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, modifying, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches.
33 * Absolute octave entry::
34 * Relative octave entry::
36 * Note names in other languages::
40 @node Absolute octave entry
41 @unnumberedsubsubsec Absolute octave entry
46 A pitch name is specified using lowercase letters@tie{}@code{a}
47 through@tie{}@code{g}. An ascending C-major scale is engraved
50 @lilypond[verbatim,quote,ragged-right,fragment]
56 @cindex absolute octave specification
58 There are two different ways to enter these note names with regard
59 to octave placement: absolute and relative. The relative mode
60 will in most cases be the most convenient, but the absolute mode
61 is more fundamental and will be presented first. In absolute
62 mode, every note is placed explicitly in a specific octave. The
63 note names @code{c} to @code{b} are engraved in the octave below
64 middle C, as in the previous example.
66 @lilypond[verbatim,quote,ragged-right,fragment]
76 If a note should be in another octave than this, an octave
77 specification must be given. It takes the form of a series of
78 single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) characters.
79 Each@tie{}@code{'} raises the pitch by one octave;
80 each@tie{}@code{,} lowers the pitch by an octave.
82 @lilypond[verbatim,quote,ragged-right,fragment]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
91 Snippets: @lsrdir{Pitches}.
93 Internals Reference: @internalsref{LedgerLineSpanner},
94 @internalsref{NoteHead}.
97 @node Relative octave entry
98 @unnumberedsubsubsec Relative octave entry
101 @cindex relative octave specification
104 The absolute mode requires a lot of octave specifications, which
105 not only becomes tedious but also easily leads to errors.
106 Therefore, it is usually more convenient to let notes be entered
107 relative to the previous note. This is done with the relative
111 \relative @var{startpitch} @var{musicexpr}
114 In relative mode, each note is assumed to be as close to the
115 previous note as possible. This means that the octave of pitches
116 in @var{musicexpr} is calculated as follows:
120 The pitch of the first note is relative to @code{@var{startpitch}}.
123 If no octave changing mark is used on a pitch, its octave is calculated
124 so that the interval with the previous note is less than a fifth. This
125 interval is determined without considering accidentals.
128 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
129 respectively raise or lower a pitch by an extra octave, relatively to
130 the pitch calculated without octave mark.
133 Multiple octave changing marks can be used. @code{''}@tie{}and
134 @code{,,}@tie{} will alter the pitch by two octaves.
138 Here is the relative mode shown in action:
140 @lilypond[verbatim,quote,ragged-right,fragment]
146 Octave changing marks are used for intervals greater than a
149 @lilypond[verbatim,quote,ragged-right,fragment]
155 A note sequence without a single octave mark can nevertheless span
158 @lilypond[verbatim,quote,ragged-right,fragment]
164 If the preceding item is a chord, the first note of the chord is
165 used as the reference point for the octave placement of a
166 following note or chord. Inside of chords the next note is always
167 relative to the preceding one.
169 @lilypond[verbatim,quote,ragged-right,fragment]
177 The @var{startpitch} (after @code{\relative}) is a note name in
178 absolute mode. In principle it can be any note name, but common
179 practice is to use@tie{}@code{c} in various octave positions or the
180 first note of @var{musicexpr}.
182 When octaves are specified as above by adding@tie{}@code{'}
183 and@tie{}@code{,} to pitch names, it is easy to accidentally put a
184 pitch in the wrong octave. The relative octave mode prevents
185 these errors since most of the time it is not necessary to
186 indicate any octaves at all. Furthermore, in absolute mode, a
187 single mistake may be difficult to spot; in relative mode, a
188 single error puts the rest of the piece off by one octave.
190 As explained above, the octave of pitches is calculated only with the
191 note names, regardless of any alterations. Therefore, an F-sharp
192 following a C will be placed higher than the C, while a G-flat following
193 a C will be placed lower than the C.
195 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
200 In addition, an augmented fourth is considered a smaller interval
201 than a diminished fifth, even though these intervals both span six
202 semitones. Even @qq{worse}, a doubly-augmented fourth is
203 considered a smaller interval than a diminished fifth, even though
204 the doubly-augmented fourth spans seven semitones while the
205 diminished fifth only spans six semitones; that is why a B-sharp
206 following an F will be put above the F.
211 Music Glossary: @rglos{fifth}, @rglos{interval}.
213 Snippets: @lsrdir{Pitches}.
218 The relative conversion will not affect @code{\transpose},
219 @code{\chordmode} or @code{\relative} sections in its argument.
220 To use relative within transposed music, an additional
221 @code{\relative} must be placed inside @code{\transpose}.
224 If no @var{startpitch} is specified for @code{\relative},
225 then@tie{}@code{c'} is assumed. However, this is a deprecated
226 option and may disappear in future versions, so its use is
232 @unnumberedsubsubsec Accidentals
234 @warning{New users are sometimes confused about accidentals and
235 key signatures. In LilyPond, note names are the raw input; key
236 signatures and clefs determine how this raw input is displayed.
237 An unaltered note like@tie{}@code{c} means @q{C natural},
238 regardless of the key signature or clef. For more information,
239 see @rlearning{Accidentals and key signatures}.}
241 @cindex note names, Dutch
242 @cindex note names, default
244 A @notation{sharp} pitch is made by adding @code{is} to the name,
245 and a @notation{flat} pitch by adding @code{es}. As you might
246 expect, a @notation{double sharp} or @notation{double flat} is
247 made by adding @code{isis} or @code{eses}. This syntax is derived
248 from note naming conventions in Nordic and Germanic languages,
249 like German and Dutch. To use other names for accidentals, see
250 @ref{Note names in other languages}.
252 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
258 The above notes are the Dutch note names. In Dutch, @code{aes} is
259 contracted to @code{as}, but both forms are accepted in LilyPond.
260 Similarly, both @code{es} and @code{ees} are accepted:
262 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
266 A natural will cancel the effect of an accidental or key
267 signature. However, naturals are not encoded into the note name
268 syntax with a suffix; a natural pitch is shown as a simple note
271 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
276 @cindex accidental, reminder
277 @cindex accidental, cautionary
278 @cindex accidental, parenthesized
279 @cindex reminder accidental
281 @cindex cautionary accidental
282 @cindex parenthesized accidental
285 Normally accidentals are printed automatically, but you may also
286 print them manually. A reminder accidental can be forced by
287 adding an exclamation mark@tie{}@code{!} after the pitch. A
288 cautionary accidental (i.e., an accidental within parentheses) can
289 be obtained by adding the question mark@tie{}@code{?} after the
290 pitch. These extra accidentals can be used to produce natural
293 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
294 cis cis cis! cis? c c? c! c
298 @cindex quarter tones
299 @cindex semi-flats, semi-sharps
301 Half-flats and half-sharps are formed by adding @code{eh} and
302 @code{ih}; the following is a series of Cs with increasing
305 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
306 \set Staff.extraNatural = ##f
307 ceseh ces ceh c cih cis cisih
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},
321 Learning Manual: @rlearning{Accidentals and key signatures}.
323 Notation Reference: @ref{Automatic accidentals},
324 @ref{Musica ficta accidentals},
325 @ref{Note names in other languages}.
327 Snippets: @lsrdir{Pitches},
329 dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
330 @lsr{Pitches, makam.ly}.
336 There are no generally accepted standards for denoting
337 three-quarter flats, so LilyPond's symbol does not conform to any
342 @node Note names in other languages
343 @unnumberedsubsubsec Note names in other languages
345 There are predefined sets of note names for various other
346 languages. To use them, include the language specific init file.
347 For example, add @code{\include "english.ly"} to the top of the
348 input file. The available language files and the note names they
351 @cindex note names, other languages
354 @multitable @columnfractions .2 .6 .05 .05 .05 .05
357 @tab sharp @tab flat @tab double sharp @tab double flat
359 @tab c d e f g a bes b
360 @tab -is @tab -es @tab -isis @tab -eses
362 @tab c d e f g a bf b
363 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
367 @tab -is @tab -es @tab -isis @tab -eses
370 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
374 @tab -iss @tab -ess @tab -ississ @tab -essess
377 @tab -is @tab -es @tab -isis @tab -eses
379 @tab do re mi fa sol la sib si
380 @tab -d @tab -b @tab -dd @tab -bb
382 @tab do re mi fa sol la sib si
383 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
385 @tab do re mi fa sol la sib si
386 @tab -s @tab -b @tab -ss @tab -bb
388 @tab do re mi fa sol la sib si
389 @tab -s @tab -b @tab -ss @tab -bb
391 @tab do re mi fa sol la sib si
392 @tab -k @tab -b @tab -kk @tab -bb
397 Note that in Dutch, German, Norwegian, and Swedish, the flat
398 alterations of@tie{}@code{a} like for example @code{aes} and
399 @code{aeses} are usually contracted to @code{as} and @code{ases}
400 (or more commonly @code{asas}). Sometimes only these contracted
401 names are defined in the corresponding language files (this also
402 applies to the suffixes for quartertones below).
405 Some music uses microtones whose alterations are fractions of a
406 @q{normal} sharp or flat. The note names for quartertones defined
407 in the various language files are listed in the following table.
408 Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
409 @q{one and a half}, respectively. For the other languages no
410 special names have been defined yet.
414 @multitable @columnfractions .2 .6 .05 .05 .05 .05
417 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
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 @c @tab c d e f g a b h
431 @c @tab c d e f g a b h
433 @tab do re mi fa sol la sib si
434 @tab -sd @tab -sb @tab -dsd @tab -bsb
436 @c @tab do re mi fa sol la sib si
438 @c @tab do re mi fa sol la sib si
440 @tab do re mi fa sol la sib si
441 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
447 Snippets: @lsrdir{Pitches}.
450 @node Changing multiple pitches
451 @subsection Changing multiple pitches
453 This section discusses how to modify pitches.
461 @unnumberedsubsubsec Octave check
465 In relative mode, it is easy to forget an octave changing mark.
466 Octave checks make such errors easier to correct. A note may be
467 followed by @code{=}@var{quotes} to indicate what its absolute
468 octave should be. In the following example,
471 \relative c'' @{ c g d='' @}
475 the@tie{}@code{d} will generate a warning, because
476 a@tie{}@code{d''} is expected, as indicated by the octave check
477 @code{=''}, but a@tie{}@code{d'} is found, since both
478 @code{c}-@code{g} and @code{g}-@code{d} without octavation marks
479 are descending fourths. In the output, the octave is corrected to
480 be a@tie{}@code{d''} and the next note is calculated relative
481 to@tie{}@code{d''} instead of@tie{}@code{d'}.
483 There is also an octave check that produces no visible output.
487 @var{pitch} \octave @var{controlpitch}
491 where @var{pitch} is a regular note within a music expression in
492 relative mode and @var{controlpitch} is a pitch in absolute mode.
493 This checks that @var{pitch} lies within the octave surrounding
494 @var{controlpitch}, i.e. not more than a fourth above or below it.
495 If this is not the case, a warning is printed and the octave is
496 corrected. The @var{controlpitch} is not printed as a note.
498 In the example below, the first check passes without incident,
499 since the@tie{}@code{e} (in @code{relative} mode) is within the
500 octave range of@tie{}@code{a'}. However, the second check
501 produces a warning, since the@tie{}@code{e} is not within the
502 octave range of@tie{}@code{b'}. The warning message is printed,
503 and the octave is adjusted so that the following notes are in the
504 correct octave once again.
515 The octave of a note following an @code{\octave} check is
516 determined with respect to the note preceding it, as modified by
517 the outcome of the octave check. In the next fragment, the first
518 note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
519 and the @code{\octave} check passes successfully. The second note
520 is then calculated relative to (absolute)@tie{}@code{e'}, which
521 yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
522 check had no influence on the output of the piece.
524 The second @code{\octave} check fails: @code{a'}@tie{}is not
525 within the range of@tie{}@code{b}. A warning is issued, and the
526 last note is calculated relative to@tie{}@code{a}, not
527 to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
528 @code{\octave} check, the last note would have been
531 @lilypond[verbatim,quote,ragged-right,fragment]
543 Snippets: @lsrdir{Pitches}.
547 @unnumberedsubsubsec Transpose
550 @cindex transposition of pitches
551 @cindex transposing instruments
554 A music expression can be transposed with @code{\transpose}. The
558 \transpose @var{from} @var{to} @var{musicexpr}
562 This means that @var{musicexpr} is transposed by the interval
563 between the pitches @var{from} and @var{to}: any note with pitch
564 @var{from} is changed to @var{to} and any other note is transposed
565 by the same interval.
567 Consider a piece written in the key of D-major. If this piece is
568 a little too low for its performer, it can be transposed up to
572 \transpose d e @dots{}
575 Consider a part written for violin (a C instrument). If this part is to
576 be played on the A clarinet (for which an A is notated as a C, and thus
577 sounds a minor third lower than notated), the appropriate part will be
581 \transpose a c' @dots{}
584 @code{\transpose} will also transpose key signatures:
586 @lilypond[verbatim,quote,ragged-right]
587 mus = { \key d \major cis d fis g }
596 @code{\transpose} distinguishes between enharmonic pitches: both
597 @code{\transpose c cis} or @code{\transpose c des} will transpose
598 up half a tone. The first version will print sharps and the notes
599 will remain on the same scale step, the second version will print
600 flats on the scale step above.
602 @lilypond[verbatim,quote,ragged-right]
603 mus = \relative c' { c d e f }
605 \transpose c cis { \mus }
606 \transpose c des { \mus }
610 @code{\transpose} may also be used to input written notes for a
611 transposing instrument. The previous examples show how to enter
612 pitches in C (or @notation{concert pitch}) and typeset them for a
613 transposing instrument, but the opposite is also possible if you
614 for example have a set of instrumental parts and want to print a
615 conductor's score. For example, when entering music for a B-flat
616 trumpet which begins on a notated E (concert D), one would write:
619 musicInBflat = @{ e4 @dots{} @}
620 \transpose c bes, \musicInBflat
623 To print this music in F (e.g., rearranging to a French horn) you
624 would wrap the existing music with another @code{\transpose}:
627 musicInBflat = @{ e4 @dots{} @}
628 \transpose f c' @{ \transpose c bes, \musicInBflat @}
633 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
634 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
639 Snippets: @lsrdir{Pitches}.
641 Internals Reference: @internalsref{TransposedMusic}.
645 If you want to use both @code{\transpose} and @code{\relative},
646 you must put @code{\transpose} outside of @code{\relative}, since
647 @code{\relative} will have no effect on music that appears inside
648 a @code{\transpose}. See the previous example.
651 @node Displaying pitches
652 @subsection Displaying pitches
654 This section discusses how to alter the output of pitches.
660 * Instrument transpositions::
661 * Automatic accidentals::
666 @unnumberedsubsubsec Clef
680 @cindex mezzosoprano clef
681 @cindex baritone clef
682 @cindex varbaritone clef
685 The clef is set with the @code{\clef} @var{clefname} command:
687 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
698 The clef can also be changed inside the staff:
700 @lilypond[verbatim,quote,ragged-right,fragment]
718 These same clef symbols are used in different positions on the staff to
719 change the range of notes shown by that staff. The treble (respectively
720 alto, bass) clef is always positioned to show the line on which
721 a@tie{}@code{g'} (resp. @code{c'}, @code{f}) note is printed.
723 Supported clefs include
725 @multitable @columnfractions .4 .6
726 @headitem Clef @tab Position
727 @item @code{treble, violin, G, G2} @tab
728 G clef (g') on 2nd line
729 @item @code{alto, C} @tab
730 C clef (c') on 3rd line
731 @item @code{tenor} @tab
732 C clef (c') on 4th line
733 @item @code{bass, F} @tab
734 F clef (f) on 4th line
735 @item @code{french} @tab
736 G clef (g') on 1st line, so-called French violin clef
737 @item @code{soprano} @tab
738 C clef (c') on 1st line
739 @item @code{mezzosoprano} @tab
740 C clef (c') on 2nd line
741 @item @code{baritone} @tab
742 C clef (c') on 5th line
743 @item @code{varbaritone} @tab
744 F clef (f) on 3rd line
745 @item @code{subbass} @tab
746 F clef (f) on 5th line
747 @item @code{percussion} @tab
749 @item @code{tab} @tab
753 Further supported clefs are described under @ref{Ancient clefs}.
755 By adding @code{_8} or @code{^8} to the clef name, the clef is
756 transposed one octave down or up, respectively, and @code{_15} and
757 @code{^15} transposes by two octaves. The argument @var{clefname}
758 must be enclosed in quotes when it contains underscores or digits.
761 @cindex choral tenor clef
763 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
770 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
771 {clefs-commonly-tweaked-properties.ly}
776 Notation Reference: @ref{Ancient clefs}.
778 Snippets: @lsrdir{Pitches}.
780 Internals Reference: @internalsref{Clef}.
784 @unnumberedsubsubsec Key signature
786 @cindex key signature
789 @warning{New users are sometimes confused about accidentals and
790 key signatures. In LilyPond, note names are the raw input; key
791 signatures and clefs determine how this raw input is displayed.
792 An unaltered note like@tie{}@code{c} means @q{C natural},
793 regardless of the key signature or clef. For more information,
794 see @rlearning{Accidentals and key signatures}.}
796 The key signature indicates the tonality in which a piece is
797 played. It is denoted by a set of alterations (flats or sharps)
798 at the start of the staff.
800 Setting or changing the key signature is done with the @code{\key}
804 \key @var{pitch} @var{mode}
813 @funindex \mixolydian
819 Here, @var{mode} should be @code{\major} or @code{\minor} to get
820 @var{pitch}-major or @var{pitch}-minor, respectively. You may
821 also use the standard mode names, also called @q{church modes}:
822 @code{\ionian}, @code{\locrian}, @code{\aeolian},
823 @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
826 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
835 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
836 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
838 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
839 {non-traditional-key-signatures.ly}
844 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
846 Learning Manual: @rlearning{Accidentals and key signatures}.
848 Snippets: @lsrdir{Pitches}.
850 Internals Reference: @internalsref{KeyCancellation},
851 @internalsref{KeySignature}, @internalsref{Key_engraver}.
854 @node Ottava brackets
855 @unnumberedsubsubsec Ottava brackets
863 @notation{Ottava brackets} introduce an extra transposition of an
864 octave for the staff:
866 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
874 The @code{set-octavation} function also takes -1 (for 8va bassa),
875 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
876 Internally the function sets the properties @code{ottavation}
877 (e.g., to @code{"8va"} or @code{"8vb"}) and
878 @code{middleCPosition}. To override the text of the bracket, set
879 @code{ottavation} after invoking @code{set-octavation}, i.e.,
881 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
883 \set Staff.ottavation = #"8"
890 Music Glossary: @rglos{ottava}.
892 Snippets: @lsrdir{Pitches}.
894 Internals Reference: @internalsref{OttavaBracket}.
899 @code{set-octavation} will get confused when clef changes happen
900 during an octavation bracket.
903 @node Instrument transpositions
904 @unnumberedsubsubsec Instrument transpositions
906 @cindex transposition, MIDI
907 @cindex transposition, instrument
909 The key of a @notation{transposing instrument} can be specified.
910 This applies to many wind instruments, for example, clarinets
911 (B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
914 The transposition is entered with the command
917 \transposition @var{pitch}
921 where @var{pitch} specifies the key in which the instrument plays.
922 For example, a part for B-flat clarinet would include
928 This command sets the property @code{instrumentTransposition}.
929 The value of this property is used for MIDI output and quotations.
930 MIDI output is transposed to play at concert pitch, and cue notes
931 and quotations are automatically transposed to the key of the
932 instrument in which they are quoted. For more information about
933 quotations, see @ref{Quoting other voices}.
935 The pitch to use for @code{\transposition} should correspond to
936 the real sound heard when a@tie{}@code{c'} written on the staff is
937 played by the transposing instrument. @code{\transposition}
938 should be used when the music is entered from an orchestral part
939 written for the instrument. For example, in classical horn parts,
940 the tuning of the instrument is often changed during a piece.
941 Here are a few notes for a violin and a B-flat clarinet where the
942 parts have been entered using the notes and key as they appear in
943 each part or the conductor's score:
945 @lilypond[verbatim,quote,ragged-right]
947 \new Staff = "Violin I" {
948 \set Staff.instrumentName = "Vln"
949 \set Staff.midiInstrument="violin"
952 g'4( c''8) r c'' r c''4
954 \new Staff = "Clarinet" {
955 \set Staff.instrumentName = "Cl"
956 \set Staff.midiInstrument="clarinet"
959 a'4( d''8) r d'' r d''4
964 Without the @code{\transposition} command the MIDI output of this
965 music would play the notes a tone apart; with it the notes are
966 played correctly in unison.
968 However, when entering the notes of a score in concert pitch, when
969 all voices are entered in C, they may be prefaced by (the default)
970 @code{\transposition c'}:
984 to serve as a reminder that these parts are written in C.
989 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
991 Snippets: @lsrdir{Pitches}.
994 @node Automatic accidentals
995 @unnumberedsubsubsec Automatic accidentals
996 @cindex automatic accidentals
998 @funindex set-accidental-style
1000 There are many different conventions on how to typeset
1001 accidentals. LilyPond provides a function to specify which such
1002 accidental style to use. This function is called as follows
1006 #(set-accidental-style 'voice)
1011 The accidental style applies to the current @code{Staff} by
1012 default (with the exception of the styles @code{piano} and
1013 @code{piano-cautionary}, see below. Optionally, the function can
1014 take a second argument which determines in which scope the style
1015 should be changed. For example, to use the same style in all
1016 staves of the current @code{StaffGroup}, use
1019 #(set-accidental-style 'voice 'StaffGroup)
1022 The following accidental styles are supported. To demonstrate
1023 each style, we use the following example:
1025 @lilypond[verbatim,quote,ragged-right]
1029 cis'8 fis, d'4 <a cis>8 f bis4 |
1043 \voiceTwo \relative c' {
1047 \change Staff = down
1051 \change Staff = down
1052 <fis, a cis>4 gis <f a d>2 |
1059 \context Staff = "up" {
1060 %%% change the next line as desired:
1061 #(set-accidental-style 'default)
1064 \context Staff = "down" {
1065 %%% change the next line as desired:
1066 #(set-accidental-style 'default)
1073 Note that the last lines of this example can be replaced by the
1074 following, as long as the same accidental style should be used in
1079 \context Staff = "up" @{
1080 %%% change the next line as desired:
1081 #(set-accidental-style 'default 'Score)
1084 \context Staff = "down" @{
1092 @c don't use verbatim in this table.
1095 This is the default typesetting behavior. It corresponds to
1096 eighteenth-century common practice: accidentals are remembered to
1097 the end of the measure in which they occur and only on their own
1098 octave. Thus, in the example below, no natural signs are printed
1099 before the@tie{}@code{b} in the second measure or the
1102 @lilypond[quote,ragged-right]
1106 cis'8 fis, d'4 <a cis>8 f bis4 |
1120 \voiceTwo \relative c' {
1124 \change Staff = down
1128 \change Staff = down
1129 <fis, a cis>4 gis <f a d>2 |
1136 \context Staff = "up" {
1137 #(set-accidental-style 'default)
1140 \context Staff = "down" {
1141 #(set-accidental-style 'default)
1149 The normal behavior is to remember the accidentals on Staff-level.
1150 In this style, however, accidentals are typeset individually for
1151 each voice. Apart from that, the rule is similar to
1154 As a result, accidentals from one voice do not get canceled in
1155 other voices, which is often an unwanted result: in the following
1156 example, it is hard to determine whether the second@tie{}@code{a}
1157 should be played natural or sharp. The @code{voice} option should
1158 therefore be used only if the voices are to be read solely by
1159 individual musicians. If the staff is to be used by one musician
1160 (e.g., a conductor or in a piano score) then @code{modern} or
1161 @code{modern-cautionary} should be used instead.
1164 @lilypond[quote,ragged-right]
1168 cis'8 fis, d'4 <a cis>8 f bis4 |
1182 \voiceTwo \relative c' {
1186 \change Staff = down
1190 \change Staff = down
1191 <fis, a cis>4 gis <f a d>2 |
1198 \context Staff = "up" {
1199 #(set-accidental-style 'voice)
1202 \context Staff = "down" {
1203 #(set-accidental-style 'voice)
1211 @funindex modern style accidentals
1213 This rule corresponds to the common practice in the twentieth
1214 century. It prints the same accidentals as @code{default}, with
1215 two exceptions which serve to avoid ambiguity: after temporary
1216 accidentals, cancellation marks are printed also in the following
1217 measure (for notes in the same octave) and, in the same measure,
1218 for notes in other octaves. Hence the naturals before
1219 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1222 @lilypond[quote,ragged-right]
1226 cis'8 fis, d'4 <a cis>8 f bis4 |
1240 \voiceTwo \relative c' {
1244 \change Staff = down
1248 \change Staff = down
1249 <fis, a cis>4 gis <f a d>2 |
1256 \context Staff = "up" {
1257 #(set-accidental-style 'modern)
1260 \context Staff = "down" {
1261 #(set-accidental-style 'modern)
1268 @item modern-cautionary
1269 @funindex modern-cautionary
1271 This rule is similar to @code{modern}, but the @q{extra}
1272 accidentals (the ones not typeset by @code{default}) are typeset
1273 as cautionary accidentals. They are by default printed with
1274 parentheses, but they can also be printed in reduced size by
1275 defining the @code{cautionary-style} property of
1276 @code{AccidentalSuggestion}.
1279 @lilypond[quote,ragged-right]
1283 cis'8 fis, d'4 <a cis>8 f bis4 |
1297 \voiceTwo \relative c' {
1301 \change Staff = down
1305 \change Staff = down
1306 <fis, a cis>4 gis <f a d>2 |
1313 \context Staff = "up" {
1314 #(set-accidental-style 'modern-cautionary)
1317 \context Staff = "down" {
1318 #(set-accidental-style 'modern-cautionary)
1326 @funindex modern-voice
1328 This rule is used for multivoice accidentals to be read both by
1329 musicians playing one voice and musicians playing all voices.
1330 Accidentals are typeset for each voice, but they @emph{are}
1331 canceled across voices in the same @code{Staff}. Hence,
1332 the@tie{}@code{a} in the last measure is canceled because the
1333 previous cancellation was in a different voice, and
1334 the@tie{}@code{d} in the lower staff is canceled because of the
1335 accidental in a different voice in the previous measure:
1338 @lilypond[quote,ragged-right]
1342 cis'8 fis, d'4 <a cis>8 f bis4 |
1356 \voiceTwo \relative c' {
1360 \change Staff = down
1364 \change Staff = down
1365 <fis, a cis>4 gis <f a d>2 |
1372 \context Staff = "up" {
1373 #(set-accidental-style 'modern-voice)
1376 \context Staff = "down" {
1377 #(set-accidental-style 'modern-voice)
1384 @funindex modern-voice-cautionary
1385 @item modern-voice-cautionary
1387 This rule is the same as @code{modern-voice}, but with the extra
1388 accidentals (the ones not typeset by @code{voice}) typeset
1389 as cautionaries. Even though all accidentals typeset by
1390 @code{default} @emph{are} typeset with this rule,
1391 some of them are typeset as cautionaries.
1393 @lilypond[quote,ragged-right]
1397 cis'8 fis, d'4 <a cis>8 f bis4 |
1411 \voiceTwo \relative c' {
1415 \change Staff = down
1419 \change Staff = down
1420 <fis, a cis>4 gis <f a d>2 |
1427 \context Staff = "up" {
1428 #(set-accidental-style 'modern-voice-cautionary)
1431 \context Staff = "down" {
1432 #(set-accidental-style 'modern-voice-cautionary)
1440 @funindex piano accidentals
1442 This rule reflects twentieth-century practice for piano notation.
1443 Its behavior is very similar to @code{modern} style, but here
1444 accidentals also get canceled across the staves in the same
1445 GrandStaff or PianoStaff, hence all the cancellations of the final
1448 This accidental style applies to the current @code{GrandStaff} or
1449 @code{PianoStaff} by default.
1451 @lilypond[quote,ragged-right]
1455 cis'8 fis, d'4 <a cis>8 f bis4 |
1469 \voiceTwo \relative c' {
1473 \change Staff = down
1477 \change Staff = down
1478 <fis, a cis>4 gis <f a d>2 |
1485 \context Staff = "up" {
1486 #(set-accidental-style 'piano)
1489 \context Staff = "down" {
1496 @item piano-cautionary
1497 @funindex #(set-accidental-style 'piano-cautionary)
1499 Same as @code{#(set-accidental-style 'piano)} but with the extra
1500 accidentals typeset as cautionaries.
1502 @lilypond[quote,ragged-right]
1506 cis'8 fis, d'4 <a cis>8 f bis4 |
1520 \voiceTwo \relative c' {
1524 \change Staff = down
1528 \change Staff = down
1529 <fis, a cis>4 gis <f a d>2 |
1536 \context Staff = "up" {
1537 #(set-accidental-style 'piano-cautionary)
1540 \context Staff = "down" {
1548 @funindex no-reset accidental style
1550 This is the same as @code{default} but with accidentals lasting
1551 @q{forever} and not only within the same measure:
1553 @lilypond[quote,ragged-right]
1557 cis'8 fis, d'4 <a cis>8 f bis4 |
1571 \voiceTwo \relative c' {
1575 \change Staff = down
1579 \change Staff = down
1580 <fis, a cis>4 gis <f a d>2 |
1587 \context Staff = "up" {
1588 #(set-accidental-style 'no-reset)
1591 \context Staff = "down" {
1592 #(set-accidental-style 'no-reset)
1600 @funindex forget accidental style
1602 This is the opposite of @code{no-reset}: Accidentals are not
1603 remembered at all -- and hence all accidentals are typeset
1604 relative to the key signature, regardless of what was before in
1607 @lilypond[quote,ragged-right]
1611 cis'8 fis, d'4 <a cis>8 f bis4 |
1625 \voiceTwo \relative c' {
1629 \change Staff = down
1633 \change Staff = down
1634 <fis, a cis>4 gis <f a d>2 |
1641 \context Staff = "up" {
1642 #(set-accidental-style 'forget)
1645 \context Staff = "down" {
1646 #(set-accidental-style 'forget)
1656 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1657 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1662 Snippets: @lsrdir{Pitches}.
1664 Internals Reference: @internalsref{Accidental_engraver},
1665 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1666 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1667 @internalsref{PianoStaff}, @internalsref{Staff}.
1672 Simultaneous notes are considered to be entered in sequential
1673 mode. This means that in a chord the accidentals are typeset as
1674 if the notes in the chord happen one at a time, in the order in
1675 which they appear in the input file. This is a problem when
1676 accidentals in a chord depend on each other, which does not happen
1677 for the default accidental style. The problem can be solved by
1678 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1683 @unnumberedsubsubsec Ambitus
1686 The term @notation{ambitus} or @notation{ambit} denotes a range of
1687 pitches for a given voice in a part of music. It may also denote
1688 the pitch range that a musical instrument is capable of playing.
1689 Ambits are printed on vocal parts, so performers can easily
1690 determine if it matches their capabilities.
1692 Ambits are denoted at the beginning of a piece near the initial
1693 clef. The range is graphically specified by two note heads that
1694 represent the minimum and maximum pitch. Accidentals are only
1695 printed if they are not part of the key signature.
1697 @lilypond[verbatim,quote,ragged-right]
1701 \consists Ambitus_engraver
1713 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1714 {adding-ambiti-per-voice.ly}
1716 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1717 {ambiti-multiple-voices.ly}
1722 Snippets: @lsrdir{Pitches}.
1724 Internals Reference: @internalsref{Ambitus},
1725 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1726 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1727 @internalsref{Staff}, @internalsref{Voice}.
1732 There is no collision handling in the case of multiple per-voice
1737 @subsection Note heads
1740 * Easy notation note heads::
1741 * Shape note heads::
1743 * Special noteheads::
1746 @node Easy notation note heads
1747 @unnumberedsubsubsec Easy notation note heads
1749 @cindex note heads, practice
1750 @cindex note heads, easy notation
1751 @cindex easy notation
1754 The @q{easy play} note head includes a note name inside the head.
1755 It is used in music for beginners
1757 @lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
1763 The command @code{\setEasyHeads} overrides settings for the
1764 @code{NoteHead} object. To make the letters readable, it
1765 has to be printed in a large font size. To print with a larger
1766 font, see @ref{Setting the staff size}.
1770 @funindex \setEasyHeads
1771 @code{\setEasyHeads}
1775 Notation Reference: @ref{Setting the staff size}.
1777 Snippets: @lsrdir{Pitches},
1779 Internals Reference: @internalsref{NoteHead}.
1782 @node Shape note heads
1783 @unnumberedsubsubsec Shape note heads
1785 @cindex note heads, shape
1787 In shape note head notation, the shape of the note head
1788 corresponds to the harmonic function of a note in the scale. This
1789 notation was popular in nineteenth-century American song books.
1791 Shape note heads can be produced by setting @code{\aikenHeads} or
1792 @code{\sacredHarpHeads}, depending on the style desired.
1794 @lilypond[verbatim,fragment,relative=1]
1801 Shapes are typeset according to the step in the scale, where
1802 the base of the scale is determined by the @code{\key} command.
1805 @funindex shapeNoteStyles
1806 @funindex \aikenHeads
1807 @funindex \sacredHarpHeads
1809 Shape note heads are implemented through the
1810 @code{shapeNoteStyles} property. Its value is a vector of
1811 symbols. The k-th element indicates the style to use for the k-th
1812 step of the scale. Arbitrary combinations are possible, e.g.:
1814 @lilypond[verbatim,fragment,relative=1]
1815 \set shapeNoteStyles =
1816 ##(cross triangle fa #f mensural xcircle diamond)
1822 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1823 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1828 Snippets: @lsrdir{Pitches}.
1832 @unnumberedsubsubsec Improvisation
1834 Improvisation is sometimes denoted with slashed note heads. Such
1835 note heads can be created by adding a @code{Pitch_squash_engraver}
1836 to the @code{Voice} context. Then, the following command
1839 \set squashedPosition = #0
1840 \override NoteHead #'style = #'slash
1844 switches on the slashes.
1846 There are shortcuts @code{\improvisationOn} (and an accompanying
1847 @code{\improvisationOff}) for this command sequence. They are
1848 used in the following example:
1850 @lilypond[verbatim,quote,ragged-right]
1852 \consists Pitch_squash_engraver
1854 e8 e g a a16(bes)(a8) g
1866 Snippets: @lsrdir{Pitches}.
1868 Internals Reference: @internalsref{Pitch_squash_engraver},
1869 @internalsref{Voice}.
1871 @node Special noteheads
1872 @unnumberedsubsubsec Special noteheads
1874 @cindex note heads, special
1876 Different noteheads are used by various instruments for various
1877 meanings -- crosses are used for @q{parlato} with vocalists,
1878 stopped notes on guitar; diamonds are used for harmonics on string
1879 instruments, etc. There is a shorthand (@code{\harmonic}) for
1880 diamond shapes; the other notehead styles are produced by tweaking
1883 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1885 \override NoteHead #'style = #'cross
1887 \revert NoteHead #'style
1888 e d <c f\harmonic> <d a'\harmonic>
1892 To see all notehead styles, please see @ref{Note head styles}.
1897 Snippets: @lsrdir{Pitches}.
1899 Notation Reference: @ref{Note head styles}.
1901 Internals Reference: @internalsref{NoteHead}.