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.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex octave specification, absolute
51 @cindex absolute octave entry
52 @cindex octave entry, absolute
54 A pitch name is specified using lowercase letters@tie{}@code{a}
55 through@tie{}@code{g}. The note names @code{c} to @code{b} are
56 engraved in the octave below middle C.
59 @lilypond[verbatim,quote,fragment]
66 @cindex octave changing mark
71 Other octaves may be specified with a single quote@tie{}(@code{'})
72 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
73 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
76 @lilypond[verbatim,quote,fragment]
94 @node Relative octave entry
95 @unnumberedsubsubsec Relative octave entry
98 @cindex relative octave entry
99 @cindex octave entry, relative
100 @cindex relative octave specification
101 @cindex ocatve specification, relative
106 When octaves are specified in absolute mode it is easy to
107 accidentally put a pitch in the wrong octave. Relative octave
108 mode reduces these errors since most of the time it is not
109 necessary to indicate any octaves at all. Furthermore, in
110 absolute mode a single mistake may be difficult to spot, while in
111 relative mode a single error puts the rest of the piece off by one
115 \relative @var{startpitch} @var{musicexpr}
118 In relative mode, each note is assumed to be as close to the
119 previous note as possible. This means that the octave of each
120 pitch inside @var{musicexpr} is calculated as follows:
124 If no octave changing mark is used on a pitch, its octave is
125 calculated so that the interval with the previous note is less
126 than a fifth. This interval is determined without considering
130 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
131 added to respectively raise or lower a pitch by an extra octave,
132 relative to the pitch calculated without an octave mark.
135 Multiple octave changing marks can be used. For example,
136 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
140 The pitch of the first note is relative to
141 @code{@var{startpitch}}. @var{startpitch} is specified in
142 absolute octave mode, and it is recommended that it be a octave of
147 Here is the relative mode shown in action:
149 @lilypond[verbatim,quote]
158 Octave changing marks are used for intervals greater than a
161 @lilypond[verbatim,quote]
168 A note sequence without a single octave mark can nevertheless span
171 @lilypond[verbatim,quote]
178 @cindex chords and relative octave entry
179 @cindex relative octave entry and chords
181 If the preceding item is a chord, the first note of the chord is
182 used as the reference point for the octave placement of a
183 following note or chord. Inside chords, the next note is always
184 relative to the preceding one. Examine the next example
185 carefully, paying attention to the @code{c} notes.
187 @lilypond[verbatim,quote]
196 As explained above, the octave of pitches is calculated only with
197 the note names, regardless of any alterations. Therefore, an
198 E-double-sharp following a B will be placed higher, while an
199 F-double-flat will be placed lower. In other words, a
200 double-augmented fourth is considered a smaller interval than a
201 double-diminished fifth, regardless of the number of semitones
202 that each interval contains.
204 @lilypond[verbatim,quote]
227 @rinternals{RelativeOctaveMusic}.
230 @cindex relative octave entry and transposition
231 @cindex transposition and relative octave entry
243 The relative conversion will not affect @code{\transpose},
244 @code{\chordmode} or @code{\relative} sections in its argument.
245 To use relative mode within transposed music, an additional
246 @code{\relative} must be placed inside @code{\transpose}.
249 If no @var{startpitch} is specified for @code{\relative},
250 then@tie{}@code{c'} is assumed. However, this is a deprecated
251 option and may disappear in future versions, so its use is
257 @unnumberedsubsubsec Accidentals
260 @cindex key signature
263 @c duplicated in Key signature and Accidentals
264 @warning{New users are sometimes confused about accidentals and
265 key signatures. In LilyPond, note names are the raw input; key
266 signatures and clefs determine how this raw input is displayed.
267 An unaltered note like@tie{}@code{c} means @q{C natural},
268 regardless of the key signature or clef. For more information,
269 see @rlearning{Accidentals and key signatures}.}
271 @cindex note names, Dutch
272 @cindex note names, default
273 @cindex default note names
277 @cindex sharp, double
281 @cindex natural pitch
283 A @notation{sharp} pitch is made by adding @code{is} to the note
284 name, and a @notation{flat} pitch by adding @code{es}. As you
285 might expect, a @notation{double sharp} or @notation{double flat}
286 is made by adding @code{isis} or @code{eses}. This syntax is
287 derived from Dutch note naming conventions. To use other names
288 for accidentals, see @ref{Note names in other languages}.
290 @lilypond[verbatim,quote,relative=2]
294 A natural will cancel the effect of an accidental or key
295 signature. However, naturals are not encoded into the note name
296 syntax with a suffix; a natural pitch is shown as a simple note
299 @lilypond[verbatim,quote,relative=2]
303 @cindex quarter tones
307 Quarter tones may be added; the following is a series of Cs with
310 @lilypond[verbatim,quote,relative=2]
311 ceseh1 ces ceh c cih cis cisih
316 @cindex accidental, reminder
317 @cindex accidental, cautionary
318 @cindex accidental, parenthesized
319 @cindex reminder accidental
320 @cindex cautionary accidental
321 @cindex parenthesized accidental
327 Normally accidentals are printed automatically, but you may also
328 print them manually. A reminder accidental can be forced by
329 adding an exclamation mark@tie{}@code{!} after the pitch. A
330 cautionary accidental (i.e., an accidental within parentheses) can
331 be obtained by adding the question mark@tie{}@code{?} after the
332 pitch. These extra accidentals can also be used to produce
335 @lilypond[verbatim,quote,relative=2]
336 cis cis cis! cis? c c c! c?
339 @cindex accidental on tied note
340 @cindex tied note, accidental
342 Accidentals on tied notes are only printed at the beginning of a
345 @lilypond[verbatim,quote,relative=2]
354 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
355 {preventing-extra-naturals-from-being-automatically-added.ly}
357 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
365 @rglos{double sharp},
368 @rglos{quarter tone}.
371 @rlearning{Accidentals and key signatures}.
374 @ref{Automatic accidentals},
375 @ref{Annotational accidentals (musica ficta)},
376 @ref{Note names in other languages}.
382 @rinternals{Accidental_engraver},
383 @rinternals{Accidental},
384 @rinternals{AccidentalCautionary},
385 @rinternals{accidental-interface}.
388 @cindex accidental, quarter-tone
389 @cindex quarter-tone accidental
393 There are no generally accepted standards for denoting
394 quarter-tone accidentals, so LilyPond's symbol does not conform to
399 @node Note names in other languages
400 @unnumberedsubsubsec Note names in other languages
402 @cindex note names, other languages
403 @cindex pitch names, other languages
404 @cindex language, note names in other
405 @cindex language, pitch names in other
407 There are predefined sets of note and accidental names for various
408 other languages. To use them, include the language-specific init
409 file listed below. For example, to use English note names, add
410 @code{@w{\include "english.ly"}} to the input file. Because some
411 other include files (such as @code{@w{predefined-fretboards.ly}}) use
412 default (Nederlands) note names, the @code{\include} command for the
413 language file should be placed after all other LilyPond distribution
414 files. The available language files and the note names they define
418 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
419 @headitem Language File
421 @item @file{nederlands.ly}
422 @tab c d e f g a bes b
423 @item @file{arabic.ly}
424 @tab do re mi fa sol la sib si
425 @item @file{catalan.ly}
426 @tab do re mi fa sol la sib si
427 @item @file{deutsch.ly}
429 @item @file{english.ly}
430 @tab c d e f g a bf b
431 @item @file{espanol.ly}
432 @tab do re mi fa sol la sib si
433 @item @file{italiano.ly}
434 @tab do re mi fa sol la sib si
435 @item @file{norsk.ly}
437 @item @file{portugues.ly}
438 @tab do re mi fa sol la sib si
439 @item @file{suomi.ly}
441 @item @file{svenska.ly}
443 @item @file{vlaams.ly}
444 @tab do re mi fa sol la sib si
449 and the accidental suffixes they define are:
452 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
453 @headitem Language File
454 @tab sharp @tab flat @tab double sharp @tab double flat
455 @item @file{nederlands.ly}
456 @tab -is @tab -es @tab -isis @tab -eses
457 @item @file{arabic.ly}
458 @tab -d @tab -b @tab -dd @tab -bb
459 @item @file{catalan.ly}
460 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
461 @item @file{deutsch.ly}
462 @tab -is @tab -es @tab -isis @tab -eses
463 @item @file{english.ly}
464 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
466 @item @file{espanol.ly}
467 @tab -s @tab -b @tab -ss @tab -bb
468 @item @file{italiano.ly}
469 @tab -d @tab -b @tab -dd @tab -bb
470 @item @file{norsk.ly}
471 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
473 @item @file{portugues.ly}
474 @tab -s @tab -b @tab -ss @tab -bb
475 @item @file{suomi.ly}
476 @tab -is @tab -es @tab -isis @tab -eses
477 @item @file{svenska.ly}
478 @tab -iss @tab -ess @tab -ississ @tab -essess
479 @item @file{vlaams.ly}
480 @tab -k @tab -b @tab -kk @tab -bb
484 In Dutch, @code{aes} is contracted to @code{as}, but both forms
485 are accepted in LilyPond. Similarly, both @code{es} and
486 @code{ees} are accepted. This also applies to
487 @code{aeses}@tie{}/@tie{}@code{ases} and
488 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
489 contracted names are defined in the corresponding language files.
491 @lilypond[verbatim,quote,relative=2]
492 a2 as e es a ases e eses
502 Some music uses microtones whose alterations are fractions of a
503 @q{normal} sharp or flat. The note names for quarter-tones
504 defined in the various language files are listed in the following
505 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
506 mean @q{half} and @q{one and a half}, respectively. For the other
507 languages, no special names have been defined yet.
510 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
511 @headitem Language File
512 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
514 @item @file{nederlands.ly}
515 @tab -ih @tab -eh @tab -isih @tab -eseh
516 @item @file{arabic.ly}
517 @tab -sd @tab -sb @tab -dsd @tab -bsb
518 @item @file{deutsch.ly}
519 @tab -ih @tab -eh @tab -isih @tab -eseh
520 @item @file{english.ly}
521 @tab -qs @tab -qf @tab -tqs @tab -tqf
522 @item @file{italiano.ly}
523 @tab -sd @tab -sb @tab -dsd @tab -bsb
524 @item @file{portugues.ly}
525 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
538 @node Changing multiple pitches
539 @subsection Changing multiple pitches
541 This section discusses how to modify pitches.
549 @unnumberedsubsubsec Octave checks
551 @cindex octave correction
553 @cindex control pitch
556 @funindex \octaveCheck
557 @funindex octaveCheck
558 @funindex controlpitch
560 In relative mode, it is easy to forget an octave changing mark.
561 Octave checks make such errors easier to find by displaying a
562 warning and correcting the octave if a note is found in an
565 To check the octave of a note, specify the absolute octave after
566 the @code{=}@tie{}symbol. This example will generate a warning
567 (and change the pitch) because the second note is the absolute
568 octave @code{d''} instead of @code{d'} as indicated by the octave
571 @lilypond[verbatim,quote]
578 The octave of notes may also be checked with the
579 @code{\octaveCheck}@tie{}@var{controlpitch} command.
580 @var{controlpitch} is specified in absolute mode. This checks
581 that the interval between the previous note and the
582 @var{controlpitch} is within a fourth (i.e., the normal
583 calculation of relative mode). If this check fails, a warning is
584 printed, but the previous note is not changed. Future notes are
585 relative to the @var{controlpitch}.
587 @lilypond[verbatim,quote]
595 Compare the two bars below. The first and third @code{\octaveCheck}
596 checks fail, but the second one does not fail.
598 @lilypond[verbatim,quote]
618 @rinternals{RelativeOctaveCheck}.
622 @unnumberedsubsubsec Transpose
626 @cindex transposition
627 @cindex transposition of pitches
628 @cindex transposition of notes
629 @cindex pitches, transposition of
630 @cindex notes, transposition of
635 A music expression can be transposed with @code{\transpose}. The
639 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
643 This means that @var{musicexpr} is transposed by the interval
644 between the pitches @var{frompitch} and @var{topitch}: any note
645 with pitch @var{frompitch} is changed to @var{topitch} and any
646 other note is transposed by the same interval. Both pitches are
647 entered in absolute mode.
649 Consider a piece written in the key of D-major. It can be
650 transposed up to E-major; note that the key signature is
651 automatically transposed as well.
653 @lilypond[verbatim,quote]
662 @cindex transposing instruments
663 @cindex instruments, transposing
665 If a part written in C (normal @notation{concert pitch}) is to be
666 played on the A clarinet (for which an A is notated as a C and
667 thus sounds a minor third lower than notated), the appropriate
668 part will be produced with:
670 @lilypond[verbatim,quote]
680 Note that we specify @w{@code{\key c \major}} explicitly. If we
681 do not specify a key signature, the notes will be transposed but
682 no key signature will be printed.
684 @code{\transpose} distinguishes between enharmonic pitches: both
685 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
686 transpose up a semitone. The first version will print sharps and
687 the notes will remain on the same scale step, the second version
688 will print flats on the scale step above.
690 @lilypond[verbatim,quote]
691 music = \relative c' { c d e f }
693 \transpose c cis { \music }
694 \transpose c des { \music }
699 @code{\transpose} may also be used in a different way, to input
700 written notes for a transposing instrument. The previous examples
701 show how to enter pitches in C (or @notation{concert pitch}) and
702 typeset them for a transposing instrument, but the opposite is
703 also possible if you for example have a set of instrumental parts
704 and want to print a conductor's score. For example, when entering
705 music for a B-flat trumpet that begins on a notated E (concert D),
709 musicInBflat = @{ e4 @dots{} @}
710 \transpose c bes, \musicInBflat
714 To print this music in F (e.g., rearranging to a French horn) you
715 could wrap the existing music with another @code{\transpose}:
718 musicInBflat = @{ e4 @dots{} @}
719 \transpose f c' @{ \transpose c bes, \musicInBflat @}
723 For more information about transposing instruments,
724 see @ref{Instrument transpositions}.
729 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
730 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
735 @ref{Instrument transpositions}.
741 @rinternals{TransposedMusic}.
753 The relative conversion will not affect @code{\transpose},
754 @code{\chordmode} or @code{\relative} sections in its argument.
755 To use relative mode within transposed music, an additional
756 @code{\relative} must be placed inside @code{\transpose}.
759 @node Displaying pitches
760 @subsection Displaying pitches
762 This section discusses how to alter the output of pitches.
768 * Instrument transpositions::
769 * Automatic accidentals::
775 @unnumberedsubsubsec Clef
787 @cindex mezzosoprano clef
788 @cindex baritone clef
789 @cindex varbaritone clef
793 @cindex clef, ancient
803 @cindex clef, soprano
804 @cindex clef, mezzosoprano
805 @cindex clef, baritone
806 @cindex clef, varbaritone
807 @cindex subbass clef, subbass
812 The clef may be altered. Middle C is shown in every example.
814 @lilypond[verbatim,quote,relative=1]
827 @lilypond[verbatim,quote,relative=1]
849 Further supported clefs are described under @ref{Mensural clefs}
850 and @ref{Gregorian clefs}.
852 @cindex transposing clefs
853 @cindex clef, transposing
854 @cindex octave transposition
855 @cindex choral tenor clef
856 @cindex tenor clef, choral
858 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
859 clef is transposed one octave down or up, respectively,
860 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
861 The clef name must be enclosed in quotes when it contains
862 underscores or digits.
864 @lilypond[verbatim,quote,relative=2]
876 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
877 {tweaking-clef-properties.ly}
882 @ref{Mensural clefs}, @ref{Gregorian clefs}.
888 @rinternals{Clef_engraver},
890 @rinternals{OctavateEight},
891 @rinternals{clef-interface}.
895 @unnumberedsubsubsec Key signature
897 @cindex key signature
902 @c duplicated in Key signature and Accidentals
903 @warning{New users are sometimes confused about accidentals and
904 key signatures. In LilyPond, note names are the raw input; key
905 signatures and clefs determine how this raw input is displayed.
906 An unaltered note like@tie{}@code{c} means @q{C natural},
907 regardless of the key signature or clef. For more information,
908 see @rlearning{Accidentals and key signatures}.}
910 The key signature indicates the tonality in which a piece is
911 played. It is denoted by a set of alterations (flats or sharps)
912 at the start of the staff. The key signature may be altered:
915 \key @var{pitch} @var{mode}
928 @funindex \mixolydian
949 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
950 key signature of @var{pitch}-major or @var{pitch}-minor,
951 respectively. You may also use the standard mode names, also
952 called @notation{church modes}: @code{\ionian}, @code{\dorian},
953 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
954 @code{\aeolian}, and @code{\locrian}.
956 @lilypond[verbatim,quote,relative=2]
966 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
967 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
969 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
970 {non-traditional-key-signatures.ly}
979 @rlearning{Accidentals and key signatures}.
985 @rinternals{KeyChangeEvent},
986 @rinternals{Key_engraver},
987 @rinternals{Key_performer},
988 @rinternals{KeyCancellation},
989 @rinternals{KeySignature},
990 @rinternals{key-cancellation-interface},
991 @rinternals{key-signature-interface}.
994 @node Ottava brackets
995 @unnumberedsubsubsec Ottava brackets
1003 @funindex set-octavation
1007 @notation{Ottava brackets} introduce an extra transposition of an
1008 octave for the staff:
1010 @lilypond[verbatim,quote,relative=2]
1018 The @code{ottava} function also takes -1 (for 8va bassa),
1019 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1024 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1035 Internals Reference:
1036 @rinternals{Ottava_spanner_engraver},
1037 @rinternals{OttavaBracket},
1038 @rinternals{ottava-bracket-interface}.
1041 @node Instrument transpositions
1042 @unnumberedsubsubsec Instrument transpositions
1044 @cindex transposition, MIDI
1045 @cindex transposition, instrument
1046 @cindex transposing instrument
1048 @cindex MIDI transposition
1050 @funindex \transposition
1051 @funindex transposition
1053 When typesetting scores that involve transposing instruments, some
1054 parts can be typeset in a different pitch than the
1055 @notation{concert pitch}. In these cases, the key of the
1056 @notation{transposing instrument} should be specified; otherwise
1057 the MIDI output and cues in other parts will produce incorrect
1058 pitches. For more information about quotations, see
1059 @ref{Quoting other voices}.
1062 \transposition @var{pitch}
1065 The pitch to use for @code{\transposition} should correspond to
1066 the real sound heard when a@tie{}@code{c'} written on the staff is
1067 played by the transposing instrument. This pitch is entered in
1068 absolute mode, so an instrument that produces a real sound which
1069 is one tone higher than the printed music should use
1070 @w{@code{\transposition d'}}. @code{\transposition} should
1071 @emph{only} be used if the pitches are @emph{not} being entered in
1074 Here are a few notes for violin and B-flat clarinet where the
1075 parts have been entered using the notes and key as they appear in
1076 each part of the conductor's score. The two instruments are
1079 @lilypond[verbatim,quote]
1081 \new Staff = "violin" {
1083 \set Staff.instrumentName = #"Vln"
1084 \set Staff.midiInstrument = #"violin"
1085 % not strictly necessary, but a good reminder
1092 \new Staff = "clarinet" {
1094 \set Staff.instrumentName = \markup { Cl (B\flat) }
1095 \set Staff.midiInstrument = #"clarinet"
1105 The @code{\transposition} may be changed during a piece. For
1106 example, a clarinetist may switch from an A clarinet to a B-flat
1109 @lilypond[verbatim,quote,relative=2]
1110 \set Staff.instrumentName = #"Cl (A)"
1115 s1*0^\markup { Switch to B\flat clarinet }
1126 @rglos{concert pitch},
1127 @rglos{transposing instrument}.
1130 @ref{Quoting other voices}, @ref{Transpose}.
1136 @node Automatic accidentals
1137 @unnumberedsubsubsec Automatic accidentals
1139 @cindex accidental style
1140 @cindex accidental style, default
1142 @cindex accidentals, automatic
1143 @cindex automatic accidentals
1144 @cindex default accidental style
1146 @funindex set-accidental-style
1150 There are many different conventions on how to typeset
1151 accidentals. LilyPond provides a function to specify which
1152 accidental style to use. This function is called as follows:
1156 #(set-accidental-style 'voice)
1161 The accidental style applies to the current @code{Staff} by
1162 default (with the exception of the styles @code{piano} and
1163 @code{piano-cautionary}, which are explained below). Optionally,
1164 the function can take a second argument that determines in which
1165 scope the style should be changed. For example, to use the same
1166 style in all staves of the current @code{StaffGroup}, use:
1169 #(set-accidental-style 'voice 'StaffGroup)
1172 The following accidental styles are supported. To demonstrate
1173 each style, we use the following example:
1176 @lilypond[verbatim,quote]
1180 cis'8 fis, d'4 <a cis>8 f bis4 |
1194 \voiceTwo \relative c' {
1198 \change Staff = down
1202 \change Staff = down
1203 <fis, a cis>4 gis <f a d>2 |
1210 \context Staff = "up" {
1211 #(set-accidental-style 'default)
1214 \context Staff = "down" {
1215 #(set-accidental-style 'default)
1222 Note that the last lines of this example can be replaced by the
1223 following, as long as the same accidental style should be used in
1229 \context Staff = "up" @{
1230 %%% change the next line as desired:
1231 #(set-accidental-style 'default 'Score)
1234 \context Staff = "down" @{
1242 @c don't use verbatim in this table.
1246 @cindex default accidental style
1247 @cindex accidental style, default
1251 This is the default typesetting behavior. It corresponds to
1252 eighteenth-century common practice: accidentals are remembered to
1253 the end of the measure in which they occur and only in their own
1254 octave. Thus, in the example below, no natural signs are printed
1255 before the@tie{}@code{b} in the second measure or the
1262 cis'8 fis, d'4 <a cis>8 f bis4 |
1276 \voiceTwo \relative c' {
1280 \change Staff = down
1284 \change Staff = down
1285 <fis, a cis>4 gis <f a d>2 |
1292 \context Staff = "up" {
1293 #(set-accidental-style 'default)
1296 \context Staff = "down" {
1297 #(set-accidental-style 'default)
1306 @cindex accidental style, voice
1307 @cindex voice accidental style
1308 @cindex accidental style, modern
1309 @cindex modern accidental style
1310 @cindex accidental style, modern-cautionary
1311 @cindex modern-cautionary accidental style
1315 The normal behavior is to remember the accidentals at
1316 @code{Staff}-level. In this style, however, accidentals are
1317 typeset individually for each voice. Apart from that, the rule is
1318 similar to @code{default}.
1320 As a result, accidentals from one voice do not get canceled in
1321 other voices, which is often an unwanted result: in the following
1322 example, it is hard to determine whether the second@tie{}@code{a}
1323 should be played natural or sharp. The @code{voice} option should
1324 therefore be used only if the voices are to be read solely by
1325 individual musicians. If the staff is to be used by one musician
1326 (e.g., a conductor or in a piano score) then @code{modern} or
1327 @code{modern-cautionary} should be used instead.
1334 cis'8 fis, d'4 <a cis>8 f bis4 |
1348 \voiceTwo \relative c' {
1352 \change Staff = down
1356 \change Staff = down
1357 <fis, a cis>4 gis <f a d>2 |
1364 \context Staff = "up" {
1365 #(set-accidental-style 'voice)
1368 \context Staff = "down" {
1369 #(set-accidental-style 'voice)
1378 @cindex accidentals, modern style
1379 @cindex modern style accidentals
1383 This rule corresponds to the common practice in the twentieth
1384 century. It prints the same accidentals as @code{default}, with
1385 two exceptions that serve to avoid ambiguity: after temporary
1386 accidentals, cancellation marks are printed also in the following
1387 measure (for notes in the same octave) and, in the same measure,
1388 for notes in other octaves. Hence the naturals before
1389 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1396 cis'8 fis, d'4 <a cis>8 f bis4 |
1410 \voiceTwo \relative c' {
1414 \change Staff = down
1418 \change Staff = down
1419 <fis, a cis>4 gis <f a d>2 |
1426 \context Staff = "up" {
1427 #(set-accidental-style 'modern)
1430 \context Staff = "down" {
1431 #(set-accidental-style 'modern)
1438 @item modern-cautionary
1440 @cindex accidentals, modern cautionary style
1441 @cindex modern accidental style
1442 @cindex modern cautionary accidental style
1443 @cindex modern style accidentals
1444 @cindex modern style cautionary accidentals
1446 @funindex modern-cautionary
1448 This rule is similar to @code{modern}, but the @q{extra}
1449 accidentals (the ones not typeset by @code{default}) are typeset
1450 as cautionary accidentals. They are by default printed with
1451 parentheses, but they can also be printed in reduced size by
1452 defining the @code{cautionary-style} property of
1453 @code{AccidentalSuggestion}.
1459 cis'8 fis, d'4 <a cis>8 f bis4 |
1473 \voiceTwo \relative c' {
1477 \change Staff = down
1481 \change Staff = down
1482 <fis, a cis>4 gis <f a d>2 |
1489 \context Staff = "up" {
1490 #(set-accidental-style 'modern-cautionary)
1493 \context Staff = "down" {
1494 #(set-accidental-style 'modern-cautionary)
1503 @cindex accidental style, modern
1504 @cindex accidentals, modern
1505 @cindex accidentals, multivoice
1506 @cindex modern accidental style
1507 @cindex modern accidentals
1508 @cindex multivoice accidentals
1510 @funindex modern-voice
1512 This rule is used for multivoice accidentals to be read both by
1513 musicians playing one voice and musicians playing all voices.
1514 Accidentals are typeset for each voice, but they @emph{are}
1515 canceled across voices in the same @code{Staff}. Hence,
1516 the@tie{}@code{a} in the last measure is canceled because the
1517 previous cancellation was in a different voice, and
1518 the@tie{}@code{d} in the lower staff is canceled because of the
1519 accidental in a different voice in the previous measure:
1525 cis'8 fis, d'4 <a cis>8 f bis4 |
1539 \voiceTwo \relative c' {
1543 \change Staff = down
1547 \change Staff = down
1548 <fis, a cis>4 gis <f a d>2 |
1555 \context Staff = "up" {
1556 #(set-accidental-style 'modern-voice)
1559 \context Staff = "down" {
1560 #(set-accidental-style 'modern-voice)
1567 @cindex accidental style, cautionary, modern voice
1568 @cindex accidental style, modern voice cautionary
1569 @cindex accidental style, voice, modern cautionary
1571 @funindex modern-voice-cautionary
1573 @item modern-voice-cautionary
1575 This rule is the same as @code{modern-voice}, but with the extra
1576 accidentals (the ones not typeset by @code{voice}) typeset as
1577 cautionaries. Even though all accidentals typeset by
1578 @code{default} @emph{are} typeset with this rule, some of them are
1579 typeset as cautionaries.
1585 cis'8 fis, d'4 <a cis>8 f bis4 |
1599 \voiceTwo \relative c' {
1603 \change Staff = down
1607 \change Staff = down
1608 <fis, a cis>4 gis <f a d>2 |
1615 \context Staff = "up" {
1616 #(set-accidental-style 'modern-voice-cautionary)
1619 \context Staff = "down" {
1620 #(set-accidental-style 'modern-voice-cautionary)
1629 @cindex accidental style, piano
1630 @cindex accidentals, piano
1631 @cindex piano accidental style
1632 @cindex piano accidentals
1636 This rule reflects twentieth-century practice for piano notation.
1637 Its behavior is very similar to @code{modern} style, but here
1638 accidentals also get canceled across the staves in the same
1639 @code{GrandStaff} or @code{PianoStaff}, hence all the
1640 cancellations of the final notes.
1642 This accidental style applies to the current @code{GrandStaff} or
1643 @code{PianoStaff} by default.
1649 cis'8 fis, d'4 <a cis>8 f bis4 |
1663 \voiceTwo \relative c' {
1667 \change Staff = down
1671 \change Staff = down
1672 <fis, a cis>4 gis <f a d>2 |
1679 \context Staff = "up" {
1680 #(set-accidental-style 'piano)
1683 \context Staff = "down" {
1690 @item piano-cautionary
1692 @cindex accidentals, piano cautionary
1693 @cindex cautionary accidentals, piano
1694 @cindex piano cautionary accidentals
1695 @cindex accidental style, piano cautionary
1696 @cindex cautionary accidental style, piano
1697 @cindex piano cautionary accidental style
1699 @funindex piano-cautionary
1701 This is the same as @code{piano} but with the extra accidentals
1702 typeset as cautionaries.
1708 cis'8 fis, d'4 <a cis>8 f bis4 |
1722 \voiceTwo \relative c' {
1726 \change Staff = down
1730 \change Staff = down
1731 <fis, a cis>4 gis <f a d>2 |
1738 \context Staff = "up" {
1739 #(set-accidental-style 'piano-cautionary)
1742 \context Staff = "down" {
1752 @cindex neo-modern accidental style
1753 @cindex accidental style, neo-modern
1755 @funindex neo-modern
1757 This rule reproduces a common practice in contemporary music:
1758 accidentals are printed like with @code{modern}, but they are printed
1759 again if the same note appears later in the same measure -- except
1760 if the note is immediately repeated.
1766 cis'8 fis, d'4 <a cis>8 f bis4 |
1780 \voiceTwo \relative c' {
1784 \change Staff = down
1788 \change Staff = down
1789 <fis, a cis>4 gis <f a d>2 |
1796 \context Staff = "up" {
1797 #(set-accidental-style 'neo-modern)
1800 \context Staff = "down" {
1801 #(set-accidental-style 'neo-modern)
1808 @item neo-modern-cautionary
1810 @cindex neo-modern-cautionary accidental style
1811 @cindex accidental style, neo-modern-cautionary
1813 @funindex neo-modern-cautionary
1815 This rule is similar to @code{neo-modern}, but the extra
1816 accidentals are printed as cautionary accidentals.
1822 cis'8 fis, d'4 <a cis>8 f bis4 |
1836 \voiceTwo \relative c' {
1840 \change Staff = down
1844 \change Staff = down
1845 <fis, a cis>4 gis <f a d>2 |
1852 \context Staff = "up" {
1853 #(set-accidental-style 'neo-modern-cautionary)
1856 \context Staff = "down" {
1857 #(set-accidental-style 'neo-modern-cautionary)
1867 @cindex dodecaphonic accidental style
1868 @cindex dodecaphonic style, neo-modern
1870 @funindex dodecaphonic
1872 This rule reflects a practice introduced by composers at
1873 the beginning of the 20th century, in an attempt to
1874 abolish the hierarchy between natural and non-natural notes.
1875 With this style, @emph{every} note gets an accidental sign,
1876 including natural signs.
1882 cis'8 fis, d'4 <a cis>8 f bis4 |
1896 \voiceTwo \relative c' {
1900 \change Staff = down
1904 \change Staff = down
1905 <fis, a cis>4 gis <f a d>2 |
1912 \context Staff = "up" {
1913 #(set-accidental-style 'dodecaphonic)
1916 \context Staff = "down" {
1917 #(set-accidental-style 'dodecaphonic)
1927 @cindex teaching accidental style
1928 @cindex accidental style, teaching
1932 This rule is intended for students, and makes it easy to create
1933 scale sheets with automagically created cautionary accidentals.
1934 Accidentals are printed like with @code{modern}, but cautionary
1935 accidentals are added for all sharp or flat tones specified by the
1936 key signature, except if the note is immediately repeated.
1942 cis'8 fis, d'4 <a cis>8 f bis4 |
1956 \voiceTwo \relative c' {
1960 \change Staff = down
1964 \change Staff = down
1965 <fis, a cis>4 gis <f a d>2 |
1972 \context Staff = "up" {
1974 #(set-accidental-style 'teaching)
1977 \context Staff = "down" {
1979 #(set-accidental-style 'teaching)
1990 @cindex accidental style, no reset
1991 @cindex no reset accidental style
1995 This is the same as @code{default} but with accidentals lasting
1996 @q{forever} and not only within the same measure:
2002 cis'8 fis, d'4 <a cis>8 f bis4 |
2016 \voiceTwo \relative c' {
2020 \change Staff = down
2024 \change Staff = down
2025 <fis, a cis>4 gis <f a d>2 |
2032 \context Staff = "up" {
2033 #(set-accidental-style 'no-reset)
2036 \context Staff = "down" {
2037 #(set-accidental-style 'no-reset)
2046 @cindex forget accidental style
2047 @cindex accidental style, forget
2051 This is the opposite of @code{no-reset}: Accidentals are not
2052 remembered at all -- and hence all accidentals are typeset
2053 relative to the key signature, regardless of what came before in
2054 the music. Unlike @code{dodecaphonic}, this rule never prints
2061 cis'8 fis, d'4 <a cis>8 f bis4 |
2075 \voiceTwo \relative c' {
2079 \change Staff = down
2083 \change Staff = down
2084 <fis, a cis>4 gis <f a d>2 |
2091 \context Staff = "up" {
2092 #(set-accidental-style 'forget)
2095 \context Staff = "down" {
2096 #(set-accidental-style 'forget)
2106 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2107 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2114 Internals Reference:
2115 @rinternals{Accidental},
2116 @rinternals{Accidental_engraver},
2117 @rinternals{GrandStaff} and
2118 @rinternals{PianoStaff},
2120 @rinternals{AccidentalSuggestion},
2121 @rinternals{AccidentalPlacement},
2122 @rinternals{accidental-suggestion-interface}.
2125 @cindex accidentals and simultaneous notes
2126 @cindex simultaneous notes and accidentals
2127 @cindex accidentals in chords
2128 @cindex chords, accidentals in
2132 Simultaneous notes are considered to be entered in sequential
2133 mode. This means that in a chord the accidentals are typeset as
2134 if the notes in the chord happen one at a time, in the order in
2135 which they appear in the input file. This is a problem when
2136 accidentals in a chord depend on each other, which does not happen
2137 for the default accidental style. The problem can be solved by
2138 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2143 @unnumberedsubsubsec Ambitus
2146 @cindex range of pitches
2149 The term @notation{ambitus} (pl. ambitus) denotes a range of
2150 pitches for a given voice in a part of music. It may also denote
2151 the pitch range that a musical instrument is capable of playing.
2152 Ambitus are printed on vocal parts so that performers can easily
2153 determine if it matches their capabilities.
2155 Ambitus are denoted at the beginning of a piece near the initial
2156 clef. The range is graphically specified by two note heads that
2157 represent the lowest and highest pitches. Accidentals are only
2158 printed if they are not part of the key signature.
2160 @lilypond[verbatim,quote]
2164 \consists "Ambitus_engraver"
2177 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2178 {adding-ambitus-per-voice.ly}
2180 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2181 {ambitus-with-multiple-voices.ly}
2191 Internals Reference:
2192 @rinternals{Ambitus_engraver},
2195 @rinternals{Ambitus},
2196 @rinternals{AmbitusAccidental},
2197 @rinternals{AmbitusLine},
2198 @rinternals{AmbitusNoteHead},
2199 @rinternals{ambitus-interface}.
2204 There is no collision handling in the case of multiple per-voice
2209 @subsection Note heads
2211 This section suggests ways of altering note heads.
2214 * Special note heads::
2215 * Easy notation note heads::
2216 * Shape note heads::
2220 @node Special note heads
2221 @unnumberedsubsubsec Special note heads
2223 @cindex note heads, special
2224 @cindex note heads, cross
2225 @cindex note heads, diamond
2226 @cindex note heads, parlato
2227 @cindex note heads, harmonic
2228 @cindex note heads, guitar
2229 @cindex special note heads
2230 @cindex cross note heads
2231 @cindex diamond note heads
2232 @cindex parlato note heads
2233 @cindex harmonic note heads
2234 @cindex guitar note heads
2235 @cindex note head styles
2236 @cindex styles, note heads
2240 Note heads may be altered:
2242 @lilypond[verbatim,quote,relative=2]
2244 \override NoteHead #'style = #'cross
2246 \revert NoteHead #'style
2250 There is a shorthand for diamond shapes which can only be used
2253 @lilypond[verbatim,quote,relative=2]
2254 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2258 To see all note head styles, see @ref{Note head styles}.
2266 @ref{Note head styles},
2267 @ref{Chorded notes}.
2269 Internals Reference:
2270 @rinternals{note-event},
2271 @rinternals{Note_heads_engraver},
2272 @rinternals{Ledger_line_engraver},
2273 @rinternals{NoteHead},
2274 @rinternals{LedgerLineSpanner},
2275 @rinternals{note-head-interface},
2276 @rinternals{ledger-line-spanner-interface}.
2279 @node Easy notation note heads
2280 @unnumberedsubsubsec Easy notation note heads
2282 @cindex note heads, practice
2283 @cindex practice note heads
2284 @cindex note heads, easy notation
2285 @cindex easy notation
2287 @cindex beginners' music
2288 @cindex music, beginners'
2289 @cindex easy play note heads
2290 @cindex note heads, easy play
2292 @funindex \easyHeadsOn
2293 @funindex easyHeadsOn
2294 @funindex \easyHeadsOff
2295 @funindex easyHeadsOff
2297 The @q{easy play} note head includes a note name inside the head.
2298 It is used in music for beginners. To make the letters readable,
2299 it should be printed in a large font size. To print with a larger
2300 font, see @ref{Setting the staff size}.
2302 @lilypond[verbatim,quote]
2303 #(set-global-staff-size 26)
2315 @code{\easyHeadsOn},
2316 @code{\easyHeadsOff}.
2322 @ref{Setting the staff size}.
2327 Internals Reference:
2328 @rinternals{note-event},
2329 @rinternals{Note_heads_engraver},
2330 @rinternals{NoteHead},
2331 @rinternals{note-head-interface}.
2334 @node Shape note heads
2335 @unnumberedsubsubsec Shape note heads
2337 @cindex note heads, shape
2338 @cindex note heads, Aiken
2339 @cindex note heads, sacred harp
2341 @cindex Aiken shape note heads
2342 @cindex sacred harp note heads
2346 @funindex \aikenHeads
2347 @funindex aikenHeads
2348 @funindex \sacredHarpHeads
2349 @funindex sacredHarpHeads
2351 In shape note head notation, the shape of the note head
2352 corresponds to the harmonic function of a note in the scale. This
2353 notation was popular in nineteenth-century American song books.
2354 Shape note heads can be produced:
2356 @lilypond[verbatim,quote,relative=2]
2363 Shapes are typeset according to the step in the scale, where the
2364 base of the scale is determined by the @code{\key} command.
2369 @code{\sacredHarpHeads}.
2375 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2376 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2379 To see all note head styles, see @ref{Note head styles}.
2387 @ref{Note head styles}.
2389 Internals Reference:
2390 @rinternals{note-event},
2391 @rinternals{Note_heads_engraver},
2392 @rinternals{NoteHead},
2393 @rinternals{note-head-interface}.
2397 @unnumberedsubsubsec Improvisation
2399 @cindex improvisation
2400 @cindex slashed note heads
2401 @cindex note heads, improvisation
2402 @cindex note heads, slashed
2404 @funindex \improvisationOn
2405 @funindex improvisationOn
2406 @funindex \improvisationOff
2407 @funindex improvisationOff
2409 Improvisation is sometimes denoted with slashed note heads, where
2410 the performer may choose any pitch but should play the specified
2411 rhythm. Such note heads can be created:
2413 @lilypond[verbatim,quote,relative=2]
2415 \consists "Pitch_squash_engraver"
2417 e8 e g a a16( bes) a8 g
2429 @code{\improvisationOn},
2430 @code{\improvisationOff}.
2438 Internals Reference:
2439 @rinternals{Pitch_squash_engraver},
2441 @rinternals{RhythmicStaff}.