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
267 A @notation{sharp} pitch is made by adding @code{is} to the note
268 name, and a @notation{flat} pitch by adding @code{es}. As you
269 might expect, a @notation{double sharp} or @notation{double flat}
270 is made by adding @code{isis} or @code{eses}. This syntax is
271 derived from Dutch note naming conventions. To use other names
272 for accidentals, see @ref{Note names in other languages}.
274 @lilypond[verbatim,quote,relative=2]
278 A natural will cancel the effect of an accidental or key
279 signature. However, naturals are not encoded into the note name
280 syntax with a suffix; a natural pitch is shown as a simple note
283 @lilypond[verbatim,quote,relative=2]
287 @cindex quarter tones
288 @cindex semi-flats, semi-sharps
290 Quarter tones may be added; the following is a series of Cs with
293 @lilypond[verbatim,quote,relative=2]
294 ceseh1 ces ceh c cih cis cisih
299 @cindex accidental, reminder
300 @cindex accidental, cautionary
301 @cindex accidental, parenthesized
302 @cindex reminder accidental
304 @cindex cautionary accidental
305 @cindex parenthesized accidental
308 Normally accidentals are printed automatically, but you may also
309 print them manually. A reminder accidental can be forced by
310 adding an exclamation mark@tie{}@code{!} after the pitch. A
311 cautionary accidental (i.e., an accidental within parentheses) can
312 be obtained by adding the question mark@tie{}@code{?} after the
313 pitch. These extra accidentals can also be used to produce
316 @lilypond[verbatim,quote,relative=2]
317 cis cis cis! cis? c c c! c?
320 @cindex accidental on tied note
321 @cindex tied note, accidental
323 Accidentals on tied notes are only printed at the beginning of a
326 @lilypond[verbatim,quote,relative=2]
335 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
336 {preventing-extra-naturals-from-being-automatically-added.ly}
343 @rglos{double sharp},
346 @rglos{quarter tone}.
349 @rlearning{Accidentals and key signatures}.
352 @ref{Automatic accidentals},
353 @ref{Annotational accidentals},
354 @ref{Note names in other languages}.
360 @rinternals{Accidental_engraver},
361 @rinternals{Accidental},
362 @rinternals{AccidentalCautionary},
363 @rinternals{accidental-interface}.
366 @cindex accidental, quarter-tone
367 @cindex quarter-tone accidental
371 There are no generally accepted standards for denoting
372 quarter-tone accidentals, so LilyPond's symbol does not conform to
377 @node Note names in other languages
378 @unnumberedsubsubsec Note names in other languages
380 There are predefined sets of note names for various other
381 languages. To use them, include the language-specific init file.
382 For example, to use English notes names, add
383 @w{@code{\include "english.ly"}} to the top of the input file.
384 The available language files and the note names they define are:
386 @cindex note names, other languages
387 @cindex pitch names, other languages
390 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
393 @tab sharp @tab flat @tab double sharp @tab double flat
395 @tab c d e f g a bes b
396 @tab -is @tab -es @tab -isis @tab -eses
398 @tab do re mi fa sol la sib si
399 @tab -d @tab -b @tab -dd @tab -bb
401 @tab do re mi fa sol la sib si
402 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
405 @tab -is @tab -es @tab -isis @tab -eses
407 @tab c d e f g a bf b
408 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
411 @tab do re mi fa sol la sib si
412 @tab -s @tab -b @tab -ss @tab -bb
414 @tab do re mi fa sol la sib si
415 @tab -d @tab -b @tab -dd @tab -bb
418 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
421 @tab do re mi fa sol la sib si
422 @tab -s @tab -b @tab -ss @tab -bb
425 @tab -is @tab -es @tab -isis @tab -eses
428 @tab -iss @tab -ess @tab -ississ @tab -essess
430 @tab do re mi fa sol la sib si
431 @tab -k @tab -b @tab -kk @tab -bb
435 In Dutch, @code{aes} is contracted to @code{as}, but both forms
436 are accepted in LilyPond. Similarly, both @code{es} and
437 @code{ees} are accepted. This also applies to
438 @code{aeses}@tie{}/@tie{}@code{ases} and
439 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
440 contracted names are defined in the corresponding language files.
442 @lilypond[verbatim,quote,relative=2]
443 a2 as e es a ases e eses
453 Some music uses microtones whose alterations are fractions of a
454 @q{normal} sharp or flat. The note names for quarter-tones
455 defined in the various language files are listed in the following
456 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
457 mean @q{half} and @q{one and a half}, respectively. For the other
458 languages, no special names have been defined yet.
461 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
464 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
467 @tab c d e f g a bes b
468 @tab -ih @tab -eh @tab -isih @tab -eseh
470 @tab do re mi fa sol la sib si
471 @tab -sd @tab -sb @tab -dsd @tab -bsb
474 @tab -ih @tab -eh @tab -isih @tab -eseh
476 @tab c d e f g a bf b
477 @tab -qs @tab -qf @tab -tqs @tab -tqf
479 @tab do re mi fa sol la sib si
480 @tab -sd @tab -sb @tab -dsd @tab -bsb
482 @tab do re mi fa sol la sib si
483 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
497 @node Changing multiple pitches
498 @subsection Changing multiple pitches
500 This section discusses how to modify pitches.
508 @unnumberedsubsubsec Octave checks
510 @cindex octave correction
513 @funindex \octaveCheck
515 In relative mode, it is easy to forget an octave changing mark.
516 Octave checks make such errors easier to find by displaying a
517 warning and correcting the octave if a note is found in an
520 To check the octave of a note, specify the absolute octave after
521 the @code{=}@tie{}symbol. This example will generate a warning
522 (and change the pitch) because the second note is the absolute
523 octave @code{d''} instead of @code{d'} as indicated by the octave
526 @lilypond[verbatim,quote]
533 The octave of notes may also be checked with the
534 @code{\octaveCheck}@tie{}@var{controlpitch} command.
535 @var{controlpitch} is specified in absolute mode. This checks
536 that the interval between the previous note and the
537 @var{controlpitch} is within a fourth (i.e., the normal
538 calculation of relative mode). If this check fails, a warning is
539 printed, but the previous note is not changed. Future notes are
540 relative to the @var{controlpitch}.
542 @lilypond[verbatim,quote]
550 Compare the two bars below. The first and third @code{\octaveCheck}
551 checks fail, but the second one does not fail.
553 @lilypond[verbatim,quote]
574 @rinternals{RelativeOctaveCheck}.
578 @unnumberedsubsubsec Transpose
582 @cindex transposition
583 @cindex transposition of pitches
584 @cindex transposition of notes
585 @cindex pitches, transposition of
586 @cindex notes, transposition of
589 A music expression can be transposed with @code{\transpose}. The
593 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
597 This means that @var{musicexpr} is transposed by the interval
598 between the pitches @var{frompitch} and @var{topitch}: any note
599 with pitch @var{frompitch} is changed to @var{topitch} and any
600 other note is transposed by the same interval. Both pitches are
601 entered in absolute mode.
603 Consider a piece written in the key of D-major. It can be
604 transposed up to E-major; note that the key signature is
605 automatically transposed as well.
607 @lilypond[verbatim,quote]
616 @cindex transposing instruments
617 @cindex instruments, transposing
619 If a part written in C (normal @notation{concert pitch}) is to be
620 played on the A clarinet (for which an A is notated as a C and
621 thus sounds a minor third lower than notated), the appropriate
622 part will be produced with:
624 @lilypond[verbatim,quote]
634 Note that we specify @w{@code{\key c \major}} explicitly. If we
635 do not specify a key signature, the notes will be transposed but
636 no key signature will be printed.
638 @code{\transpose} distinguishes between enharmonic pitches: both
639 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
640 transpose up a semitone. The first version will print sharps and
641 the notes will remain on the same scale step, the second version
642 will print flats on the scale step above.
644 @lilypond[verbatim,quote]
645 music = \relative c' { c d e f }
647 \transpose c cis { \music }
648 \transpose c des { \music }
652 @cindex transposing instruments
653 @cindex instruments, transposing
655 @code{\transpose} may also be used in a different way, to input
656 written notes for a transposing instrument. The previous examples
657 show how to enter pitches in C (or @notation{concert pitch}) and
658 typeset them for a transposing instrument, but the opposite is
659 also possible if you for example have a set of instrumental parts
660 and want to print a conductor's score. For example, when entering
661 music for a B-flat trumpet that begins on a notated E (concert D),
665 musicInBflat = @{ e4 @dots{} @}
666 \transpose c bes, \musicInBflat
670 To print this music in F (e.g., rearranging to a French horn) you
671 could wrap the existing music with another @code{\transpose}:
674 musicInBflat = @{ e4 @dots{} @}
675 \transpose f c' @{ \transpose c bes, \musicInBflat @}
679 For more information about transposing instruments,
680 see @ref{Instrument transpositions}.
685 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
686 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
692 @ref{Instrument transpositions}.
698 @rinternals{TransposedMusic}.
706 The relative conversion will not affect @code{\transpose},
707 @code{\chordmode} or @code{\relative} sections in its argument.
708 To use relative mode within transposed music, an additional
709 @code{\relative} must be placed inside @code{\transpose}.
712 @node Displaying pitches
713 @subsection Displaying pitches
715 This section discusses how to alter the output of pitches.
721 * Instrument transpositions::
722 * Automatic accidentals::
728 @unnumberedsubsubsec Clef
741 @cindex mezzosoprano clef
742 @cindex baritone clef
743 @cindex varbaritone clef
747 @cindex clef, ancient
757 @cindex clef, soprano
758 @cindex clef, mezzosoprano
759 @cindex clef, baritone
760 @cindex clef, varbaritone
761 @cindex subbass clef, subbass
763 The clef may be altered. Middle C is shown in every example.
765 @lilypond[verbatim,quote,relative=1]
778 @lilypond[verbatim,quote,relative=1]
800 Further supported clefs are described under @ref{Ancient clefs}.
802 @cindex transposing clefs
803 @cindex clef, transposing
804 @cindex octave transposition
805 @cindex choral tenor clef
807 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
808 clef is transposed one octave down or up, respectively,
809 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
810 The clef name must be enclosed in quotes when it contains
811 underscores or digits.
813 @lilypond[verbatim,quote,relative=2]
825 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
826 {tweaking-clef-properties.ly}
838 @rinternals{Clef_engraver},
840 @rinternals{OctavateEight},
841 @rinternals{clef-interface}.
845 @unnumberedsubsubsec Key signature
847 @cindex key signature
850 @c duplicated in Key signature and Accidentals
851 @warning{New users are sometimes confused about accidentals and
852 key signatures. In LilyPond, note names are the raw input; key
853 signatures and clefs determine how this raw input is displayed.
854 An unaltered note like@tie{}@code{c} means @q{C natural},
855 regardless of the key signature or clef. For more information,
856 see @rlearning{Accidentals and key signatures}.}
858 The key signature indicates the tonality in which a piece is
859 played. It is denoted by a set of alterations (flats or sharps)
860 at the start of the staff. The key signature may be altered:
863 \key @var{pitch} @var{mode}
871 @funindex \mixolydian
878 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
879 key signature of @var{pitch}-major or @var{pitch}-minor,
880 respectively. You may also use the standard mode names, also
881 called @notation{church modes}: @code{\ionian}, @code{\dorian},
882 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
883 @code{\aeolian}, and @code{\locrian}.
885 @lilypond[verbatim,quote,relative=2]
895 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
896 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
898 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
899 {non-traditional-key-signatures.ly}
909 @rlearning{Accidentals and key signatures}.
915 @rinternals{KeyChangeEvent},
916 @rinternals{Key_engraver},
917 @rinternals{Key_performer},
918 @rinternals{KeyCancellation},
919 @rinternals{KeySignature},
920 @rinternals{key-cancellation-interface},
921 @rinternals{key-signature-interface}.
924 @node Ottava brackets
925 @unnumberedsubsubsec Ottava brackets
933 @notation{Ottava brackets} introduce an extra transposition of an
934 octave for the staff:
936 @lilypond[verbatim,quote,relative=2]
944 The @code{set-octavation} function also takes -1 (for 8va bassa),
945 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
950 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
963 @rinternals{Ottava_spanner_engraver},
964 @rinternals{OttavaBracket},
965 @rinternals{ottava-bracket-interface}.
969 @node Instrument transpositions
970 @unnumberedsubsubsec Instrument transpositions
972 @cindex transposition, MIDI
973 @cindex transposition, instrument
974 @cindex transposing instrument
976 @cindex MIDI transposition
977 @funindex \transposition
979 When typesetting scores that involve transposing instruments, some
980 parts can be typeset in a different pitch than the
981 @notation{concert pitch}. In these cases, the key of the
982 @notation{transposing instrument} should be specified; otherwise
983 the MIDI output and cues in other parts will produce incorrect
984 pitches. For more information about quotations, see
985 @ref{Quoting other voices}.
988 \transposition @var{pitch}
991 The pitch to use for @code{\transposition} should correspond to
992 the real sound heard when a@tie{}@code{c'} written on the staff is
993 played by the transposing instrument. This pitch is entered in
994 absolute mode, so an instrument that produces a real sound which
995 is one tone higher than the printed music should use
996 @w{@code{\transposition d'}}. @code{\transposition} should
997 @emph{only} be used if the pitches are @emph{not} being entered in
1000 Here are a few notes for violin and B-flat clarinet where the
1001 parts have been entered using the notes and key as they appear in
1002 each part of the conductor's score. The two instruments are
1005 @lilypond[verbatim,quote]
1007 \new Staff = "violin" {
1009 \set Staff.instrumentName = "Vln"
1010 \set Staff.midiInstrument = "violin"
1011 % not strictly necessary, but a good reminder
1018 \new Staff = "clarinet" {
1020 \set Staff.instrumentName = \markup { Cl (B\flat) }
1021 \set Staff.midiInstrument = "clarinet"
1031 The @code{\transposition} may be changed during a piece. For
1032 example, a clarinetist may switch from an A clarinet to a B-flat
1035 @lilypond[verbatim,quote,relative=2]
1036 \set Staff.instrumentName = "Cl (A)"
1041 s1*0^\markup { Switch to B\flat clarinet }
1053 @rglos{concert pitch},
1054 @rglos{transposing instrument}.
1057 @ref{Quoting other voices}, @ref{Transpose}.
1063 @node Automatic accidentals
1064 @unnumberedsubsubsec Automatic accidentals
1066 @cindex accidental style
1067 @cindex accidental style, default
1069 @cindex accidentals, automatic
1070 @cindex automatic accidentals
1071 @cindex default accidental style
1072 @funindex set-accidental-style
1074 There are many different conventions on how to typeset
1075 accidentals. LilyPond provides a function to specify which
1076 accidental style to use. This function is called as follows:
1080 #(set-accidental-style 'voice)
1085 The accidental style applies to the current @code{Staff} by
1086 default (with the exception of the styles @code{piano} and
1087 @code{piano-cautionary}, which are explained below). Optionally,
1088 the function can take a second argument that determines in which
1089 scope the style should be changed. For example, to use the same
1090 style in all staves of the current @code{StaffGroup}, use:
1093 #(set-accidental-style 'voice 'StaffGroup)
1096 The following accidental styles are supported. To demonstrate
1097 each style, we use the following example:
1099 @lilypond[verbatim,quote]
1103 cis'8 fis, d'4 <a cis>8 f bis4 |
1117 \voiceTwo \relative c' {
1121 \change Staff = down
1125 \change Staff = down
1126 <fis, a cis>4 gis <f a d>2 |
1133 \context Staff = "up" {
1134 #(set-accidental-style 'default)
1137 \context Staff = "down" {
1138 #(set-accidental-style 'default)
1145 Note that the last lines of this example can be replaced by the
1146 following, as long as the same accidental style should be used in
1152 \context Staff = "up" @{
1153 %%% change the next line as desired:
1154 #(set-accidental-style 'default 'Score)
1157 \context Staff = "down" @{
1165 @c don't use verbatim in this table.
1169 @cindex default accidental style
1170 @cindex accidental style, default
1172 This is the default typesetting behavior. It corresponds to
1173 eighteenth-century common practice: accidentals are remembered to
1174 the end of the measure in which they occur and only in their own
1175 octave. Thus, in the example below, no natural signs are printed
1176 before the@tie{}@code{b} in the second measure or the
1183 cis'8 fis, d'4 <a cis>8 f bis4 |
1197 \voiceTwo \relative c' {
1201 \change Staff = down
1205 \change Staff = down
1206 <fis, a cis>4 gis <f a d>2 |
1213 \context Staff = "up" {
1214 #(set-accidental-style 'default)
1217 \context Staff = "down" {
1218 #(set-accidental-style 'default)
1227 @cindex accidental style, voice
1228 @cindex voice accidental style
1229 @cindex accidental style, modern
1230 @cindex modern accidental style
1231 @cindex accidental style, modern-cautionary
1232 @cindex modern-cautionary accidental style
1234 The normal behavior is to remember the accidentals at
1235 @code{Staff}-level. In this style, however, accidentals are
1236 typeset individually for each voice. Apart from that, the rule is
1237 similar to @code{default}.
1239 As a result, accidentals from one voice do not get canceled in
1240 other voices, which is often an unwanted result: in the following
1241 example, it is hard to determine whether the second@tie{}@code{a}
1242 should be played natural or sharp. The @code{voice} option should
1243 therefore be used only if the voices are to be read solely by
1244 individual musicians. If the staff is to be used by one musician
1245 (e.g., a conductor or in a piano score) then @code{modern} or
1246 @code{modern-cautionary} should be used instead.
1253 cis'8 fis, d'4 <a cis>8 f bis4 |
1267 \voiceTwo \relative c' {
1271 \change Staff = down
1275 \change Staff = down
1276 <fis, a cis>4 gis <f a d>2 |
1283 \context Staff = "up" {
1284 #(set-accidental-style 'voice)
1287 \context Staff = "down" {
1288 #(set-accidental-style 'voice)
1297 @cindex accidentals, modern style
1298 @cindex modern style accidentals
1300 This rule corresponds to the common practice in the twentieth
1301 century. It prints the same accidentals as @code{default}, with
1302 two exceptions that serve to avoid ambiguity: after temporary
1303 accidentals, cancellation marks are printed also in the following
1304 measure (for notes in the same octave) and, in the same measure,
1305 for notes in other octaves. Hence the naturals before
1306 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1313 cis'8 fis, d'4 <a cis>8 f bis4 |
1327 \voiceTwo \relative c' {
1331 \change Staff = down
1335 \change Staff = down
1336 <fis, a cis>4 gis <f a d>2 |
1343 \context Staff = "up" {
1344 #(set-accidental-style 'modern)
1347 \context Staff = "down" {
1348 #(set-accidental-style 'modern)
1355 @item modern-cautionary
1357 @cindex accidentals, modern cautionary style
1358 @cindex modern accidental style
1359 @cindex modern cautionary accidental style
1360 @cindex modern style accidentals
1361 @cindex modern style cautionary accidentals
1362 @funindex modern-cautionary
1364 This rule is similar to @code{modern}, but the @q{extra}
1365 accidentals (the ones not typeset by @code{default}) are typeset
1366 as cautionary accidentals. They are by default printed with
1367 parentheses, but they can also be printed in reduced size by
1368 defining the @code{cautionary-style} property of
1369 @code{AccidentalSuggestion}.
1375 cis'8 fis, d'4 <a cis>8 f bis4 |
1389 \voiceTwo \relative c' {
1393 \change Staff = down
1397 \change Staff = down
1398 <fis, a cis>4 gis <f a d>2 |
1405 \context Staff = "up" {
1406 #(set-accidental-style 'modern-cautionary)
1409 \context Staff = "down" {
1410 #(set-accidental-style 'modern-cautionary)
1419 @cindex accidental style, modern
1420 @cindex accidentals, modern
1421 @cindex accidentals, multivoice
1422 @cindex modern accidental style
1423 @cindex modern accidentals
1424 @cindex multivoice accidentals
1425 @funindex modern-voice
1427 This rule is used for multivoice accidentals to be read both by
1428 musicians playing one voice and musicians playing all voices.
1429 Accidentals are typeset for each voice, but they @emph{are}
1430 canceled across voices in the same @code{Staff}. Hence,
1431 the@tie{}@code{a} in the last measure is canceled because the
1432 previous cancellation was in a different voice, and
1433 the@tie{}@code{d} in the lower staff is canceled because of the
1434 accidental in a different voice in the previous measure:
1440 cis'8 fis, d'4 <a cis>8 f bis4 |
1454 \voiceTwo \relative c' {
1458 \change Staff = down
1462 \change Staff = down
1463 <fis, a cis>4 gis <f a d>2 |
1470 \context Staff = "up" {
1471 #(set-accidental-style 'modern-voice)
1474 \context Staff = "down" {
1475 #(set-accidental-style 'modern-voice)
1482 @cindex accidental style, cautionary, modern voice
1483 @cindex accidental style, modern voice cautionary
1484 @cindex accidental style, voice, modern cautionary
1485 @funindex modern-voice-cautionary
1487 @item modern-voice-cautionary
1489 This rule is the same as @code{modern-voice}, but with the extra
1490 accidentals (the ones not typeset by @code{voice}) typeset as
1491 cautionaries. Even though all accidentals typeset by
1492 @code{default} @emph{are} typeset with this rule, some of them are
1493 typeset as cautionaries.
1499 cis'8 fis, d'4 <a cis>8 f bis4 |
1513 \voiceTwo \relative c' {
1517 \change Staff = down
1521 \change Staff = down
1522 <fis, a cis>4 gis <f a d>2 |
1529 \context Staff = "up" {
1530 #(set-accidental-style 'modern-voice-cautionary)
1533 \context Staff = "down" {
1534 #(set-accidental-style 'modern-voice-cautionary)
1543 @cindex accidental style, piano
1544 @cindex accidentals, piano
1545 @cindex piano accidental style
1546 @cindex piano accidentals
1548 This rule reflects twentieth-century practice for piano notation.
1549 Its behavior is very similar to @code{modern} style, but here
1550 accidentals also get canceled across the staves in the same
1551 @code{GrandStaff} or @code{PianoStaff}, hence all the
1552 cancellations of the final notes.
1554 This accidental style applies to the current @code{GrandStaff} or
1555 @code{PianoStaff} by default.
1561 cis'8 fis, d'4 <a cis>8 f bis4 |
1575 \voiceTwo \relative c' {
1579 \change Staff = down
1583 \change Staff = down
1584 <fis, a cis>4 gis <f a d>2 |
1591 \context Staff = "up" {
1592 #(set-accidental-style 'piano)
1595 \context Staff = "down" {
1602 @item piano-cautionary
1604 @funindex piano-cautionary
1605 @cindex accidentals, piano cautionary
1606 @cindex cautionary accidentals, piano
1607 @cindex piano cautionary accidentals
1608 @cindex accidental style, piano cautionary
1609 @cindex cautionary accidental style, piano
1610 @cindex piano cautionary accidental style
1612 This is the same as @code{piano} but with the extra accidentals
1613 typeset as cautionaries.
1619 cis'8 fis, d'4 <a cis>8 f bis4 |
1633 \voiceTwo \relative c' {
1637 \change Staff = down
1641 \change Staff = down
1642 <fis, a cis>4 gis <f a d>2 |
1649 \context Staff = "up" {
1650 #(set-accidental-style 'piano-cautionary)
1653 \context Staff = "down" {
1662 @funindex no-reset accidental style
1663 @cindex accidental style, no reset
1664 @cindex no reset accidental style
1666 This is the same as @code{default} but with accidentals lasting
1667 @q{forever} and not only within the same measure:
1673 cis'8 fis, d'4 <a cis>8 f bis4 |
1687 \voiceTwo \relative c' {
1691 \change Staff = down
1695 \change Staff = down
1696 <fis, a cis>4 gis <f a d>2 |
1703 \context Staff = "up" {
1704 #(set-accidental-style 'no-reset)
1707 \context Staff = "down" {
1708 #(set-accidental-style 'no-reset)
1717 @funindex forget accidental style
1718 @cindex forget accidental style
1719 @cindex accidental style, forget
1721 This is the opposite of @code{no-reset}: Accidentals are not
1722 remembered at all -- and hence all accidentals are typeset
1723 relative to the key signature, regardless of what came before in
1730 cis'8 fis, d'4 <a cis>8 f bis4 |
1744 \voiceTwo \relative c' {
1748 \change Staff = down
1752 \change Staff = down
1753 <fis, a cis>4 gis <f a d>2 |
1760 \context Staff = "up" {
1761 #(set-accidental-style 'forget)
1764 \context Staff = "down" {
1765 #(set-accidental-style 'forget)
1775 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1776 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1784 Internals Reference:
1785 @rinternals{Accidental},
1786 @rinternals{Accidental_engraver},
1787 @rinternals{GrandStaff} and
1788 @rinternals{PianoStaff},
1790 @rinternals{AccidentalSuggestion},
1791 @rinternals{AccidentalPlacement},
1792 @rinternals{accidental-suggestion-interface}.
1795 @cindex accidentals and simultaneous notes
1796 @cindex simultaneous notes and accidentals
1797 @cindex accidentals in chords
1798 @cindex chords, accidentals in
1802 Simultaneous notes are considered to be entered in sequential
1803 mode. This means that in a chord the accidentals are typeset as
1804 if the notes in the chord happen one at a time, in the order in
1805 which they appear in the input file. This is a problem when
1806 accidentals in a chord depend on each other, which does not happen
1807 for the default accidental style. The problem can be solved by
1808 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1813 @unnumberedsubsubsec Ambitus
1816 @cindex range of pitches
1819 The term @notation{ambitus} (pl. ambitus) denotes a range of
1820 pitches for a given voice in a part of music. It may also denote
1821 the pitch range that a musical instrument is capable of playing.
1822 Ambitus are printed on vocal parts so that performers can easily
1823 determine if it matches their capabilities.
1825 Ambitus are denoted at the beginning of a piece near the initial
1826 clef. The range is graphically specified by two note heads that
1827 represent the lowest and highest pitches. Accidentals are only
1828 printed if they are not part of the key signature.
1830 @lilypond[verbatim,quote]
1834 \consists "Ambitus_engraver"
1847 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1848 {adding-ambitus-per-voice.ly}
1850 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1851 {ambitus-with-multiple-voices.ly}
1862 Internals Reference:
1863 @rinternals{Ambitus_engraver},
1866 @rinternals{Ambitus},
1867 @rinternals{AmbitusAccidental},
1868 @rinternals{AmbitusLine},
1869 @rinternals{AmbitusNoteHead},
1870 @rinternals{ambitus-interface}.
1875 There is no collision handling in the case of multiple per-voice
1880 @subsection Note heads
1882 This section suggests ways of altering note heads.
1885 * Special note heads::
1886 * Easy notation note heads::
1887 * Shape note heads::
1891 @node Special note heads
1892 @unnumberedsubsubsec Special note heads
1894 @cindex note heads, special
1895 @cindex note heads, cross
1896 @cindex note heads, diamond
1897 @cindex note heads, parlato
1898 @cindex note heads, harmonic
1899 @cindex note heads, guitar
1900 @cindex special note heads
1901 @cindex cross note heads
1902 @cindex diamond note heads
1903 @cindex parlato note heads
1904 @cindex harmonic note heads
1905 @cindex guitar note heads
1906 @cindex note head styles
1907 @cindex styles, note heads
1909 Note heads may be altered:
1911 @lilypond[verbatim,quote,relative=2]
1913 \override NoteHead #'style = #'cross
1915 \revert NoteHead #'style
1919 There is a shorthand for diamond shapes which can only be used
1922 @lilypond[verbatim,quote,relative=2]
1923 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
1927 To see all note head styles, see @ref{Note head styles}.
1935 @ref{Note head styles},
1936 @ref{Chorded notes}.
1938 Internals Reference:
1939 @rinternals{note-event},
1940 @rinternals{Note_heads_engraver},
1941 @rinternals{Ledger_line_engraver},
1942 @rinternals{NoteHead},
1943 @rinternals{LedgerLineSpanner},
1944 @rinternals{note-head-interface},
1945 @rinternals{ledger-line-spanner-interface}.
1948 @node Easy notation note heads
1949 @unnumberedsubsubsec Easy notation note heads
1951 @cindex note heads, practice
1952 @cindex practice note heads
1953 @cindex note heads, easy notation
1954 @cindex easy notation
1956 @cindex beginners' music
1957 @cindex music, beginners'
1958 @cindex easy play note heads
1959 @cindex note heads, easy play
1961 The @q{easy play} note head includes a note name inside the head.
1962 It is used in music for beginners. To make the letters readable,
1963 it should be printed in a large font size. To print with a larger
1964 font, see @ref{Setting the staff size}.
1966 @lilypond[verbatim,quote]
1967 #(set-global-staff-size 26)
1979 @funindex \easyHeadsOn
1980 @funindex \easyHeadsOff
1981 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1986 @ref{Setting the staff size}.
1991 Internals Reference:
1992 @rinternals{note-event},
1993 @rinternals{Note_heads_engraver},
1994 @rinternals{NoteHead},
1995 @rinternals{note-head-interface}.
1998 @node Shape note heads
1999 @unnumberedsubsubsec Shape note heads
2001 @cindex note heads, shape
2002 @cindex note heads, Aiken
2003 @cindex note heads, sacred harp
2005 @cindex Aiken shape note heads
2006 @cindex sacred harp note heads
2008 @funindex shapeNoteStyles
2009 @funindex \aikenHeads
2010 @funindex \sacredHarpHeads
2012 In shape note head notation, the shape of the note head
2013 corresponds to the harmonic function of a note in the scale. This
2014 notation was popular in nineteenth-century American song books.
2015 Shape note heads can be produced:
2017 @lilypond[verbatim,quote,relative=2]
2024 Shapes are typeset according to the step in the scale, where the
2025 base of the scale is determined by the @code{\key} command.
2029 @funindex \aikenHeads
2030 @funindex \sacredHarpHeads
2031 @code{\aikenHeads}, @code{\sacredHarpHeads}
2035 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2036 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2039 To see all note head styles, see @ref{Note head styles}.
2047 @ref{Note head styles}.
2049 Internals Reference:
2050 @rinternals{note-event},
2051 @rinternals{Note_heads_engraver},
2052 @rinternals{NoteHead},
2053 @rinternals{note-head-interface}.
2057 @unnumberedsubsubsec Improvisation
2059 @cindex improvisation
2060 @cindex slashed note heads
2061 @cindex note heads, improvisation
2062 @cindex note heads, slashed
2064 Improvisation is sometimes denoted with slashed note heads, where
2065 the performer may choose any pitch but should play the specified
2066 rhythm. Such note heads can be created:
2068 @lilypond[verbatim,quote,relative=2]
2070 \consists "Pitch_squash_engraver"
2072 e8 e g a a16( bes) a8 g
2085 @funindex \improvisationOn
2086 @funindex \improvisationOff
2088 @code{\improvisationOn}, @code{\improvisationOff}
2095 Internals Reference:
2096 @rinternals{Pitch_squash_engraver},
2098 @rinternals{RhythmicStaff}.