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}
798 @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}.
874 Snippets: @lsrdir{Pitches,Pitches}.
876 Internals Reference: @internalsref{OttavaBracket}.
880 @node Instrument transpositions
881 @subsubsection Instrument transpositions
883 @cindex transposition, MIDI
884 @cindex transposition, instrument
886 When typesetting scores that involve transposing instruments, some
887 parts can be typeset in a different pitch than the
888 @notation{concert pitch}. In these cases, the key of the
889 @notation{transposing instrument} should be specified; otherwise
890 the MIDI output and cues in other parts will produce incorrect
891 pitches. For more information about quotations, see @ref{Quoting
895 \transposition @var{pitch}
898 The pitch to use for @code{\transposition} should correspond to
899 the real sound heard when a@tie{}@code{c'} written on the staff is
900 played by the transposing instrument. This pitch is entered in
901 absolute mode, so an instrument that produces a real sound which
902 is one tone higher than the printed music should use
903 @code{\transposition d'}. @code{\transposition} should
904 @emph{only} be used if the pitches are @emph{not} being entered in
907 Here are a few notes for violin and B-flat clarinet where the
908 parts have been entered using the notes and key as they appear in
909 each part of the conductor's score. The two instruments are
912 @lilypond[verbatim,quote,ragged-right]
916 \set Staff.instrumentName = "Vln"
917 \set Staff.midiInstrument="violin"
918 % strictly speaking not necessary, but a good reminder
925 \new Staff = "clarinet" {
927 \set Staff.instrumentName = \markup {Cl (B\flat)}
928 \set Staff.midiInstrument="clarinet"
939 The @code{\transposition} may be changed during a piece. For
940 example, a clarinetist may switch from an A clarinet to a B-flat
943 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
944 \set Staff.instrumentName = "Cl (A)"
949 r1^\markup{Switch to B\flat clarinet}
959 Music Glossary: @rglos{concert pitch},
960 @rglos{transposing instrument}.
962 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
964 Snippets: @lsrdir{Pitches,Pitches}.
967 @node Automatic accidentals
968 @subsubsection Automatic accidentals
969 @cindex automatic accidentals
971 @funindex set-accidental-style
973 There are many different conventions on how to typeset
974 accidentals. LilyPond provides a function to specify which
975 accidental style to use. This function is called as follows
979 #(set-accidental-style 'voice)
984 The accidental style applies to the current @code{Staff} by
985 default (with the exception of the styles @code{piano} and
986 @code{piano-cautionary}, which are explained below). Optionally,
987 the function can take a second argument that determines in which
988 scope the style should be changed. For example, to use the same
989 style in all staves of the current @code{StaffGroup}, use
992 #(set-accidental-style 'voice 'StaffGroup)
995 The following accidental styles are supported. To demonstrate
996 each style, we use the following example:
998 @lilypond[verbatim,quote,ragged-right]
1002 cis'8 fis, d'4 <a cis>8 f bis4 |
1016 \voiceTwo \relative c' {
1020 \change Staff = down
1024 \change Staff = down
1025 <fis, a cis>4 gis <f a d>2 |
1032 \context Staff = "up" {
1033 %%% change the next line as desired:
1034 #(set-accidental-style 'default)
1037 \context Staff = "down" {
1038 %%% change the next line as desired:
1039 #(set-accidental-style 'default)
1046 Note that the last lines of this example can be replaced by the
1047 following, as long as the same accidental style should be used in
1052 \context Staff = "up" @{
1053 %%% change the next line as desired:
1054 #(set-accidental-style 'default 'Score)
1057 \context Staff = "down" @{
1065 @c NOTE: don't use verbatim in this table.
1068 This is the default typesetting behavior. It corresponds to
1069 eighteenth-century common practice: accidentals are remembered to
1070 the end of the measure in which they occur and only on their own
1071 octave. Thus, in the example below, no natural signs are printed
1072 before the@tie{}@code{b} in the second measure or the
1075 @lilypond[quote,ragged-right]
1079 cis'8 fis, d'4 <a cis>8 f bis4 |
1093 \voiceTwo \relative c' {
1097 \change Staff = down
1101 \change Staff = down
1102 <fis, a cis>4 gis <f a d>2 |
1109 \context Staff = "up" {
1110 #(set-accidental-style 'default)
1113 \context Staff = "down" {
1114 #(set-accidental-style 'default)
1122 The normal behavior is to remember the accidentals on Staff-level.
1123 In this style, however, accidentals are typeset individually for
1124 each voice. Apart from that, the rule is similar to
1127 As a result, accidentals from one voice do not get canceled in
1128 other voices, which is often an unwanted result: in the following
1129 example, it is hard to determine whether the second@tie{}@code{a}
1130 should be played natural or sharp. The @code{voice} option should
1131 therefore be used only if the voices are to be read solely by
1132 individual musicians. If the staff is to be used by one musician
1133 (e.g., a conductor or in a piano score) then @code{modern} or
1134 @code{modern-cautionary} should be used instead.
1137 @lilypond[quote,ragged-right]
1141 cis'8 fis, d'4 <a cis>8 f bis4 |
1155 \voiceTwo \relative c' {
1159 \change Staff = down
1163 \change Staff = down
1164 <fis, a cis>4 gis <f a d>2 |
1171 \context Staff = "up" {
1172 #(set-accidental-style 'voice)
1175 \context Staff = "down" {
1176 #(set-accidental-style 'voice)
1184 @funindex modern style accidentals
1186 This rule corresponds to the common practice in the twentieth
1187 century. It prints the same accidentals as @code{default}, with
1188 two exceptions that serve to avoid ambiguity: after temporary
1189 accidentals, cancellation marks are printed also in the following
1190 measure (for notes in the same octave) and, in the same measure,
1191 for notes in other octaves. Hence the naturals before
1192 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1195 @lilypond[quote,ragged-right]
1199 cis'8 fis, d'4 <a cis>8 f bis4 |
1213 \voiceTwo \relative c' {
1217 \change Staff = down
1221 \change Staff = down
1222 <fis, a cis>4 gis <f a d>2 |
1229 \context Staff = "up" {
1230 #(set-accidental-style 'modern)
1233 \context Staff = "down" {
1234 #(set-accidental-style 'modern)
1241 @item modern-cautionary
1242 @funindex modern-cautionary
1244 This rule is similar to @code{modern}, but the @q{extra}
1245 accidentals (the ones not typeset by @code{default}) are typeset
1246 as cautionary accidentals. They are by default printed with
1247 parentheses, but they can also be printed in reduced size by
1248 defining the @code{cautionary-style} property of
1249 @code{AccidentalSuggestion}.
1252 @lilypond[quote,ragged-right]
1256 cis'8 fis, d'4 <a cis>8 f bis4 |
1270 \voiceTwo \relative c' {
1274 \change Staff = down
1278 \change Staff = down
1279 <fis, a cis>4 gis <f a d>2 |
1286 \context Staff = "up" {
1287 #(set-accidental-style 'modern-cautionary)
1290 \context Staff = "down" {
1291 #(set-accidental-style 'modern-cautionary)
1299 @funindex modern-voice
1301 This rule is used for multivoice accidentals to be read both by
1302 musicians playing one voice and musicians playing all voices.
1303 Accidentals are typeset for each voice, but they @emph{are}
1304 canceled across voices in the same @code{Staff}. Hence,
1305 the@tie{}@code{a} in the last measure is canceled because the
1306 previous cancellation was in a different voice, and
1307 the@tie{}@code{d} in the lower staff is canceled because of the
1308 accidental in a different voice in the previous measure:
1311 @lilypond[quote,ragged-right]
1315 cis'8 fis, d'4 <a cis>8 f bis4 |
1329 \voiceTwo \relative c' {
1333 \change Staff = down
1337 \change Staff = down
1338 <fis, a cis>4 gis <f a d>2 |
1345 \context Staff = "up" {
1346 #(set-accidental-style 'modern-voice)
1349 \context Staff = "down" {
1350 #(set-accidental-style 'modern-voice)
1357 @funindex modern-voice-cautionary
1358 @item modern-voice-cautionary
1360 This rule is the same as @code{modern-voice}, but with the extra
1361 accidentals (the ones not typeset by @code{voice}) typeset
1362 as cautionaries. Even though all accidentals typeset by
1363 @code{default} @emph{are} typeset with this rule,
1364 some of them are typeset as cautionaries.
1366 @lilypond[quote,ragged-right]
1370 cis'8 fis, d'4 <a cis>8 f bis4 |
1384 \voiceTwo \relative c' {
1388 \change Staff = down
1392 \change Staff = down
1393 <fis, a cis>4 gis <f a d>2 |
1400 \context Staff = "up" {
1401 #(set-accidental-style 'modern-voice-cautionary)
1404 \context Staff = "down" {
1405 #(set-accidental-style 'modern-voice-cautionary)
1413 @funindex piano accidentals
1415 This rule reflects twentieth-century practice for piano notation.
1416 Its behavior is very similar to @code{modern} style, but here
1417 accidentals also get canceled across the staves in the same
1418 GrandStaff or PianoStaff, hence all the cancellations of the final
1421 This accidental style applies to the current @code{GrandStaff} or
1422 @code{PianoStaff} by default.
1424 @lilypond[quote,ragged-right]
1428 cis'8 fis, d'4 <a cis>8 f bis4 |
1442 \voiceTwo \relative c' {
1446 \change Staff = down
1450 \change Staff = down
1451 <fis, a cis>4 gis <f a d>2 |
1458 \context Staff = "up" {
1459 #(set-accidental-style 'piano)
1462 \context Staff = "down" {
1469 @item piano-cautionary
1470 @funindex #(set-accidental-style 'piano-cautionary)
1472 Same as @code{#(set-accidental-style 'piano)} but with the extra
1473 accidentals typeset as cautionaries.
1475 @lilypond[quote,ragged-right]
1479 cis'8 fis, d'4 <a cis>8 f bis4 |
1493 \voiceTwo \relative c' {
1497 \change Staff = down
1501 \change Staff = down
1502 <fis, a cis>4 gis <f a d>2 |
1509 \context Staff = "up" {
1510 #(set-accidental-style 'piano-cautionary)
1513 \context Staff = "down" {
1521 @funindex no-reset accidental style
1523 This is the same as @code{default} but with accidentals lasting
1524 @q{forever} and not only within the same measure:
1526 @lilypond[quote,ragged-right]
1530 cis'8 fis, d'4 <a cis>8 f bis4 |
1544 \voiceTwo \relative c' {
1548 \change Staff = down
1552 \change Staff = down
1553 <fis, a cis>4 gis <f a d>2 |
1560 \context Staff = "up" {
1561 #(set-accidental-style 'no-reset)
1564 \context Staff = "down" {
1565 #(set-accidental-style 'no-reset)
1573 @funindex forget accidental style
1575 This is the opposite of @code{no-reset}: Accidentals are not
1576 remembered at all -- and hence all accidentals are typeset
1577 relative to the key signature, regardless of what was before in
1580 @lilypond[quote,ragged-right]
1584 cis'8 fis, d'4 <a cis>8 f bis4 |
1598 \voiceTwo \relative c' {
1602 \change Staff = down
1606 \change Staff = down
1607 <fis, a cis>4 gis <f a d>2 |
1614 \context Staff = "up" {
1615 #(set-accidental-style 'forget)
1618 \context Staff = "down" {
1619 #(set-accidental-style 'forget)
1629 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1630 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1635 Snippets: @lsrdir{Pitches,Pitches}.
1637 Internals Reference: @internalsref{Accidental_engraver},
1638 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1639 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1640 @internalsref{PianoStaff}, @internalsref{Staff}.
1645 Simultaneous notes are considered to be entered in sequential
1646 mode. This means that in a chord the accidentals are typeset as
1647 if the notes in the chord happen one at a time, in the order in
1648 which they appear in the input file. This is a problem when
1649 accidentals in a chord depend on each other, which does not happen
1650 for the default accidental style. The problem can be solved by
1651 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1656 @subsubsection Ambitus
1659 The term @notation{ambitus} or @notation{ambit} denotes a range of
1660 pitches for a given voice in a part of music. It may also denote
1661 the pitch range that a musical instrument is capable of playing.
1662 Ambits are printed on vocal parts so that performers can easily
1663 determine if it matches their capabilities.
1665 Ambits are denoted at the beginning of a piece near the initial
1666 clef. The range is graphically specified by two note heads that
1667 represent the lowest and highest pitches. Accidentals are only
1668 printed if they are not part of the key signature.
1670 @lilypond[verbatim,quote,ragged-right]
1674 \consists Ambitus_engraver
1686 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1687 {adding-ambiti-per-voice.ly}
1689 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1690 {ambiti-multiple-voices.ly}
1695 Snippets: @lsrdir{Pitches,Pitches}.
1697 Internals Reference: @internalsref{Ambitus},
1698 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1699 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1700 @internalsref{Staff}, @internalsref{Voice}.
1705 There is no collision handling in the case of multiple per-voice
1710 @subsection Note heads
1713 * Special note heads::
1714 * Easy notation note heads::
1715 * Shape note heads::
1719 @node Special note heads
1720 @subsubsection Special note heads
1722 @cindex note heads, special
1724 Different note heads are used by various instruments for various
1725 meanings -- crosses are used for @q{parlato} with vocalists,
1726 stopped notes on guitar; diamonds are used for harmonics on string
1727 instruments, etc. There is a shorthand (@code{\harmonic}) for
1728 diamond shapes; the other note head styles are produced by
1729 tweaking the property:
1731 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1733 \override NoteHead #'style = #'cross
1735 \revert NoteHead #'style
1736 e d <c f\harmonic> <d a'\harmonic>
1740 To see all note head styles, see @ref{Note head styles}.
1745 Snippets: @lsrdir{Pitches,Pitches}.
1747 Notation Reference: @ref{Note head styles}.
1749 Internals Reference: @internalsref{NoteHead},
1750 @internalsref{LedgerLineSpanner}.
1753 @node Easy notation note heads
1754 @subsubsection Easy notation note heads
1756 @cindex note heads, practice
1757 @cindex note heads, easy notation
1758 @cindex easy notation
1761 The @q{easy play} note head includes a note name inside the head.
1762 It is used in music for beginners.
1764 @lilypond[verbatim,quote,ragged-right]
1765 #(set-global-staff-size 26)
1775 The command @code{\easyHeadsOn} overrides settings for the
1776 @code{NoteHead} object. These settings can be reverted with the command
1777 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1778 in a large font size. To print with a larger font, see @ref{Setting the
1783 @funindex \easyHeadsOn
1784 @funindex \easyHeadsOff
1785 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1789 Notation Reference: @ref{Setting the staff size}.
1791 Snippets: @lsrdir{Pitches,Pitches},
1793 Internals Reference: @internalsref{NoteHead}.
1796 @node Shape note heads
1797 @subsubsection Shape note heads
1799 @cindex note heads, shape
1801 @funindex shapeNoteStyles
1802 @funindex \aikenHeads
1803 @funindex \sacredHarpHeads
1805 In shape note head notation, the shape of the note head
1806 corresponds to the harmonic function of a note in the scale. This
1807 notation was popular in nineteenth-century American song books.
1809 Shape note heads can be produced by setting @code{\aikenHeads} or
1810 @code{\sacredHarpHeads}, depending on the style desired.
1812 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1819 Shapes are typeset according to the step in the scale, where
1820 the base of the scale is determined by the @code{\key} command.
1824 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1825 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1830 Snippets: @lsrdir{Pitches,Pitches}.
1834 @subsubsection Improvisation
1836 @cindex improvisation
1837 @cindex slashed note heads
1838 @cindex note heads, improvisation
1839 @cindex note heads, slashed
1841 Improvisation is sometimes denoted with slashed note heads, where
1842 the performer may choose any pitch but should play the specified
1843 rhythm. Such note heads can be created:
1845 @lilypond[verbatim,quote,ragged-right]
1847 \consists Pitch_squash_engraver
1849 e8 e g a a16( bes) a8 g
1862 @funindex \improvisationOn
1863 @funindex \improvisationOff
1865 @code{\improvisationOn}, @code{\improvisationOff}
1869 Snippets: @lsrdir{Pitches,Pitches}.
1871 Internals Reference: @internalsref{Pitch_squash_engraver},
1872 @internalsref{Voice}.