1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
16 This section discusses how to specify the pitch of notes. There
17 are three steps to this process: input, modifying, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches.
33 * Absolute octave entry::
34 * Relative octave entry::
36 * Note names in other languages::
40 @node Absolute octave entry
41 @unnumberedsubsubsec Absolute octave entry
46 A pitch name is specified using lowercase letters@tie{}@code{a}
47 through@tie{}@code{g}. An ascending C-major scale is engraved
50 @lilypond[verbatim,quote,ragged-right,fragment]
56 @cindex absolute octave specification
58 There are two different ways to enter these note names with regard
59 to octave placement: absolute and relative. The relative mode
60 will in most cases be the most convenient, but the absolute mode
61 is more fundamental and will be presented first. In absolute
62 mode, every note is placed explicitly in a specific octave. The
63 note names @code{c} to @code{b} are engraved in the octave below
64 middle C, as in the previous example.
66 @lilypond[verbatim,quote,ragged-right,fragment]
76 If a note should be in another octave than this, an octave
77 specification must be given. It takes the form of a series of
78 single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) characters.
79 Each@tie{}@code{'} raises the pitch by one octave;
80 each@tie{}@code{,} lowers the pitch by an octave.
82 @lilypond[verbatim,quote,ragged-right,fragment]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
91 Snippets: @lsrdir{pitches}.
93 Internals Reference: @internalsref{LedgerLineSpanner},
94 @internalsref{NoteHead}.
97 @node Relative octave entry
98 @unnumberedsubsubsec Relative octave entry
101 @cindex relative octave specification
104 The absolute mode requires a lot of octave specifications, which
105 not only becomes tedious but also easily leads to errors.
106 Therefore, it is usually more convenient to let notes be entered
107 relative to the previous note. This is done with the relative
111 \relative @var{startpitch} @var{musicexpr}
114 In relative mode, each note is assumed to be as close to the
115 previous note as possible. This means that the octave of notes
116 that appear in @var{musicexpr} are calculated as follows:
120 The pitch of the first note is relative to @code{\relative
124 If no octave changing marks are used, the basic interval between a
125 note and the one that precedes it is always taken to be a fourth
129 This distance is determined without regarding alterations or the
130 actual sounding pitches; a @code{fisis} following a @code{ceses}
131 will be put above the @code{ceses}. In other words, a
132 doubly-augmented fourth is considered a smaller interval than a
133 diminished fifth, even though the doubly-augmented fourth spans
134 seven semitones while the diminished fifth only spans six
138 The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be
139 added to raise or lower the pitch by an extra octave from the
143 Multiple octave changing marks can be used. @code{''}@tie{}will
144 raise the pitch by two octaves.
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote,ragged-right,fragment]
156 Octave changing marks are used for intervals greater than a
159 @lilypond[verbatim,quote,ragged-right,fragment]
165 A note sequence without a single octave mark can nevertheless span
168 @lilypond[verbatim,quote,ragged-right,fragment]
174 If the preceding item is a chord, the first note of the chord is
175 used as the reference point for the octave placement of a
176 following note or chord. Inside of chords the next note is always
177 relative to the preceding one.
179 @lilypond[verbatim,quote,ragged-right,fragment]
187 The @var{startpitch} (after @code{\relative}) is a note name in
188 absolute mode. In principle it can be any note name, but common
189 practice is to use@tie{}@code{c} in various octave positions.
191 When octaves are specified as above by adding@tie{}@code{'}
192 and@tie{}@code{,} to pitch names, it is easy to accidentally put a
193 pitch in the wrong octave. The relative octave mode prevents
194 these errors since most of the time it is not necessary to
195 indicate any octaves at all. Furthermore, in absolute mode, a
196 single mistake may be difficult to spot; in relative mode, a
197 single error puts the rest of the piece off by one octave.
199 LilyPond examines pitches based on the note names -- in other
200 words, an augmented fourth is @emph{not} treated the same as a
201 diminished fifth. If we begin at a C, then an F-sharp will be
202 placed higher than the C, while a G-flat will be placed lower than
205 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
212 Snippets: @lsrdir{pitches}.
217 The relative conversion will not affect @code{\transpose},
218 @code{\chordmode} or @code{\relative} sections in its argument.
219 To use relative within transposed music, an additional
220 @code{\relative} must be placed inside @code{\transpose}.
223 If no @var{startpitch} is specified for @code{\relative},
224 then@tie{}@code{c'} is assumed. However, this is a deprecated
225 option and may disappear in future versions, so its use is
231 @unnumberedsubsubsec Accidentals
233 @warning{New users are sometimes confused about accidentals and
234 key signatures. In LilyPond, note names are the raw input; key
235 signatures and clefs determine how this raw input is displayed.
236 An unaltered note like@tie{}@code{c} means @q{C natural},
237 regardless of the key signature or clef. For more information,
238 see @rlearning{Accidentals and key signatures}.}
240 @cindex note names, Dutch
241 @cindex note names, default
243 A @notation{sharp} pitch is made by adding @code{is} to the name,
244 and a @notation{flat} pitch by adding @code{es}. As you might
245 expect, a @notation{double sharp} or @notation{double flat} is
246 made by adding @code{isis} or @code{eses}. This syntax derived
247 from note naming conventions in Nordic and Germanic languages,
248 like German and Dutch. To use other names for accidentals, see
249 @ref{Note names in other languages}.
251 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
257 The above notes are the Dutch note names. In Dutch, @code{aes} is
258 contracted to @code{as}, but both forms are accepted in LilyPond.
259 Similarly, both @code{es} and @code{ees} are accepted:
261 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
265 A natural will cancel the effect of an accidental or key
266 signature. However, naturals are not encoded into the note name
267 syntax with a suffix; a natural pitch is shown as a simple note
270 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 @cindex accidental, reminder
276 @cindex accidental, cautionary
277 @cindex accidental, parenthesized
278 @cindex reminder accidental
280 @cindex cautionary accidental
281 @cindex parenthesized accidental
284 Normally accidentals are printed automatically, but you may also
285 print them manually. A reminder accidental can be forced by
286 adding an exclamation mark@tie{}@code{!} after the pitch. A
287 cautionary accidental (i.e., an accidental within parentheses) can
288 be obtained by adding the question mark@tie{}@code{?} after the
289 pitch. These extra accidentals can be used to produce natural
292 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
293 cis cis cis! cis? c c? c! c
297 @cindex quarter tones
298 @cindex semi-flats, semi-sharps
300 Half-flats and half-sharps are formed by adding @code{eh} and
301 @code{ih}; the following is a series of Cs with increasing
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
305 \set Staff.extraNatural = ##f
306 ceseh ces ceh c cih cis cisih
309 Micro tones are also exported to the MIDI file.
314 @lilypondfile[quote,ragged-right,texidoc]
315 {pitches/preventing-extra-naturals-from-being-automatically-added.ly}
317 @lilypondfile[quote,ragged-right,texidoc]
318 {pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
320 @lilypondfile[quote,ragged-right,texidoc]{pitches/makam.ly}
324 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
327 Learning Manual: @rlearning{Accidentals and key signatures}.
329 Notation Reference: @ref{Automatic accidentals},
330 @ref{Musica ficta accidentals},
331 @ref{Note names in other languages}.
333 Snippets: @lsrdir{pitches}.
338 There are no generally accepted standards for denoting
339 three-quarter flats, so LilyPond's symbol does not conform to any
344 @node Note names in other languages
345 @unnumberedsubsubsec Note names in other languages
347 There are predefined sets of note names for various other
348 languages. To use them, include the language specific init file.
349 For example, add @code{\include "english.ly"} to the top of the
350 input file. The available language files and the note names they
353 @cindex note names, other languages
356 @multitable @columnfractions .2 .6 .05 .05 .05 .05
359 @tab sharp @tab flat @tab double sharp @tab double flat
361 @tab c d e f g a bes b
362 @tab -is @tab -es @tab -isis @tab -eses
364 @tab c d e f g a bf b
365 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
369 @tab -is @tab -es @tab -isis @tab -eses
372 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
376 @tab -iss @tab -ess @tab -ississ @tab -essess
379 @tab -is @tab -es @tab -isis @tab -eses
381 @tab do re mi fa sol la sib si
382 @tab -d @tab -b @tab -dd @tab -bb
384 @tab do re mi fa sol la sib si
385 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
387 @tab do re mi fa sol la sib si
388 @tab -s @tab -b @tab -ss @tab -bb
390 @tab do re mi fa sol la sib si
391 @tab -s @tab -b @tab -ss @tab -bb
393 @tab do re mi fa sol la sib si
394 @tab -k @tab -b @tab -kk @tab -bb
399 Note that in Dutch, German, Norwegian, and Swedish, the flat
400 alterations of@tie{}@code{a} like for example @code{aes} and
401 @code{aeses} are usually contracted to @code{as} and @code{ases}
402 (or more commonly @code{asas}). Sometimes only these contracted
403 names are defined in the corresponding language files (this also
404 applies to the suffixes for quartertones below).
407 Some music uses microtones whose alterations are fractions of a
408 @q{normal} sharp or flat. The note names for quartertones defined
409 in the various language files are listed in the following table.
410 Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
411 @q{one and a half}, respectively. For the other languages no
412 special names have been defined yet.
416 @multitable @columnfractions .2 .6 .05 .05 .05 .05
419 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
422 @tab c d e f g a bes b
423 @tab -ih @tab -eh @tab -isih @tab -eseh
425 @tab c d e f g a bf b
426 @tab -qs @tab -qf @tab -tqs @tab -tqf
429 @tab -ih @tab -eh @tab -isih @tab -eseh
431 @c @tab c d e f g a b h
433 @c @tab c d e f g a b h
435 @tab do re mi fa sol la sib si
436 @tab -sd @tab -sb @tab -dsd @tab -bsb
438 @c @tab do re mi fa sol la sib si
440 @c @tab do re mi fa sol la sib si
442 @tab do re mi fa sol la sib si
443 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
449 Snippets: @lsrdir{pitches}.
452 @node Changing multiple pitches
453 @subsection Changing multiple pitches
455 This section discusses how to modify pitches.
463 @unnumberedsubsubsec Octave check
467 In relative mode, it is easy to forget an octave changing mark.
468 Octave checks make such errors easier to correct. A note may be
469 followed by @code{=}@var{quotes} to indicate what its absolute
470 octave should be. In the following example,
473 \relative c'' @{ c g d='' @}
477 the@tie{}@code{d} will generate a warning, because
478 a@tie{}@code{d''} is expected, as indicated by the octave check
479 @code{=''}, but a@tie{}@code{d'} is found, since both
480 @code{c}-@code{g} and @code{g}-@code{d} without octavation marks
481 are descending fourths. In the output, the octave is corrected to
482 be a@tie{}@code{d''} and the next note is calculated relative
483 to@tie{}@code{d''} instead of@tie{}@code{d'}.
485 There is also an octave check that produces no visible output.
489 @var{pitch} \octave @var{controlpitch}
493 where @var{pitch} is a regular note within a music expression in
494 relative mode and @var{controlpitch} is a pitch in absolute mode.
495 This checks that @var{pitch} lies within the octave surrounding
496 @var{controlpitch}, i.e. not more than a fourth above or below it.
497 If this is not the case, a warning is printed and the octave is
498 corrected. The @var{controlpitch} is not printed as a note.
500 In the example below, the first check passes without incident,
501 since the@tie{}@code{e} (in @code{relative} mode) is within the
502 octave range of@tie{}@code{a'}. However, the second check
503 produces a warning, since the@tie{}@code{e} is not within the
504 octave range of@tie{}@code{b'}. The warning message is printed,
505 and the octave is adjusted so that the following notes are in the
506 correct octave once again.
517 The octave of a note following an @code{\octave} check is
518 determined with respect to the note preceding it, as modified by
519 the outcome of the octave check. In the next fragment, the first
520 note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
521 and the @code{\octave} check passes successfully. The second note
522 is then calculated relative to (absolute)@tie{}@code{e'}, which
523 yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
524 check had no influence on the output of the piece.
526 The second @code{\octave} check fails: @code{a'}@tie{}is not
527 within the range of@tie{}@code{b}. A warning is issued, and the
528 last note is calculated relative to@tie{}@code{a}, not
529 to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
530 @code{\octave} check, the last note would have been
533 @lilypond[verbatim,quote,ragged-right,fragment]
545 Snippets: @lsrdir{pitches}.
549 @unnumberedsubsubsec Transpose
552 @cindex transposition of pitches
553 @cindex transposing instruments
556 A music expression can be transposed with @code{\transpose}. The
560 \transpose @var{from} @var{to} @var{musicexpr}
564 This means that @var{musicexpr} is transposed by the interval
565 between the pitches @var{from} and @var{to}: any note with pitch
566 @var{from} is changed to @var{to} and any other note is transposed
567 by the same interval.
569 Consider a piece written in the key of D-major. If this piece is
570 a little too low for its performer, it can be transposed up to
574 \transpose d e @dots{}
577 Consider a part written for violin (a C instrument). If this part
578 is to be played on the A clarinet (for which an A is notated as a
579 C, and thus sounds a minor third lower than notated), the
580 following transposition will produce the appropriate part:
583 \transpose a c @dots{}
586 @code{\transpose} will also transpose key signatures:
588 @lilypond[verbatim,quote,ragged-right]
589 mus = { \key d \major cis d fis g }
598 @code{\transpose} distinguishes between enharmonic pitches: both
599 @code{\transpose c cis} or @code{\transpose c des} will transpose
600 up half a tone. The first version will print sharps and the notes
601 will remain on the same scale step, the second version will print
602 flats on the scale step above.
604 @lilypond[verbatim,quote,ragged-right]
605 mus = \relative c' { c d e f }
607 \transpose c cis { \mus }
608 \transpose c des { \mus }
612 @code{\transpose} may also be used to input written notes for a
613 transposing instrument. The previous examples show how to enter
614 pitches in C (or @notation{concert pitch}) and typeset them for a
615 transposing instrument, but the opposite is also possible if you
616 for example have a set of instrumental parts and want to print a
617 conductor's score. For example, when entering music for a B-flat
618 trumpet which begins on a notated E (concert D), one would write:
621 musicInBflat = @{ e4 @dots{} @}
622 \transpose c bes \musicInBflat
625 To print this music in F (e.g., rearranging to a french horn) you
626 would wrap the existing music with another @code{\transpose}
629 musicInBflat = @{ e4 @dots{} @}
630 \transpose f c @{ \transpose c bes \musicInBflat @}
635 @lilypondfile[quote,ragged-right,texidoc]
636 {pitches/transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
641 Snippets: @lsrdir{pitches}.
643 Internals Reference: @internalsref{TransposedMusic}.
647 If you want to use both @code{\transpose} and @code{\relative},
648 you must put @code{\transpose} outside of @code{\relative}, since
649 @code{\relative} will have no effect on music that appears inside
650 a @code{\transpose}. See the previous example.
653 @node Displaying pitches
654 @subsection Displaying pitches
656 This section discusses how to alter the output of pitches.
662 * Instrument transpositions::
663 * Automatic accidentals::
668 @unnumberedsubsubsec Clef
682 @cindex mezzosoprano clef
683 @cindex baritone clef
684 @cindex varbaritone clef
687 The clef is set with the @code{\clef} @var{clefname} command:
689 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
700 The clef can also be changed inside the staff:
702 @lilypond[verbatim,quote,ragged-right,fragment]
720 These same clef symbols are used in different positions on the
721 staff to change the range of notes shown by that staff. The
722 treble (alto, bass) clef is always positioned to show the line on
723 which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed.
725 Supported clefs include
727 @multitable @columnfractions .4 .6
728 @headitem Clef @tab Position
729 @item @code{treble, violin, G, G2} @tab
730 G clef (g') on 2nd line
731 @item @code{alto, C} @tab
732 C clef (c') on 3rd line
733 @item @code{tenor} @tab
734 C clef (c') on 4th line
735 @item @code{bass, F} @tab
736 F clef (f) on 4th line
737 @item @code{french} @tab
738 G clef (g') on 1st line, so-called French violin clef
739 @item @code{soprano} @tab
740 C clef (c') on 1st line
741 @item @code{mezzosoprano} @tab
742 C clef (c') on 2nd line
743 @item @code{baritone} @tab
744 C clef (c') on 5th line
745 @item @code{varbaritone} @tab
746 F clef (f) on 3rd line
747 @item @code{subbass} @tab
748 F clef (f) on 5th line
749 @item @code{percussion} @tab
751 @item @code{tab} @tab
755 Further supported clefs are described under @ref{Ancient clefs}.
757 By adding @code{_8} or @code{^8} to the clef name, the clef is
758 transposed one octave down or up, respectively, and @code{_15} and
759 @code{^15} transposes by two octaves. The argument @var{clefname}
760 must be enclosed in quotes when it contains underscores or digits.
763 @cindex choral tenor clef
765 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
772 @lilypondfile[quote,ragged-right,texidoc]
773 {pitches/clefs-commonly-tweaked-properties.ly}
778 Notation Reference: @ref{Ancient clefs}.
780 Snippets: @lsrdir{pitches}.
782 Internals Reference: @internalsref{Clef}.
786 @unnumberedsubsubsec Key signature
788 @cindex key signature
791 @warning{New users are sometimes confused about accidentals and
792 key signatures. In LilyPond, note names are the raw input; key
793 signatures and clefs determine how this raw input is displayed.
794 An unaltered note like@tie{}@code{c} means @q{C natural},
795 regardless of the key signature or clef. For more information,
796 see @rlearning{Accidentals and key signatures}.}
798 The key signature indicates the tonality in which a piece is
799 played. It is denoted by a set of alterations (flats or sharps)
800 at the start of the staff.
802 Setting or changing the key signature is done with the @code{\key}
806 \key @var{pitch} @var{type}
815 @funindex \mixolydian
821 Here, @var{type} should be @code{\major} or @code{\minor} to get
822 @var{pitch}-major or @var{pitch}-minor, respectively. You may
823 also use the standard mode names (also called @q{church modes}):
824 @code{\ionian}, @code{\locrian}, @code{\aeolian},
825 @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
828 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
837 @lilypondfile[quote,ragged-right,texidoc]
838 {pitches/preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
840 @lilypondfile[quote,ragged-right,texidoc]
841 {pitches/non-traditional-key-signatures.ly}
843 @lilypondfile[quote,ragged-right,texidoc]
844 {pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
849 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
851 Learning Manual: @rlearning{Accidentals and key signatures}.
853 Snippets: @lsrdir{pitches}.
855 Internals Reference: @internalsref{KeyCancellation},
856 @internalsref{KeySignature}, @internalsref{Key_engraver}.
859 @node Ottava brackets
860 @unnumberedsubsubsec Ottava brackets
868 @notation{Ottava brackets} introduce an extra transposition of an
869 octave for the staff:
871 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
879 The @code{set-octavation} function also takes -1 (for 8va bassa),
880 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
881 Internally the function sets the properties @code{ottavation}
882 (e.g., to @code{"8va"} or @code{"8vb"}) and
883 @code{middleCPosition}. To override the text of the bracket, set
884 @code{ottavation} after invoking @code{set-octavation}, i.e.,
886 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
888 \set Staff.ottavation = #"8"
895 Music Glossary: @rglos{ottava}.
897 Snippets: @lsrdir{pitches}.
899 Internals Reference: @internalsref{OttavaBracket}.
904 @code{set-octavation} will get confused when clef changes happen
905 during an octavation bracket.
908 @node Instrument transpositions
909 @unnumberedsubsubsec Instrument transpositions
911 @cindex transposition, MIDI
912 @cindex transposition, instrument
914 The key of a @notation{transposing instrument} can be specified.
915 This applies to many wind instruments, for example, clarinets
916 (B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
919 The transposition is entered with the command
922 \transposition @var{pitch}
926 where @var{pitch} specifies the key in which the instrument plays.
927 For example, a part for B-flat clarinet would include
933 This command sets the property @code{instrumentTransposition}.
934 The value of this property is used for MIDI output and quotations.
935 MIDI output is transposed to play at concert pitch, and cue notes
936 and quotations are automatically transposed to the key of the
937 instrument in which they are quoted. For more information about
938 quotations, see @ref{Quoting other voices}.
940 The pitch to use for @code{\transposition} should correspond to
941 the real sound heard when a@tie{}@code{c'} written on the staff is
942 played by the transposing instrument. @code{\transposition}
943 should be used when the music is entered from an orchestral part
944 written for the instrument. For example, in classical horn parts,
945 the tuning of the instrument is often changed during a piece.
946 Here are a few notes for a violin and a B-flat clarinet where the
947 parts have been entered using the notes and key as they appear in
948 each part or the conductor's score:
950 @lilypond[verbatim,quote,ragged-right]
952 \new Staff = "Violin I" {
953 \set Staff.instrumentName = "Vln"
954 \set Staff.midiInstrument="violin"
957 g'4( c''8) r c'' r c''4
959 \new Staff = "Clarinet" {
960 \set Staff.instrumentName = "Cl"
961 \set Staff.midiInstrument="clarinet"
964 a'4( d''8) r d'' r d''4
969 Without the @code{\transposition} command the MIDI output of this
970 music would play the notes a tone apart; with it the notes are
971 played correctly in unison.
973 However, when entering the notes of a score in concert pitch, when
974 all voices are entered in C, they may be prefaced by (the default)
975 @code{\transposition c'}:
989 to serve as a reminder that these parts are written in C.
994 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
996 Snippets: @lsrdir{pitches}.
999 @node Automatic accidentals
1000 @unnumberedsubsubsec Automatic accidentals
1001 @cindex automatic accidentals
1003 @funindex set-accidental-style
1005 There are many different conventions on how to typeset
1006 accidentals. LilyPond provides a function to specify which such
1007 accidental style to use. This function is called as follows
1011 #(set-accidental-style 'voice)
1016 The accidental style applies to the current @code{Staff} by
1017 default (with the exception of the styles @code{piano} and
1018 @code{piano-cautionary}, see below. Optionally, the function can
1019 take a second argument which determines in which scope the style
1020 should be changed. For example, to use the same style in all
1021 staves of the current @code{StaffGroup}, use
1024 #(set-accidental-style 'voice 'StaffGroup)
1027 The following accidental styles are supported. To demonstrate
1028 each style, we use the following example:
1030 @lilypond[verbatim,quote,ragged-right]
1034 cis'8 fis, d'4 <a cis>8 f bis4 |
1048 \voiceTwo \relative c' {
1052 \change Staff = down
1056 \change Staff = down
1057 <fis, a cis>4 gis <f a d>2 |
1064 \context Staff = "up" {
1065 %%% change the next line as desired:
1066 #(set-accidental-style 'default)
1069 \context Staff = "down" {
1070 %%% change the next line as desired:
1071 #(set-accidental-style 'default)
1078 Note that the last lines of this example can be replaced by the
1079 following, as long as the same accidental style should be used in
1084 \context Staff = "up" @{
1085 %%% change the next line as desired:
1086 #(set-accidental-style 'default 'Score)
1089 \context Staff = "down" @{
1097 @c don't use verbatim in this table.
1100 This is the default typesetting behavior. It corresponds to
1101 eighteenth-century common practice: accidentals are remembered to
1102 the end of the measure in which they occur and only on their own
1103 octave. Thus, in the example below, no natural signs are printed
1104 before the@tie{}@code{b} in the second measure or the
1107 @lilypond[quote,ragged-right]
1111 cis'8 fis, d'4 <a cis>8 f bis4 |
1125 \voiceTwo \relative c' {
1129 \change Staff = down
1133 \change Staff = down
1134 <fis, a cis>4 gis <f a d>2 |
1141 \context Staff = "up" {
1142 #(set-accidental-style 'default)
1145 \context Staff = "down" {
1146 #(set-accidental-style 'default)
1154 The normal behavior is to remember the accidentals on Staff-level.
1155 In this style, however, accidentals are typeset individually for
1156 each voice. Apart from that, the rule is similar to
1159 As a result, accidentals from one voice do not get canceled in
1160 other voices, which is often an unwanted result: in the following
1161 example, it is hard to determine whether the second@tie{}@code{a}
1162 should be played natural or sharp. The @code{voice} option should
1163 therefore be used only if the voices are to be read solely by
1164 individual musicians. If the staff is to be used by one musician
1165 (e.g., a conductor or in a piano score) then @code{modern} or
1166 @code{modern-cautionary} should be used instead.
1169 @lilypond[quote,ragged-right]
1173 cis'8 fis, d'4 <a cis>8 f bis4 |
1187 \voiceTwo \relative c' {
1191 \change Staff = down
1195 \change Staff = down
1196 <fis, a cis>4 gis <f a d>2 |
1203 \context Staff = "up" {
1204 #(set-accidental-style 'voice)
1207 \context Staff = "down" {
1208 #(set-accidental-style 'voice)
1216 @funindex modern style accidentals
1218 This rule corresponds to the common practice in the twentieth
1219 century. It prints the same accidentals as @code{default}, with
1220 two exceptions which serve to avoid ambiguity: after temporary
1221 accidentals, cancellation marks are printed also in the following
1222 measure (for notes in the same octave) and, in the same measure,
1223 for notes in other octaves. Hence the naturals before
1224 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1227 @lilypond[quote,ragged-right]
1231 cis'8 fis, d'4 <a cis>8 f bis4 |
1245 \voiceTwo \relative c' {
1249 \change Staff = down
1253 \change Staff = down
1254 <fis, a cis>4 gis <f a d>2 |
1261 \context Staff = "up" {
1262 #(set-accidental-style 'modern)
1265 \context Staff = "down" {
1266 #(set-accidental-style 'modern)
1273 @item modern-cautionary
1274 @funindex modern-cautionary
1276 This rule is similar to @code{modern}, but the @q{extra}
1277 accidentals (the ones not typeset by @code{default}) are typeset
1278 as cautionary accidentals. They are by default printed with
1279 parentheses, but they can also be printed in reduced size by
1280 defining the @code{cautionary-style} property of
1281 @code{AccidentalSuggestion}.
1284 @lilypond[quote,ragged-right]
1288 cis'8 fis, d'4 <a cis>8 f bis4 |
1302 \voiceTwo \relative c' {
1306 \change Staff = down
1310 \change Staff = down
1311 <fis, a cis>4 gis <f a d>2 |
1318 \context Staff = "up" {
1319 #(set-accidental-style 'modern-cautionary)
1322 \context Staff = "down" {
1323 #(set-accidental-style 'modern-cautionary)
1331 @funindex modern-voice
1333 This rule is used for multivoice accidentals to be read both by
1334 musicians playing one voice and musicians playing all voices.
1335 Accidentals are typeset for each voice, but they @emph{are}
1336 canceled across voices in the same @code{Staff}. Hence,
1337 the@tie{}@code{a} in the last measure is canceled because the
1338 previous cancellation was in a different voice, and
1339 the@tie{}@code{d} in the lower staff is canceled because of the
1340 accidental in a different voice in the previous measure:
1343 @lilypond[quote,ragged-right]
1347 cis'8 fis, d'4 <a cis>8 f bis4 |
1361 \voiceTwo \relative c' {
1365 \change Staff = down
1369 \change Staff = down
1370 <fis, a cis>4 gis <f a d>2 |
1377 \context Staff = "up" {
1378 #(set-accidental-style 'modern-voice)
1381 \context Staff = "down" {
1382 #(set-accidental-style 'modern-voice)
1389 @funindex modern-voice-cautionary
1390 @item modern-voice-cautionary
1392 This rule is the same as @code{modern-voice}, but with the extra
1393 accidentals (the ones not typeset by @code{voice}) typeset
1394 as cautionaries. Even though all accidentals typeset by
1395 @code{default} @emph{are} typeset with this rule,
1396 some of them are typeset as cautionaries.
1398 @lilypond[quote,ragged-right]
1402 cis'8 fis, d'4 <a cis>8 f bis4 |
1416 \voiceTwo \relative c' {
1420 \change Staff = down
1424 \change Staff = down
1425 <fis, a cis>4 gis <f a d>2 |
1432 \context Staff = "up" {
1433 #(set-accidental-style 'modern-voice-cautionary)
1436 \context Staff = "down" {
1437 #(set-accidental-style 'modern-voice-cautionary)
1445 @funindex piano accidentals
1447 This rule reflects twentieth-century practice for piano notation.
1448 Its behavior is very similar to @code{modern} style, but here
1449 accidentals also get canceled across the staves in the same
1450 GrandStaff or PianoStaff, hence all the cancellations of the final
1453 This accidental style applies to the current @code{GrandStaff} or
1454 @code{PianoStaff} by default.
1456 @lilypond[quote,ragged-right]
1460 cis'8 fis, d'4 <a cis>8 f bis4 |
1474 \voiceTwo \relative c' {
1478 \change Staff = down
1482 \change Staff = down
1483 <fis, a cis>4 gis <f a d>2 |
1490 \context Staff = "up" {
1491 #(set-accidental-style 'piano)
1494 \context Staff = "down" {
1501 @item piano-cautionary
1502 @funindex #(set-accidental-style 'piano-cautionary)
1504 Same as @code{#(set-accidental-style 'piano)} but with the extra
1505 accidentals typeset as cautionaries.
1507 @lilypond[quote,ragged-right]
1511 cis'8 fis, d'4 <a cis>8 f bis4 |
1525 \voiceTwo \relative c' {
1529 \change Staff = down
1533 \change Staff = down
1534 <fis, a cis>4 gis <f a d>2 |
1541 \context Staff = "up" {
1542 #(set-accidental-style 'piano-cautionary)
1545 \context Staff = "down" {
1553 @funindex no-reset accidental style
1555 This is the same as @code{default} but with accidentals lasting
1556 @q{forever} and not only within the same measure:
1558 @lilypond[quote,ragged-right]
1562 cis'8 fis, d'4 <a cis>8 f bis4 |
1576 \voiceTwo \relative c' {
1580 \change Staff = down
1584 \change Staff = down
1585 <fis, a cis>4 gis <f a d>2 |
1592 \context Staff = "up" {
1593 #(set-accidental-style 'no-reset)
1596 \context Staff = "down" {
1597 #(set-accidental-style 'no-reset)
1605 @funindex forget accidental style
1607 This is the opposite of @code{no-reset}: Accidentals are not
1608 remembered at all -- and hence all accidentals are typeset
1609 relative to the key signature, regardless of what was before in
1612 @lilypond[quote,ragged-right]
1616 cis'8 fis, d'4 <a cis>8 f bis4 |
1630 \voiceTwo \relative c' {
1634 \change Staff = down
1638 \change Staff = down
1639 <fis, a cis>4 gis <f a d>2 |
1646 \context Staff = "up" {
1647 #(set-accidental-style 'forget)
1650 \context Staff = "down" {
1651 #(set-accidental-style 'forget)
1662 Snippets: @lsrdir{pitches}.
1664 Internals Reference: @internalsref{Accidental_engraver},
1665 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1666 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1667 @internalsref{PianoStaff}, @internalsref{Staff}.
1672 Simultaneous notes are considered to be entered in sequential
1673 mode. This means that in a chord the accidentals are typeset as
1674 if the notes in the chord happen one at a time, in the order in
1675 which they appear in the input file. This is a problem when
1676 accidentals in a chord depend on each other, which does not happen
1677 for the default accidental style. The problem can be solved by
1678 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1683 @unnumberedsubsubsec Ambitus
1686 The term @notation{ambitus} or @notation{ambit} denotes a range of
1687 pitches for a given voice in a part of music. It may also denote
1688 the pitch range that a musical instrument is capable of playing.
1689 Ambits are printed on vocal parts, so performers can easily
1690 determine if it matches their capabilities.
1692 Ambits are denoted at the beginning of a piece near the initial
1693 clef. The range is graphically specified by two note heads that
1694 represent the minimum and maximum pitch. Accidentals are only
1695 printed if they are not part of the key signature.
1697 @lilypond[verbatim,quote,ragged-right]
1701 \consists Ambitus_engraver
1713 @lilypondfile[quote,ragged-right,texidoc]
1714 {pitches/adding-ambiti-per-voice.ly}
1716 @lilypondfile[quote,ragged-right,texidoc]
1717 {pitches/ambiti-multiple-voices.ly}
1722 Snippets: @lsrdir{pitches}.
1724 Internals Reference: @internalsref{Ambitus},
1725 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1726 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1727 @internalsref{Staff}, @internalsref{Voice}.
1732 There is no collision handling in the case of multiple per-voice
1737 @subsection Note heads
1740 * Easy notation note heads::
1741 * Shape note heads::
1743 * Special noteheads::
1746 @node Easy notation note heads
1747 @unnumberedsubsubsec Easy notation note heads
1749 @cindex note heads, practice
1750 @cindex note heads, easy notation
1751 @cindex easy notation
1754 The @q{easy play} note head includes a note name inside the head.
1755 It is used in music for beginners
1757 @lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
1763 The command @code{\setEasyHeads} overrides settings for the
1764 @code{NoteHead} object. To make the letters readable, it
1765 has to be printed in a large font size. To print with a larger
1766 font, see @ref{Setting the staff size}.
1770 @funindex \setEasyHeads
1771 @code{\setEasyHeads}
1775 Notation Reference: @ref{Setting the staff size}.
1777 Snippets: @lsrdir{pitches},
1779 Internals Reference: @internalsref{NoteHead}.
1782 @node Shape note heads
1783 @unnumberedsubsubsec Shape note heads
1785 @cindex note heads, shape
1787 In shape note head notation, the shape of the note head
1788 corresponds to the harmonic function of a note in the scale. This
1789 notation was popular in nineteenth-century American song books.
1791 Shape note heads can be produced by setting @code{\aikenHeads} or
1792 @code{\sacredHarpHeads}, depending on the style desired.
1794 @lilypond[verbatim,fragment,relative=1]
1801 Shapes are typeset according to the step in the scale, where
1802 the base of the scale is determined by the @code{\key} command.
1805 @funindex shapeNoteStyles
1806 @funindex \aikenHeads
1807 @funindex \sacredHarpHeads
1809 Shape note heads are implemented through the
1810 @code{shapeNoteStyles} property. Its value is a vector of
1811 symbols. The k-th element indicates the style to use for the k-th
1812 step of the scale. Arbitrary combinations are possible, e.g.:
1814 @lilypond[verbatim,fragment,relative=1]
1815 \set shapeNoteStyles =
1816 ##(cross triangle fa #f mensural xcircle diamond)
1822 @lilypondfile[quote,ragged-right,texidoc]
1823 {pitches/applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1828 Snippets: @lsrdir{pitches}.
1832 @unnumberedsubsubsec Improvisation
1834 Improvisation is sometimes denoted with slashed note heads. Such
1835 note heads can be created by adding a @code{Pitch_squash_engraver}
1836 to the @code{Voice} context. Then, the following command
1839 \set squashedPosition = #0
1840 \override NoteHead #'style = #'slash
1844 switches on the slashes.
1846 There are shortcuts @code{\improvisationOn} (and an accompanying
1847 @code{\improvisationOff}) for this command sequence. They are
1848 used in the following example:
1850 @lilypond[verbatim,quote,ragged-right]
1852 \consists Pitch_squash_engraver
1854 e8 e g a a16(bes)(a8) g
1866 Snippets: @lsrdir{pitches}.
1868 Internals Reference: @internalsref{Pitch_squash_engraver},
1869 @internalsref{Voice}.
1871 @node Special noteheads
1872 @unnumberedsubsubsec Special noteheads
1874 @cindex note heads, special
1876 Different noteheads are used by various instruments for various
1877 meanings -- crosses are used for @q{parlato} with vocalists,
1878 stopped notes on guitar; diamonds are used for harmonics on string
1879 instruments, etc. There is a shorthand (@code{\harmonic}) for
1880 diamond shapes; the other notehead styles are produced by tweaking
1883 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1885 \override NoteHead #'style = #'cross
1887 \revert NoteHead #'style
1888 e d <c f\harmonic> <d a'\harmonic>
1892 To see all notehead styles, please see @ref{Note head styles}.
1897 Snippets: @lsrdir{pitches}.
1899 Notation Reference: @ref{Note head styles}.
1901 Internals Reference: @internalsref{NoteHead}.