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
51 A pitch name is specified using lowercase letters@tie{}@code{a}
52 through@tie{}@code{g}. The note names @code{c} to @code{b} are
53 engraved in the octave below middle C.
56 @lilypond[verbatim,quote,ragged-right,fragment]
66 Other octaves may be specified with a single quote@tie{}(@code{'})
67 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
68 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
71 @lilypond[verbatim,quote,ragged-right,fragment]
86 @lsrdir{Pitches,Pitches}.
89 @node Relative octave entry
90 @unnumberedsubsubsec Relative octave entry
93 @cindex relative octave specification
96 When octaves are specified in absolute mode it is easy to
97 accidentally put a pitch in the wrong octave. Relative octave
98 mode reduces these errors since most of the time it is not
99 necessary to indicate any octaves at all. Furthermore, in
100 absolute mode a single mistake may be difficult to spot, while in
101 relative mode a single error puts the rest of the piece off by one
105 \relative @var{startpitch} @var{musicexpr}
108 In relative mode, each note is assumed to be as close to the
109 previous note as possible. This means that the octave of each
110 pitch inside @var{musicexpr} is calculated as follows:
114 If no octave changing mark is used on a pitch, its octave is calculated
115 so that the interval with the previous note is less than a fifth. This
116 interval is determined without considering accidentals.
119 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
120 respectively raise or lower a pitch by an extra octave, relative to
121 the pitch calculated without an octave mark.
124 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
125 @code{,,}@tie{} will alter the pitch by two octaves.
128 The pitch of the first note is relative to
129 @code{@var{startpitch}}. @var{startpitch} is specified in
130 absolute octave mode, and it is recommended that it be a octave of
135 Here is the relative mode shown in action:
137 @lilypond[verbatim,quote,ragged-right]
146 Octave changing marks are used for intervals greater than a
149 @lilypond[verbatim,quote,ragged-right]
156 A note sequence without a single octave mark can nevertheless span
159 @lilypond[verbatim,quote,ragged-right]
166 If the preceding item is a chord, the first note of the chord is
167 used as the reference point for the octave placement of a
168 following note or chord. Inside chords, the next note is always
169 relative to the preceding one.
171 @lilypond[verbatim,quote,ragged-right]
175 % the C is now an octave higher
177 % the C returns to the original pitch
182 As explained above, the octave of pitches is calculated only with
183 the note names, regardless of any alterations. Therefore, an
184 E-double-sharp following a B will be placed higher, while an
185 F-double-flat will be placed lower. In other words, a
186 double-augmented fourth is considered a smaller interval than a
187 double-diminished fifth, regardless of the number of semitones
188 that each interval contains.
190 @lilypond[verbatim,quote,ragged-right]
211 @lsrdir{Pitches,Pitches}.
214 @internalsref{RelativeOctaveMusic}.
223 The relative conversion will not affect @code{\transpose},
224 @code{\chordmode} or @code{\relative} sections in its argument.
225 To use relative mode within transposed music, an additional
226 @code{\relative} must be placed inside @code{\transpose}.
229 If no @var{startpitch} is specified for @code{\relative},
230 then@tie{}@code{c'} is assumed. However, this is a deprecated
231 option and may disappear in future versions, so its use is
237 @unnumberedsubsubsec Accidentals
240 @cindex key signature
243 @c duplicated in Key signature and Accidentals
244 @warning{New users are sometimes confused about accidentals and
245 key signatures. In LilyPond, note names are the raw input; key
246 signatures and clefs determine how this raw input is displayed.
247 An unaltered note like@tie{}@code{c} means @q{C natural},
248 regardless of the key signature or clef. For more information,
249 see @rlearning{Accidentals and key signatures}.}
251 @cindex note names, Dutch
252 @cindex note names, default
256 @cindex sharp, double
261 A @notation{sharp} pitch is made by adding @code{is} to the note name,
262 and a @notation{flat} pitch by adding @code{es}. As you might expect,
263 a @notation{double sharp} or @notation{double flat} is made by adding
264 @code{isis} or @code{eses}. This syntax is derived from Dutch note
265 naming conventions. To use other names for accidentals, see
266 @ref{Note names in other languages}.
268 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
272 A natural will cancel the effect of an accidental or key
273 signature. However, naturals are not encoded into the note name
274 syntax with a suffix; a natural pitch is shown as a simple note
277 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
281 @cindex quarter tones
282 @cindex semi-flats, semi-sharps
284 Quarter tones may be added; the following is a series of Cs with
287 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
288 ceseh1 ces ceh c cih cis cisih
293 @cindex accidental, reminder
294 @cindex accidental, cautionary
295 @cindex accidental, parenthesized
296 @cindex reminder accidental
298 @cindex cautionary accidental
299 @cindex parenthesized accidental
302 Normally accidentals are printed automatically, but you may also
303 print them manually. A reminder accidental can be forced by
304 adding an exclamation mark@tie{}@code{!} after the pitch. A
305 cautionary accidental (i.e., an accidental within parentheses) can
306 be obtained by adding the question mark@tie{}@code{?} after the
307 pitch. These extra accidentals can also be used to produce
310 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
311 cis cis cis! cis? c c c! c?
314 Accidentals on tied notes are only printed at the beginning of a
317 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
326 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
327 {preventing-extra-naturals-from-being-automatically-added.ly}
334 @rglos{double sharp},
337 @rglos{quarter-tone}.
340 @rlearning{Accidentals and key signatures}.
343 @ref{Automatic accidentals},
344 @ref{Musica ficta accidentals},
345 @ref{Note names in other languages}.
348 @lsrdir{Pitches,Pitches}.
351 @internalsref{Accidental_engraver},
352 @internalsref{Accidental},
353 @internalsref{AccidentalCautionary},
354 @internalsref{accidental-interface}.
359 There are no generally accepted standards for denoting
360 quarter-tone accidentals, so LilyPond's symbol does not conform to
365 @node Note names in other languages
366 @unnumberedsubsubsec Note names in other languages
368 There are predefined sets of note names for various other
369 languages. To use them, include the language-specific init file.
370 For example, to use English notes names, add @code{\include
371 "english.ly"} to the top of the input file. The available
372 language files and the note names they define are:
374 @cindex note names, other languages
375 @cindex pitch names, other languages
378 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
381 @tab sharp @tab flat @tab double sharp @tab double flat
383 @tab c d e f g a bes b
384 @tab -is @tab -es @tab -isis @tab -eses
386 @tab c d e f g a bf b
387 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
391 @tab -is @tab -es @tab -isis @tab -eses
394 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
398 @tab -iss @tab -ess @tab -ississ @tab -essess
401 @tab -is @tab -es @tab -isis @tab -eses
403 @tab do re mi fa sol la sib si
404 @tab -d @tab -b @tab -dd @tab -bb
406 @tab do re mi fa sol la sib si
407 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
409 @tab do re mi fa sol la sib si
410 @tab -s @tab -b @tab -ss @tab -bb
412 @tab do re mi fa sol la sib si
413 @tab -s @tab -b @tab -ss @tab -bb
415 @tab do re mi fa sol la sib si
416 @tab -k @tab -b @tab -kk @tab -bb
420 In Dutch, @code{aes} is contracted to @code{as}, but both forms
421 are accepted in LilyPond. Similarly, both @code{es} and
422 @code{ees} are accepted. This also applies to
423 @code{aeses}@tie{}/@tie{}@code{ases} and
424 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
425 contracted names are defined in the corresponding language files.
427 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
428 a2 as e es a ases e eses
432 Some music uses microtones whose alterations are fractions of a
433 @q{normal} sharp or flat. The note names for quarter-tones
434 defined in the various language files are listed in the following
435 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
436 mean @q{half} and @q{one and a half}, respectively. For the other
437 languages, no special names have been defined yet.
440 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
443 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
446 @tab c d e f g a bes b
447 @tab -ih @tab -eh @tab -isih @tab -eseh
449 @tab c d e f g a bf b
450 @tab -qs @tab -qf @tab -tqs @tab -tqf
453 @tab -ih @tab -eh @tab -isih @tab -eseh
455 @tab do re mi fa sol la sib si
456 @tab -sd @tab -sb @tab -dsd @tab -bsb
458 @tab do re mi fa sol la sib si
459 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
470 @lsrdir{Pitches,Pitches}.
473 @node Changing multiple pitches
474 @subsection Changing multiple pitches
476 This section discusses how to modify pitches.
484 @unnumberedsubsubsec Octave checks
486 @cindex octave correction
491 In relative mode, it is easy to forget an octave changing mark.
492 Octave checks make such errors easier to find by displaying a
493 warning and correcting the octave if a note is found in an
496 To check the octave of a note, specify the absolute
497 octave after the @code{=}@tie{}symbol. This example will generate
498 a warning (and change the pitch) because the second note is the
499 absolute octave @code{d''} instead of @code{d'} as indicated by
500 the octave correction.
502 @lilypond[verbatim,quote,ragged-right,fragment]
509 The octave of notes may also be checked with the
510 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
511 specified in absolute mode. This checks that the interval between the
512 previous note and the @var{controlpitch} is within a fourth (i.e., the
513 normal calculation of relative mode). If this check fails, a warning
514 is printed, but the previous note is not changed. Future notes are
515 relative to the @var{controlpitch}.
517 @lilypond[verbatim,quote,ragged-right,fragment]
525 Compare the two bars below. The first and third @code{\octave}
526 checks fail, but the second one does not fail.
528 @lilypond[verbatim,quote,ragged-right,fragment]
546 @lsrdir{Pitches,Pitches}.
549 @internalsref{RelativeOctaveCheck}.
553 @unnumberedsubsubsec Transpose
556 @cindex transposition
557 @cindex transposition of pitches
560 A music expression can be transposed with @code{\transpose}. The
564 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
568 This means that @var{musicexpr} is transposed by the interval
569 between the pitches @var{frompitch} and @var{topitch}: any note
570 with pitch @var{frompitch} is changed to @var{topitch} and any
571 other note is transposed by the same interval. Both pitches are
572 entered in absolute mode.
574 Consider a piece written in the key of D-major. It can be
575 transposed up to E-major; note that the key signature is
576 automatically transposed as well.
578 @lilypond[verbatim,quote,ragged-right]
587 If a part written in C (normal @notation{concert pitch}) is to be played on
588 the A clarinet (for which an A is notated as a C and thus sounds a
589 minor third lower than notated), the appropriate part will be
592 @lilypond[verbatim,quote,ragged-right]
602 Note that we specify @code{\key c \major} explicitly. If we do
603 not specify a key signature, the notes will be transposed but no
604 key signature will be printed.
606 @code{\transpose} distinguishes between enharmonic pitches: both
607 @code{\transpose c cis} or @code{\transpose c des} will transpose
608 up a semitone. The first version will print sharps and the notes
609 will remain on the same scale step, the second version will print
610 flats on the scale step above.
612 @lilypond[verbatim,quote,ragged-right]
613 mus = \relative c' { c d e f }
615 \transpose c cis { \mus }
616 \transpose c des { \mus }
620 @cindex transposing instruments
622 @code{\transpose} may also be used in a different way, to input
623 written notes for a transposing instrument. The previous examples
624 show how to enter pitches in C (or @notation{concert pitch}) and
625 typeset them for a transposing instrument, but the opposite is
626 also possible if you for example have a set of instrumental parts
627 and want to print a conductor's score. For example, when entering
628 music for a B-flat trumpet that begins on a notated E (concert D),
632 musicInBflat = @{ e4 @dots{} @}
633 \transpose c bes, \musicInBflat
637 To print this music in F (e.g., rearranging to a French horn) you
638 could wrap the existing music with another @code{\transpose}:
641 musicInBflat = @{ e4 @dots{} @}
642 \transpose f c' @{ \transpose c bes, \musicInBflat @}
646 For more information about transposing instruments,
647 see @ref{Instrument transpositions}.
652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
653 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
659 @ref{Instrument transpositions}.
662 @lsrdir{Pitches,Pitches}.
665 @internalsref{TransposedMusic}.
674 The relative conversion will not affect @code{\transpose},
675 @code{\chordmode} or @code{\relative} sections in its argument.
676 To use relative mode within transposed music, an additional
677 @code{\relative} must be placed inside @code{\transpose}.
680 @node Displaying pitches
681 @subsection Displaying pitches
683 This section discusses how to alter the output of pitches.
689 * Instrument transpositions::
690 * Automatic accidentals::
696 @unnumberedsubsubsec Clef
709 @cindex mezzosoprano clef
710 @cindex baritone clef
711 @cindex varbaritone clef
715 @cindex clef, ancient
725 @cindex clef, soprano
726 @cindex clef, mezzosoprano
727 @cindex clef, baritone
728 @cindex clef, varbaritone
729 @cindex subbass clef, subbass
731 The clef is set with the @code{\clef} @var{clefname} command.
732 Middle C is shown in every example.
734 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
747 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
769 Further supported clefs are described under @ref{Ancient clefs}.
771 @cindex transposing clefs
772 @cindex clef, transposing
773 @cindex octave transposition
775 By adding @code{_8} or @code{^8} to the clef name, the clef is
776 transposed one octave down or up, respectively, and @code{_15} and
777 @code{^15} transpose by two octaves. The argument @var{clefname}
778 must be enclosed in quotes when it contains underscores or digits.
780 @cindex choral tenor clef
782 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
792 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
793 {tweaking-clef-properties.ly}
802 @lsrdir{Pitches,Pitches}.
805 @internalsref{Clef_engraver},
807 @internalsref{OctavateEight},
808 @internalsref{clef-interface}.
812 @unnumberedsubsubsec Key signature
814 @cindex key signature
817 @c duplicated in Key signature and Accidentals
818 @warning{New users are sometimes confused about accidentals and
819 key signatures. In LilyPond, note names are the raw input; key
820 signatures and clefs determine how this raw input is displayed.
821 An unaltered note like@tie{}@code{c} means @q{C natural},
822 regardless of the key signature or clef. For more information,
823 see @rlearning{Accidentals and key signatures}.}
825 The key signature indicates the tonality in which a piece is
826 played. It is denoted by a set of alterations (flats or sharps)
827 at the start of the staff. Setting or changing the key signature
828 is done with the @code{\key} command:
831 \key @var{pitch} @var{mode}
839 @funindex \mixolydian
846 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
847 key signature of @var{pitch}-major or @var{pitch}-minor,
848 respectively. You may also use the standard mode names, also
849 called @notation{church modes}: @code{\ionian}, @code{\dorian},
850 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
851 @code{\aeolian}, and @code{\locrian}.
853 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
863 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
864 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
866 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
867 {non-traditional-key-signatures.ly}
877 @rlearning{Accidentals and key signatures}.
880 @lsrdir{Pitches,Pitches}.
883 @internalsref{KeyChangeEvent},
884 @internalsref{Key_engraver},
885 @internalsref{Key_performer},
886 @internalsref{KeyCancellation},
887 @internalsref{KeySignature},
888 @internalsref{key-cancellation-interface},
889 @internalsref{key-signature-interface}.
892 @node Ottava brackets
893 @unnumberedsubsubsec Ottava brackets
901 @notation{Ottava brackets} introduce an extra transposition of an
902 octave for the staff:
904 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
912 The @code{set-octavation} function also takes -1 (for 8va bassa),
913 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
918 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
928 @lsrdir{Pitches,Pitches}.
931 @internalsref{Ottava_spanner_engraver},
932 @internalsref{OttavaBracket},
933 @internalsref{ottava-bracket-interface}.
937 @node Instrument transpositions
938 @unnumberedsubsubsec Instrument transpositions
940 @cindex transposition, MIDI
941 @cindex transposition, instrument
942 @cindex transposing instrument
944 @funindex \transposition
946 When typesetting scores that involve transposing instruments, some
947 parts can be typeset in a different pitch than the
948 @notation{concert pitch}. In these cases, the key of the
949 @notation{transposing instrument} should be specified; otherwise
950 the MIDI output and cues in other parts will produce incorrect
951 pitches. For more information about quotations, see @ref{Quoting
955 \transposition @var{pitch}
958 The pitch to use for @code{\transposition} should correspond to
959 the real sound heard when a@tie{}@code{c'} written on the staff is
960 played by the transposing instrument. This pitch is entered in
961 absolute mode, so an instrument that produces a real sound which
962 is one tone higher than the printed music should use
963 @code{\transposition d'}. @code{\transposition} should
964 @emph{only} be used if the pitches are @emph{not} being entered in
967 Here are a few notes for violin and B-flat clarinet where the
968 parts have been entered using the notes and key as they appear in
969 each part of the conductor's score. The two instruments are
972 @lilypond[verbatim,quote,ragged-right]
976 \set Staff.instrumentName = "Vln"
977 \set Staff.midiInstrument = "violin"
978 % strictly speaking not necessary, but a good reminder
985 \new Staff = "clarinet" {
987 \set Staff.instrumentName = \markup { Cl (B\flat) }
988 \set Staff.midiInstrument = "clarinet"
999 The @code{\transposition} may be changed during a piece. For
1000 example, a clarinetist may switch from an A clarinet to a B-flat
1003 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1004 \set Staff.instrumentName = "Cl (A)"
1009 s1*0^\markup { Switch to B\flat clarinet }
1021 @rglos{concert pitch},
1022 @rglos{transposing instrument}.
1025 @ref{Quoting other voices}, @ref{Transpose}.
1028 @lsrdir{Pitches,Pitches}.
1031 @node Automatic accidentals
1032 @unnumberedsubsubsec Automatic accidentals
1034 @cindex accidental style
1035 @cindex accidental style, default
1037 @cindex accidentals, automatic
1038 @cindex automatic accidentals
1039 @cindex default accidental style
1040 @funindex set-accidental-style
1042 There are many different conventions on how to typeset
1043 accidentals. LilyPond provides a function to specify which
1044 accidental style to use. This function is called as follows
1048 #(set-accidental-style 'voice)
1053 The accidental style applies to the current @code{Staff} by
1054 default (with the exception of the styles @code{piano} and
1055 @code{piano-cautionary}, which are explained below). Optionally,
1056 the function can take a second argument that determines in which
1057 scope the style should be changed. For example, to use the same
1058 style in all staves of the current @code{StaffGroup}, use
1061 #(set-accidental-style 'voice 'StaffGroup)
1064 The following accidental styles are supported. To demonstrate
1065 each style, we use the following example:
1067 @lilypond[verbatim,quote,ragged-right]
1071 cis'8 fis, d'4 <a cis>8 f bis4 |
1085 \voiceTwo \relative c' {
1089 \change Staff = down
1093 \change Staff = down
1094 <fis, a cis>4 gis <f a d>2 |
1101 \context Staff = "up" {
1102 %%% change the next line as desired:
1103 #(set-accidental-style 'default)
1106 \context Staff = "down" {
1107 %%% change the next line as desired:
1108 #(set-accidental-style 'default)
1115 Note that the last lines of this example can be replaced by the
1116 following, as long as the same accidental style should be used in
1121 \context Staff = "up" @{
1122 %%% change the next line as desired:
1123 #(set-accidental-style 'default 'Score)
1126 \context Staff = "down" @{
1134 @c don't use verbatim in this table.
1137 This is the default typesetting behavior. It corresponds to
1138 eighteenth-century common practice: accidentals are remembered to
1139 the end of the measure in which they occur and only in their own
1140 octave. Thus, in the example below, no natural signs are printed
1141 before the@tie{}@code{b} in the second measure or the
1144 @lilypond[quote,ragged-right]
1148 cis'8 fis, d'4 <a cis>8 f bis4 |
1162 \voiceTwo \relative c' {
1166 \change Staff = down
1170 \change Staff = down
1171 <fis, a cis>4 gis <f a d>2 |
1178 \context Staff = "up" {
1179 #(set-accidental-style 'default)
1182 \context Staff = "down" {
1183 #(set-accidental-style 'default)
1191 The normal behavior is to remember the accidentals at @code{Staff}-level.
1192 In this style, however, accidentals are typeset individually for
1193 each voice. Apart from that, the rule is similar to
1196 As a result, accidentals from one voice do not get canceled in
1197 other voices, which is often an unwanted result: in the following
1198 example, it is hard to determine whether the second@tie{}@code{a}
1199 should be played natural or sharp. The @code{voice} option should
1200 therefore be used only if the voices are to be read solely by
1201 individual musicians. If the staff is to be used by one musician
1202 (e.g., a conductor or in a piano score) then @code{modern} or
1203 @code{modern-cautionary} should be used instead.
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 'voice)
1244 \context Staff = "down" {
1245 #(set-accidental-style 'voice)
1253 @cindex accidentals, modern style
1254 @cindex modern style accidentals
1255 @funindex modern style accidentals
1257 This rule corresponds to the common practice in the twentieth
1258 century. It prints the same accidentals as @code{default}, with
1259 two exceptions that serve to avoid ambiguity: after temporary
1260 accidentals, cancellation marks are printed also in the following
1261 measure (for notes in the same octave) and, in the same measure,
1262 for notes in other octaves. Hence the naturals before
1263 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1266 @lilypond[quote,ragged-right]
1270 cis'8 fis, d'4 <a cis>8 f bis4 |
1284 \voiceTwo \relative c' {
1288 \change Staff = down
1292 \change Staff = down
1293 <fis, a cis>4 gis <f a d>2 |
1300 \context Staff = "up" {
1301 #(set-accidental-style 'modern)
1304 \context Staff = "down" {
1305 #(set-accidental-style 'modern)
1312 @item modern-cautionary
1313 @cindex accidentals, modern cautionary style
1314 @cindex modern accidental style
1315 @cindex modern cautionary accidental style
1316 @cindex modern style accidentals
1317 @cindex modern style cautionary accidentals
1318 @funindex modern-cautionary
1320 This rule is similar to @code{modern}, but the @q{extra}
1321 accidentals (the ones not typeset by @code{default}) are typeset
1322 as cautionary accidentals. They are by default printed with
1323 parentheses, but they can also be printed in reduced size by
1324 defining the @code{cautionary-style} property of
1325 @code{AccidentalSuggestion}.
1328 @lilypond[quote,ragged-right]
1332 cis'8 fis, d'4 <a cis>8 f bis4 |
1346 \voiceTwo \relative c' {
1350 \change Staff = down
1354 \change Staff = down
1355 <fis, a cis>4 gis <f a d>2 |
1362 \context Staff = "up" {
1363 #(set-accidental-style 'modern-cautionary)
1366 \context Staff = "down" {
1367 #(set-accidental-style 'modern-cautionary)
1375 @cindex accidental style, modern
1376 @cindex accidentals, modern
1377 @cindex accidentals, multivoice
1378 @cindex modern accidental style
1379 @cindex modern accidentals
1380 @cindex multivoice accidentals
1381 @funindex modern-voice
1383 This rule is used for multivoice accidentals to be read both by
1384 musicians playing one voice and musicians playing all voices.
1385 Accidentals are typeset for each voice, but they @emph{are}
1386 canceled across voices in the same @code{Staff}. Hence,
1387 the@tie{}@code{a} in the last measure is canceled because the
1388 previous cancellation was in a different voice, and
1389 the@tie{}@code{d} in the lower staff is canceled because of the
1390 accidental in a different voice in the previous measure:
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)
1431 \context Staff = "down" {
1432 #(set-accidental-style 'modern-voice)
1439 @cindex accidental style, cautionary, modern voice
1440 @cindex accidental style, modern voice cautionary
1441 @cindex accidental style, voice, modern cautionary
1442 @funindex modern-voice-cautionary
1443 @item modern-voice-cautionary
1445 This rule is the same as @code{modern-voice}, but with the extra
1446 accidentals (the ones not typeset by @code{voice}) typeset
1447 as cautionaries. Even though all accidentals typeset by
1448 @code{default} @emph{are} typeset with this rule,
1449 some of them are typeset as cautionaries.
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 'modern-voice-cautionary)
1489 \context Staff = "down" {
1490 #(set-accidental-style 'modern-voice-cautionary)
1498 @cindex accidental style, piano
1499 @cindex accidentals, piano
1500 @cindex piano accidental style
1501 @cindex piano accidentals
1503 This rule reflects twentieth-century practice for piano notation.
1504 Its behavior is very similar to @code{modern} style, but here
1505 accidentals also get canceled across the staves in the same
1506 @code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
1509 This accidental style applies to the current @code{GrandStaff} or
1510 @code{PianoStaff} by default.
1512 @lilypond[quote,ragged-right]
1516 cis'8 fis, d'4 <a cis>8 f bis4 |
1530 \voiceTwo \relative c' {
1534 \change Staff = down
1538 \change Staff = down
1539 <fis, a cis>4 gis <f a d>2 |
1546 \context Staff = "up" {
1547 #(set-accidental-style 'piano)
1550 \context Staff = "down" {
1557 @item piano-cautionary
1558 @funindex #(set-accidental-style 'piano-cautionary)
1559 @cindex accidentals, piano cautionary
1560 @cindex cautionary accidentals, piano
1561 @cindex piano cautionary accidentals
1562 @cindex accidental style, piano cautionary
1563 @cindex cautionary accidental style, piano
1564 @cindex piano cautionary accidental style
1566 Same as @code{#(set-accidental-style 'piano)} but with the extra
1567 accidentals typeset as cautionaries.
1569 @lilypond[quote,ragged-right]
1573 cis'8 fis, d'4 <a cis>8 f bis4 |
1587 \voiceTwo \relative c' {
1591 \change Staff = down
1595 \change Staff = down
1596 <fis, a cis>4 gis <f a d>2 |
1603 \context Staff = "up" {
1604 #(set-accidental-style 'piano-cautionary)
1607 \context Staff = "down" {
1615 @funindex no-reset accidental style
1616 @cindex accidental style, no reset
1617 @cindex no reset accidental style
1619 This is the same as @code{default} but with accidentals lasting
1620 @q{forever} and not only within the same measure:
1622 @lilypond[quote,ragged-right]
1626 cis'8 fis, d'4 <a cis>8 f bis4 |
1640 \voiceTwo \relative c' {
1644 \change Staff = down
1648 \change Staff = down
1649 <fis, a cis>4 gis <f a d>2 |
1656 \context Staff = "up" {
1657 #(set-accidental-style 'no-reset)
1660 \context Staff = "down" {
1661 #(set-accidental-style 'no-reset)
1669 @funindex forget accidental style
1670 @cindex forget accidental style
1671 @cindex accidental style, forget
1673 This is the opposite of @code{no-reset}: Accidentals are not
1674 remembered at all -- and hence all accidentals are typeset
1675 relative to the key signature, regardless of what came before in
1678 @lilypond[quote,ragged-right]
1682 cis'8 fis, d'4 <a cis>8 f bis4 |
1696 \voiceTwo \relative c' {
1700 \change Staff = down
1704 \change Staff = down
1705 <fis, a cis>4 gis <f a d>2 |
1712 \context Staff = "up" {
1713 #(set-accidental-style 'forget)
1716 \context Staff = "down" {
1717 #(set-accidental-style 'forget)
1727 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1728 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1734 @lsrdir{Pitches,Pitches}.
1736 Internals Reference:
1737 @internalsref{Accidental},
1738 @internalsref{Accidental_engraver},
1739 @internalsref{GrandStaff} and
1740 @internalsref{PianoStaff},
1741 @internalsref{Staff},
1742 @internalsref{AccidentalSuggestion},
1743 @internalsref{AccidentalPlacement},
1744 @internalsref{accidental-suggestion-interface}.
1747 @cindex accidentals and simultaneous notes
1748 @cindex simultaneous notes and accidentals
1749 @cindex accidentals in chords
1750 @cindex chords, accidentals in
1754 Simultaneous notes are considered to be entered in sequential
1755 mode. This means that in a chord the accidentals are typeset as
1756 if the notes in the chord happen one at a time, in the order in
1757 which they appear in the input file. This is a problem when
1758 accidentals in a chord depend on each other, which does not happen
1759 for the default accidental style. The problem can be solved by
1760 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1765 @unnumberedsubsubsec Ambitus
1768 @cindex range of pitches
1771 The term @notation{ambitus} (pl. ambitus) denotes a range of
1772 pitches for a given voice in a part of music. It may also denote
1773 the pitch range that a musical instrument is capable of playing.
1774 Ambitus are printed on vocal parts so that performers can easily
1775 determine if it matches their capabilities.
1777 Ambitus are denoted at the beginning of a piece near the initial
1778 clef. The range is graphically specified by two note heads that
1779 represent the lowest and highest pitches. Accidentals are only
1780 printed if they are not part of the key signature.
1782 @lilypond[verbatim,quote,ragged-right]
1786 \consists "Ambitus_engraver"
1799 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1800 {adding-ambitus-per-voice.ly}
1802 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1803 {ambitus-with-multiple-voices.ly}
1812 @lsrdir{Pitches,Pitches}.
1814 Internals Reference:
1815 @internalsref{Ambitus_engraver},
1816 @internalsref{Voice},
1817 @internalsref{Staff},
1818 @internalsref{Ambitus},
1819 @internalsref{AmbitusAccidental},
1820 @internalsref{AmbitusLine},
1821 @internalsref{AmbitusNoteHead},
1822 @internalsref{ambitus-interface}.
1827 There is no collision handling in the case of multiple per-voice
1832 @subsection Note heads
1834 This section suggests ways of altering note heads.
1837 * Special note heads::
1838 * Easy notation note heads::
1839 * Shape note heads::
1843 @node Special note heads
1844 @unnumberedsubsubsec Special note heads
1846 @cindex note heads, special
1847 @cindex note heads, cross
1848 @cindex note heads, diamond
1849 @cindex note heads, parlato
1850 @cindex note heads, harmonic
1851 @cindex note heads, guitar
1852 @cindex special note heads
1853 @cindex cross note heads
1854 @cindex diamond note heads
1855 @cindex parlato note heads
1856 @cindex harmonic note heads
1857 @cindex guitar note heads
1859 Different note heads are used by various instruments for various
1860 meanings -- crosses are used for @q{parlato} with vocalists,
1861 stopped notes on guitar; diamonds are used for harmonics on string
1862 instruments, etc. There is a shorthand (@code{\harmonic}) for
1863 diamond shapes; the other note head styles are produced by
1864 tweaking the property:
1866 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1868 \override NoteHead #'style = #'cross
1870 \revert NoteHead #'style
1871 e d <c f\harmonic> <d a'\harmonic>
1875 To see all note head styles, see @ref{Note head styles}.
1881 @lsrdir{Pitches,Pitches}.
1884 @ref{Note head styles}.
1886 Internals Reference:
1887 @internalsref{note-event},
1888 @internalsref{Note_heads_engraver},
1889 @internalsref{Ledger_line_engraver},
1890 @internalsref{NoteHead},
1891 @internalsref{LedgerLineSpanner},
1892 @internalsref{note-head-interface},
1893 @internalsref{ledger-line-spanner-interface}.
1896 @node Easy notation note heads
1897 @unnumberedsubsubsec Easy notation note heads
1899 @cindex note heads, practice
1900 @cindex note heads, easy notation
1901 @cindex easy notation
1903 @cindex beginners' music
1904 @cindex music, beginners'
1905 @cindex easy play note heads
1906 @cindex note heads, easy play
1908 The @q{easy play} note head includes a note name inside the head.
1909 It is used in music for beginners.
1911 @lilypond[verbatim,quote,ragged-right]
1912 #(set-global-staff-size 26)
1922 The command @code{\easyHeadsOn} overrides settings for the
1923 @code{NoteHead} object. These settings can be reverted with the command
1924 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1925 in a large font size. To print with a larger font, see @ref{Setting the
1930 @funindex \easyHeadsOn
1931 @funindex \easyHeadsOff
1932 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1937 @ref{Setting the staff size}.
1940 @lsrdir{Pitches,Pitches}.
1942 Internals Reference:
1943 @internalsref{note-event},
1944 @internalsref{Note_heads_engraver},
1945 @internalsref{NoteHead},
1946 @internalsref{note-head-interface}.
1949 @node Shape note heads
1950 @unnumberedsubsubsec Shape note heads
1952 @cindex note heads, shape
1953 @cindex note heads, Aiken
1954 @cindex note heads, sacred harp
1956 @cindex Aiken shape note heads
1957 @cindex sacred harp note heads
1959 @funindex shapeNoteStyles
1960 @funindex \aikenHeads
1961 @funindex \sacredHarpHeads
1963 In shape note head notation, the shape of the note head
1964 corresponds to the harmonic function of a note in the scale. This
1965 notation was popular in nineteenth-century American song books.
1967 Shape note heads can be produced by setting @code{\aikenHeads} or
1968 @code{\sacredHarpHeads}, depending on the style desired.
1970 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1979 Shapes are typeset according to the step in the scale, where
1980 the base of the scale is determined by the @code{\key} command.
1984 @funindex \aikenHeads
1985 @funindex \sacredHarpHeads
1986 @code{\aikenHeads}, @code{\sacredHarpHeads}
1990 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1991 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1994 To see all note head styles, see @ref{Note head styles}.
1999 @lsrdir{Pitches,Pitches}.
2002 @ref{Note head styles}.
2004 Internals Reference:
2005 @internalsref{note-event},
2006 @internalsref{Note_heads_engraver},
2007 @internalsref{NoteHead},
2008 @internalsref{note-head-interface}.
2012 @unnumberedsubsubsec Improvisation
2014 @cindex improvisation
2015 @cindex slashed note heads
2016 @cindex note heads, improvisation
2017 @cindex note heads, slashed
2019 Improvisation is sometimes denoted with slashed note heads, where
2020 the performer may choose any pitch but should play the specified
2021 rhythm. Such note heads can be created:
2023 @lilypond[verbatim,quote,ragged-right]
2025 \consists "Pitch_squash_engraver"
2027 e8 e g a a16( bes) a8 g
2040 @funindex \improvisationOn
2041 @funindex \improvisationOff
2043 @code{\improvisationOn}, @code{\improvisationOff}
2048 @lsrdir{Pitches,Pitches}.
2050 Internals Reference:
2051 @internalsref{Pitch_squash_engraver},
2052 @internalsref{Voice},
2053 @internalsref{RhythmicStaff}.