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[lilypond.git] / Documentation / user / pitches.itely

@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  See TRANSLATION for details.
@end ignore


@node Pitches
@section Pitches

This section discusses how to specify the pitch of notes.

@lilypondfile[ragged-right,line-width=16\cm,staffsize=16,quote]
{pitches-headword.ly}

@menu
* Writing pitches::             
* Changing multiple pitches::   
* Displaying pitches::          
@end menu


@node Writing pitches
@subsection Writing pitches

Into text.

@menu
* Normal pitches::              
* Accidentals::                 
* Cautionary accidentals::      
* Micro tones::                 
* Note names in other languages::  
@end menu


@node Normal pitches
@unnumberedsubsubsec Normal pitches

@cindex Pitch names
@cindex pitches

A pitch name is specified using lowercase letters @code{a} through
@code{g}.  An ascending C-major scale is engraved with

@lilypond[quote,fragment,verbatim,ragged-right]
\clef bass
c d e f g a b c'
@end lilypond

The note name @code{c} is engraved one octave below middle C.

@lilypond[quote,fragment,verbatim,ragged-right]
\clef treble
c1
\clef bass
c1
@end lilypond

@funindex '
@funindex ,

The optional octave specification takes the form of a series of
single quote (@samp{'}) characters or a series of comma (@samp{,})
characters.  Each @samp{'} raises the pitch by one octave; each
@samp{,} lowers the pitch by an octave.

@lilypond[quote,ragged-right,fragment,verbatim]
\clef treble
c' c'' e' g d'' d' d c
\clef bass
c, c,, e, g d,, d, d c
@end lilypond

An alternate method may be used to declare which octave to engrave
a pitch; this method does not require as many octave
specifications (@code{'} and @code{,}).  See @ref{Relative
octaves}.


@node Accidentals
@unnumberedsubsubsec Accidentals

@cindex note names, Dutch
@cindex note names, default

A sharp is formed by adding @code{-is} to the end of a pitch name
and a flat is formed by adding @code{-es}.  Double sharps and
double flats are obtained by adding @code{-isis} or @code{-eses}
to a note name.

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a2 ais a aes
a2 aisis a aeses
@end lilypond

@noindent
These are the Dutch note names.  In Dutch, @code{aes} is
contracted to @code{as}, but both forms are accepted.  Similarly,
both @code{es} and @code{ees} are accepted

@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
a2 as e es
@end lilypond

A natural will cancel the effect of an accidental or key
signature.  However, naturals are not encoded into the note name
syntax with a suffix; a natural pitch is shown as a simple note
name

@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
a4 aes a2
@end lilypond

The input @code{d e f} is interpreted as @q{print a D-natural,
E-natural, and an F-natural,} regardless of the key signature.
For more information about the distinction between musical content
and the presentation of that content, see @rlearning{Accidentals
and key signatures}.

@lilypond[fragment,quote,ragged-right,verbatim,relative]
\key d \major
d e f g
d e fis g
@end lilypond


@commonprop

In accordance with standard typesetting rules, a natural sign is
printed before a sharp or flat if a previous accidental needs to
be cancelled.  To change this behavior, use @code{\set
Staff.extraNatural = ##f}

@lilypond[fragment,quote,ragged-right,verbatim,relative=2]
ceses4 ces cis c
\set Staff.extraNatural = ##f
ceses4 ces cis c
@end lilypond


@seealso

Program reference: @internalsref{LedgerLineSpanner},
@internalsref{NoteHead}.


@node Cautionary accidentals
@unnumberedsubsubsec Cautionary accidentals

@cindex accidental, reminder
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
@funindex ?
@cindex cautionary accidental
@cindex parenthesized accidental
@funindex !

Normally accidentals are printed automatically, but you may also
print them manually.  A reminder accidental can be forced by
adding an exclamation mark @code{!} after the pitch.  A cautionary
accidental (i.e., an accidental within parentheses) can be
obtained by adding the question mark @samp{?} after the pitch.
These extra accidentals can be used to produce natural signs, too.

@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
cis cis cis! cis? c c? c! c
@end lilypond


@seealso

The automatic production of accidentals can be tuned in many ways.
For more information, see @ref{Automatic accidentals}.


@node Micro tones
@unnumberedsubsubsec Micro tones

@cindex quarter tones
@cindex semi-flats, semi-sharps

Half-flats and half-sharps are formed by adding @code{-eh} and
@code{-ih}; the following is a series of Cs with increasing
pitches

@lilypond[verbatim,ragged-right,quote,relative=2,fragment]
\set Staff.extraNatural = ##f
ceseh ceh cih cisih
@end lilypond

Micro tones are also exported to the MIDI file.


@refbugs

There are no generally accepted standards for denoting
three-quarter flats, so LilyPond's symbol does not conform to any
standard.


@node Note names in other languages
@unnumberedsubsubsec Note names in other languages

There are predefined sets of note names for various other
languages.  To use them, include the language specific init file.
For example, add @code{\include "english.ly"} to the top of the
input file.  The available language files and the note names they
define are

@cindex note names, other languages
@c  put the rest of the old table into this new format.
@example
@multitable @columnfractions .2 .6 .05 .05 .05 .05
@headitem Language
  @tab Note names
  @tab sharp @tab flat @tab double sharp @tab double flat
@item netherlands.ly
  @tab c d e f g a bes b
  @tab -is @tab -es @tab -isis @tab -eses
@c new stuff here:


@end multitable
@end example

@c old table
@ignore
@example
                        Note Names               sharp       flat     double        double
                                                                       sharp        flat

nederlands.ly  c   d   e   f   g   a   bes b   -is         -es       -isis         -eses
english.ly     c   d   e   f   g   a   bf  b   -s/-sharp   -f/-flat  -ss/-x/       -ff/
                                                                     -sharpsharp   -flatflat
deutsch.ly     c   d   e   f   g   a   b   h   -is         -es       -isis         -eses
norsk.ly       c   d   e   f   g   a   b   h   -iss/-is    -ess/-es  -ississ/-isis -essess/-eses
svenska.ly     c   d   e   f   g   a   b   h   -iss        -ess      -ississ       -essess
italiano.ly    do  re  mi  fa  sol la  sib si  -d          -b        -dd           -bb
catalan.ly     do  re  mi  fa  sol la  sib si  -d/-s       -b        -dd/-ss       -bb
espanol.ly     do  re  mi  fa  sol la  sib si  -s          -b        -ss           -bb
@end example
@end ignore

@noindent
Note that in Dutch, German, Norwegian, and Swedish, the flat
alterations of @samp{a} like for example @code{aes} and
@code{aeses} are usually contracted to @code{as} and @code{ases}
(or more commonly @code{asas}). Sometimes only these contracted
names are defined in the corresponding language files (this also
applies to the suffixes for quartertones below).

@noindent
Some music uses microtones whose alterations are fractions of a
@q{regular} sharp or flat. The note names for quartertones defined
in the various language files are listed in the following table.
Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
@q{one and a half}, respectively. For Norwegian, Swedish, Catalan
and Spanish no special names have been defined yet.

@c What about Turkish Maquam music and similar microtonal systems?
@c
@c Note that the term "three-quarter-sharp/-flat" used in lilypond's source code 
@c is actually misleading since the alteration is in fact one and a half
@c of a regular sharp/flat. Whence the naming "sesqui-sharp/-flat" used below.

@example
                        Note Names             semi-   semi-  sesqui-  sesqui-
                                               sharp   flat    sharp    flat

nederlands.ly  c   d   e   f   g   a   bes b   -ih     -eh    -isih    -eseh
english.ly     c   d   e   f   g   a   bf  b   -qs     -qf    -tqs     -tqf
deutsch.ly     c   d   e   f   g   a   b   h   -ih     -eh    -isih    -eseh
norsk.ly       c   d   e   f   g   a   b   h   
svenska.ly     c   d   e   f   g   a   b   h   
italiano.ly    do  re  mi  fa  sol la  sib si  -sd     -sb    -dsd     -bsb
catalan.ly     do  re  mi  fa  sol la  sib si  
espanol.ly     do  re  mi  fa  sol la  sib si  
@end example


@node Changing multiple pitches
@subsection Changing multiple pitches

@menu
* Relative octaves::            
* Octave check::                
* Transpose::                   
@end menu

@node Relative octaves
@unnumberedsubsubsec Relative octaves

@cindex Relative
@cindex Relative octave specification
@funindex \relative

Octaves are specified by adding @code{'} and @code{,} to pitch
names.  When you copy existing music, it is easy to accidentally
put a pitch in the wrong octave and hard to find such an error.
The relative octave mode prevents these errors by making the
mistakes much larger: a single error puts the rest of the piece
off by one octave

@example
\relative @var{startpitch} @var{musicexpr}
@end example

@noindent
or

@example
\relative @var{musicexpr}
@end example

@noindent
@code{c'} is used as the default if no starting pitch is defined.

The octave of notes that appear in @var{musicexpr} are calculated
as follows: if no octave changing marks are used, the basic
interval between this and the last note is always taken to be a
fourth or less.  This distance is determined without regarding
alterations; a @code{fisis} following a @code{ceses} will be put
above the @code{ceses}.  In other words, a doubly-augmented fourth
is considered a smaller interval than a diminished fifth, even
though the doubly-augmented fourth spans seven semitones while the
diminished fifth only spans six semitones.

The octave changing marks @code{'} and @code{,} can be added to
raise or lower the pitch by an extra octave.  Upon entering
relative mode, an absolute starting pitch can be specified that
will act as the predecessor of the first note of @var{musicexpr}.
If no starting pitch is specified, then middle C is used as a
start.

Here is the relative mode shown in action
@lilypond[quote,fragment,ragged-right,verbatim]
\relative c'' {
  b c d c b c bes a
}
@end lilypond

Octave changing marks are used for intervals greater than a fourth

@lilypond[quote,ragged-right,fragment,verbatim]
\relative c'' {
  c g c f, c' a, e''
}
@end lilypond

If the preceding item is a chord, the first note of the chord is
used to determine the first note of the next chord

@lilypond[quote,ragged-right,fragment,verbatim]
\relative c' {
  c <c e g>
  <c' e g>
  <c, e' g>
}
@end lilypond

The pitch after @code{\relative} contains a note name.

The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
To use relative within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.


@node Octave check
@unnumberedsubsubsec Octave check

@cindex Octave check

Octave checks make octave errors easier to correct: a note may be
followed by @code{=}@var{quotes} which indicates what its absolute
octave should be.  In the following example,

@example
\relative c'' @{ c='' b=' d,='' @}
@end example

@noindent
the @code{d} will generate a warning, because a @code{d''} is
expected (because @code{b'} to @code{d''} is only a third), but a
@code{d'} is found.  In the output, the octave is corrected to be
a @code{d''} and the next note is calculated relative to
@code{d''} instead of @code{d'}.

There is also an octave check that produces no visible output.
The syntax

@example
\octave @var{pitch}
@end example

This checks that @var{pitch} (without quotes) yields @var{pitch}
(with quotes) in @code{\relative} mode compared to the note given
in the @code{\relative} command.  If not, a warning is printed,
and the octave is corrected.  The @var{pitch} is not printed as a
note.

In the example below, the first check passes without incident,
since the @code{e} (in @code{relative} mode) is within a fifth of
@code{a'}.  However, the second check produces a warning, since
the @code{e} is not within a fifth of @code{b'}.  The warning
message is printed, and the octave is adjusted so that the
following notes are in the correct octave once again.

@example
\relative c' @{
  e
  \octave a'
  \octave b'
@}
@end example


The octave of a note following an octave check is determined with
respect to the note preceding it.  In the next fragment, the last
note is an @code{a'}, above middle C.  That means that the
@code{\octave} check passes successfully, so the check could be
deleted without changing the output of the piece.

@lilypond[quote,ragged-right,verbatim,fragment]
\relative c' {
  e
  \octave b
  a
}
@end lilypond


@node Transpose
@unnumberedsubsubsec Transpose

@cindex Transpose
@cindex Transposition of pitches
@funindex \transpose

A music expression can be transposed with @code{\transpose}.  The
syntax is

@example
\transpose @var{from} @var{to} @var{musicexpr}
@end example

This means that @var{musicexpr} is transposed by the interval
between the pitches @var{from} and @var{to}: any note with pitch
@code{from} is changed to @code{to}.

For example, consider a piece written in the key of D-major.  If
this piece is a little too low for its performer, it can be
transposed up to E-major with

@example
\transpose d e @dots{}
@end example

Consider a part written for violin (a C instrument).  If this part
is to be played on the A clarinet (for which an A is notated as a
C, and which sounds a minor third lower than notated), the
following transposition will produce the appropriate part

@example
\transpose a c @dots{}
@end example

@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose
up half a tone.  The first version will print sharps and the
second version will print flats

@lilypond[quote,ragged-right,verbatim]
mus = { \key d \major cis d fis g }
\new Staff {
  \clef "F" \mus
  \clef "G"
  \transpose c g' \mus
  \transpose c f' \mus
}
@end lilypond

@code{\transpose} may also be used to input written notes for a
transposing instrument.  Pitches are normally entered into
LilyPond in C (or @q{concert pitch}), but they may be entered in
another key.  For example, when entering music for a B-flat
trumpet which begins on concert D, one would write

@example
\transpose c bes @{ e4 @dots{} @}
@end example

To print this music in B-flat again (i.e., producing a trumpet
part, instead of a concert pitch conductor's score) you would wrap
the existing music with another @code{transpose}

@example
\transpose bes c @{ \transpose c bes @{ e4 @dots{} @} @}
@end example


@seealso

Program reference: @internalsref{TransposedMusic}.

Example:
@lsr{scheme,transpose-pitches-with-minimum-accidentals.ly}.


@refbugs

If you want to use both @code{\transpose} and @code{\relative},
you must put @code{\transpose} outside of @code{\relative}, since
@code{\relative} will have no effect on music that appears inside
a @code{\transpose}.


@node Displaying pitches
@subsection Displaying pitches

@menu
* Clef::                        
* Key signature::               
* Ottava brackets::             
* Instrument transpositions::   
@end menu

@node Clef
@unnumberedsubsubsec Clef

@funindex \clef

The clef indicates which lines of the staff correspond to which
pitches.  The clef is set with the @code{\clef} command

@lilypond[quote,ragged-right,fragment,verbatim]
{ c''2 \clef alto g'2 }
@end lilypond

@cindex treble clef
@cindex violin clef
@cindex alto clef
@cindex tenor clef
@cindex bass clef
@cindex french clef
@cindex soprano clef
@cindex mezzosoprano clef
@cindex baritone clef
@cindex varbaritone clef
@cindex subbass clef

Supported clefs include

@multitable @columnfractions .33 .66
@headitem Clef @tab Position
@item @code{treble}, violin, G, G2 @tab
G clef on 2nd line
@item @code{alto, C} @tab
C clef on 3rd line
@item @code{tenor} @tab
C clef on 4th line.
@item @code{bass, F} @tab
F clef on 4th line
@item @code{french} @tab
G clef on 1st line, so-called French violin clef
@item @code{soprano} @tab
C clef on 1st line
@item @code{mezzosoprano} @tab
C clef on 2nd line
@item @code{baritone} @tab
C clef on 5th line
@item @code{varbaritone} @tab
F clef on 3rd line
@item @code{subbass} @tab
F clef on 5th line
@item @code{percussion} @tab
percussion clef
@item @code{tab} @tab
tablature clef
@end multitable

By adding @code{_8} or @code{^8} to the clef name, the clef is
transposed one octave down or up, respectively, and @code{_15} and
@code{^15} transposes by two octaves.  The argument @var{clefname}
must be enclosed in quotes when it contains underscores or digits.
For example,

@cindex choral tenor clef
@lilypond[quote,ragged-right,verbatim,fragment,relative=1]
\clef "G_8" c4
@end lilypond


@commonprop

The command @code{\clef "treble_8"} is equivalent to setting
@code{clefGlyph}, @code{clefPosition} (which controls the Y
position of the clef), @code{middleCPosition} and
@code{clefOctavation}.  A clef is printed when any of these
properties are changed.  The following example shows possibilities
when setting properties manually.

@lilypond[quote,ragged-right,verbatim]
{
  \set Staff.clefGlyph = #"clefs.F"
  \set Staff.clefPosition = #2
  c'4
  \set Staff.clefGlyph = #"clefs.G"
  c'4
  \set Staff.clefGlyph = #"clefs.C"
  c'4
  \set Staff.clefOctavation = #7
  c'4
  \set Staff.clefOctavation = #0
  \set Staff.clefPosition = #0
  c'4
  \clef "bass"
  c'4
  \set Staff.middleCPosition = #4
  c'4
}
@end lilypond


@seealso

Manual: @ref{Grace notes}.

Program reference: @internalsref{Clef}.


@node Key signature
@unnumberedsubsubsec Key signature

@cindex Key signature
@funindex \key

The key signature indicates the tonality in which a piece is
played.  It is denoted by a set of alterations (flats or sharps)
at the start of the staff.

Setting or changing the key signature is done with the @code{\key}
command

@example
@code{\key} @var{pitch} @var{type}
@end example

@funindex \minor
@funindex \major
@funindex \minor
@funindex \ionian
@funindex \locrian
@funindex \aeolian
@funindex \mixolydian
@funindex \lydian
@funindex \phrygian
@funindex \dorian
@cindex church modes

Here, @var{type} should be @code{\major} or @code{\minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively.  You may
also use the standard mode names (also called @q{church modes}):
@code{\ionian}, @code{\locrian}, @code{\aeolian},
@code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
@code{\dorian}.

This command sets the context property @code{Staff.keySignature}.
Non-standard key signatures can be specified by setting this
property directly.

Accidentals and key signatures often confuse new users, because
unaltered notes get natural signs depending on the key signature.
For more information, see @ref{Accidentals}, or
@rlearning{Accidentals and key signatures}.

@lilypond[quote,ragged-right,verbatim,relative=2,fragment]
\key g \major
f1
fis
@end lilypond


@commonprop

A natural sign is printed to cancel any previous accidentals.
This can be suppressed by setting the
@code{Staff.printKeyCancellation} property.

@lilypond[quote,fragment,ragged-right,verbatim,relative=2]
\key d \major
a b cis d
\key g \minor
a bes c d
\set Staff.printKeyCancellation = ##f
\key d \major
a b cis d
\key g \minor
a bes c d
@end lilypond


@seealso

Program reference: @internalsref{KeyCancellation},
@internalsref{KeySignature}.


@node Ottava brackets
@unnumberedsubsubsec Ottava brackets

@q{Ottava} brackets introduce an extra transposition of an octave
for the staff.  They are created by invoking the function
@code{set-octavation}

@cindex ottava
@cindex 15ma
@cindex octavation

@lilypond[quote,ragged-right,verbatim,fragment]
\relative c''' {
  a2 b
  #(set-octavation 1)
  a b
  #(set-octavation 0)
  a b
}
@end lilypond

The @code{set-octavation} function also takes -1 (for 8va bassa),
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
Internally the function sets the properties @code{ottavation}
(e.g., to @code{"8va"} or @code{"8vb"}) and
@code{centralCPosition}.  For overriding the text of the bracket,
set @code{ottavation} after invoking @code{set-octavation}, i.e.,

@lilypond[quote,ragged-right,verbatim]
{
  #(set-octavation 1)
  \set Staff.ottavation = #"8"
  c'''
}
@end lilypond


@seealso

Program reference: @internalsref{OttavaBracket}.


@refbugs

@code{set-octavation} will get confused when clef changes happen
during an octavation bracket.


@node Instrument transpositions
@unnumberedsubsubsec Instrument transpositions

@cindex transposition, MIDI
@cindex transposition, instrument

The key of a transposing instrument can also be specified.  This
applies to many wind instruments, for example, clarinets (B-flat,
A, and E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).

The transposition is entered after the keyword
@code{\transposition}

@example
\transposition bes   %% B-flat clarinet
@end example

@noindent
This command sets the property @code{instrumentTransposition}.
The value of this property is used for MIDI output and quotations.
It does not affect how notes are printed in the current staff.  To
change the printed output, see @ref{Transpose}.

The pitch to use for @code{\transposition} should correspond to
the real sound heard when a @code{c'} written on the staff is
played by the transposing instrument.  For example, when entering
a score in concert pitch, typically all voices are entered in C,
so they should be entered as

@example
clarinet = @{
  \transposition c'
  ...
@}
saxophone = @{
  \transposition c'
  ...
@}
@end example

The command @code{\transposition} should be used when the music is
entered from a (transposed) orchestral part.  For example, in
classical horn parts, the tuning of the instrument is often
changed during a piece.  When copying the notes from the part, use
@code{\transposition}, e.g.,

@example
\transposition d'
c'4^"in D"
...
\transposition g'
c'4^"in G"
...
@end example