff.KeySignature.flat-positions = #'((-5 . 5))
1377 \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
1378 \clef bass \key es \major es g bes d'
1379 \clef treble \bar "||" \key es \major es' g' bes' d''
1381 \override Staff.KeySignature.sharp-positions = #'(2)
1382 \bar "||" \key b \major b' fis' b'2
1387 @lilypondfile[verbatim,quote,texidoc,doctitle]
1388 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1390 @lilypondfile[verbatim,quote,texidoc,doctitle]
1391 {non-traditional-key-signatures.ly}
1396 @rglos{church mode},
1400 @rlearning{Pitches and key signatures}.
1405 Internals Reference:
1406 @rinternals{KeyChangeEvent},
1407 @rinternals{Key_engraver},
1408 @rinternals{Key_performer},
1409 @rinternals{KeyCancellation},
1410 @rinternals{KeySignature},
1411 @rinternals{key-signature-interface}.
1414 @node Ottava brackets
1415 @unnumberedsubsubsec Ottava brackets
1423 @funindex set-octavation
1426 @notation{Ottava brackets} introduce an extra transposition of an
1427 octave for the staff:
1429 @lilypond[verbatim,quote]
1447 @lilypondfile[verbatim,quote,texidoc,doctitle]
1450 @lilypondfile[verbatim,quote,texidoc,doctitle]
1451 {adding-an-ottava-marking-to-a-single-voice.ly}
1453 @lilypondfile[verbatim,quote,texidoc,doctitle]
1454 {modifying-the-ottava-spanner-slope.ly}
1463 Internals Reference:
1464 @rinternals{Ottava_spanner_engraver},
1465 @rinternals{OttavaBracket},
1466 @rinternals{ottava-bracket-interface}.
1469 @node Instrument transpositions
1470 @unnumberedsubsubsec Instrument transpositions
1472 @cindex transposition, MIDI
1473 @cindex transposition, instrument
1474 @cindex transposing instrument
1476 @cindex MIDI transposition
1478 @funindex \transposition
1480 When typesetting scores that involve transposing instruments, some
1481 parts can be typeset in a different pitch than the
1482 @notation{concert pitch}. In these cases, the key of the
1483 @notation{transposing instrument} should be specified; otherwise
1484 the MIDI output and cues in other parts will produce incorrect
1485 pitches. For more information about quotations, see
1486 @ref{Quoting other voices}.
1489 \transposition @var{pitch}
1492 The pitch to use for @code{\transposition} should correspond to
1493 the real sound heard when a@tie{}@code{c'} written on the staff is
1494 played by the transposing instrument. This pitch is entered in
1495 absolute mode, so an instrument that produces a real sound which
1496 is one tone higher than the printed music should use
1497 @w{@code{\transposition d'}}. @code{\transposition} should
1498 @emph{only} be used if the pitches are @emph{not} being entered in
1501 Here are a few notes for violin and B-flat clarinet where the
1502 parts have been entered using the notes and key as they appear in
1503 each part of the conductor's score. The two instruments are
1506 @lilypond[verbatim,quote]
1508 \new Staff = "violin" {
1510 \set Staff.instrumentName = #"Vln"
1511 \set Staff.midiInstrument = #"violin"
1512 % not strictly necessary, but a good reminder
1519 \new Staff = "clarinet" {
1521 \set Staff.instrumentName = \markup { Cl (B\flat) }
1522 \set Staff.midiInstrument = #"clarinet"
1532 The @code{\transposition} may be changed during a piece. For
1533 example, a clarinetist may be required to switch from an A clarinet
1534 to a B-flat clarinet.
1536 @lilypond[verbatim,quote]
1537 flute = \relative c'' {
1539 \cueDuring #"clarinet" #DOWN {
1540 R1 _\markup\tiny "clarinet"
1542 R1 _\markup\tiny "clarinet"
1545 clarinet = \relative c'' {
1549 R1^\markup { muta in B\flat }
1554 \addQuote "clarinet" \clarinet
1556 \new Staff \with { instrumentName = #"Flute" }
1558 \new Staff \with { instrumentName = #"Cl (A)" }
1565 @rglos{concert pitch},
1566 @rglos{transposing instrument}.
1569 @ref{Quoting other voices},
1576 @node Automatic accidentals
1577 @unnumberedsubsubsec Automatic accidentals
1579 @cindex accidental style
1580 @cindex accidental style, default
1582 @cindex accidentals, automatic
1583 @cindex automatic accidentals
1584 @cindex default accidental style
1586 @funindex \accidentalStyle
1590 There are many different conventions on how to typeset
1591 accidentals. LilyPond provides a function to specify which
1592 accidental style to use. This function is called as follows:
1596 \accidentalStyle voice
1601 The accidental style applies to the current @code{Staff} by
1602 default (with the exception of the styles @code{piano} and
1603 @code{piano-cautionary}, which are explained below). Optionally,
1604 the function can take a second argument that determines in which
1605 scope the style should be changed. For example, to use the same
1606 style in all staves of the current @code{StaffGroup}, use:
1609 \accidentalStyle StaffGroup.voice
1612 The following accidental styles are supported. To demonstrate
1613 each style, we use the following example:
1616 @lilypond[verbatim,quote]
1620 cis''8 fis, bes4 <a cis>8 f bis4 |
1634 \voiceTwo \relative {
1635 <fis a cis>8[ <fis a cis>
1638 \change Staff = down
1643 \change Staff = down
1644 <fis, a cis>4 gis <f a d>2 |
1651 \context Staff = "up" {
1652 \accidentalStyle default
1655 \context Staff = "down" {
1656 \accidentalStyle default
1663 Note that the last lines of this example can be replaced by the
1664 following, as long as the same accidental style should be used in
1670 \context Staff = "up" @{
1671 %%% change the next line as desired:
1672 \accidentalStyle Score.default
1675 \context Staff = "down" @{
1683 @c don't use verbatim in this table.
1687 @cindex default accidental style
1688 @cindex accidental style, default
1692 This is the default typesetting behavior. It corresponds to
1693 eighteenth-century common practice: accidentals are remembered to
1694 the end of the measure in which they occur and only in their own
1695 octave. Thus, in the example below, no natural signs are printed
1696 before the@tie{}@code{b} in the second measure or the
1703 cis''8 fis, bes4 <a cis>8 f bis4 |
1717 \voiceTwo \relative {
1718 <fis a cis>8[ <fis a cis>
1721 \change Staff = down
1726 \change Staff = down
1727 <fis, a cis>4 gis <f a d>2 |
1734 \context Staff = "up" {
1735 \accidentalStyle default
1738 \context Staff = "down" {
1739 \accidentalStyle default
1748 @cindex accidental style, voice
1749 @cindex voice accidental style
1750 @cindex accidental style, modern
1751 @cindex modern accidental style
1752 @cindex accidental style, modern-cautionary
1753 @cindex modern-cautionary accidental style
1757 The normal behavior is to remember the accidentals at
1758 @code{Staff}-level. In this style, however, accidentals are
1759 typeset individually for each voice. Apart from that, the rule is
1760 similar to @code{default}.
1762 As a result, accidentals from one voice do not get canceled in
1763 other voices, which is often an unwanted result: in the following
1764 example, it is hard to determine whether the second@tie{}@code{a}
1765 should be played natural or sharp. The @code{voice} option should
1766 therefore be used only if the voices are to be read solely by
1767 individual musicians. If the staff is to be used by one musician
1768 (e.g., a conductor or in a piano score) then @code{modern} or
1769 @code{modern-cautionary} should be used instead.
1776 cis''8 fis, bes4 <a cis>8 f bis4 |
1790 \voiceTwo \relative {
1791 <fis a cis>8[ <fis a cis>
1794 \change Staff = down
1799 \change Staff = down
1800 <fis, a cis>4 gis <f a d>2 |
1807 \context Staff = "up" {
1808 \accidentalStyle voice
1811 \context Staff = "down" {
1812 \accidentalStyle voice
1821 @cindex accidentals, modern style
1822 @cindex modern style accidentals
1826 This rule corresponds to the common practice in the twentieth
1827 century. It omits some extra natural signs, which were
1828 traditionally prefixed to a sharp following a double sharp,
1829 or a flat following a double flat. The @code{modern} rule
1830 prints the same accidentals as @code{default}, with
1831 two additions that serve to avoid ambiguity: after temporary
1832 accidentals, cancellation marks are printed also in the following
1833 measure (for notes in the same octave) and, in the same measure,
1834 for notes in other octaves. Hence the naturals before
1835 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1842 cis''8 fis, bes4 <a cis>8 f bis4 |
1856 \voiceTwo \relative {
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 \accidentalStyle modern
1877 \context Staff = "down" {
1878 \accidentalStyle modern
1885 @item modern-cautionary
1887 @cindex accidentals, modern cautionary style
1888 @cindex modern accidental style
1889 @cindex modern cautionary accidental style
1890 @cindex modern style accidentals
1891 @cindex modern style cautionary accidentals
1893 @funindex modern-cautionary
1895 This rule is similar to @code{modern}, but the @q{extra} accidentals
1896 are printed as cautionary accidentals (with parentheses). They can also
1897 be printed at a different size by overriding
1898 @code{AccidentalCautionary}'s @code{font-size} property.
1904 cis''8 fis, bes4 <a cis>8 f bis4 |
1918 \voiceTwo \relative {
1919 <fis a cis>8[ <fis a cis>
1922 \change Staff = down
1927 \change Staff = down
1928 <fis, a cis>4 gis <f a d>2 |
1935 \context Staff = "up" {
1936 \accidentalStyle modern-cautionary
1939 \context Staff = "down" {
1940 \accidentalStyle modern-cautionary
1949 @cindex accidental style, modern
1950 @cindex accidentals, modern
1951 @cindex accidentals, multivoice
1952 @cindex modern accidental style
1953 @cindex modern accidentals
1954 @cindex multivoice accidentals
1956 @funindex modern-voice
1958 This rule is used for multivoice accidentals to be read both by
1959 musicians playing one voice and musicians playing all voices.
1960 Accidentals are typeset for each voice, but they @emph{are}
1961 canceled across voices in the same @code{Staff}. Hence,
1962 the@tie{}@code{a} in the last measure is canceled because the
1963 previous cancellation was in a different voice, and
1964 the@tie{}@code{d} in the lower staff is canceled because of the
1965 accidental in a different voice in the previous measure:
1971 cis''8 fis, bes4 <a cis>8 f bis4 |
1985 \voiceTwo \relative {
1986 <fis a cis>8[ <fis a cis>
1989 \change Staff = down
1994 \change Staff = down
1995 <fis, a cis>4 gis <f a d>2 |
2002 \context Staff = "up" {
2003 \accidentalStyle modern-voice
2006 \context Staff = "down" {
2007 \accidentalStyle modern-voice
2014 @cindex accidental style, cautionary, modern voice
2015 @cindex accidental style, modern voice cautionary
2016 @cindex accidental style, voice, modern cautionary
2018 @funindex modern-voice-cautionary
2020 @item modern-voice-cautionary
2022 This rule is the same as @code{modern-voice}, but with the extra
2023 accidentals (the ones not typeset by @code{voice}) typeset as
2024 cautionaries. Even though all accidentals typeset by
2025 @code{default} @emph{are} typeset with this rule, some of them are
2026 typeset as cautionaries.
2032 cis''8 fis, bes4 <a cis>8 f bis4 |
2046 \voiceTwo \relative {
2047 <fis a cis>8[ <fis a cis>
2050 \change Staff = down
2055 \change Staff = down
2056 <fis, a cis>4 gis <f a d>2 |
2063 \context Staff = "up" {
2064 \accidentalStyle modern-voice-cautionary
2067 \context Staff = "down" {
2068 \accidentalStyle modern-voice-cautionary
2077 @cindex accidental style, piano
2078 @cindex accidentals, piano
2079 @cindex piano accidental style
2080 @cindex piano accidentals
2084 This rule reflects twentieth-century practice for piano notation.
2085 Its behavior is very similar to @code{modern} style, but here
2086 accidentals also get canceled across the staves in the same
2087 @code{GrandStaff} or @code{PianoStaff}, hence all the
2088 cancellations of the final notes.
2090 This accidental style applies to the current @code{GrandStaff} or
2091 @code{PianoStaff} by default.
2097 cis''8 fis, bes4 <a cis>8 f bis4 |
2111 \voiceTwo \relative {
2112 <fis a cis>8[ <fis a cis>
2115 \change Staff = down
2120 \change Staff = down
2121 <fis, a cis>4 gis <f a d>2 |
2128 \context Staff = "up" {
2129 \accidentalStyle piano
2132 \context Staff = "down" {
2139 @item piano-cautionary
2141 @cindex accidentals, piano cautionary
2142 @cindex cautionary accidentals, piano
2143 @cindex piano cautionary accidentals
2144 @cindex accidental style, piano cautionary
2145 @cindex cautionary accidental style, piano
2146 @cindex piano cautionary accidental style
2148 @funindex piano-cautionary
2150 This is the same as @code{piano} but with the extra accidentals
2151 typeset as cautionaries.
2157 cis''8 fis, bes4 <a cis>8 f bis4 |
2171 \voiceTwo \relative {
2172 <fis a cis>8[ <fis a cis>
2175 \change Staff = down
2180 \change Staff = down
2181 <fis, a cis>4 gis <f a d>2 |
2188 \context Staff = "up" {
2189 \accidentalStyle piano-cautionary
2192 \context Staff = "down" {
2202 @cindex neo-modern accidental style
2203 @cindex accidental style, neo-modern
2205 @funindex neo-modern
2207 This rule reproduces a common practice in contemporary music:
2208 accidentals are printed like with @code{modern}, but they are printed
2209 again if the same note appears later in the same measure -- except
2210 if the note is immediately repeated.
2216 cis''8 fis, bes4 <a cis>8 f bis4 |
2230 \voiceTwo \relative {
2231 <fis a cis>8[ <fis a cis>
2234 \change Staff = down
2239 \change Staff = down
2240 <fis, a cis>4 gis <f a d>2 |
2247 \context Staff = "up" {
2248 \accidentalStyle neo-modern
2251 \context Staff = "down" {
2252 \accidentalStyle neo-modern
2259 @item neo-modern-cautionary
2261 @cindex neo-modern-cautionary accidental style
2262 @cindex accidental style, neo-modern-cautionary
2264 @funindex neo-modern-cautionary
2266 This rule is similar to @code{neo-modern}, but the @q{extra} accidentals
2267 are printed as cautionary accidentals (with parentheses). They can also
2268 be printed at a different size by overriding
2269 @code{AccidentalCautionary}'s @code{font-size} property.
2275 cis''8 fis, bes4 <a cis>8 f bis4 |
2289 \voiceTwo \relative {
2290 <fis a cis>8[ <fis a cis>
2293 \change Staff = down
2298 \change Staff = down
2299 <fis, a cis>4 gis <f a d>2 |
2306 \context Staff = "up" {
2307 \accidentalStyle neo-modern-cautionary
2310 \context Staff = "down" {
2311 \accidentalStyle neo-modern-cautionary
2319 @item neo-modern-voice
2321 @cindex neo-modern-voice accidental style
2322 @cindex accidental style, neo-modern-voice
2324 @funindex neo-modern-voice
2326 This rule is used for multivoice accidentals to be read both by
2327 musicians playing one voice and musicians playing all voices.
2328 Accidentals are typeset for each voice as with @code{neo-modern},
2329 but they are canceled across voices in the same @code{Staff}.
2335 cis''8 fis, bes4 <a cis>8 f bis4 |
2349 \voiceTwo \relative {
2350 <fis a cis>8[ <fis a cis>
2353 \change Staff = down
2358 \change Staff = down
2359 <fis, a cis>4 gis <f a d>2 |
2366 \context Staff = "up" {
2367 \accidentalStyle neo-modern-voice
2370 \context Staff = "down" {
2371 \accidentalStyle neo-modern-voice
2378 @item neo-modern-voice-cautionary
2380 @cindex neo-modern-voice-cautionary accidental style
2381 @cindex accidental style, neo-modern-voice-cautionary
2383 @funindex neo-modern-voice-cautionary
2385 This rule is similar to @code{neo-modern-voice}, but the extra
2386 accidentals are printed as cautionary accidentals.
2392 cis''8 fis, bes4 <a cis>8 f bis4 |
2406 \voiceTwo \relative {
2407 <fis a cis>8[ <fis a cis>
2410 \change Staff = down
2415 \change Staff = down
2416 <fis, a cis>4 gis <f a d>2 |
2423 \context Staff = "up" {
2424 \accidentalStyle neo-modern-voice-cautionary
2427 \context Staff = "down" {
2428 \accidentalStyle neo-modern-voice-cautionary
2437 @cindex dodecaphonic accidental style
2438 @cindex dodecaphonic style, neo-modern
2440 @funindex dodecaphonic
2442 This rule reflects a practice introduced by composers at
2443 the beginning of the 20th century, in an attempt to
2444 abolish the hierarchy between natural and non-natural notes.
2445 With this style, @emph{every} note gets an accidental sign,
2446 including natural signs.
2452 cis''8 fis, bes4 <a cis>8 f bis4 |
2466 \voiceTwo \relative {
2467 <fis a cis>8[ <fis a cis>
2470 \change Staff = down
2475 \change Staff = down
2476 <fis, a cis>4 gis <f a d>2 |
2483 \context Staff = "up" {
2484 \accidentalStyle dodecaphonic
2487 \context Staff = "down" {
2488 \accidentalStyle dodecaphonic
2495 @item dodecaphonic-no-repeat
2497 @cindex dodecaphonic accidental style
2498 @cindex dodecaphonic style, neo-modern
2500 @funindex dodecaphonic-no-repeat
2502 Like with the dodecaphonic accidental style @emph{every} note
2503 gets an accidental sign by default, but accidentals are
2504 suppressed for pitches immediately repeated within the same staff.
2510 cis''8 fis, bes4 <a cis>8 f bis4 |
2524 \voiceTwo \relative {
2525 <fis a cis>8[ <fis a cis>
2528 \change Staff = down
2533 \change Staff = down
2534 <fis, a cis>4 gis <f a d>2 |
2541 \context Staff = "up" {
2542 \accidentalStyle dodecaphonic-no-repeat
2545 \context Staff = "down" {
2546 \accidentalStyle dodecaphonic-no-repeat
2554 @item dodecaphonic-first
2556 @cindex dodecaphonic accidental style
2557 @cindex dodecaphonic style, neo-modern
2559 @funindex dodecaphonic-first
2561 Similar to the dodecaphonic accidental style @emph{every} pitch
2562 gets an accidental sign, but only the first time it is encountered
2563 in a measure. Accidentals are only remembered for the actual octave
2564 but throughout voices.
2570 cis''8 fis, bes4 <a cis>8 f bis4 |
2584 \voiceTwo \relative {
2585 <fis a cis>8[ <fis a cis>
2588 \change Staff = down
2593 \change Staff = down
2594 <fis, a cis>4 gis <f a d>2 |
2601 \context Staff = "up" {
2602 \accidentalStyle dodecaphonic-first
2605 \context Staff = "down" {
2606 \accidentalStyle dodecaphonic-first
2616 @cindex teaching accidental style
2617 @cindex accidental style, teaching
2621 This rule is intended for students, and makes it easy to create
2622 scale sheets with automatically created cautionary accidentals.
2623 Accidentals are printed like with @code{modern}, but cautionary
2624 accidentals are added for all sharp or flat tones specified by the
2625 key signature, except if the note is immediately repeated.
2627 @lilypond[quote,staffsize=18]
2631 cis''8 fis, bes4 <a cis>8 f bis4 |
2645 \voiceTwo \relative {
2646 <fis a cis>8[ <fis a cis>
2649 \change Staff = down
2654 \change Staff = down
2655 <fis, a cis>4 gis <f a d>2 |
2662 \context Staff = "up" {
2664 \accidentalStyle teaching
2667 \context Staff = "down" {
2669 \accidentalStyle teaching
2680 @cindex accidental style, no reset
2681 @cindex no reset accidental style
2685 This is the same as @code{default} but with accidentals lasting
2686 @q{forever} and not only within the same measure:
2692 cis''8 fis, bes4 <a cis>8 f bis4 |
2706 \voiceTwo \relative {
2707 <fis a cis>8[ <fis a cis>
2710 \change Staff = down
2715 \change Staff = down
2716 <fis, a cis>4 gis <f a d>2 |
2723 \context Staff = "up" {
2724 \accidentalStyle no-reset
2727 \context Staff = "down" {
2728 \accidentalStyle no-reset
2737 @cindex forget accidental style
2738 @cindex accidental style, forget
2742 This is the opposite of @code{no-reset}: Accidentals are not
2743 remembered at all -- and hence all accidentals are typeset
2744 relative to the key signature, regardless of what came before in
2751 cis''8 fis, bes4 <a cis>8 f bis4 |
2765 \voiceTwo \relative {
2766 <fis a cis>8[ <fis a cis>
2769 \change Staff = down
2774 \change Staff = down
2775 <fis, a cis>4 gis <f a d>2 |
2782 \context Staff = "up" {
2783 \accidentalStyle forget
2786 \context Staff = "down" {
2787 \accidentalStyle forget
2799 Internals Reference:
2800 @rinternals{Accidental},
2801 @rinternals{Accidental_engraver},
2802 @rinternals{GrandStaff},
2803 @rinternals{PianoStaff},
2805 @rinternals{AccidentalSuggestion},
2806 @rinternals{AccidentalPlacement},
2807 @rinternals{accidental-suggestion-interface}.
2809 @cindex accidentals and simultaneous notes
2810 @cindex simultaneous notes and accidentals
2811 @cindex accidentals in chords
2812 @cindex chords, accidentals in
2815 Simultaneous notes are not considered in the automatic
2816 determination of accidentals; only previous notes and the key
2817 signature are considered. Forcing accidentals with@tie{}@code{!}
2818 or@tie{}@code{?} may be required when the same note name occurs
2819 simultaneously with different alterations, as in @samp{<f! fis!>}.
2821 Cautionary cancellation of accidentals is done by looking at previous measure.
2822 However, in the @code{\alternative} block following a @code{\repeat volta N}
2823 section, one would expect the cancellation being calculated using the previous
2824 @emph{played} measure, not previous @emph{printed} measure.
2825 In the following example, the natural @code{c} in the second alternative does
2826 not need a natural sign:
2830 \accidentalStyle modern
2842 The following work-around can be used: define a function that locally changes
2843 the accidental style to @code{forget}:
2845 @lilypond[verbatim,quote]
2846 forget = #(define-music-function (music) (ly:music?) #{
2847 \accidentalStyle forget
2849 \accidentalStyle modern
2852 \accidentalStyle modern
2866 @unnumberedsubsubsec Ambitus
2869 @cindex range of pitches
2872 The term @notation{ambitus} (pl. ambitus) denotes a range of
2873 pitches for a given voice in a part of music. It may also denote
2874 the pitch range that a musical instrument is capable of playing.
2875 Ambitus are printed on vocal parts so that performers can easily
2876 determine if it matches their capabilities.
2878 Ambitus are denoted at the beginning of a piece near the initial
2879 clef. The range is graphically specified by two note heads that
2880 represent the lowest and highest pitches. Accidentals are only
2881 printed if they are not part of the key signature.
2883 @lilypond[verbatim,quote]
2887 \consists "Ambitus_engraver"
2900 @lilypondfile[verbatim,quote,texidoc,doctitle]
2901 {adding-ambitus-per-voice.ly}
2903 @lilypondfile[verbatim,quote,texidoc,doctitle]
2904 {ambitus-with-multiple-voices.ly}
2906 @lilypondfile[verbatim,quote,texidoc,doctitle]
2907 {changing-the-ambitus-gap.ly}
2916 Internals Reference:
2917 @rinternals{Ambitus_engraver},
2920 @rinternals{Ambitus},
2921 @rinternals{AmbitusAccidental},
2922 @rinternals{AmbitusLine},
2923 @rinternals{AmbitusNoteHead},
2924 @rinternals{ambitus-interface}.
2927 There is no collision handling in the case of multiple per-voice
2932 @subsection Note heads
2934 This section suggests ways of altering note heads.
2937 * Special note heads::
2938 * Easy notation note heads::
2939 * Shape note heads::
2943 @node Special note heads
2944 @unnumberedsubsubsec Special note heads
2946 @cindex note heads, special
2947 @cindex note heads, cross
2948 @cindex note heads, diamond
2949 @cindex note heads, parlato
2950 @cindex note heads, harmonic
2951 @cindex note heads, guitar
2952 @cindex special note heads
2953 @cindex cross note heads
2954 @cindex diamond note heads
2955 @cindex parlato note heads
2956 @cindex harmonic note heads
2957 @cindex guitar note heads
2958 @cindex note head styles
2959 @cindex styles, note heads
2963 The appearance of note heads may be altered:
2965 @lilypond[verbatim,quote]
2968 \override NoteHead.style = #'cross
2970 \revert NoteHead.style
2972 \override NoteHead.style = #'harmonic
2974 \revert NoteHead.style
2979 To see all note head styles, see @ref{Note head styles}.
2981 The @code{cross} style is used to represent a variety of musical
2982 intentions. The following generic predefined commands modify the
2983 note head in both staff and tablature contexts and can be used to
2984 represent any musical meaning:
2986 @lilypond[verbatim,quote]
2996 The music function form of this predefined command may be used
2997 inside and outside chords to generate crossed note heads in both
2998 staff and tablature contexts:
3000 @lilypond[verbatim,quote]
3004 c b < g \xNote c f > b
3008 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
3009 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
3010 be used. The term @notation{dead note} is commonly used by guitarists.
3012 There is also a similar shorthand for diamond shapes:
3014 @lilypond[verbatim,quote]
3016 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
3032 @ref{Note head styles},
3033 @ref{Chorded notes},
3034 @ref{Indicating harmonics and dampened notes}.
3036 Internals Reference:
3037 @rinternals{note-event},
3038 @rinternals{Note_heads_engraver},
3039 @rinternals{Ledger_line_engraver},
3040 @rinternals{NoteHead},
3041 @rinternals{LedgerLineSpanner},
3042 @rinternals{note-head-interface},
3043 @rinternals{ledger-line-spanner-interface}.
3046 @node Easy notation note heads
3047 @unnumberedsubsubsec Easy notation note heads
3049 @cindex note heads, practice
3050 @cindex practice note heads
3051 @cindex note heads, easy notation
3052 @cindex easy notation
3053 @cindex beginners' music
3054 @cindex music, beginners'
3055 @cindex easy play note heads
3056 @cindex note heads, easy play
3058 @funindex \easyHeadsOn
3059 @funindex \easyHeadsOff
3061 The @q{easy play} note head includes a note name inside the head.
3062 It is used in music for beginners. To make the letters readable,
3063 it should be printed in a large font size. To print with a larger
3064 font, see @ref{Setting the staff size}.
3066 @lilypond[verbatim,quote]
3067 #(set-global-staff-size 26)
3079 @code{\easyHeadsOn},
3080 @code{\easyHeadsOff}.
3086 @lilypondfile[verbatim,quote,texidoc,doctitle]
3087 {numbers-as-easy-note-heads.ly}
3091 @ref{Setting the staff size}.
3096 Internals Reference:
3097 @rinternals{note-event},
3098 @rinternals{Note_heads_engraver},
3099 @rinternals{NoteHead},
3100 @rinternals{note-head-interface}.
3103 @node Shape note heads
3104 @unnumberedsubsubsec Shape note heads
3106 @cindex note heads, shape
3107 @cindex note heads, Aiken
3108 @cindex note heads, sacred harp
3110 @cindex Aiken shape note heads
3111 @cindex sacred harp note heads
3112 @cindex note heads, Southern Harmony
3113 @cindex Southern Harmony note heads
3114 @cindex Funk shape note heads
3115 @cindex note heads, Funk
3116 @cindex note heads, Harmonica Sacra
3117 @cindex Harmonica Sacra note heads
3118 @cindex Christian Harmony note heads
3119 @cindex note heads, Christian Harmony
3120 @cindex Walker shape note heads
3121 @cindex note heads, Walker
3123 @funindex \aikenHeads
3124 @funindex \sacredHarpHeads
3125 @funindex \southernHarmonyHeads
3126 @funindex \funkHeads
3127 @funindex \walkerHeads
3129 In shape note head notation, the shape of the note head
3130 corresponds to the harmonic function of a note in the scale. This
3131 notation was popular in nineteenth-century American song books.
3132 Shape note heads can be produced in Sacred Harp, Southern Harmony,
3133 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
3135 @lilypond[verbatim,quote]
3138 c, d e f g2 a b1 c \break
3140 c,4 d e f g2 a b1 c \break
3141 \southernHarmonyHeads
3142 c,4 d e f g2 a b1 c \break
3144 c,4 d e f g2 a b1 c \break
3146 c,4 d e f g2 a b1 c \break
3151 @funindex \aikenHeadsMinor
3152 @funindex \sacredHarpHeadsMinor
3153 @funindex \southernHarmonyHeadsMinor
3154 @funindex \funkHeadsMinor
3155 @funindex \walkerHeadsMinor
3157 Shapes are typeset according to the step in the scale, where the base
3158 of the scale is determined by the @code{\key} command. When writing
3159 in a minor key, the scale step can be determined from the relative
3162 @lilypond[verbatim,quote]
3166 a b c d e2 f g1 a \break
3168 a,4 b c d e2 f g1 a \break
3169 \sacredHarpHeadsMinor
3171 \southernHarmonyHeadsMinor
3183 @code{\aikenHeadsMinor},
3185 @code{\funkHeadsMinor},
3186 @code{\sacredHarpHeads},
3187 @code{\sacredHarpHeadsMinor},
3188 @code{\southernHarmonyHeads},
3189 @code{\southernHarmonyHeadsMinor},
3190 @code{\walkerHeads},
3191 @code{\walkerHeadsMinor}.
3197 @lilypondfile[verbatim,quote,texidoc,doctitle]
3198 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
3200 To see all note head styles, see @ref{Note head styles}.
3207 @ref{Note head styles}.
3209 Internals Reference:
3210 @rinternals{note-event},
3211 @rinternals{Note_heads_engraver},
3212 @rinternals{NoteHead},
3213 @rinternals{note-head-interface}.
3217 @unnumberedsubsubsec Improvisation
3219 @cindex improvisation
3220 @cindex slashed note heads
3221 @cindex note heads, improvisation
3222 @cindex note heads, slashed
3224 @funindex \improvisationOn
3225 @funindex \improvisationOff
3227 Improvisation is sometimes denoted with slashed note heads, where
3228 the performer may choose any pitch but should play the specified
3229 rhythm. Such note heads can be created:
3231 @lilypond[verbatim,quote]
3233 \consists "Pitch_squash_engraver"
3235 e''8 e g a a16( bes) a8 g
3246 @code{\improvisationOn},
3247 @code{\improvisationOff}.
3254 Internals Reference:
3255 @rinternals{Pitch_squash_engraver},
3257 @rinternals{RhythmicStaff}.