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]
55 There are two different ways to enter these note names with regard
56 to octave placement: absolute and relative. The relative mode
57 will in most cases be the most convenient, but the absolute mode
58 is more fundamental and will be presented first.
61 @cindex absolute octave specification
63 In absolute mode, every note is placed explicitly in a specific
64 octave. The note names @code{c} to @code{b} are engraved in the
65 octave below middle C, as in the previous example.
67 @lilypond[verbatim,quote,ragged-right,fragment]
77 If a note should be in another octave than this, an octave
78 specification must be given. It takes the form of a series of
79 single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) characters.
80 Each@tie{}@code{'} raises the pitch by one octave;
81 each@tie{}@code{,} lowers the pitch by an octave.
83 @lilypond[verbatim,quote,ragged-right,fragment]
85 c' c'' e' g d'' d' d c
87 c, c,, e, g d,, d, d c
92 Snippets: @lsrdir{pitches}.
94 Internals reference: @internalsref{LedgerLineSpanner},
95 @internalsref{NoteHead}.
98 @node Relative octave entry
99 @unnumberedsubsubsec Relative octave entry
102 @cindex relative octave specification
105 The absolute mode requires a lot of octave specifications, which
106 not only becomes tedious but also easily leads to errors.
107 Therefore, it is usually more convenient to let notes be entered
108 relative to the previous note. This is done with the relative
112 \relative @var{startpitch} @var{musicexpr}
115 In relative mode, each note is assumed to be as close to the
116 previous note as possible. This means that the octave of notes
117 that appear in @var{musicexpr} are calculated as follows:
121 The pitch of the first note is relative to @code{\relative
125 If no octave changing marks are used, the basic interval between a
126 note and the one that precedes it is always taken to be a fourth
130 This distance is determined without regarding alterations or the
131 actual sounding pitches; a @code{fisis} following a @code{ceses}
132 will be put above the @code{ceses}. In other words, a
133 doubly-augmented fourth is considered a smaller interval than a
134 diminished fifth, even though the doubly-augmented fourth spans
135 seven semitones while the diminished fifth only spans six
139 The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be
140 added to raise or lower the pitch by an extra octave from the
144 Multiple octave changing marks can be used. @code{''}@tie{}will
145 raise the pitch by two octaves.
149 Here is the relative mode shown in action:
151 @lilypond[verbatim,quote,ragged-right,fragment]
157 Octave changing marks are used for intervals greater than a
160 @lilypond[verbatim,quote,ragged-right,fragment]
166 A note sequence without a single octave mark can nevertheless span
169 @lilypond[verbatim,quote,ragged-right,fragment]
175 If the preceding item is a chord, the first note of the chord is
176 used as the reference point for the octave placement of a
177 following note or chord:
179 @lilypond[verbatim,quote,ragged-right,fragment]
187 The @var{startpitch} (after @code{\relative}) is a note name in
188 absolute mode. In principle it can be any note name, but common
189 practice is to use@tie{}@code{c} in various octave positions.
191 When octaves are specified as above by adding@tie{}@code{'}
192 and@tie{}@code{,} to pitch names, it is easy to accidentally put a
193 pitch in the wrong octave. The relative octave mode prevents
194 these errors since most of the time it is not necessary to
195 indicate any octaves at all. Furthermore, in absolute mode, a
196 single mistake may be difficult to spot; in relative mode, a
197 single error puts the rest of the piece off by one octave.
199 LilyPond examines pitches based on the note names -- in other
200 words, an augmented fourth is @emph{not} treated the same as a
201 diminished fifth. If we begin at a C, then an F-sharp will be
202 placed higher than the C, while a G-flat will be placed lower than
205 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
212 Snippets: @lsrdir{pitches}.
217 The relative conversion will not affect @code{\transpose},
218 @code{\chordmode} or @code{\relative} sections in its argument.
219 To use relative within transposed music, an additional
220 @code{\relative} must be placed inside @code{\transpose}.
223 If no @var{startpitch} is specified for @code{\relative},
224 then@tie{}@code{c'} is assumed. However, this is a deprecated
225 option and may disappear in future versions, so its use is
231 @unnumberedsubsubsec Accidentals
233 @warning{New users are sometimes confused about accidentals and
234 key signatures. In LilyPond, note names are the raw input; key
235 signatures and clefs determine how this raw input is displayed.
236 An unaltered note like@tie{}@code{c} means @q{C natural},
237 regardless of the key signature or clef. For more information,
238 see @rlearning{Accidentals and key signatures}.}
240 @cindex note names, Dutch
241 @cindex note names, default
243 A @notation{sharp} pitch is made by adding @code{is} to the name,
244 and a @notation{flat} pitch by adding @code{es}. As you might
245 expect, a @notation{double sharp} or @notation{double flat} is
246 made by adding @code{isis} or @code{eses}. This syntax derived
247 from note naming conventions in Nordic and Germanic languages,
248 like German and Dutch. To use other names for accidentals, see
249 @ref{Note names in other languages}.
251 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
257 These are the Dutch note names. In Dutch, @code{aes} is
258 contracted to @code{as}, but both forms are accepted. Similarly,
259 both @code{es} and @code{ees} are accepted:
261 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
265 A natural will cancel the effect of an accidental or key
266 signature. However, naturals are not encoded into the note name
267 syntax with a suffix; a natural pitch is shown as a simple note
270 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 @cindex accidental, reminder
276 @cindex accidental, cautionary
277 @cindex accidental, parenthesized
278 @cindex reminder accidental
280 @cindex cautionary accidental
281 @cindex parenthesized accidental
284 Normally accidentals are printed automatically, but you may also
285 print them manually. A reminder accidental can be forced by
286 adding an exclamation mark@tie{}@code{!} after the pitch. A
287 cautionary accidental (i.e., an accidental within parentheses) can
288 be obtained by adding the question mark@tie{}@code{?} after the
289 pitch. These extra accidentals can be used to produce natural
292 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
293 cis cis cis! cis? c c? c! c
297 @cindex quarter tones
298 @cindex semi-flats, semi-sharps
300 Half-flats and half-sharps are formed by adding @code{eh} and
301 @code{ih}; the following is a series of Cs with increasing
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
305 \set Staff.extraNatural = ##f
309 Micro tones are also exported to the MIDI file.
314 @lilypondfile[quote,ragged-right,texidoc]{pitches/preventing-extra-naturals-from-being-automatically-added.ly}
316 @lilypondfile[quote,ragged-right,texidoc]{pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
318 @lilypondfile[quote,ragged-right,texidoc]{pitches/makam.ly}
322 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
325 Learning Manual: @rlearning{Accidentals and key signatures}.
327 Notation Reference: @ref{Automatic accidentals},
328 @ref{Musica ficta accidentals},
329 @ref{Note names in other languages}.
331 Snippets: @lsrdir{pitches}.
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 @code{d'} is found, since both @code{c}-@code{g}
478 and @code{g}-@code{d} without octavation marks are descending
479 fourths. In the output, the octave is corrected to be
480 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
553 A music expression can be transposed with @code{\transpose}. The
557 \transpose @var{from} @var{to} @var{musicexpr}
560 This means that @var{musicexpr} is transposed by the interval
561 between the pitches @var{from} and @var{to}: any note with pitch
562 @var{from} is changed to @var{to} and any other note is transposed
563 by the same interval.
565 Consider a piece written in the key of D-major. If this piece is
566 a little too low for its performer, it can be transposed up to
570 \transpose d e @dots{}
573 Consider a part written for violin (a C instrument). If this part
574 is to be played on the A clarinet (for which an A is notated as a
575 C, and thus sounds a minor third lower than notated), the
576 following transposition will produce the appropriate part:
579 \transpose a c @dots{}
582 @code{\transpose} will also transpose key signatures:
584 @lilypond[verbatim,quote,ragged-right]
585 mus = { \key d \major cis d fis g }
594 @code{\transpose} distinguishes between enharmonic pitches: both
595 @code{\transpose c cis} or @code{\transpose c des} will transpose
596 up half a tone. The first version will print sharps and the notes
597 will remain on the same scale step, the second version will print
598 flats on the scale step above.
600 @lilypond[verbatim,quote,ragged-right]
601 mus = \relative c' { c d e f }
603 \transpose c cis { \mus }
604 \transpose c des { \mus }
608 @code{\transpose} may also be used to input written notes for a
609 transposing instrument. The previous examples show how to enter
610 pitches in C (or @notation{concert pitch}) and typeset them for a
611 transposing instrument, but the opposite is also possible if you
612 for example have a set of instrumental parts and want to print a
613 conductor's score. For example, when entering music for a B-flat
614 trumpet which begins on a notated E (concert D), one would write:
617 musicInBflat = @{ e4 @dots{} @}
618 \transpose c bes \musicInBflat
621 To print this music in F (e.g., rearranging to a french horn) you
622 would wrap the existing music with another @code{\transpose}
625 musicInBflat = @{ e4 @dots{} @}
626 \transpose f c @{ \transpose c bes \musicInBflat @}
631 @lilypondfile[quote,ragged-right,texidoc]
632 {pitches/transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
637 Snippets: @lsrdir{pitches}.
639 Internals reference: @internalsref{TransposedMusic}.
643 If you want to use both @code{\transpose} and @code{\relative},
644 you must put @code{\transpose} outside of @code{\relative}, since
645 @code{\relative} will have no effect on music that appears inside
646 a @code{\transpose}. See the previous example.
649 @node Displaying pitches
650 @subsection Displaying pitches
652 This section discusses how to alter the output of pitches.
658 * Instrument transpositions::
659 * Automatic accidentals::
664 @unnumberedsubsubsec Clef
678 @cindex mezzosoprano clef
679 @cindex baritone clef
680 @cindex varbaritone clef
683 The clef is set with the @code{\clef} @var{clefname} command:
685 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
696 The clef can also be changed inside the staff:
698 @lilypond[verbatim,quote,ragged-right,fragment]
716 These same clef symbols are used in different positions on the
717 staff to change the range of notes shown by that staff. The
718 treble (alto, bass) clef is always positioned to show the line on
719 which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed.
721 Supported clefs include
723 @multitable @columnfractions .4 .6
724 @headitem Clef @tab Position
725 @item @code{treble, violin, G, G2} @tab
726 G clef (g') on 2nd line
727 @item @code{alto, C} @tab
728 C clef (c') on 3rd line
729 @item @code{tenor} @tab
730 C clef (c') on 4th line
731 @item @code{bass, F} @tab
732 F clef (f) on 4th line
733 @item @code{french} @tab
734 G clef (g') on 1st line, so-called French violin clef
735 @item @code{soprano} @tab
736 C clef (c') on 1st line
737 @item @code{mezzosoprano} @tab
738 C clef (c') on 2nd line
739 @item @code{baritone} @tab
740 C clef (c') on 5th line
741 @item @code{varbaritone} @tab
742 F clef (f) on 3rd line
743 @item @code{subbass} @tab
744 F clef (f) on 5th line
745 @item @code{percussion} @tab
747 @item @code{tab} @tab
751 Further supported clefs are described under @ref{Ancient clefs}.
753 By adding @code{_8} or @code{^8} to the clef name, the clef is
754 transposed one octave down or up, respectively, and @code{_15} and
755 @code{^15} transposes by two octaves. The argument @var{clefname}
756 must be enclosed in quotes when it contains underscores or digits.
759 @cindex choral tenor clef
761 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
768 @lilypondfile[quote,ragged-right,texidoc]
769 {pitches/clefs-commonly-tweaked-properties.ly}
774 Notation Reference: @ref{Ancient clefs}.
776 Snippets: @lsrdir{pitches}.
778 Internals reference: @internalsref{Clef}.
782 @unnumberedsubsubsec Key signature
784 @cindex key signature
787 @warning{New users are sometimes confused about accidentals and
788 key signatures. In LilyPond, note names are the raw input; key
789 signatures and clefs determine how this raw input is displayed.
790 An unaltered note like@tie{}@code{c} means @q{C natural},
791 regardless of the key signature or clef. For more information,
792 see @rlearning{Accidentals and key signatures}.}
794 The key signature indicates the tonality in which a piece is
795 played. It is denoted by a set of alterations (flats or sharps)
796 at the start of the staff.
798 Setting or changing the key signature is done with the @code{\key}
802 \key @var{pitch} @var{type}
811 @funindex \mixolydian
817 Here, @var{type} should be @code{\major} or @code{\minor} to get
818 @var{pitch}-major or @var{pitch}-minor, respectively. You may
819 also use the standard mode names (also called @q{church modes}):
820 @code{\ionian}, @code{\locrian}, @code{\aeolian},
821 @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
824 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
833 @lilypondfile[quote,ragged-right,texidoc]
834 {pitches/preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
836 @lilypondfile[quote,ragged-right,texidoc]
837 {pitches/non-traditional-key-signatures.ly}
839 @lilypondfile[quote,ragged-right,texidoc]
840 {pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
845 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
847 Learning Manual: @rlearning{Accidentals and key signatures}.
849 Snippets: @lsrdir{pitches}.
851 Internals reference: @internalsref{KeyCancellation},
852 @internalsref{KeySignature}, @internalsref{Key_engraver}.
855 @node Ottava brackets
856 @unnumberedsubsubsec Ottava brackets
864 @notation{Ottava brackets} introduce an extra transposition of an
865 octave for the staff:
867 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
875 The @code{set-octavation} function also takes -1 (for 8va bassa),
876 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
877 Internally the function sets the properties @code{ottavation}
878 (e.g., to @code{"8va"} or @code{"8vb"}) and
879 @code{middleCPosition}. To override the text of the bracket, set
880 @code{ottavation} after invoking @code{set-octavation}, i.e.,
882 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
884 \set Staff.ottavation = #"8"
891 Music Glossary: @rglos{ottava}.
893 Snippets: @lsrdir{pitches}.
895 Internals reference: @internalsref{OttavaBracket}.
900 @code{set-octavation} will get confused when clef changes happen
901 during an octavation bracket.
904 @node Instrument transpositions
905 @unnumberedsubsubsec Instrument transpositions
907 @cindex transposition, MIDI
908 @cindex transposition, instrument
910 The key of a @notation{transposing instrument} can be specified.
911 This applies to many wind instruments, for example, clarinets
912 (B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
915 The transposition is entered with the command
918 \transposition @var{pitch}
922 where @var{pitch} specifies the key in which the instrument plays.
923 For example, a part for B-flat clarinet would include
929 This command sets the property @code{instrumentTransposition}.
930 The value of this property is used for MIDI output and quotations.
931 MIDI output is transposed to play at concert pitch, and cue notes
932 and quotations are automatically transposed to the key of the
933 instrument in which they are quoted. For more information about
934 quotations, see @ref{Quoting other voices}.
936 The pitch to use for @code{\transposition} should correspond to
937 the real sound heard when a@tie{}@code{c'} written on the staff is
938 played by the transposing instrument. @code{\transposition}
939 should be used when the music is entered from an orchestral part
940 written for the instrument. For example, in classical horn parts,
941 the tuning of the instrument is often changed during a piece.
942 Here are a few notes for a violin and a B-flat clarinet where the
943 parts have been entered using the notes and key as they appear in
944 each part or the conductor's score:
946 @lilypond[verbatim,quote,ragged-right]
948 \new Staff = "Violin I" {
949 \set Staff.instrumentName = "Vln"
950 \set Staff.midiInstrument="violin"
953 g'4( c''8) r c'' r c''4
955 \new Staff = "Clarinet" {
956 \set Staff.instrumentName = "Cl"
957 \set Staff.midiInstrument="clarinet"
960 a'4( d''8) r d'' r d''4
965 Without the @code{\transposition} command the MIDI output of this
966 music would play the notes a tone apart; with it the notes are
967 played correctly in unison.
969 However, when entering the notes of a score in concert pitch, when
970 all voices are entered in C, they may be prefaced by (the default)
971 @code{\transposition c'}:
985 to serve as a reminder that these parts are written in C.
990 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
992 Snippets: @lsrdir{pitches}.
995 @node Automatic accidentals
996 @unnumberedsubsubsec Automatic accidentals
997 @cindex automatic accidentals
999 Common rules for typesetting accidentals have been placed in a
1000 function. This function is called as follows
1002 @funindex set-accidental-style
1006 #(set-accidental-style 'voice)
1011 @c FIXME: check the context stuff below
1012 @c -does it *really* work?
1013 @c -the default contexts as specified in
1014 @c scm/music-function.scm seem to be different -vv
1016 If no context name is supplied, the accidental style applies to
1017 the @code{Staff} by default. Optionally, the function can take
1018 the context for which the style should be changed as a second
1022 #(set-accidental-style 'STYLE #('CONTEXT))
1025 The following accidental styles are supported. To demonstrate
1026 each style, we use the following example:
1028 @lilypond[verbatim,quote,ragged-right]
1032 cis'8 fis, d'4 <a cis>8 f bis4 |
1046 \voiceTwo \relative c' {
1050 \change Staff = down
1054 \change Staff = down
1055 <fis, a cis>4 gis <f a d>2 |
1062 \context Staff = "up" {
1063 %%% change the next line as desired:
1064 %#(set-accidental-style 'default)
1067 \context Staff = "down" {
1068 %%% change the next line as desired:
1069 %#(set-accidental-style 'default)
1076 @c don't use verbatim in this table.
1079 This is the default typesetting behavior. It corresponds to
1080 eighteenth-century common practice: Accidentals are remembered to
1081 the end of the measure in which they occur and only on their own
1082 octave. Thus, in the example below, no natural signs are printed
1083 before the@tie{}@code{b} in the second measure or the
1086 @lilypond[quote,ragged-right]
1090 cis'8 fis, d'4 <a cis>8 f bis4 |
1104 \voiceTwo \relative c' {
1108 \change Staff = down
1112 \change Staff = down
1113 <fis, a cis>4 gis <f a d>2 |
1120 \context Staff = "up" {
1121 %#(set-accidental-style 'default)
1124 \context Staff = "down" {
1125 %#(set-accidental-style 'default)
1133 The normal behavior is to remember the accidentals on
1134 Staff-level. This variable, however, typesets accidentals
1135 individually for each voice. Apart from that, the rule is similar
1138 As a result, accidentals from one voice do not get canceled in
1139 other voices, which is often an unwanted result: in the following
1140 example, it is hard to determine whether the second@tie{}@code{a}
1141 should be played natural or sharp. The @code{voice} option should
1142 therefore be used only if the voices are to be read solely by
1143 individual musicians. If the staff is to be used by one musician
1144 (e.g., a conductor or in a piano score) then @code{modern} or
1145 @code{modern-cautionary} should be used instead.
1148 @lilypond[quote,ragged-right]
1152 cis'8 fis, d'4 <a cis>8 f bis4 |
1166 \voiceTwo \relative c' {
1170 \change Staff = down
1174 \change Staff = down
1175 <fis, a cis>4 gis <f a d>2 |
1182 \context Staff = "up" {
1183 #(set-accidental-style 'voice)
1186 \context Staff = "down" {
1187 #(set-accidental-style 'voice)
1195 @funindex modern style accidentals
1197 This rule corresponds to the common practice in the twentieth
1198 century. It prints the same accidentals as @code{default}, with
1199 two exceptions which serve to avoid ambiguity: after temporary
1200 accidentals, cancellation marks are printed also in the following
1201 measure (for notes in the same octave) and, in the same measure,
1202 for notes in other octaves. Hence the naturals before
1203 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1206 @lilypond[quote,ragged-right]
1210 cis'8 fis, d'4 <a cis>8 f bis4 |
1224 \voiceTwo \relative c' {
1228 \change Staff = down
1232 \change Staff = down
1233 <fis, a cis>4 gis <f a d>2 |
1240 \context Staff = "up" {
1241 #(set-accidental-style 'modern)
1244 \context Staff = "down" {
1245 #(set-accidental-style 'modern)
1252 @item modern-cautionary
1253 @funindex modern-cautionary
1255 This rule is similar to @code{modern}, but the @q{extra}
1256 accidentals (the ones not typeset by @code{default}) are typeset
1257 as cautionary accidentals. They are by default printed with
1258 parentheses, but they can also be printed in reduced size by
1259 defining the @code{cautionary-style} property of
1260 @code{AccidentalSuggestion}.
1263 @lilypond[quote,ragged-right]
1267 cis'8 fis, d'4 <a cis>8 f bis4 |
1281 \voiceTwo \relative c' {
1285 \change Staff = down
1289 \change Staff = down
1290 <fis, a cis>4 gis <f a d>2 |
1297 \context Staff = "up" {
1298 #(set-accidental-style 'modern-cautionary)
1301 \context Staff = "down" {
1302 #(set-accidental-style 'modern-cautionary)
1310 @funindex modern-voice
1312 This rule is used for multivoice accidentals to be read both by
1313 musicians playing one voice and musicians playing all voices.
1314 Accidentals are typeset for each voice, but they @emph{are}
1315 canceled across voices in the same @code{Staff}. Hence,
1316 the@tie{}@code{a} in the last measure is canceled because the
1317 previous cancellation was in a different voice, and
1318 the@tie{}@code{d} in the lower staff is canceled because of the
1319 accidental in a different voice in the previous measure:
1322 @lilypond[quote,ragged-right]
1326 cis'8 fis, d'4 <a cis>8 f bis4 |
1340 \voiceTwo \relative c' {
1344 \change Staff = down
1348 \change Staff = down
1349 <fis, a cis>4 gis <f a d>2 |
1356 \context Staff = "up" {
1357 #(set-accidental-style 'modern-voice)
1360 \context Staff = "down" {
1361 #(set-accidental-style 'modern-voice)
1368 @funindex modern-voice-cautionary
1369 @item modern-voice-cautionary
1371 This rule is the same as @code{modern-voice}, but with the extra
1372 accidentals (the ones not typeset by @code{voice}) typeset
1373 as cautionaries. Even though all accidentals typeset by
1374 @code{default} @emph{are} typeset by this variable,
1375 some of them are typeset as cautionaries.
1377 @lilypond[quote,ragged-right]
1381 cis'8 fis, d'4 <a cis>8 f bis4 |
1395 \voiceTwo \relative c' {
1399 \change Staff = down
1403 \change Staff = down
1404 <fis, a cis>4 gis <f a d>2 |
1411 \context Staff = "up" {
1412 #(set-accidental-style 'modern-voice-cautionary)
1415 \context Staff = "down" {
1416 #(set-accidental-style 'modern-voice-cautionary)
1424 @funindex piano accidentals
1426 This rule reflects twentieth-century practice for piano notation.
1427 Its behavior is very similar to @code{modern} style, but here
1428 accidentals also get canceled across the staves in the same
1429 GrandStaff or PianoStaff, hence all the cancellations of the final
1432 This accidental style takes place in a GrandStaff context.
1433 However, you have to explicitly set it for @emph{each} individual
1434 Staff of the GrandStaff:
1438 \new GrandStaff @{ <<
1439 \new Staff = "up" @{ <<
1440 #(set-accidental-style 'piano)
1443 \new Staff = "down" @{ <<
1444 #(set-accidental-style 'piano)
1450 @lilypond[quote,ragged-right]
1454 cis'8 fis, d'4 <a cis>8 f bis4 |
1468 \voiceTwo \relative c' {
1472 \change Staff = down
1476 \change Staff = down
1477 <fis, a cis>4 gis <f a d>2 |
1484 \context Staff = "up" {
1485 #(set-accidental-style 'piano)
1488 \context Staff = "down" {
1489 #(set-accidental-style 'piano)
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" {
1541 #(set-accidental-style 'piano-cautionary)
1549 @funindex no-reset accidental style
1551 This is the same as @code{default} but with accidentals lasting
1552 @q{forever} and not only within the same measure:
1554 @lilypond[quote,ragged-right]
1558 cis'8 fis, d'4 <a cis>8 f bis4 |
1572 \voiceTwo \relative c' {
1576 \change Staff = down
1580 \change Staff = down
1581 <fis, a cis>4 gis <f a d>2 |
1588 \context Staff = "up" {
1589 #(set-accidental-style 'no-reset)
1592 \context Staff = "down" {
1593 #(set-accidental-style 'no-reset)
1601 @funindex forget accidental style
1603 This is the opposite of @code{no-reset}: Accidentals are not
1604 remembered at all -- and hence all accidentals are typeset
1605 relative to the key signature, regardless of what was before in
1608 @lilypond[quote,ragged-right]
1612 cis'8 fis, d'4 <a cis>8 f bis4 |
1626 \voiceTwo \relative c' {
1630 \change Staff = down
1634 \change Staff = down
1635 <fis, a cis>4 gis <f a d>2 |
1642 \context Staff = "up" {
1643 #(set-accidental-style 'forget)
1646 \context Staff = "down" {
1647 #(set-accidental-style 'forget)
1658 Snippets: @lsrdir{pitches}.
1660 Internals reference: @internalsref{Accidental_engraver},
1661 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1662 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1663 @internalsref{PianoStaff}, @internalsref{Staff}.
1668 Simultaneous notes are considered to be entered in sequential
1669 mode. This means that in a chord the accidentals are typeset as
1670 if the notes in the chord happen one at a time, in the order in
1671 which they appear in the input file. This is a problem when
1672 accidentals in a chord depend on each other, which does not happen
1673 for the default accidental style. The problem can be solved by
1674 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1679 @unnumberedsubsubsec Ambitus
1682 The term @notation{ambitus} or @notation{ambit} denotes a range of
1683 pitches for a given voice in a part of music. It may also denote
1684 the pitch range that a musical instrument is capable of playing.
1685 Ambits are printed on vocal parts, so performers can easily
1686 determine if it matches their capabilities.
1688 Ambits are denoted at the beginning of a piece near the initial
1689 clef. The range is graphically specified by two note heads that
1690 represent the minimum and maximum pitch. Accidentals are only
1691 printed if they are not part of the key signature.
1693 @lilypond[verbatim,quote,ragged-right]
1697 \consists Ambitus_engraver
1709 @lilypondfile[quote,ragged-right,texidoc]
1710 {pitches/adding-ambiti-per-voice.ly}
1712 @lilypondfile[quote,ragged-right,texidoc]
1713 {pitches/ambiti-multiple-voices.ly}
1718 Snippets: @lsrdir{pitches}.
1720 Internals reference: @internalsref{Ambitus},
1721 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1722 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1723 @internalsref{Staff}, @internalsref{Voice}.
1728 There is no collision handling in the case of multiple per-voice
1733 @subsection Note heads
1736 * Easy notation note heads::
1737 * Shape note heads::
1739 * Special noteheads::
1742 @node Easy notation note heads
1743 @unnumberedsubsubsec Easy notation note heads
1745 @cindex note heads, practice
1746 @cindex note heads, easy notation
1747 @cindex easy notation
1750 The @q{easy play} note head includes a note name inside the head.
1751 It is used in music for beginners
1753 @lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
1759 The command @code{\setEasyHeads} overrides settings for the
1760 @code{NoteHead} object. To make the letters readable, it
1761 has to be printed in a large font size. To print with a larger
1762 font, see @ref{Setting the staff size}.
1766 @funindex \setEasyHeads
1767 @code{\setEasyHeads}
1771 Notation Reference: @ref{Setting the staff size}.
1773 Snippets: @lsrdir{pitches},
1775 Internals reference: @internalsref{NoteHead}.
1778 @node Shape note heads
1779 @unnumberedsubsubsec Shape note heads
1781 @cindex note heads, shape
1783 In shape note head notation, the shape of the note head
1784 corresponds to the harmonic function of a note in the scale. This
1785 notation was popular in nineteenth-century American song books.
1787 Shape note heads can be produced by setting @code{\aikenHeads} or
1788 @code{\sacredHarpHeads}, depending on the style desired.
1790 @lilypond[verbatim,fragment,relative=1]
1797 Shapes are typeset according to the step in the scale, where
1798 the base of the scale is determined by the @code{\key} command.
1801 @funindex shapeNoteStyles
1802 @funindex \aikenHeads
1803 @funindex \sacredHarpHeads
1805 Shape note heads are implemented through the
1806 @code{shapeNoteStyles} property. Its value is a vector of
1807 symbols. The k-th element indicates the style to use for the k-th
1808 step of the scale. Arbitrary combinations are possible, e.g.:
1810 @lilypond[verbatim,fragment,relative=1]
1811 \set shapeNoteStyles =
1812 ##(cross triangle fa #f mensural xcircle diamond)
1818 @lilypondfile[quote,ragged-right,texidoc]
1819 {pitches/applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1824 Snippets: @lsrdir{pitches}.
1828 @unnumberedsubsubsec Improvisation
1830 Improvisation is sometimes denoted with slashed note heads. Such
1831 note heads can be created by adding a @code{Pitch_squash_engraver}
1832 to the @code{Voice} context. Then, the following command
1835 \set squashedPosition = #0
1836 \override NoteHead #'style = #'slash
1840 switches on the slashes.
1842 There are shortcuts @code{\improvisationOn} (and an accompanying
1843 @code{\improvisationOff}) for this command sequence. They are
1844 used in the following example:
1846 @lilypond[verbatim,quote,ragged-right]
1848 \consists Pitch_squash_engraver
1850 e8 e g a a16(bes)(a8) g
1862 Snippets: @lsrdir{pitches}.
1864 Internals reference: @internalsref{Pitch_squash_engraver} and
1865 @internalsref{Voice}.
1867 @node Special noteheads
1868 @unnumberedsubsubsec Special noteheads
1870 @cindex note heads, special
1872 Different noteheads are used by various instruments for various
1873 meanings -- crosses are used for @q{parlato} with vocalists,
1874 stopped notes on guitar; diamonds are used for harmonics on string
1875 instruments, etc. There is a shorthand (@code{\harmonic}) for
1876 diamond shapes; the other notehead styles are produced by tweaking
1879 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1881 \override NoteHead #'style = #'cross
1883 \revert NoteHead #'style
1884 e d <c f\harmonic> <d a'\harmonic>
1888 To see all notehead styles, please see @ref{Note head styles}.
1893 Snippets: @lsrdir{pitches}.
1895 Notation Reference: @ref{Note head styles}.
1897 Internals reference: @internalsref{NoteHead}.