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
248 A @notation{sharp} pitch is made by adding @code{is} to the note name,
249 and a @notation{flat} pitch by adding @code{es}. As you might expect,
250 a @notation{double sharp} or @notation{double flat} is made by adding
251 @code{isis} or @code{eses}. This syntax is derived from Dutch note
252 naming conventions. To use other names for accidentals, see
253 @ref{Note names in other languages}.
255 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
259 A natural will cancel the effect of an accidental or key
260 signature. However, naturals are not encoded into the note name
261 syntax with a suffix; a natural pitch is shown as a simple note
264 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
268 @cindex quarter tones
269 @cindex semi-flats, semi-sharps
271 Quarter tones may be added; the following is a series of Cs with
274 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 ceseh1 ces ceh c cih cis cisih
280 @cindex accidental, reminder
281 @cindex accidental, cautionary
282 @cindex accidental, parenthesized
283 @cindex reminder accidental
285 @cindex cautionary accidental
286 @cindex parenthesized accidental
289 Normally accidentals are printed automatically, but you may also
290 print them manually. A reminder accidental can be forced by
291 adding an exclamation mark@tie{}@code{!} after the pitch. A
292 cautionary accidental (i.e., an accidental within parentheses) can
293 be obtained by adding the question mark@tie{}@code{?} after the
294 pitch. These extra accidentals can also be used to produce
297 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
298 cis cis cis! cis? c c c! c?
301 Accidentals on tied notes are only printed at the beginning of a
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
313 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
314 {preventing-extra-naturals-from-being-automatically-added.ly}
318 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
319 @rglos{double flat}, @rglos{Pitch names}.
320 @c FIXME: add @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{ottava}.
873 @c FIXME? @rglos{15ma}, @rglos{8va}, @rglos{8ve}, @rgloss{octavation}
875 Snippets: @lsrdir{Pitches,Pitches}.
877 Internals Reference: @internalsref{OttavaBracket}.
881 @node Instrument transpositions
882 @subsubsection Instrument transpositions
884 @cindex transposition, MIDI
885 @cindex transposition, instrument
886 @cindex transposing instrument
888 @funindex \transposition
890 When typesetting scores that involve transposing instruments, some
891 parts can be typeset in a different pitch than the
892 @notation{concert pitch}. In these cases, the key of the
893 @notation{transposing instrument} should be specified; otherwise
894 the MIDI output and cues in other parts will produce incorrect
895 pitches. For more information about quotations, see @ref{Quoting
899 \transposition @var{pitch}
902 The pitch to use for @code{\transposition} should correspond to
903 the real sound heard when a@tie{}@code{c'} written on the staff is
904 played by the transposing instrument. This pitch is entered in
905 absolute mode, so an instrument that produces a real sound which
906 is one tone higher than the printed music should use
907 @code{\transposition d'}. @code{\transposition} should
908 @emph{only} be used if the pitches are @emph{not} being entered in
911 Here are a few notes for violin and B-flat clarinet where the
912 parts have been entered using the notes and key as they appear in
913 each part of the conductor's score. The two instruments are
916 @lilypond[verbatim,quote,ragged-right]
920 \set Staff.instrumentName = "Vln"
921 \set Staff.midiInstrument="violin"
922 % strictly speaking not necessary, but a good reminder
929 \new Staff = "clarinet" {
931 \set Staff.instrumentName = \markup {Cl (B\flat)}
932 \set Staff.midiInstrument="clarinet"
943 The @code{\transposition} may be changed during a piece. For
944 example, a clarinetist may switch from an A clarinet to a B-flat
947 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
948 \set Staff.instrumentName = "Cl (A)"
953 r1^\markup{Switch to B\flat clarinet}
963 Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
965 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
967 Snippets: @lsrdir{Pitches,Pitches}.
970 @node Automatic accidentals
971 @subsubsection Automatic accidentals
973 @cindex automatic accidentals
974 @cindex accidentals, automatic
976 @cindex accidental style
977 @cindex default accidental style
978 @cindex accidental style, default
979 @funindex set-accidental-style
981 There are many different conventions on how to typeset
982 accidentals. LilyPond provides a function to specify which
983 accidental style to use. This function is called as follows
987 #(set-accidental-style 'voice)
992 The accidental style applies to the current @code{Staff} by
993 default (with the exception of the styles @code{piano} and
994 @code{piano-cautionary}, which are explained below). Optionally,
995 the function can take a second argument that determines in which
996 scope the style should be changed. For example, to use the same
997 style in all staves of the current @code{StaffGroup}, use
1000 #(set-accidental-style 'voice 'StaffGroup)
1003 The following accidental styles are supported. To demonstrate
1004 each style, we use the following example:
1006 @lilypond[verbatim,quote,ragged-right]
1010 cis'8 fis, d'4 <a cis>8 f bis4 |
1024 \voiceTwo \relative c' {
1028 \change Staff = down
1032 \change Staff = down
1033 <fis, a cis>4 gis <f a d>2 |
1040 \context Staff = "up" {
1041 %%% change the next line as desired:
1042 #(set-accidental-style 'default)
1045 \context Staff = "down" {
1046 %%% change the next line as desired:
1047 #(set-accidental-style 'default)
1054 Note that the last lines of this example can be replaced by the
1055 following, as long as the same accidental style should be used in
1060 \context Staff = "up" @{
1061 %%% change the next line as desired:
1062 #(set-accidental-style 'default 'Score)
1065 \context Staff = "down" @{
1073 @c NOTE: don't use verbatim in this table.
1076 This is the default typesetting behavior. It corresponds to
1077 eighteenth-century common practice: accidentals are remembered to
1078 the end of the measure in which they occur and only on their own
1079 octave. Thus, in the example below, no natural signs are printed
1080 before the@tie{}@code{b} in the second measure or the
1083 @lilypond[quote,ragged-right]
1087 cis'8 fis, d'4 <a cis>8 f bis4 |
1101 \voiceTwo \relative c' {
1105 \change Staff = down
1109 \change Staff = down
1110 <fis, a cis>4 gis <f a d>2 |
1117 \context Staff = "up" {
1118 #(set-accidental-style 'default)
1121 \context Staff = "down" {
1122 #(set-accidental-style 'default)
1130 The normal behavior is to remember the accidentals on Staff-level.
1131 In this style, however, accidentals are typeset individually for
1132 each voice. Apart from that, the rule is similar to
1135 As a result, accidentals from one voice do not get canceled in
1136 other voices, which is often an unwanted result: in the following
1137 example, it is hard to determine whether the second@tie{}@code{a}
1138 should be played natural or sharp. The @code{voice} option should
1139 therefore be used only if the voices are to be read solely by
1140 individual musicians. If the staff is to be used by one musician
1141 (e.g., a conductor or in a piano score) then @code{modern} or
1142 @code{modern-cautionary} should be used instead.
1145 @lilypond[quote,ragged-right]
1149 cis'8 fis, d'4 <a cis>8 f bis4 |
1163 \voiceTwo \relative c' {
1167 \change Staff = down
1171 \change Staff = down
1172 <fis, a cis>4 gis <f a d>2 |
1179 \context Staff = "up" {
1180 #(set-accidental-style 'voice)
1183 \context Staff = "down" {
1184 #(set-accidental-style 'voice)
1192 @cindex accidentals, modern style
1193 @cindex modern style accidentals
1194 @funindex modern style accidentals
1196 This rule corresponds to the common practice in the twentieth
1197 century. It prints the same accidentals as @code{default}, with
1198 two exceptions that serve to avoid ambiguity: after temporary
1199 accidentals, cancellation marks are printed also in the following
1200 measure (for notes in the same octave) and, in the same measure,
1201 for notes in other octaves. Hence the naturals before
1202 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1205 @lilypond[quote,ragged-right]
1209 cis'8 fis, d'4 <a cis>8 f bis4 |
1223 \voiceTwo \relative c' {
1227 \change Staff = down
1231 \change Staff = down
1232 <fis, a cis>4 gis <f a d>2 |
1239 \context Staff = "up" {
1240 #(set-accidental-style 'modern)
1243 \context Staff = "down" {
1244 #(set-accidental-style 'modern)
1251 @item modern-cautionary
1252 @cindex accidentals, modern cautionary style
1253 @cindex modern style accidentals
1254 @cindex modern style cautionary accidentals
1255 @cindex modern accidental style
1256 @cindex modern cautionary accidental style
1257 @funindex modern-cautionary
1259 This rule is similar to @code{modern}, but the @q{extra}
1260 accidentals (the ones not typeset by @code{default}) are typeset
1261 as cautionary accidentals. They are by default printed with
1262 parentheses, but they can also be printed in reduced size by
1263 defining the @code{cautionary-style} property of
1264 @code{AccidentalSuggestion}.
1267 @lilypond[quote,ragged-right]
1271 cis'8 fis, d'4 <a cis>8 f bis4 |
1285 \voiceTwo \relative c' {
1289 \change Staff = down
1293 \change Staff = down
1294 <fis, a cis>4 gis <f a d>2 |
1301 \context Staff = "up" {
1302 #(set-accidental-style 'modern-cautionary)
1305 \context Staff = "down" {
1306 #(set-accidental-style 'modern-cautionary)
1314 @cindex accidentals, multivoice
1315 @cindex accidentals, modern
1316 @cindex modern accidentals
1317 @cindex multivoice accidentals
1318 @funindex modern-voice
1320 This rule is used for multivoice accidentals to be read both by
1321 musicians playing one voice and musicians playing all voices.
1322 Accidentals are typeset for each voice, but they @emph{are}
1323 canceled across voices in the same @code{Staff}. Hence,
1324 the@tie{}@code{a} in the last measure is canceled because the
1325 previous cancellation was in a different voice, and
1326 the@tie{}@code{d} in the lower staff is canceled because of the
1327 accidental in a different voice in the previous measure:
1330 @lilypond[quote,ragged-right]
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 'modern-voice)
1368 \context Staff = "down" {
1369 #(set-accidental-style 'modern-voice)
1376 @funindex modern-voice-cautionary
1377 @item modern-voice-cautionary
1379 This rule is the same as @code{modern-voice}, but with the extra
1380 accidentals (the ones not typeset by @code{voice}) typeset
1381 as cautionaries. Even though all accidentals typeset by
1382 @code{default} @emph{are} typeset with this rule,
1383 some of them are typeset as cautionaries.
1385 @lilypond[quote,ragged-right]
1389 cis'8 fis, d'4 <a cis>8 f bis4 |
1403 \voiceTwo \relative c' {
1407 \change Staff = down
1411 \change Staff = down
1412 <fis, a cis>4 gis <f a d>2 |
1419 \context Staff = "up" {
1420 #(set-accidental-style 'modern-voice-cautionary)
1423 \context Staff = "down" {
1424 #(set-accidental-style 'modern-voice-cautionary)
1432 @funindex piano accidentals
1434 This rule reflects twentieth-century practice for piano notation.
1435 Its behavior is very similar to @code{modern} style, but here
1436 accidentals also get canceled across the staves in the same
1437 GrandStaff or PianoStaff, hence all the cancellations of the final
1440 This accidental style applies to the current @code{GrandStaff} or
1441 @code{PianoStaff} by default.
1443 @lilypond[quote,ragged-right]
1447 cis'8 fis, d'4 <a cis>8 f bis4 |
1461 \voiceTwo \relative c' {
1465 \change Staff = down
1469 \change Staff = down
1470 <fis, a cis>4 gis <f a d>2 |
1477 \context Staff = "up" {
1478 #(set-accidental-style 'piano)
1481 \context Staff = "down" {
1488 @item piano-cautionary
1489 @funindex #(set-accidental-style 'piano-cautionary)
1491 Same as @code{#(set-accidental-style 'piano)} but with the extra
1492 accidentals typeset as cautionaries.
1494 @lilypond[quote,ragged-right]
1498 cis'8 fis, d'4 <a cis>8 f bis4 |
1512 \voiceTwo \relative c' {
1516 \change Staff = down
1520 \change Staff = down
1521 <fis, a cis>4 gis <f a d>2 |
1528 \context Staff = "up" {
1529 #(set-accidental-style 'piano-cautionary)
1532 \context Staff = "down" {
1540 @funindex no-reset accidental style
1542 This is the same as @code{default} but with accidentals lasting
1543 @q{forever} and not only within the same measure:
1545 @lilypond[quote,ragged-right]
1549 cis'8 fis, d'4 <a cis>8 f bis4 |
1563 \voiceTwo \relative c' {
1567 \change Staff = down
1571 \change Staff = down
1572 <fis, a cis>4 gis <f a d>2 |
1579 \context Staff = "up" {
1580 #(set-accidental-style 'no-reset)
1583 \context Staff = "down" {
1584 #(set-accidental-style 'no-reset)
1592 @funindex forget accidental style
1594 This is the opposite of @code{no-reset}: Accidentals are not
1595 remembered at all -- and hence all accidentals are typeset
1596 relative to the key signature, regardless of what was before in
1599 @lilypond[quote,ragged-right]
1603 cis'8 fis, d'4 <a cis>8 f bis4 |
1617 \voiceTwo \relative c' {
1621 \change Staff = down
1625 \change Staff = down
1626 <fis, a cis>4 gis <f a d>2 |
1633 \context Staff = "up" {
1634 #(set-accidental-style 'forget)
1637 \context Staff = "down" {
1638 #(set-accidental-style 'forget)
1648 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1649 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1654 Snippets: @lsrdir{Pitches,Pitches}.
1656 Internals Reference: @internalsref{Accidental_engraver},
1657 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1658 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1659 @internalsref{PianoStaff}, @internalsref{Staff}.
1664 Simultaneous notes are considered to be entered in sequential
1665 mode. This means that in a chord the accidentals are typeset as
1666 if the notes in the chord happen one at a time, in the order in
1667 which they appear in the input file. This is a problem when
1668 accidentals in a chord depend on each other, which does not happen
1669 for the default accidental style. The problem can be solved by
1670 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1675 @subsubsection Ambitus
1678 The term @notation{ambitus} or @notation{ambit} denotes a range of
1679 pitches for a given voice in a part of music. It may also denote
1680 the pitch range that a musical instrument is capable of playing.
1681 Ambits are printed on vocal parts so that performers can easily
1682 determine if it matches their capabilities.
1684 Ambits are denoted at the beginning of a piece near the initial
1685 clef. The range is graphically specified by two note heads that
1686 represent the lowest and highest pitches. Accidentals are only
1687 printed if they are not part of the key signature.
1689 @lilypond[verbatim,quote,ragged-right]
1693 \consists Ambitus_engraver
1705 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1706 {adding-ambiti-per-voice.ly}
1708 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1709 {ambiti-multiple-voices.ly}
1714 Snippets: @lsrdir{Pitches,Pitches}.
1716 Internals Reference: @internalsref{Ambitus},
1717 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1718 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1719 @internalsref{Staff}, @internalsref{Voice}.
1724 There is no collision handling in the case of multiple per-voice
1729 @subsection Note heads
1732 * Special note heads::
1733 * Easy notation note heads::
1734 * Shape note heads::
1738 @node Special note heads
1739 @subsubsection Special note heads
1741 @cindex note heads, special
1743 Different note heads are used by various instruments for various
1744 meanings -- crosses are used for @q{parlato} with vocalists,
1745 stopped notes on guitar; diamonds are used for harmonics on string
1746 instruments, etc. There is a shorthand (@code{\harmonic}) for
1747 diamond shapes; the other note head styles are produced by
1748 tweaking the property:
1750 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1752 \override NoteHead #'style = #'cross
1754 \revert NoteHead #'style
1755 e d <c f\harmonic> <d a'\harmonic>
1759 To see all note head styles, see @ref{Note head styles}.
1764 Snippets: @lsrdir{Pitches,Pitches}.
1766 Notation Reference: @ref{Note head styles}.
1768 Internals Reference: @internalsref{NoteHead},
1769 @internalsref{LedgerLineSpanner}.
1772 @node Easy notation note heads
1773 @subsubsection Easy notation note heads
1775 @cindex note heads, practice
1776 @cindex note heads, easy notation
1777 @cindex easy notation
1780 The @q{easy play} note head includes a note name inside the head.
1781 It is used in music for beginners.
1783 @lilypond[verbatim,quote,ragged-right]
1784 #(set-global-staff-size 26)
1794 The command @code{\easyHeadsOn} overrides settings for the
1795 @code{NoteHead} object. These settings can be reverted with the command
1796 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1797 in a large font size. To print with a larger font, see @ref{Setting the
1802 @funindex \easyHeadsOn
1803 @funindex \easyHeadsOff
1804 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1808 Notation Reference: @ref{Setting the staff size}.
1810 Snippets: @lsrdir{Pitches,Pitches},
1812 Internals Reference: @internalsref{NoteHead}.
1815 @node Shape note heads
1816 @subsubsection Shape note heads
1818 @cindex note heads, shape
1820 @funindex shapeNoteStyles
1821 @funindex \aikenHeads
1822 @funindex \sacredHarpHeads
1824 In shape note head notation, the shape of the note head
1825 corresponds to the harmonic function of a note in the scale. This
1826 notation was popular in nineteenth-century American song books.
1828 Shape note heads can be produced by setting @code{\aikenHeads} or
1829 @code{\sacredHarpHeads}, depending on the style desired.
1831 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1838 Shapes are typeset according to the step in the scale, where
1839 the base of the scale is determined by the @code{\key} command.
1843 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1844 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1849 Snippets: @lsrdir{Pitches,Pitches}.
1853 @subsubsection Improvisation
1855 @cindex improvisation
1856 @cindex slashed note heads
1857 @cindex note heads, improvisation
1858 @cindex note heads, slashed
1860 Improvisation is sometimes denoted with slashed note heads, where
1861 the performer may choose any pitch but should play the specified
1862 rhythm. Such note heads can be created:
1864 @lilypond[verbatim,quote,ragged-right]
1866 \consists Pitch_squash_engraver
1868 e8 e g a a16( bes) a8 g
1881 @funindex \improvisationOn
1882 @funindex \improvisationOff
1884 @code{\improvisationOn}, @code{\improvisationOff}
1888 Snippets: @lsrdir{Pitches,Pitches}.
1890 Internals Reference: @internalsref{Pitch_squash_engraver},
1891 @internalsref{Voice}.