1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex absolute octave entry
52 A pitch name is specified using lowercase letters@tie{}@code{a}
53 through@tie{}@code{g}. The note names @code{c} to @code{b} are
54 engraved in the octave below middle C.
57 @lilypond[verbatim,quote,fragment]
64 @cindex octave changing mark
68 Other octaves may be specified with a single quote@tie{}(@code{'})
69 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
70 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
73 @lilypond[verbatim,quote,fragment]
91 @node Relative octave entry
92 @unnumberedsubsubsec Relative octave entry
95 @cindex relative octave entry
96 @cindex relative octave specification
99 When octaves are specified in absolute mode it is easy to
100 accidentally put a pitch in the wrong octave. Relative octave
101 mode reduces these errors since most of the time it is not
102 necessary to indicate any octaves at all. Furthermore, in
103 absolute mode a single mistake may be difficult to spot, while in
104 relative mode a single error puts the rest of the piece off by one
108 \relative @var{startpitch} @var{musicexpr}
111 In relative mode, each note is assumed to be as close to the
112 previous note as possible. This means that the octave of each
113 pitch inside @var{musicexpr} is calculated as follows:
117 If no octave changing mark is used on a pitch, its octave is
118 calculated so that the interval with the previous note is less
119 than a fifth. This interval is determined without considering
123 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
124 added to respectively raise or lower a pitch by an extra octave,
125 relative to the pitch calculated without an octave mark.
128 Multiple octave changing marks can be used. For example,
129 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
133 The pitch of the first note is relative to
134 @code{@var{startpitch}}. @var{startpitch} is specified in
135 absolute octave mode, and it is recommended that it be a octave of
140 Here is the relative mode shown in action:
142 @lilypond[verbatim,quote]
151 Octave changing marks are used for intervals greater than a
154 @lilypond[verbatim,quote]
161 A note sequence without a single octave mark can nevertheless span
164 @lilypond[verbatim,quote]
171 If the preceding item is a chord, the first note of the chord is
172 used as the reference point for the octave placement of a
173 following note or chord. Inside chords, the next note is always
174 relative to the preceding one. Examine the next example
175 carefully, paying attention to the @code{c} notes.
177 @lilypond[verbatim,quote]
186 As explained above, the octave of pitches is calculated only with
187 the note names, regardless of any alterations. Therefore, an
188 E-double-sharp following a B will be placed higher, while an
189 F-double-flat will be placed lower. In other words, a
190 double-augmented fourth is considered a smaller interval than a
191 double-diminished fifth, regardless of the number of semitones
192 that each interval contains.
194 @lilypond[verbatim,quote]
218 @rinternals{RelativeOctaveMusic}.
221 @cindex relative octave entry and transposition
222 @cindex transposition and relative octave entry
229 The relative conversion will not affect @code{\transpose},
230 @code{\chordmode} or @code{\relative} sections in its argument.
231 To use relative mode within transposed music, an additional
232 @code{\relative} must be placed inside @code{\transpose}.
235 If no @var{startpitch} is specified for @code{\relative},
236 then@tie{}@code{c'} is assumed. However, this is a deprecated
237 option and may disappear in future versions, so its use is
243 @unnumberedsubsubsec Accidentals
246 @cindex key signature
249 @c duplicated in Key signature and Accidentals
250 @warning{New users are sometimes confused about accidentals and
251 key signatures. In LilyPond, note names are the raw input; key
252 signatures and clefs determine how this raw input is displayed.
253 An unaltered note like@tie{}@code{c} means @q{C natural},
254 regardless of the key signature or clef. For more information,
255 see @rlearning{Accidentals and key signatures}.}
257 @cindex note names, Dutch
258 @cindex note names, default
262 @cindex sharp, double
266 @cindex natural pitch
268 A @notation{sharp} pitch is made by adding @code{is} to the note
269 name, and a @notation{flat} pitch by adding @code{es}. As you
270 might expect, a @notation{double sharp} or @notation{double flat}
271 is made by adding @code{isis} or @code{eses}. This syntax is
272 derived from Dutch note naming conventions. To use other names
273 for accidentals, see @ref{Note names in other languages}.
275 @lilypond[verbatim,quote,relative=2]
279 A natural will cancel the effect of an accidental or key
280 signature. However, naturals are not encoded into the note name
281 syntax with a suffix; a natural pitch is shown as a simple note
284 @lilypond[verbatim,quote,relative=2]
288 @cindex quarter tones
289 @cindex semi-flats, semi-sharps
291 Quarter tones may be added; the following is a series of Cs with
294 @lilypond[verbatim,quote,relative=2]
295 ceseh1 ces ceh c cih cis cisih
300 @cindex accidental, reminder
301 @cindex accidental, cautionary
302 @cindex accidental, parenthesized
303 @cindex reminder accidental
305 @cindex cautionary accidental
306 @cindex parenthesized accidental
309 Normally accidentals are printed automatically, but you may also
310 print them manually. A reminder accidental can be forced by
311 adding an exclamation mark@tie{}@code{!} after the pitch. A
312 cautionary accidental (i.e., an accidental within parentheses) can
313 be obtained by adding the question mark@tie{}@code{?} after the
314 pitch. These extra accidentals can also be used to produce
317 @lilypond[verbatim,quote,relative=2]
318 cis cis cis! cis? c c c! c?
321 @cindex accidental on tied note
322 @cindex tied note, accidental
324 Accidentals on tied notes are only printed at the beginning of a
327 @lilypond[verbatim,quote,relative=2]
336 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
337 {preventing-extra-naturals-from-being-automatically-added.ly}
344 @rglos{double sharp},
347 @rglos{quarter tone}.
350 @rlearning{Accidentals and key signatures}.
353 @ref{Automatic accidentals},
354 @ref{Annotational accidentals (musica ficta)},
355 @ref{Note names in other languages}.
361 @rinternals{Accidental_engraver},
362 @rinternals{Accidental},
363 @rinternals{AccidentalCautionary},
364 @rinternals{accidental-interface}.
367 @cindex accidental, quarter-tone
368 @cindex quarter-tone accidental
372 There are no generally accepted standards for denoting
373 quarter-tone accidentals, so LilyPond's symbol does not conform to
378 @node Note names in other languages
379 @unnumberedsubsubsec Note names in other languages
381 @cindex note names, other languages
382 @cindex pitch names, other languages
383 @cindex language, note names in other
384 @cindex language, pitch names in other
386 There are predefined sets of note names for various other
387 languages. To use them, include the language-specific init file.
388 For example, to use English notes names, add
389 @w{@code{\include "english.ly"}} to the top of the input file.
390 The available language files and the note names they define are:
394 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
397 @tab sharp @tab flat @tab double sharp @tab double flat
399 @tab c d e f g a bes b
400 @tab -is @tab -es @tab -isis @tab -eses
402 @tab do re mi fa sol la sib si
403 @tab -d @tab -b @tab -dd @tab -bb
405 @tab do re mi fa sol la sib si
406 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
409 @tab -is @tab -es @tab -isis @tab -eses
411 @tab c d e f g a bf b
412 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
415 @tab do re mi fa sol la sib si
416 @tab -s @tab -b @tab -ss @tab -bb
418 @tab do re mi fa sol la sib si
419 @tab -d @tab -b @tab -dd @tab -bb
422 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
425 @tab do re mi fa sol la sib si
426 @tab -s @tab -b @tab -ss @tab -bb
429 @tab -is @tab -es @tab -isis @tab -eses
432 @tab -iss @tab -ess @tab -ississ @tab -essess
434 @tab do re mi fa sol la sib si
435 @tab -k @tab -b @tab -kk @tab -bb
439 In Dutch, @code{aes} is contracted to @code{as}, but both forms
440 are accepted in LilyPond. Similarly, both @code{es} and
441 @code{ees} are accepted. This also applies to
442 @code{aeses}@tie{}/@tie{}@code{ases} and
443 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
444 contracted names are defined in the corresponding language files.
446 @lilypond[verbatim,quote,relative=2]
447 a2 as e es a ases e eses
457 Some music uses microtones whose alterations are fractions of a
458 @q{normal} sharp or flat. The note names for quarter-tones
459 defined in the various language files are listed in the following
460 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
461 mean @q{half} and @q{one and a half}, respectively. For the other
462 languages, no special names have been defined yet.
465 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
468 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
471 @tab c d e f g a bes b
472 @tab -ih @tab -eh @tab -isih @tab -eseh
474 @tab do re mi fa sol la sib si
475 @tab -sd @tab -sb @tab -dsd @tab -bsb
478 @tab -ih @tab -eh @tab -isih @tab -eseh
480 @tab c d e f g a bf b
481 @tab -qs @tab -qf @tab -tqs @tab -tqf
483 @tab do re mi fa sol la sib si
484 @tab -sd @tab -sb @tab -dsd @tab -bsb
486 @tab do re mi fa sol la sib si
487 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
501 @node Changing multiple pitches
502 @subsection Changing multiple pitches
504 This section discusses how to modify pitches.
512 @unnumberedsubsubsec Octave checks
514 @cindex octave correction
516 @cindex control pitch
518 @funindex \octaveCheck
519 @funindex controlpitch
521 In relative mode, it is easy to forget an octave changing mark.
522 Octave checks make such errors easier to find by displaying a
523 warning and correcting the octave if a note is found in an
526 To check the octave of a note, specify the absolute octave after
527 the @code{=}@tie{}symbol. This example will generate a warning
528 (and change the pitch) because the second note is the absolute
529 octave @code{d''} instead of @code{d'} as indicated by the octave
532 @lilypond[verbatim,quote]
539 The octave of notes may also be checked with the
540 @code{\octaveCheck}@tie{}@var{controlpitch} command.
541 @var{controlpitch} is specified in absolute mode. This checks
542 that the interval between the previous note and the
543 @var{controlpitch} is within a fourth (i.e., the normal
544 calculation of relative mode). If this check fails, a warning is
545 printed, but the previous note is not changed. Future notes are
546 relative to the @var{controlpitch}.
548 @lilypond[verbatim,quote]
556 Compare the two bars below. The first and third @code{\octaveCheck}
557 checks fail, but the second one does not fail.
559 @lilypond[verbatim,quote]
580 @rinternals{RelativeOctaveCheck}.
584 @unnumberedsubsubsec Transpose
588 @cindex transposition
589 @cindex transposition of pitches
590 @cindex transposition of notes
591 @cindex pitches, transposition of
592 @cindex notes, transposition of
595 A music expression can be transposed with @code{\transpose}. The
599 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
603 This means that @var{musicexpr} is transposed by the interval
604 between the pitches @var{frompitch} and @var{topitch}: any note
605 with pitch @var{frompitch} is changed to @var{topitch} and any
606 other note is transposed by the same interval. Both pitches are
607 entered in absolute mode.
609 Consider a piece written in the key of D-major. It can be
610 transposed up to E-major; note that the key signature is
611 automatically transposed as well.
613 @lilypond[verbatim,quote]
622 @cindex transposing instruments
623 @cindex instruments, transposing
625 If a part written in C (normal @notation{concert pitch}) is to be
626 played on the A clarinet (for which an A is notated as a C and
627 thus sounds a minor third lower than notated), the appropriate
628 part will be produced with:
630 @lilypond[verbatim,quote]
640 Note that we specify @w{@code{\key c \major}} explicitly. If we
641 do not specify a key signature, the notes will be transposed but
642 no key signature will be printed.
644 @code{\transpose} distinguishes between enharmonic pitches: both
645 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
646 transpose up a semitone. The first version will print sharps and
647 the notes will remain on the same scale step, the second version
648 will print flats on the scale step above.
650 @lilypond[verbatim,quote]
651 music = \relative c' { c d e f }
653 \transpose c cis { \music }
654 \transpose c des { \music }
658 @cindex transposing instruments
659 @cindex instruments, transposing
661 @code{\transpose} may also be used in a different way, to input
662 written notes for a transposing instrument. The previous examples
663 show how to enter pitches in C (or @notation{concert pitch}) and
664 typeset them for a transposing instrument, but the opposite is
665 also possible if you for example have a set of instrumental parts
666 and want to print a conductor's score. For example, when entering
667 music for a B-flat trumpet that begins on a notated E (concert D),
671 musicInBflat = @{ e4 @dots{} @}
672 \transpose c bes, \musicInBflat
676 To print this music in F (e.g., rearranging to a French horn) you
677 could wrap the existing music with another @code{\transpose}:
680 musicInBflat = @{ e4 @dots{} @}
681 \transpose f c' @{ \transpose c bes, \musicInBflat @}
685 For more information about transposing instruments,
686 see @ref{Instrument transpositions}.
691 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
692 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
698 @ref{Instrument transpositions}.
704 @rinternals{TransposedMusic}.
712 The relative conversion will not affect @code{\transpose},
713 @code{\chordmode} or @code{\relative} sections in its argument.
714 To use relative mode within transposed music, an additional
715 @code{\relative} must be placed inside @code{\transpose}.
718 @node Displaying pitches
719 @subsection Displaying pitches
721 This section discusses how to alter the output of pitches.
727 * Instrument transpositions::
728 * Automatic accidentals::
734 @unnumberedsubsubsec Clef
747 @cindex mezzosoprano clef
748 @cindex baritone clef
749 @cindex varbaritone clef
753 @cindex clef, ancient
763 @cindex clef, soprano
764 @cindex clef, mezzosoprano
765 @cindex clef, baritone
766 @cindex clef, varbaritone
767 @cindex subbass clef, subbass
769 The clef may be altered. Middle C is shown in every example.
771 @lilypond[verbatim,quote,relative=1]
784 @lilypond[verbatim,quote,relative=1]
806 Further supported clefs are described under @ref{Mensural clefs}
807 and @ref{Gregorian clefs}.
809 @cindex transposing clefs
810 @cindex clef, transposing
811 @cindex octave transposition
812 @cindex choral tenor clef
814 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
815 clef is transposed one octave down or up, respectively,
816 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
817 The clef name must be enclosed in quotes when it contains
818 underscores or digits.
820 @lilypond[verbatim,quote,relative=2]
832 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
833 {tweaking-clef-properties.ly}
839 @ref{Mensural clefs}, @ref{Gregorian clefs}.
845 @rinternals{Clef_engraver},
847 @rinternals{OctavateEight},
848 @rinternals{clef-interface}.
852 @unnumberedsubsubsec Key signature
854 @cindex key signature
857 @c duplicated in Key signature and Accidentals
858 @warning{New users are sometimes confused about accidentals and
859 key signatures. In LilyPond, note names are the raw input; key
860 signatures and clefs determine how this raw input is displayed.
861 An unaltered note like@tie{}@code{c} means @q{C natural},
862 regardless of the key signature or clef. For more information,
863 see @rlearning{Accidentals and key signatures}.}
865 The key signature indicates the tonality in which a piece is
866 played. It is denoted by a set of alterations (flats or sharps)
867 at the start of the staff. The key signature may be altered:
870 \key @var{pitch} @var{mode}
878 @funindex \mixolydian
894 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
895 key signature of @var{pitch}-major or @var{pitch}-minor,
896 respectively. You may also use the standard mode names, also
897 called @notation{church modes}: @code{\ionian}, @code{\dorian},
898 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
899 @code{\aeolian}, and @code{\locrian}.
901 @lilypond[verbatim,quote,relative=2]
911 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
912 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
914 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
915 {non-traditional-key-signatures.ly}
925 @rlearning{Accidentals and key signatures}.
931 @rinternals{KeyChangeEvent},
932 @rinternals{Key_engraver},
933 @rinternals{Key_performer},
934 @rinternals{KeyCancellation},
935 @rinternals{KeySignature},
936 @rinternals{key-cancellation-interface},
937 @rinternals{key-signature-interface}.
940 @node Ottava brackets
941 @unnumberedsubsubsec Ottava brackets
948 @funindex set-octavation
950 @notation{Ottava brackets} introduce an extra transposition of an
951 octave for the staff:
953 @lilypond[verbatim,quote,relative=2]
961 The @code{ottava} function also takes -1 (for 8va bassa),
962 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
967 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
980 @rinternals{Ottava_spanner_engraver},
981 @rinternals{OttavaBracket},
982 @rinternals{ottava-bracket-interface}.
986 @node Instrument transpositions
987 @unnumberedsubsubsec Instrument transpositions
989 @cindex transposition, MIDI
990 @cindex transposition, instrument
991 @cindex transposing instrument
993 @cindex MIDI transposition
994 @funindex \transposition
996 When typesetting scores that involve transposing instruments, some
997 parts can be typeset in a different pitch than the
998 @notation{concert pitch}. In these cases, the key of the
999 @notation{transposing instrument} should be specified; otherwise
1000 the MIDI output and cues in other parts will produce incorrect
1001 pitches. For more information about quotations, see
1002 @ref{Quoting other voices}.
1005 \transposition @var{pitch}
1008 The pitch to use for @code{\transposition} should correspond to
1009 the real sound heard when a@tie{}@code{c'} written on the staff is
1010 played by the transposing instrument. This pitch is entered in
1011 absolute mode, so an instrument that produces a real sound which
1012 is one tone higher than the printed music should use
1013 @w{@code{\transposition d'}}. @code{\transposition} should
1014 @emph{only} be used if the pitches are @emph{not} being entered in
1017 Here are a few notes for violin and B-flat clarinet where the
1018 parts have been entered using the notes and key as they appear in
1019 each part of the conductor's score. The two instruments are
1022 @lilypond[verbatim,quote]
1024 \new Staff = "violin" {
1026 \set Staff.instrumentName = "Vln"
1027 \set Staff.midiInstrument = "violin"
1028 % not strictly necessary, but a good reminder
1035 \new Staff = "clarinet" {
1037 \set Staff.instrumentName = \markup { Cl (B\flat) }
1038 \set Staff.midiInstrument = "clarinet"
1048 The @code{\transposition} may be changed during a piece. For
1049 example, a clarinetist may switch from an A clarinet to a B-flat
1052 @lilypond[verbatim,quote,relative=2]
1053 \set Staff.instrumentName = "Cl (A)"
1058 s1*0^\markup { Switch to B\flat clarinet }
1070 @rglos{concert pitch},
1071 @rglos{transposing instrument}.
1074 @ref{Quoting other voices}, @ref{Transpose}.
1080 @node Automatic accidentals
1081 @unnumberedsubsubsec Automatic accidentals
1083 @cindex accidental style
1084 @cindex accidental style, default
1086 @cindex accidentals, automatic
1087 @cindex automatic accidentals
1088 @cindex default accidental style
1089 @funindex set-accidental-style
1092 There are many different conventions on how to typeset
1093 accidentals. LilyPond provides a function to specify which
1094 accidental style to use. This function is called as follows:
1098 #(set-accidental-style 'voice)
1103 The accidental style applies to the current @code{Staff} by
1104 default (with the exception of the styles @code{piano} and
1105 @code{piano-cautionary}, which are explained below). Optionally,
1106 the function can take a second argument that determines in which
1107 scope the style should be changed. For example, to use the same
1108 style in all staves of the current @code{StaffGroup}, use:
1111 #(set-accidental-style 'voice 'StaffGroup)
1114 The following accidental styles are supported. To demonstrate
1115 each style, we use the following example:
1119 @lilypond[verbatim,quote]
1123 cis'8 fis, d'4 <a cis>8 f bis4 |
1137 \voiceTwo \relative c' {
1141 \change Staff = down
1145 \change Staff = down
1146 <fis, a cis>4 gis <f a d>2 |
1153 \context Staff = "up" {
1154 #(set-accidental-style 'default)
1157 \context Staff = "down" {
1158 #(set-accidental-style 'default)
1165 Note that the last lines of this example can be replaced by the
1166 following, as long as the same accidental style should be used in
1172 \context Staff = "up" @{
1173 %%% change the next line as desired:
1174 #(set-accidental-style 'default 'Score)
1177 \context Staff = "down" @{
1185 @c don't use verbatim in this table.
1189 @cindex default accidental style
1190 @cindex accidental style, default
1193 This is the default typesetting behavior. It corresponds to
1194 eighteenth-century common practice: accidentals are remembered to
1195 the end of the measure in which they occur and only in their own
1196 octave. Thus, in the example below, no natural signs are printed
1197 before the@tie{}@code{b} in the second measure or the
1204 cis'8 fis, d'4 <a cis>8 f bis4 |
1218 \voiceTwo \relative c' {
1222 \change Staff = down
1226 \change Staff = down
1227 <fis, a cis>4 gis <f a d>2 |
1234 \context Staff = "up" {
1235 #(set-accidental-style 'default)
1238 \context Staff = "down" {
1239 #(set-accidental-style 'default)
1248 @cindex accidental style, voice
1249 @cindex voice accidental style
1250 @cindex accidental style, modern
1251 @cindex modern accidental style
1252 @cindex accidental style, modern-cautionary
1253 @cindex modern-cautionary accidental style
1256 The normal behavior is to remember the accidentals at
1257 @code{Staff}-level. In this style, however, accidentals are
1258 typeset individually for each voice. Apart from that, the rule is
1259 similar to @code{default}.
1261 As a result, accidentals from one voice do not get canceled in
1262 other voices, which is often an unwanted result: in the following
1263 example, it is hard to determine whether the second@tie{}@code{a}
1264 should be played natural or sharp. The @code{voice} option should
1265 therefore be used only if the voices are to be read solely by
1266 individual musicians. If the staff is to be used by one musician
1267 (e.g., a conductor or in a piano score) then @code{modern} or
1268 @code{modern-cautionary} should be used instead.
1275 cis'8 fis, d'4 <a cis>8 f bis4 |
1289 \voiceTwo \relative c' {
1293 \change Staff = down
1297 \change Staff = down
1298 <fis, a cis>4 gis <f a d>2 |
1305 \context Staff = "up" {
1306 #(set-accidental-style 'voice)
1309 \context Staff = "down" {
1310 #(set-accidental-style 'voice)
1319 @cindex accidentals, modern style
1320 @cindex modern style accidentals
1323 This rule corresponds to the common practice in the twentieth
1324 century. It prints the same accidentals as @code{default}, with
1325 two exceptions that serve to avoid ambiguity: after temporary
1326 accidentals, cancellation marks are printed also in the following
1327 measure (for notes in the same octave) and, in the same measure,
1328 for notes in other octaves. Hence the naturals before
1329 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1336 cis'8 fis, d'4 <a cis>8 f bis4 |
1350 \voiceTwo \relative c' {
1354 \change Staff = down
1358 \change Staff = down
1359 <fis, a cis>4 gis <f a d>2 |
1366 \context Staff = "up" {
1367 #(set-accidental-style 'modern)
1370 \context Staff = "down" {
1371 #(set-accidental-style 'modern)
1378 @item modern-cautionary
1380 @cindex accidentals, modern cautionary style
1381 @cindex modern accidental style
1382 @cindex modern cautionary accidental style
1383 @cindex modern style accidentals
1384 @cindex modern style cautionary accidentals
1385 @funindex modern-cautionary
1387 This rule is similar to @code{modern}, but the @q{extra}
1388 accidentals (the ones not typeset by @code{default}) are typeset
1389 as cautionary accidentals. They are by default printed with
1390 parentheses, but they can also be printed in reduced size by
1391 defining the @code{cautionary-style} property of
1392 @code{AccidentalSuggestion}.
1398 cis'8 fis, d'4 <a cis>8 f bis4 |
1412 \voiceTwo \relative c' {
1416 \change Staff = down
1420 \change Staff = down
1421 <fis, a cis>4 gis <f a d>2 |
1428 \context Staff = "up" {
1429 #(set-accidental-style 'modern-cautionary)
1432 \context Staff = "down" {
1433 #(set-accidental-style 'modern-cautionary)
1442 @cindex accidental style, modern
1443 @cindex accidentals, modern
1444 @cindex accidentals, multivoice
1445 @cindex modern accidental style
1446 @cindex modern accidentals
1447 @cindex multivoice accidentals
1448 @funindex modern-voice
1450 This rule is used for multivoice accidentals to be read both by
1451 musicians playing one voice and musicians playing all voices.
1452 Accidentals are typeset for each voice, but they @emph{are}
1453 canceled across voices in the same @code{Staff}. Hence,
1454 the@tie{}@code{a} in the last measure is canceled because the
1455 previous cancellation was in a different voice, and
1456 the@tie{}@code{d} in the lower staff is canceled because of the
1457 accidental in a different voice in the previous measure:
1463 cis'8 fis, d'4 <a cis>8 f bis4 |
1477 \voiceTwo \relative c' {
1481 \change Staff = down
1485 \change Staff = down
1486 <fis, a cis>4 gis <f a d>2 |
1493 \context Staff = "up" {
1494 #(set-accidental-style 'modern-voice)
1497 \context Staff = "down" {
1498 #(set-accidental-style 'modern-voice)
1505 @cindex accidental style, cautionary, modern voice
1506 @cindex accidental style, modern voice cautionary
1507 @cindex accidental style, voice, modern cautionary
1508 @funindex modern-voice-cautionary
1510 @item modern-voice-cautionary
1512 This rule is the same as @code{modern-voice}, but with the extra
1513 accidentals (the ones not typeset by @code{voice}) typeset as
1514 cautionaries. Even though all accidentals typeset by
1515 @code{default} @emph{are} typeset with this rule, some of them are
1516 typeset as cautionaries.
1522 cis'8 fis, d'4 <a cis>8 f bis4 |
1536 \voiceTwo \relative c' {
1540 \change Staff = down
1544 \change Staff = down
1545 <fis, a cis>4 gis <f a d>2 |
1552 \context Staff = "up" {
1553 #(set-accidental-style 'modern-voice-cautionary)
1556 \context Staff = "down" {
1557 #(set-accidental-style 'modern-voice-cautionary)
1566 @cindex accidental style, piano
1567 @cindex accidentals, piano
1568 @cindex piano accidental style
1569 @cindex piano accidentals
1572 This rule reflects twentieth-century practice for piano notation.
1573 Its behavior is very similar to @code{modern} style, but here
1574 accidentals also get canceled across the staves in the same
1575 @code{GrandStaff} or @code{PianoStaff}, hence all the
1576 cancellations of the final notes.
1578 This accidental style applies to the current @code{GrandStaff} or
1579 @code{PianoStaff} by default.
1585 cis'8 fis, d'4 <a cis>8 f bis4 |
1599 \voiceTwo \relative c' {
1603 \change Staff = down
1607 \change Staff = down
1608 <fis, a cis>4 gis <f a d>2 |
1615 \context Staff = "up" {
1616 #(set-accidental-style 'piano)
1619 \context Staff = "down" {
1626 @item piano-cautionary
1628 @funindex piano-cautionary
1629 @cindex accidentals, piano cautionary
1630 @cindex cautionary accidentals, piano
1631 @cindex piano cautionary accidentals
1632 @cindex accidental style, piano cautionary
1633 @cindex cautionary accidental style, piano
1634 @cindex piano cautionary accidental style
1636 This is the same as @code{piano} but with the extra accidentals
1637 typeset as cautionaries.
1643 cis'8 fis, d'4 <a cis>8 f bis4 |
1657 \voiceTwo \relative c' {
1661 \change Staff = down
1665 \change Staff = down
1666 <fis, a cis>4 gis <f a d>2 |
1673 \context Staff = "up" {
1674 #(set-accidental-style 'piano-cautionary)
1677 \context Staff = "down" {
1687 @funindex neo-modern
1688 @cindex neo-modern accidental style
1689 @cindex accidental style, neo-modern
1691 This rule reproduces a common practice in contemporary music:
1692 accidentals are printed like with @code{modern}, but they are printed
1693 again if the same note appears later in the same measure -- except
1694 if the note is immediately repeated.
1700 cis'8 fis, d'4 <a cis>8 f bis4 |
1714 \voiceTwo \relative c' {
1718 \change Staff = down
1722 \change Staff = down
1723 <fis, a cis>4 gis <f a d>2 |
1730 \context Staff = "up" {
1731 #(set-accidental-style 'neo-modern)
1734 \context Staff = "down" {
1735 #(set-accidental-style 'neo-modern)
1742 @item neo-modern-cautionary
1744 @funindex neo-modern-cautionary
1745 @cindex neo-modern-cautionary accidental style
1746 @cindex accidental style, neo-modern-cautionary
1748 This rule is similar to @code{neo-modern}, but the extra
1749 accidentals are printed as cautionary accidentals.
1755 cis'8 fis, d'4 <a cis>8 f bis4 |
1769 \voiceTwo \relative c' {
1773 \change Staff = down
1777 \change Staff = down
1778 <fis, a cis>4 gis <f a d>2 |
1785 \context Staff = "up" {
1786 #(set-accidental-style 'neo-modern-cautionary)
1789 \context Staff = "down" {
1790 #(set-accidental-style 'neo-modern-cautionary)
1800 @funindex dodecaphonic
1801 @cindex dodecaphonic accidental style
1802 @cindex dodecaphonic style, neo-modern
1804 This rule reflects a practice introduced by composers at
1805 the beginning of the 20th century, in an attempt to
1806 abolish the hierarchy between natural and non-natural notes.
1807 With this style, @emph{every} note gets an accidental sign,
1808 including natural signs.
1814 cis'8 fis, d'4 <a cis>8 f bis4 |
1828 \voiceTwo \relative c' {
1832 \change Staff = down
1836 \change Staff = down
1837 <fis, a cis>4 gis <f a d>2 |
1844 \context Staff = "up" {
1845 #(set-accidental-style 'dodecaphonic)
1848 \context Staff = "down" {
1849 #(set-accidental-style 'dodecaphonic)
1860 @cindex teaching accidental style
1861 @cindex accidental style, teaching
1863 This rule is intended for students, and makes it easy to create
1864 scale sheets with automagically created cautionary accidentals.
1865 Accidentals are printed like with @code{modern}, but cautionary
1866 accidentals are added for all sharp or flat tones specified by the
1867 key signature, except if the note is immediately repeated.
1873 cis'8 fis, d'4 <a cis>8 f bis4 |
1887 \voiceTwo \relative c' {
1891 \change Staff = down
1895 \change Staff = down
1896 <fis, a cis>4 gis <f a d>2 |
1903 \context Staff = "up" {
1905 #(set-accidental-style 'teaching)
1908 \context Staff = "down" {
1910 #(set-accidental-style 'teaching)
1922 @cindex accidental style, no reset
1923 @cindex no reset accidental style
1925 This is the same as @code{default} but with accidentals lasting
1926 @q{forever} and not only within the same measure:
1932 cis'8 fis, d'4 <a cis>8 f bis4 |
1946 \voiceTwo \relative c' {
1950 \change Staff = down
1954 \change Staff = down
1955 <fis, a cis>4 gis <f a d>2 |
1962 \context Staff = "up" {
1963 #(set-accidental-style 'no-reset)
1966 \context Staff = "down" {
1967 #(set-accidental-style 'no-reset)
1977 @cindex forget accidental style
1978 @cindex accidental style, forget
1980 This is the opposite of @code{no-reset}: Accidentals are not
1981 remembered at all -- and hence all accidentals are typeset
1982 relative to the key signature, regardless of what came before in
1983 the music. Unlike @code{dodecaphonic}, this rule never prints
1990 cis'8 fis, d'4 <a cis>8 f bis4 |
2004 \voiceTwo \relative c' {
2008 \change Staff = down
2012 \change Staff = down
2013 <fis, a cis>4 gis <f a d>2 |
2020 \context Staff = "up" {
2021 #(set-accidental-style 'forget)
2024 \context Staff = "down" {
2025 #(set-accidental-style 'forget)
2035 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2036 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2044 Internals Reference:
2045 @rinternals{Accidental},
2046 @rinternals{Accidental_engraver},
2047 @rinternals{GrandStaff} and
2048 @rinternals{PianoStaff},
2050 @rinternals{AccidentalSuggestion},
2051 @rinternals{AccidentalPlacement},
2052 @rinternals{accidental-suggestion-interface}.
2055 @cindex accidentals and simultaneous notes
2056 @cindex simultaneous notes and accidentals
2057 @cindex accidentals in chords
2058 @cindex chords, accidentals in
2062 Simultaneous notes are considered to be entered in sequential
2063 mode. This means that in a chord the accidentals are typeset as
2064 if the notes in the chord happen one at a time, in the order in
2065 which they appear in the input file. This is a problem when
2066 accidentals in a chord depend on each other, which does not happen
2067 for the default accidental style. The problem can be solved by
2068 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2073 @unnumberedsubsubsec Ambitus
2076 @cindex range of pitches
2079 The term @notation{ambitus} (pl. ambitus) denotes a range of
2080 pitches for a given voice in a part of music. It may also denote
2081 the pitch range that a musical instrument is capable of playing.
2082 Ambitus are printed on vocal parts so that performers can easily
2083 determine if it matches their capabilities.
2085 Ambitus are denoted at the beginning of a piece near the initial
2086 clef. The range is graphically specified by two note heads that
2087 represent the lowest and highest pitches. Accidentals are only
2088 printed if they are not part of the key signature.
2090 @lilypond[verbatim,quote]
2094 \consists "Ambitus_engraver"
2107 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2108 {adding-ambitus-per-voice.ly}
2110 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2111 {ambitus-with-multiple-voices.ly}
2122 Internals Reference:
2123 @rinternals{Ambitus_engraver},
2126 @rinternals{Ambitus},
2127 @rinternals{AmbitusAccidental},
2128 @rinternals{AmbitusLine},
2129 @rinternals{AmbitusNoteHead},
2130 @rinternals{ambitus-interface}.
2135 There is no collision handling in the case of multiple per-voice
2140 @subsection Note heads
2142 This section suggests ways of altering note heads.
2145 * Special note heads::
2146 * Easy notation note heads::
2147 * Shape note heads::
2151 @node Special note heads
2152 @unnumberedsubsubsec Special note heads
2154 @cindex note heads, special
2155 @cindex note heads, cross
2156 @cindex note heads, diamond
2157 @cindex note heads, parlato
2158 @cindex note heads, harmonic
2159 @cindex note heads, guitar
2160 @cindex special note heads
2161 @cindex cross note heads
2162 @cindex diamond note heads
2163 @cindex parlato note heads
2164 @cindex harmonic note heads
2165 @cindex guitar note heads
2166 @cindex note head styles
2167 @cindex styles, note heads
2170 Note heads may be altered:
2172 @lilypond[verbatim,quote,relative=2]
2174 \override NoteHead #'style = #'cross
2176 \revert NoteHead #'style
2180 There is a shorthand for diamond shapes which can only be used
2183 @lilypond[verbatim,quote,relative=2]
2184 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2188 To see all note head styles, see @ref{Note head styles}.
2196 @ref{Note head styles},
2197 @ref{Chorded notes}.
2199 Internals Reference:
2200 @rinternals{note-event},
2201 @rinternals{Note_heads_engraver},
2202 @rinternals{Ledger_line_engraver},
2203 @rinternals{NoteHead},
2204 @rinternals{LedgerLineSpanner},
2205 @rinternals{note-head-interface},
2206 @rinternals{ledger-line-spanner-interface}.
2209 @node Easy notation note heads
2210 @unnumberedsubsubsec Easy notation note heads
2212 @cindex note heads, practice
2213 @cindex practice note heads
2214 @cindex note heads, easy notation
2215 @cindex easy notation
2217 @cindex beginners' music
2218 @cindex music, beginners'
2219 @cindex easy play note heads
2220 @cindex note heads, easy play
2222 The @q{easy play} note head includes a note name inside the head.
2223 It is used in music for beginners. To make the letters readable,
2224 it should be printed in a large font size. To print with a larger
2225 font, see @ref{Setting the staff size}.
2227 @lilypond[verbatim,quote]
2228 #(set-global-staff-size 26)
2240 @funindex \easyHeadsOn
2241 @funindex \easyHeadsOff
2242 @code{\easyHeadsOn}, @code{\easyHeadsOff}
2247 @ref{Setting the staff size}.
2252 Internals Reference:
2253 @rinternals{note-event},
2254 @rinternals{Note_heads_engraver},
2255 @rinternals{NoteHead},
2256 @rinternals{note-head-interface}.
2259 @node Shape note heads
2260 @unnumberedsubsubsec Shape note heads
2262 @cindex note heads, shape
2263 @cindex note heads, Aiken
2264 @cindex note heads, sacred harp
2266 @cindex Aiken shape note heads
2267 @cindex sacred harp note heads
2269 @funindex \aikenHeads
2270 @funindex \sacredHarpHeads
2272 In shape note head notation, the shape of the note head
2273 corresponds to the harmonic function of a note in the scale. This
2274 notation was popular in nineteenth-century American song books.
2275 Shape note heads can be produced:
2277 @lilypond[verbatim,quote,relative=2]
2284 Shapes are typeset according to the step in the scale, where the
2285 base of the scale is determined by the @code{\key} command.
2289 @funindex \aikenHeads
2290 @funindex \sacredHarpHeads
2291 @code{\aikenHeads}, @code{\sacredHarpHeads}
2295 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2296 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2299 To see all note head styles, see @ref{Note head styles}.
2307 @ref{Note head styles}.
2309 Internals Reference:
2310 @rinternals{note-event},
2311 @rinternals{Note_heads_engraver},
2312 @rinternals{NoteHead},
2313 @rinternals{note-head-interface}.
2317 @unnumberedsubsubsec Improvisation
2319 @cindex improvisation
2320 @cindex slashed note heads
2321 @cindex note heads, improvisation
2322 @cindex note heads, slashed
2324 Improvisation is sometimes denoted with slashed note heads, where
2325 the performer may choose any pitch but should play the specified
2326 rhythm. Such note heads can be created:
2328 @lilypond[verbatim,quote,relative=2]
2330 \consists "Pitch_squash_engraver"
2332 e8 e g a a16( bes) a8 g
2345 @funindex \improvisationOn
2346 @funindex \improvisationOff
2348 @code{\improvisationOn}, @code{\improvisationOff}
2355 Internals Reference:
2356 @rinternals{Pitch_squash_engraver},
2358 @rinternals{RhythmicStaff}.