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

@c -*- coding: utf-8; mode: texinfo; -*-


@node Pitches
@section Pitches

This section discusses how to specify the pitch of notes.

@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

@c  Should this be made into a multitable?
@cindex note names, other languages
@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

@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,fragment,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