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, modification, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches. There are two
31 different ways to place notes in octaves: absolute and relative
32 mode. In most cases, relative mode will be more convenient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @subsubsection Absolute octave entry
48 @cindex absolute octave specification
50 A pitch name is specified using lowercase letters@tie{}@code{a}
51 through@tie{}@code{g}. The note names @code{c} to @code{b} are
52 engraved in the octave below middle C.
54 @c NOTE: don't use c' here.
55 @lilypond[verbatim,quote,ragged-right,fragment]
65 Other octaves may be specified with a single quote@tie{}(@code{'})
66 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
67 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
70 @lilypond[verbatim,quote,ragged-right,fragment]
81 Music Glossary: @rglos{Pitch names}.
83 Snippets: @lsrdir{Pitches,Pitches}.
86 @node Relative octave entry
87 @subsubsection Relative octave entry
90 @cindex relative octave specification
93 When octaves are specified in absolute mode it is easy to
94 accidentally put a pitch in the wrong octave. Relative octave
95 mode reduces these errors since most of the time it is not
96 necessary to indicate any octaves at all. Furthermore, in
97 absolute mode a single mistake may be difficult to spot, while in
98 relative mode a single error puts the rest of the piece off by one
102 \relative @var{startpitch} @var{musicexpr}
105 In relative mode, each note is assumed to be as close to the
106 previous note as possible. This means that the octave of pitches
107 in @var{musicexpr} is calculated as follows:
111 If no octave changing mark is used on a pitch, its octave is calculated
112 so that the interval with the previous note is less than a fifth. This
113 interval is determined without considering accidentals.
116 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
117 respectively raise or lower a pitch by an extra octave, relative to
118 the pitch calculated without an octave mark.
121 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
122 @code{,,}@tie{} will alter the pitch by two octaves.
125 The pitch of the first note is relative to
126 @code{@var{startpitch}}. @var{startpitch} is specified in
127 absolute octave mode, and it is recommended that it be a octave of
132 Here is the relative mode shown in action:
134 @lilypond[verbatim,quote,ragged-right]
143 Octave changing marks are used for intervals greater than a
146 @lilypond[verbatim,quote,ragged-right]
153 A note sequence without a single octave mark can nevertheless span
156 @lilypond[verbatim,quote,ragged-right]
163 If the preceding item is a chord, the first note of the chord is
164 used as the reference point for the octave placement of a
165 following note or chord. Inside chords, the next note is always
166 relative to the preceding one.
168 @lilypond[verbatim,quote,ragged-right]
172 % the C is now an octave higher
174 % the C returns to the original pitch
179 As explained above, the octave of pitches is calculated only with
180 the note names, regardless of any alterations. Therefore, an
181 E-double-sharp following a B will be placed higher, while an
182 F-double-flat will be placed lower. In other words, a
183 double-augmented fourth is considered a smaller interval than a
184 double-diminished fifth, regardless of the number of semitones
185 that each interval contains.
187 @lilypond[verbatim,quote,ragged-right]
199 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
201 Notation Reference: @ref{Octave checks}.
203 Snippets: @lsrdir{Pitches,Pitches}.
212 The relative conversion will not affect @code{\transpose},
213 @code{\chordmode} or @code{\relative} sections in its argument.
214 To use relative mode within transposed music, an additional
215 @code{\relative} must be placed inside @code{\transpose}.
218 If no @var{startpitch} is specified for @code{\relative},
219 then@tie{}@code{c'} is assumed. However, this is a deprecated
220 option and may disappear in future versions, so its use is
226 @subsubsection Accidentals
229 @cindex key signature
232 @warning{New users are sometimes confused about accidentals and
233 key signatures. In LilyPond, note names are the raw input; key
234 signatures and clefs determine how this raw input is displayed.
235 An unaltered note like@tie{}@code{c} means @q{C natural},
236 regardless of the key signature or clef. For more information,
237 see @rlearning{Accidentals and key signatures}.}
239 @cindex note names, Dutch
240 @cindex note names, default
244 @cindex sharp, double
249 A @notation{sharp} pitch is made by adding @code{is} to the note name,
250 and a @notation{flat} pitch by adding @code{es}. As you might expect,
251 a @notation{double sharp} or @notation{double flat} is made by adding
252 @code{isis} or @code{eses}. This syntax is derived from Dutch note
253 naming conventions. To use other names for accidentals, see
254 @ref{Note names in other languages}.
256 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
260 A natural will cancel the effect of an accidental or key
261 signature. However, naturals are not encoded into the note name
262 syntax with a suffix; a natural pitch is shown as a simple note
265 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
269 @cindex quarter tones
270 @cindex semi-flats, semi-sharps
272 Quarter tones may be added; the following is a series of Cs with
275 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
276 ceseh1 ces ceh c cih cis cisih
281 @cindex accidental, reminder
282 @cindex accidental, cautionary
283 @cindex accidental, parenthesized
284 @cindex reminder accidental
286 @cindex cautionary accidental
287 @cindex parenthesized accidental
290 Normally accidentals are printed automatically, but you may also
291 print them manually. A reminder accidental can be forced by
292 adding an exclamation mark@tie{}@code{!} after the pitch. A
293 cautionary accidental (i.e., an accidental within parentheses) can
294 be obtained by adding the question mark@tie{}@code{?} after the
295 pitch. These extra accidentals can also be used to produce
298 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
299 cis cis cis! cis? c c c! c?
302 Accidentals on tied notes are only printed at the beginning of a
305 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
314 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
315 {preventing-extra-naturals-from-being-automatically-added.ly}
319 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
320 @rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
322 Learning Manual: @rlearning{Accidentals and key signatures}.
324 Notation Reference: @ref{Automatic accidentals},
325 @ref{Musica ficta accidentals},
326 @ref{Note names in other languages}.
328 Snippets: @lsrdir{Pitches,Pitches}.
333 There are no generally accepted standards for denoting
334 quarter-tone accidentals, so LilyPond's symbol does not conform to
339 @node Note names in other languages
340 @subsubsection Note names in other languages
342 There are predefined sets of note names for various other
343 languages. To use them, include the language-specific init file.
344 For example, to use English notes names, add @code{\include
345 "english.ly"} to the top of the input file. The available
346 language files and the note names they define are:
348 @cindex note names, other languages
349 @cindex pitch names, other languages
352 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
355 @tab sharp @tab flat @tab double sharp @tab double flat
357 @tab c d e f g a bes b
358 @tab -is @tab -es @tab -isis @tab -eses
360 @tab c d e f g a bf b
361 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
365 @tab -is @tab -es @tab -isis @tab -eses
368 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
372 @tab -iss @tab -ess @tab -ississ @tab -essess
375 @tab -is @tab -es @tab -isis @tab -eses
377 @tab do re mi fa sol la sib si
378 @tab -d @tab -b @tab -dd @tab -bb
380 @tab do re mi fa sol la sib si
381 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
383 @tab do re mi fa sol la sib si
384 @tab -s @tab -b @tab -ss @tab -bb
386 @tab do re mi fa sol la sib si
387 @tab -s @tab -b @tab -ss @tab -bb
389 @tab do re mi fa sol la sib si
390 @tab -k @tab -b @tab -kk @tab -bb
394 In Dutch, @code{aes} is contracted to @code{as}, but both forms
395 are accepted in LilyPond. Similarly, both @code{es} and
396 @code{ees} are accepted. This also applies to
397 @code{aeses}@tie{}/@tie{}@code{ases} and
398 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
399 contracted names are defined in the corresponding language files.
401 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
402 a2 as e es a ases e eses
406 Some music uses microtones whose alterations are fractions of a
407 @q{normal} sharp or flat. The note names for quarter-tones
408 defined in the various language files are listed in the following
409 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
410 mean @q{half} and @q{one and a half}, respectively. For the other
411 languages, no special names have been defined yet.
414 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
417 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
420 @tab c d e f g a bes b
421 @tab -ih @tab -eh @tab -isih @tab -eseh
423 @tab c d e f g a bf b
424 @tab -qs @tab -qf @tab -tqs @tab -tqf
427 @tab -ih @tab -eh @tab -isih @tab -eseh
429 @tab do re mi fa sol la sib si
430 @tab -sd @tab -sb @tab -dsd @tab -bsb
432 @tab do re mi fa sol la sib si
433 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
440 Music Glossary: @rglos{Pitch names}.
442 Snippets: @lsrdir{Pitches,Pitches}.
445 @node Changing multiple pitches
446 @subsection Changing multiple pitches
448 This section discusses how to modify pitches.
456 @subsubsection Octave checks
458 @cindex octave correction
463 In relative mode, it is easy to forget an octave changing mark.
464 Octave checks make such errors easier to find by displaying a
465 warning and correcting the octave if a note is found in an
468 To check the octave of a specific note, specify the absolute
469 octave after the @code{=}@tie{}symbol. This example will generate
470 a warning (and change the pitch) because the second note is the
471 absolute octave @code{d''} instead of @code{d'} as indicated by
472 the octave correction.
474 @lilypond[verbatim,quote,ragged-right,fragment]
481 The octave of notes may also be checked with the
482 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
483 specified in absolute mode. This checks that the interval between the
484 previous note and the @var{controlpitch} is within a fourth (i.e. the
485 normal calculation of relative mode). If this check fails, a warning
486 is printed, but the previous note is not changed. Future notes are
487 relative to the @var{controlpitch}.
489 @lilypond[verbatim,quote,ragged-right,fragment]
497 Compare the two bars below. The first and third @code{\octave}
498 check fail, but the second one does not fail.
500 @lilypond[verbatim,quote,ragged-right,fragment]
517 Snippets: @lsrdir{Pitches,Pitches}.
521 @subsubsection Transpose
524 @cindex transposition
525 @cindex transposition of pitches
528 A music expression can be transposed with @code{\transpose}. The
532 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
536 This means that @var{musicexpr} is transposed by the interval
537 between the pitches @var{frompitch} and @var{topitch}: any note
538 with pitch @var{frompitch} is changed to @var{topitch} and any
539 other note is transposed by the same interval. Both pitches are
540 entered in absolute mode.
542 Consider a piece written in the key of D-major. It can be
543 transposed up to E-major; note that the key signature is
544 automatically transposed as well.
546 @lilypond[verbatim,quote,ragged-right]
555 If a part written in C (normal concert pitch) is to be played on
556 the A clarinet (for which an A is notated as a C and thus sounds a
557 minor third lower than notated), the appropriate part will be
560 @lilypond[verbatim,quote,ragged-right]
570 Note that we specify @code{\key c \major} explicitly. If we do
571 not specify a key signature, the notes will be transposed but no
572 key signature will be printed.
574 @code{\transpose} distinguishes between enharmonic pitches: both
575 @code{\transpose c cis} or @code{\transpose c des} will transpose
576 up a semitone. The first version will print sharps and the notes
577 will remain on the same scale step, the second version will print
578 flats on the scale step above.
580 @lilypond[verbatim,quote,ragged-right]
581 mus = \relative c' { c d e f }
583 \transpose c cis { \mus }
584 \transpose c des { \mus }
588 @cindex transposing instruments
590 @code{\transpose} may also be used in a different way, to input
591 written notes for a transposing instrument. The previous examples
592 show how to enter pitches in C (or @notation{concert pitch}) and
593 typeset them for a transposing instrument, but the opposite is
594 also possible if you for example have a set of instrumental parts
595 and want to print a conductor's score. For example, when entering
596 music for a B-flat trumpet that begins on a notated E (concert D),
600 musicInBflat = @{ e4 @dots{} @}
601 \transpose c bes, \musicInBflat
605 To print this music in F (e.g., rearranging to a French horn) you
606 could wrap the existing music with another @code{\transpose}:
609 musicInBflat = @{ e4 @dots{} @}
610 \transpose f c' @{ \transpose c bes, \musicInBflat @}
614 For more information about transposing instruments,
615 see @ref{Instrument transpositions}.
620 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
621 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
626 Notation Reference: @ref{Instrument transpositions}.
628 Snippets: @lsrdir{Pitches,Pitches}.
630 Internals Reference: @internalsref{TransposedMusic}.
639 The relative conversion will not affect @code{\transpose},
640 @code{\chordmode} or @code{\relative} sections in its argument.
641 To use relative mode within transposed music, an additional
642 @code{\relative} must be placed inside @code{\transpose}.
645 @node Displaying pitches
646 @subsection Displaying pitches
648 This section discusses how to alter the output of pitches.
654 * Instrument transpositions::
655 * Automatic accidentals::
674 @cindex mezzosoprano clef
675 @cindex baritone clef
676 @cindex varbaritone clef
680 @cindex clef, ancient
690 @cindex clef, soprano
691 @cindex clef, mezzosoprano
692 @cindex clef, baritone
693 @cindex clef, varbaritone
694 @cindex subbass clef, subbass
696 The clef is set with the @code{\clef} @var{clefname} command.
697 Middle C is shown in every example.
699 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
712 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
734 Further supported clefs are described under @ref{Ancient clefs}.
736 @cindex transposing clefs
737 @cindex clef, transposing
738 @cindex octave transposition
740 By adding @code{_8} or @code{^8} to the clef name, the clef is
741 transposed one octave down or up, respectively, and @code{_15} and
742 @code{^15} transposes by two octaves. The argument @var{clefname}
743 must be enclosed in quotes when it contains underscores or digits.
745 @cindex choral tenor clef
747 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
757 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
758 {clefs-commonly-tweaked-properties.ly}
763 Notation Reference: @ref{Ancient clefs}.
765 Snippets: @lsrdir{Pitches,Pitches}.
767 Internals Reference: @internalsref{Clef}.
771 @subsubsection Key signature
773 @cindex key signature
776 @warning{New users are sometimes confused about accidentals and
777 key signatures. In LilyPond, note names are the raw input; key
778 signatures and clefs determine how this raw input is displayed.
779 An unaltered note like@tie{}@code{c} means @q{C natural},
780 regardless of the key signature or clef. For more information,
781 see @rlearning{Accidentals and key signatures}.}
783 The key signature indicates the tonality in which a piece is
784 played. It is denoted by a set of alterations (flats or sharps)
785 at the start of the staff. Setting or changing the key signature
786 is done with the @code{\key} command:
789 \key @var{pitch} @var{mode}
797 @funindex \mixolydian
804 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
805 key signature of @var{pitch}-major or @var{pitch}-minor,
806 respectively. You may also use the standard mode names, also
807 called @q{church modes}: @code{\ionian}, @code{\dorian},
808 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
809 @code{\aeolian}, and @code{\locrian}.
811 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
821 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
822 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
824 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
825 {non-traditional-key-signatures.ly}
830 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
832 Learning Manual: @rlearning{Accidentals and key signatures}.
834 Snippets: @lsrdir{Pitches,Pitches}.
836 Internals Reference: @internalsref{KeyCancellation},
837 @internalsref{KeySignature}, @internalsref{Key_engraver}.
840 @node Ottava brackets
841 @subsubsection Ottava brackets
849 @notation{Ottava brackets} introduce an extra transposition of an
850 octave for the staff:
852 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
860 The @code{set-octavation} function also takes -1 (for 8va bassa),
861 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
866 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
872 Music Glossary: @rglos{octavation}.
874 Snippets: @lsrdir{Pitches,Pitches}.
876 Internals Reference: @internalsref{OttavaBracket}.
880 @node Instrument transpositions
881 @subsubsection Instrument transpositions
883 @cindex transposition, MIDI
884 @cindex transposition, instrument
885 @cindex transposing instrument
887 @funindex \transposition
889 When typesetting scores that involve transposing instruments, some
890 parts can be typeset in a different pitch than the
891 @notation{concert pitch}. In these cases, the key of the
892 @notation{transposing instrument} should be specified; otherwise
893 the MIDI output and cues in other parts will produce incorrect
894 pitches. For more information about quotations, see @ref{Quoting
898 \transposition @var{pitch}
901 The pitch to use for @code{\transposition} should correspond to
902 the real sound heard when a@tie{}@code{c'} written on the staff is
903 played by the transposing instrument. This pitch is entered in
904 absolute mode, so an instrument that produces a real sound which
905 is one tone higher than the printed music should use
906 @code{\transposition d'}. @code{\transposition} should
907 @emph{only} be used if the pitches are @emph{not} being entered in
910 Here are a few notes for violin and B-flat clarinet where the
911 parts have been entered using the notes and key as they appear in
912 each part of the conductor's score. The two instruments are
915 @lilypond[verbatim,quote,ragged-right]
919 \set Staff.instrumentName = "Vln"
920 \set Staff.midiInstrument="violin"
921 % strictly speaking not necessary, but a good reminder
928 \new Staff = "clarinet" {
930 \set Staff.instrumentName = \markup {Cl (B\flat)}
931 \set Staff.midiInstrument="clarinet"
942 The @code{\transposition} may be changed during a piece. For
943 example, a clarinetist may switch from an A clarinet to a B-flat
946 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
947 \set Staff.instrumentName = "Cl (A)"
952 r1^\markup{Switch to B\flat clarinet}
962 Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
964 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
966 Snippets: @lsrdir{Pitches,Pitches}.
969 @node Automatic accidentals
970 @subsubsection Automatic accidentals
972 @cindex automatic accidentals
973 @cindex accidentals, automatic
975 @cindex accidental style
976 @cindex default accidental style
977 @cindex accidental style, default
978 @funindex set-accidental-style
980 There are many different conventions on how to typeset
981 accidentals. LilyPond provides a function to specify which
982 accidental style to use. This function is called as follows
986 #(set-accidental-style 'voice)
991 The accidental style applies to the current @code{Staff} by
992 default (with the exception of the styles @code{piano} and
993 @code{piano-cautionary}, which are explained below). Optionally,
994 the function can take a second argument that determines in which
995 scope the style should be changed. For example, to use the same
996 style in all staves of the current @code{StaffGroup}, use
999 #(set-accidental-style 'voice 'StaffGroup)
1002 The following accidental styles are supported. To demonstrate
1003 each style, we use the following example:
1005 @lilypond[verbatim,quote,ragged-right]
1009 cis'8 fis, d'4 <a cis>8 f bis4 |
1023 \voiceTwo \relative c' {
1027 \change Staff = down
1031 \change Staff = down
1032 <fis, a cis>4 gis <f a d>2 |
1039 \context Staff = "up" {
1040 %%% change the next line as desired:
1041 #(set-accidental-style 'default)
1044 \context Staff = "down" {
1045 %%% change the next line as desired:
1046 #(set-accidental-style 'default)
1053 Note that the last lines of this example can be replaced by the
1054 following, as long as the same accidental style should be used in
1059 \context Staff = "up" @{
1060 %%% change the next line as desired:
1061 #(set-accidental-style 'default 'Score)
1064 \context Staff = "down" @{
1072 @c NOTE: don't use verbatim in this table.
1075 This is the default typesetting behavior. It corresponds to
1076 eighteenth-century common practice: accidentals are remembered to
1077 the end of the measure in which they occur and only on their own
1078 octave. Thus, in the example below, no natural signs are printed
1079 before the@tie{}@code{b} in the second measure or the
1082 @lilypond[quote,ragged-right]
1086 cis'8 fis, d'4 <a cis>8 f bis4 |
1100 \voiceTwo \relative c' {
1104 \change Staff = down
1108 \change Staff = down
1109 <fis, a cis>4 gis <f a d>2 |
1116 \context Staff = "up" {
1117 #(set-accidental-style 'default)
1120 \context Staff = "down" {
1121 #(set-accidental-style 'default)
1129 The normal behavior is to remember the accidentals on Staff-level.
1130 In this style, however, accidentals are typeset individually for
1131 each voice. Apart from that, the rule is similar to
1134 As a result, accidentals from one voice do not get canceled in
1135 other voices, which is often an unwanted result: in the following
1136 example, it is hard to determine whether the second@tie{}@code{a}
1137 should be played natural or sharp. The @code{voice} option should
1138 therefore be used only if the voices are to be read solely by
1139 individual musicians. If the staff is to be used by one musician
1140 (e.g., a conductor or in a piano score) then @code{modern} or
1141 @code{modern-cautionary} should be used instead.
1144 @lilypond[quote,ragged-right]
1148 cis'8 fis, d'4 <a cis>8 f bis4 |
1162 \voiceTwo \relative c' {
1166 \change Staff = down
1170 \change Staff = down
1171 <fis, a cis>4 gis <f a d>2 |
1178 \context Staff = "up" {
1179 #(set-accidental-style 'voice)
1182 \context Staff = "down" {
1183 #(set-accidental-style 'voice)
1191 @cindex accidentals, modern style
1192 @cindex modern style accidentals
1193 @funindex modern style accidentals
1195 This rule corresponds to the common practice in the twentieth
1196 century. It prints the same accidentals as @code{default}, with
1197 two exceptions that serve to avoid ambiguity: after temporary
1198 accidentals, cancellation marks are printed also in the following
1199 measure (for notes in the same octave) and, in the same measure,
1200 for notes in other octaves. Hence the naturals before
1201 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1204 @lilypond[quote,ragged-right]
1208 cis'8 fis, d'4 <a cis>8 f bis4 |
1222 \voiceTwo \relative c' {
1226 \change Staff = down
1230 \change Staff = down
1231 <fis, a cis>4 gis <f a d>2 |
1238 \context Staff = "up" {
1239 #(set-accidental-style 'modern)
1242 \context Staff = "down" {
1243 #(set-accidental-style 'modern)
1250 @item modern-cautionary
1251 @cindex accidentals, modern cautionary style
1252 @cindex modern style accidentals
1253 @cindex modern style cautionary accidentals
1254 @cindex modern accidental style
1255 @cindex modern cautionary accidental style
1256 @funindex modern-cautionary
1258 This rule is similar to @code{modern}, but the @q{extra}
1259 accidentals (the ones not typeset by @code{default}) are typeset
1260 as cautionary accidentals. They are by default printed with
1261 parentheses, but they can also be printed in reduced size by
1262 defining the @code{cautionary-style} property of
1263 @code{AccidentalSuggestion}.
1266 @lilypond[quote,ragged-right]
1270 cis'8 fis, d'4 <a cis>8 f bis4 |
1284 \voiceTwo \relative c' {
1288 \change Staff = down
1292 \change Staff = down
1293 <fis, a cis>4 gis <f a d>2 |
1300 \context Staff = "up" {
1301 #(set-accidental-style 'modern-cautionary)
1304 \context Staff = "down" {
1305 #(set-accidental-style 'modern-cautionary)
1313 @cindex accidentals, multivoice
1314 @cindex accidentals, modern
1315 @cindex modern accidentals
1316 @cindex multivoice accidentals
1317 @cindex accidental style, modern
1318 @cindex modern accidental style
1319 @funindex modern-voice
1321 This rule is used for multivoice accidentals to be read both by
1322 musicians playing one voice and musicians playing all voices.
1323 Accidentals are typeset for each voice, but they @emph{are}
1324 canceled across voices in the same @code{Staff}. Hence,
1325 the@tie{}@code{a} in the last measure is canceled because the
1326 previous cancellation was in a different voice, and
1327 the@tie{}@code{d} in the lower staff is canceled because of the
1328 accidental in a different voice in the previous measure:
1331 @lilypond[quote,ragged-right]
1335 cis'8 fis, d'4 <a cis>8 f bis4 |
1349 \voiceTwo \relative c' {
1353 \change Staff = down
1357 \change Staff = down
1358 <fis, a cis>4 gis <f a d>2 |
1365 \context Staff = "up" {
1366 #(set-accidental-style 'modern-voice)
1369 \context Staff = "down" {
1370 #(set-accidental-style 'modern-voice)
1377 @cindex accidental style, modern voice cautionary
1378 @cindex accidental style, cautionary, modern voice
1379 @cindex accidental style, voice, modern cautionary
1380 @funindex modern-voice-cautionary
1381 @item modern-voice-cautionary
1383 This rule is the same as @code{modern-voice}, but with the extra
1384 accidentals (the ones not typeset by @code{voice}) typeset
1385 as cautionaries. Even though all accidentals typeset by
1386 @code{default} @emph{are} typeset with this rule,
1387 some of them are typeset as cautionaries.
1389 @lilypond[quote,ragged-right]
1393 cis'8 fis, d'4 <a cis>8 f bis4 |
1407 \voiceTwo \relative c' {
1411 \change Staff = down
1415 \change Staff = down
1416 <fis, a cis>4 gis <f a d>2 |
1423 \context Staff = "up" {
1424 #(set-accidental-style 'modern-voice-cautionary)
1427 \context Staff = "down" {
1428 #(set-accidental-style 'modern-voice-cautionary)
1436 @funindex piano accidentals
1437 @cindex piano accidentals
1438 @cindex accidentals, piano
1439 @cindex piano accidental style
1440 @cindex accidental style, piano
1442 This rule reflects twentieth-century practice for piano notation.
1443 Its behavior is very similar to @code{modern} style, but here
1444 accidentals also get canceled across the staves in the same
1445 GrandStaff or PianoStaff, hence all the cancellations of the final
1448 This accidental style applies to the current @code{GrandStaff} or
1449 @code{PianoStaff} by default.
1451 @lilypond[quote,ragged-right]
1455 cis'8 fis, d'4 <a cis>8 f bis4 |
1469 \voiceTwo \relative c' {
1473 \change Staff = down
1477 \change Staff = down
1478 <fis, a cis>4 gis <f a d>2 |
1485 \context Staff = "up" {
1486 #(set-accidental-style 'piano)
1489 \context Staff = "down" {
1496 @item piano-cautionary
1497 @funindex #(set-accidental-style 'piano-cautionary)
1498 @cindex accidentals, piano cautionary
1499 @cindex cautionary accidentals, piano
1500 @cindex piano cautionary accidentals
1501 @cindex accidental style, piano cautionary
1502 @cindex cautionary accidental style, piano
1503 @cindex piano cautionary accidental style
1505 Same as @code{#(set-accidental-style 'piano)} but with the extra
1506 accidentals typeset as cautionaries.
1508 @lilypond[quote,ragged-right]
1512 cis'8 fis, d'4 <a cis>8 f bis4 |
1526 \voiceTwo \relative c' {
1530 \change Staff = down
1534 \change Staff = down
1535 <fis, a cis>4 gis <f a d>2 |
1542 \context Staff = "up" {
1543 #(set-accidental-style 'piano-cautionary)
1546 \context Staff = "down" {
1554 @funindex no-reset accidental style
1555 @cindex accidental style, no reset
1556 @cindex no reset accidental style
1558 This is the same as @code{default} but with accidentals lasting
1559 @q{forever} and not only within the same measure:
1561 @lilypond[quote,ragged-right]
1565 cis'8 fis, d'4 <a cis>8 f bis4 |
1579 \voiceTwo \relative c' {
1583 \change Staff = down
1587 \change Staff = down
1588 <fis, a cis>4 gis <f a d>2 |
1595 \context Staff = "up" {
1596 #(set-accidental-style 'no-reset)
1599 \context Staff = "down" {
1600 #(set-accidental-style 'no-reset)
1608 @funindex forget accidental style
1609 @cindex forget accidental style
1610 @cindex accidental style, forget
1612 This is the opposite of @code{no-reset}: Accidentals are not
1613 remembered at all -- and hence all accidentals are typeset
1614 relative to the key signature, regardless of what was before in
1617 @lilypond[quote,ragged-right]
1621 cis'8 fis, d'4 <a cis>8 f bis4 |
1635 \voiceTwo \relative c' {
1639 \change Staff = down
1643 \change Staff = down
1644 <fis, a cis>4 gis <f a d>2 |
1651 \context Staff = "up" {
1652 #(set-accidental-style 'forget)
1655 \context Staff = "down" {
1656 #(set-accidental-style 'forget)
1666 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1667 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1672 Snippets: @lsrdir{Pitches,Pitches}.
1674 Internals Reference: @internalsref{Accidental_engraver},
1675 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1676 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1677 @internalsref{PianoStaff}, @internalsref{Staff}.
1680 @cindex accidentals and simultaneous notes
1681 @cindex simultaneous notes and accidentals
1682 @cindex accidentals in chords
1683 @cindex chords, accidentals in
1687 Simultaneous notes are considered to be entered in sequential
1688 mode. This means that in a chord the accidentals are typeset as
1689 if the notes in the chord happen one at a time, in the order in
1690 which they appear in the input file. This is a problem when
1691 accidentals in a chord depend on each other, which does not happen
1692 for the default accidental style. The problem can be solved by
1693 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1698 @subsubsection Ambitus
1702 @cindex range of pitches
1705 The term @notation{ambitus} or @notation{ambit} denotes a range of
1706 pitches for a given voice in a part of music. It may also denote
1707 the pitch range that a musical instrument is capable of playing.
1708 Ambits are printed on vocal parts so that performers can easily
1709 determine if it matches their capabilities.
1711 Ambits are denoted at the beginning of a piece near the initial
1712 clef. The range is graphically specified by two note heads that
1713 represent the lowest and highest pitches. Accidentals are only
1714 printed if they are not part of the key signature.
1716 @lilypond[verbatim,quote,ragged-right]
1720 \consists Ambitus_engraver
1732 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1733 {adding-ambiti-per-voice.ly}
1735 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1736 {ambiti-multiple-voices.ly}
1741 Music Glossary: @rglos{ambitus}.
1743 Snippets: @lsrdir{Pitches,Pitches}.
1745 Internals Reference: @internalsref{Ambitus},
1746 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1747 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1748 @internalsref{Staff}, @internalsref{Voice}.
1753 There is no collision handling in the case of multiple per-voice
1758 @subsection Note heads
1761 * Special note heads::
1762 * Easy notation note heads::
1763 * Shape note heads::
1767 @node Special note heads
1768 @subsubsection Special note heads
1770 @cindex note heads, special
1771 @cindex note heads, cross
1772 @cindex note heads, diamond
1773 @cindex note heads, parlato
1774 @cindex note heads, harmonic
1775 @cindex note heads, guitar
1776 @cindex special note heads
1777 @cindex cross note heads
1778 @cindex diamond note heads
1779 @cindex parlato note heads
1780 @cindex harmonic note heads
1781 @cindex guitar note heads
1783 Different note heads are used by various instruments for various
1784 meanings -- crosses are used for @q{parlato} with vocalists,
1785 stopped notes on guitar; diamonds are used for harmonics on string
1786 instruments, etc. There is a shorthand (@code{\harmonic}) for
1787 diamond shapes; the other note head styles are produced by
1788 tweaking the property:
1790 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1792 \override NoteHead #'style = #'cross
1794 \revert NoteHead #'style
1795 e d <c f\harmonic> <d a'\harmonic>
1799 To see all note head styles, see @ref{Note head styles}.
1804 Snippets: @lsrdir{Pitches,Pitches}.
1806 Notation Reference: @ref{Note head styles}.
1808 Internals Reference: @internalsref{NoteHead},
1809 @internalsref{LedgerLineSpanner}.
1812 @node Easy notation note heads
1813 @subsubsection Easy notation note heads
1815 @cindex note heads, practice
1816 @cindex note heads, easy notation
1817 @cindex easy notation
1819 @cindex beginners' music
1820 @cindex music, beginners'
1821 @cindex easy play note heads
1822 @cindex note heads, easy play
1824 The @q{easy play} note head includes a note name inside the head.
1825 It is used in music for beginners.
1827 @lilypond[verbatim,quote,ragged-right]
1828 #(set-global-staff-size 26)
1838 The command @code{\easyHeadsOn} overrides settings for the
1839 @code{NoteHead} object. These settings can be reverted with the command
1840 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1841 in a large font size. To print with a larger font, see @ref{Setting the
1846 @funindex \easyHeadsOn
1847 @funindex \easyHeadsOff
1848 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1852 Notation Reference: @ref{Setting the staff size}.
1854 Snippets: @lsrdir{Pitches,Pitches},
1856 Internals Reference: @internalsref{NoteHead}.
1859 @node Shape note heads
1860 @subsubsection Shape note heads
1862 @cindex note heads, shape
1863 @cindex note heads, Aiken
1864 @cindex note heads, sacred harp
1866 @cindex Aiken shape note heads
1867 @cindex sacred harp note heads
1869 @funindex shapeNoteStyles
1870 @funindex \aikenHeads
1871 @funindex \sacredHarpHeads
1873 In shape note head notation, the shape of the note head
1874 corresponds to the harmonic function of a note in the scale. This
1875 notation was popular in nineteenth-century American song books.
1877 Shape note heads can be produced by setting @code{\aikenHeads} or
1878 @code{\sacredHarpHeads}, depending on the style desired.
1880 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1887 Shapes are typeset according to the step in the scale, where
1888 the base of the scale is determined by the @code{\key} command.
1892 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1893 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1898 Snippets: @lsrdir{Pitches,Pitches}.
1902 @subsubsection Improvisation
1904 @cindex improvisation
1905 @cindex slashed note heads
1906 @cindex note heads, improvisation
1907 @cindex note heads, slashed
1909 Improvisation is sometimes denoted with slashed note heads, where
1910 the performer may choose any pitch but should play the specified
1911 rhythm. Such note heads can be created:
1913 @lilypond[verbatim,quote,ragged-right]
1915 \consists Pitch_squash_engraver
1917 e8 e g a a16( bes) a8 g
1930 @funindex \improvisationOn
1931 @funindex \improvisationOff
1933 @code{\improvisationOn}, @code{\improvisationOff}
1937 Snippets: @lsrdir{Pitches,Pitches}.
1939 Internals Reference: @internalsref{Pitch_squash_engraver},
1940 @internalsref{Voice}.