Remove obsolete @refcommand from macros.

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

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

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


@node Pitches
@section Pitches

This section discusses how to specify the pitch of notes.

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

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


@node Writing pitches
@subsection Writing pitches

Intro text.

@menu
* Absolute octave entry::       
* Relative octave entry::       
* Accidentals::                 
* Note names in other languages::  
@end menu


@node Absolute octave entry
@unnumberedsubsubsec Absolute octave entry

@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

There are two different ways to enter these note names with regard
to octave placement: absolute and relative.  The relative mode
will in most cases be the most convenient, but the absolute mode
is more fundamental and will be presented first.

@cindex Absolute
@cindex Absolute octave specification

In absolute mode, every note is placed explicitly in a certain
octave.  The note names @code{c} to @code{b} are engraved in the
octave below middle C, as in the previous example.

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

@funindex '
@funindex ,

If a note should be in another octave than this, an octave
specification must be given.  It takes the form of a series of
single quote (@samp{'}) or 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


@node Relative octave entry
@unnumberedsubsubsec Relative octaves entry

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

The absolute mode requires a lot of octave specifications, which
not only becomes tedious but also easily leads to errors.
Therefore, it is usually more convenient to let notes be entered
relative to the previous note.  This is done with the relative
mode.  

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

In relative mode, each note is assumed to be as close to the
previous note as possible.  This means that the octave of notes
that appear in @var{musicexpr} are calculated as follows:

@itemize
@item 
The pitch of the first note is relative to @code{\relative
@var{startpitch} }.  

@item
If no octave changing marks are used, the basic interval between a
note and the one that precedes it is always taken to be a fourth
or less.

@item
This distance is determined without regarding alterations or the
actual sounding pitches; 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.

@item
The octave changing marks @code{'} and @code{,} can be added to
raise or lower the pitch by an extra octave from the basic
interval.

@item
Multiple octave changing marks can be used.  @code{''} will raise
the pitch by two octaves.

@end itemize 

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

A note sequence without a single octave mark can nevertheless span
large intervals:

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

If the preceding item is a chord, the first note of the chord is
used as the reference point for the octave placement of a
following note or chord:

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

The @var{startpitch} (after @code{\relative}) is a note name in
absolute mode.  In principle it can be any note name, but common
practice is to use @code{c} in various octave positions. 

When octaves are specified as above by adding @code{'} and
@code{,} to pitch names, it is easy to accidentally put a pitch in
the wrong octave.  The relative octave mode prevents these errors
since most of the time it is not necessary to indicate any octaves
at all.  Furthermore, in absolute mode, a single mistake may be
difficult to spot; in relative mode, a single error puts the rest
of the piece off by one octave.

@seealso

Snippets: @lsrdir{pitch}


@refbugs

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}.

@c DEPRECATED
If no @var{startpitch} is specified for @code{\relative}, then
@code{c'} is assumed.  However, this is a deprecated option and
may disappear in future versions, so its use is discouraged.




@node Accidentals
@unnumberedsubsubsec Accidentals

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

@c following paragraph changed to match Tutorial and Accidental
@c and Key Signature pages.  

A @rglos{sharp} pitch is made by adding @samp{is} to the name, and
a @rglos{flat} pitch by adding @samp{es}.  As you might expect,
a @rglos{double sharp} or @rglos{double flat} is made by adding
@samp{isis} or @samp{eses}.  This syntax derived from note naming
conventions in Nordic and Germanic languages, like German and
Dutch.  To use other names for accidentals, see @ref{Note names
in other languages}.

@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



@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


@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.


@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

The automatic production of accidentals can be tuned in many ways
concerning for how long an accidental is considered to last.  For
more information, see @ref{Automatic accidentals}.

For @emph{musica ficta}, editorial accidentals placed above the
staff commonly used in editions of early music, see @ref{Musica
ficta accidentals}.

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


@refbugs

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



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

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

@cindex note names, other languages

@example
@multitable @columnfractions .2 .6 .05 .05 .05 .05
@headitem Language
  @tab Note names
  @tab sharp @tab flat @tab double sharp @tab double flat
@item netherlands.ly
  @tab c d e f g a bes b
  @tab -is @tab -es @tab -isis @tab -eses
@item english.ly
  @tab c d e f g a bf b 
  @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
    @tab -ff/-flatflat
@item deutsch.ly
  @tab c d e f g a b h 
  @tab -is @tab -es @tab -isis @tab -eses
@item norsk.ly
  @tab c d e f g a b h 
  @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
    @tab -essess/-eses
@item svenska.ly
  @tab c d e f g a b h 
  @tab -iss @tab -ess @tab -ississ @tab -essess
@item italiano.ly
  @tab do re mi fa sol la sib si 
  @tab -d @tab -b @tab -dd @tab -bb
@item catalan.ly
  @tab do re mi fa sol la sib si 
  @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
@item espanol.ly
  @tab do re mi fa sol la sib si 
  @tab -s @tab -b @tab -ss @tab -bb
@end multitable
@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
@multitable @columnfractions .2 .6 .05 .05 .05 .05
@headitem Language
  @tab Note names
  @tab semi- @tab semi- @tab sesqui- @tab sesqui-

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

@node Changing multiple pitches
@subsection Changing multiple pitches

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

@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} and any other note is
transposed by the same interval.

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} will also transpose key signatures:

@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} 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 notes
will remain on the same scale step, the second version will print
flats on the scale step above.

@lilypond[quote,ragged-right,verbatim]
mus = { c d e f }
\new Staff {
  \transpose c cis { \relative c' \mus }
  \transpose c des { \relative c' \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

Program reference: @internalsref{Clef}.

This manual: @ref{Ancient clefs}.


@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.  See @internalsref{Key_engraver}, and for an
example TODO.
@c TODO: LSR snippet 248.  leave this here for now -gp

@warning{The relationship between accidentals and key signatures can
be confusing to new users who think of the note letters as scale
steps and not as absolute pitches.  The note names that are
entered in a music expression are the raw material; key signatures
and clefs decide how this raw material is displayed.  Thus,
unaltered notes may get natural signs depending on the key
signature.  For more information, see @ref{Accidentals} and
@rlearning{Accidentals and key signatures}.}

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


@commonprop

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

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


@seealso

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


@node Ottava brackets
@unnumberedsubsubsec Ottava brackets

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

@cindex ottava
@cindex 15ma
@cindex 8va
@cindex 8ve
@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}.  To override 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