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]{pitches-headword.ly}
15 This section discusses how to specify the pitch of notes. There
16 are three steps to this process: input, modification, and output.
20 * Changing multiple pitches::
21 * Displaying pitches::
27 @subsection Writing pitches
29 This section discusses how to input pitches. There are two
30 different ways to place notes in octaves: absolute and relative
31 mode. In most cases, relative mode will be more convenient.
34 * Absolute octave entry::
35 * Relative octave entry::
37 * Note names in other languages::
41 @node Absolute octave entry
42 @unnumberedsubsubsec Absolute octave entry
47 @cindex absolute octave specification
49 A pitch name is specified using lowercase letters@tie{}@code{a}
50 through@tie{}@code{g}. The note names @code{c} to @code{b} are
51 engraved in the octave below middle C.
54 @lilypond[verbatim,quote,ragged-right,fragment]
64 Other octaves may be specified with a single quote@tie{}(@code{'})
65 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
66 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
69 @lilypond[verbatim,quote,ragged-right,fragment]
84 @lsrdir{Pitches,Pitches}.
87 @node Relative octave entry
88 @unnumberedsubsubsec Relative octave entry
91 @cindex relative octave specification
94 When octaves are specified in absolute mode it is easy to
95 accidentally put a pitch in the wrong octave. Relative octave
96 mode reduces these errors since most of the time it is not
97 necessary to indicate any octaves at all. Furthermore, in
98 absolute mode a single mistake may be difficult to spot, while in
99 relative mode a single error puts the rest of the piece off by one
103 \relative @var{startpitch} @var{musicexpr}
106 In relative mode, each note is assumed to be as close to the
107 previous note as possible. This means that the octave of pitches
108 in @var{musicexpr} is calculated as follows:
112 If no octave changing mark is used on a pitch, its octave is calculated
113 so that the interval with the previous note is less than a fifth. This
114 interval is determined without considering accidentals.
117 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
118 respectively raise or lower a pitch by an extra octave, relative to
119 the pitch calculated without an octave mark.
122 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
123 @code{,,}@tie{} will alter the pitch by two octaves.
126 The pitch of the first note is relative to
127 @code{@var{startpitch}}. @var{startpitch} is specified in
128 absolute octave mode, and it is recommended that it be a octave of
133 Here is the relative mode shown in action:
135 @lilypond[verbatim,quote,ragged-right]
144 Octave changing marks are used for intervals greater than a
147 @lilypond[verbatim,quote,ragged-right]
154 A note sequence without a single octave mark can nevertheless span
157 @lilypond[verbatim,quote,ragged-right]
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 chords, the next note is always
167 relative to the preceding one.
169 @lilypond[verbatim,quote,ragged-right]
173 % the C is now an octave higher
175 % the C returns to the original pitch
180 As explained above, the octave of pitches is calculated only with
181 the note names, regardless of any alterations. Therefore, an
182 E-double-sharp following a B will be placed higher, while an
183 F-double-flat will be placed lower. In other words, a
184 double-augmented fourth is considered a smaller interval than a
185 double-diminished fifth, regardless of the number of semitones
186 that each interval contains.
188 @lilypond[verbatim,quote,ragged-right]
209 @lsrdir{Pitches,Pitches}.
212 @internalsref{RelativeOctaveMusic}.
221 The relative conversion will not affect @code{\transpose},
222 @code{\chordmode} or @code{\relative} sections in its argument.
223 To use relative mode within transposed music, an additional
224 @code{\relative} must be placed inside @code{\transpose}.
227 If no @var{startpitch} is specified for @code{\relative},
228 then@tie{}@code{c'} is assumed. However, this is a deprecated
229 option and may disappear in future versions, so its use is
235 @unnumberedsubsubsec Accidentals
238 @cindex key signature
241 @c duplicated in Key signature and Accidentals
242 @warning{New users are sometimes confused about accidentals and
243 key signatures. In LilyPond, note names are the raw input; key
244 signatures and clefs determine how this raw input is displayed.
245 An unaltered note like@tie{}@code{c} means @q{C natural},
246 regardless of the key signature or clef. For more information,
247 see @rlearning{Accidentals and key signatures}.}
249 @cindex note names, Dutch
250 @cindex note names, default
254 @cindex sharp, double
259 A @notation{sharp} pitch is made by adding @code{is} to the note name,
260 and a @notation{flat} pitch by adding @code{es}. As you might expect,
261 a @notation{double sharp} or @notation{double flat} is made by adding
262 @code{isis} or @code{eses}. This syntax is derived from Dutch note
263 naming conventions. To use other names for accidentals, see
264 @ref{Note names in other languages}.
266 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
270 A natural will cancel the effect of an accidental or key
271 signature. However, naturals are not encoded into the note name
272 syntax with a suffix; a natural pitch is shown as a simple note
275 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
279 @cindex quarter tones
280 @cindex semi-flats, semi-sharps
282 Quarter tones may be added; the following is a series of Cs with
285 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
286 ceseh1 ces ceh c cih cis cisih
291 @cindex accidental, reminder
292 @cindex accidental, cautionary
293 @cindex accidental, parenthesized
294 @cindex reminder accidental
296 @cindex cautionary accidental
297 @cindex parenthesized accidental
300 Normally accidentals are printed automatically, but you may also
301 print them manually. A reminder accidental can be forced by
302 adding an exclamation mark@tie{}@code{!} after the pitch. A
303 cautionary accidental (i.e., an accidental within parentheses) can
304 be obtained by adding the question mark@tie{}@code{?} after the
305 pitch. These extra accidentals can also be used to produce
308 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
309 cis cis cis! cis? c c c! c?
312 Accidentals on tied notes are only printed at the beginning of a
315 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
324 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
325 {preventing-extra-naturals-from-being-automatically-added.ly}
332 @rglos{double sharp},
335 @rglos{quarter-tone}.
338 @rlearning{Accidentals and key signatures}.
341 @ref{Automatic accidentals},
342 @ref{Musica ficta accidentals},
343 @ref{Note names in other languages}.
346 @lsrdir{Pitches,Pitches}.
349 @internalsref{Accidental_engraver},
350 @internalsref{Accidental},
351 @internalsref{AccidentalCautionary},
352 @internalsref{accidental-interface}.
357 There are no generally accepted standards for denoting
358 quarter-tone accidentals, so LilyPond's symbol does not conform to
363 @node Note names in other languages
364 @unnumberedsubsubsec Note names in other languages
366 There are predefined sets of note names for various other
367 languages. To use them, include the language-specific init file.
368 For example, to use English notes names, add @code{\include
369 "english.ly"} to the top of the input file. The available
370 language files and the note names they define are:
372 @cindex note names, other languages
373 @cindex pitch names, other languages
376 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
379 @tab sharp @tab flat @tab double sharp @tab double flat
381 @tab c d e f g a bes b
382 @tab -is @tab -es @tab -isis @tab -eses
384 @tab c d e f g a bf b
385 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
389 @tab -is @tab -es @tab -isis @tab -eses
392 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
396 @tab -iss @tab -ess @tab -ississ @tab -essess
399 @tab -is @tab -es @tab -isis @tab -eses
401 @tab do re mi fa sol la sib si
402 @tab -d @tab -b @tab -dd @tab -bb
404 @tab do re mi fa sol la sib si
405 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
407 @tab do re mi fa sol la sib si
408 @tab -s @tab -b @tab -ss @tab -bb
410 @tab do re mi fa sol la sib si
411 @tab -s @tab -b @tab -ss @tab -bb
413 @tab do re mi fa sol la sib si
414 @tab -k @tab -b @tab -kk @tab -bb
418 In Dutch, @code{aes} is contracted to @code{as}, but both forms
419 are accepted in LilyPond. Similarly, both @code{es} and
420 @code{ees} are accepted. This also applies to
421 @code{aeses}@tie{}/@tie{}@code{ases} and
422 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
423 contracted names are defined in the corresponding language files.
425 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
426 a2 as e es a ases e eses
430 Some music uses microtones whose alterations are fractions of a
431 @q{normal} sharp or flat. The note names for quarter-tones
432 defined in the various language files are listed in the following
433 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
434 mean @q{half} and @q{one and a half}, respectively. For the other
435 languages, no special names have been defined yet.
438 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
441 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
444 @tab c d e f g a bes b
445 @tab -ih @tab -eh @tab -isih @tab -eseh
447 @tab c d e f g a bf b
448 @tab -qs @tab -qf @tab -tqs @tab -tqf
451 @tab -ih @tab -eh @tab -isih @tab -eseh
453 @tab do re mi fa sol la sib si
454 @tab -sd @tab -sb @tab -dsd @tab -bsb
456 @tab do re mi fa sol la sib si
457 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
468 @lsrdir{Pitches,Pitches}.
471 @node Changing multiple pitches
472 @subsection Changing multiple pitches
474 This section discusses how to modify pitches.
482 @unnumberedsubsubsec Octave checks
484 @cindex octave correction
489 In relative mode, it is easy to forget an octave changing mark.
490 Octave checks make such errors easier to find by displaying a
491 warning and correcting the octave if a note is found in an
494 To check the octave of a specific note, specify the absolute
495 octave after the @code{=}@tie{}symbol. This example will generate
496 a warning (and change the pitch) because the second note is the
497 absolute octave @code{d''} instead of @code{d'} as indicated by
498 the octave correction.
500 @lilypond[verbatim,quote,ragged-right,fragment]
507 The octave of notes may also be checked with the
508 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
509 specified in absolute mode. This checks that the interval between the
510 previous note and the @var{controlpitch} is within a fourth (i.e., the
511 normal calculation of relative mode). If this check fails, a warning
512 is printed, but the previous note is not changed. Future notes are
513 relative to the @var{controlpitch}.
515 @lilypond[verbatim,quote,ragged-right,fragment]
523 Compare the two bars below. The first and third @code{\octave}
524 checks fail, but the second one does not fail.
526 @lilypond[verbatim,quote,ragged-right,fragment]
544 @lsrdir{Pitches,Pitches}.
547 @internalsref{RelativeOctaveCheck}.
551 @unnumberedsubsubsec Transpose
554 @cindex transposition
555 @cindex transposition of pitches
558 A music expression can be transposed with @code{\transpose}. The
562 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
566 This means that @var{musicexpr} is transposed by the interval
567 between the pitches @var{frompitch} and @var{topitch}: any note
568 with pitch @var{frompitch} is changed to @var{topitch} and any
569 other note is transposed by the same interval. Both pitches are
570 entered in absolute mode.
572 Consider a piece written in the key of D-major. It can be
573 transposed up to E-major; note that the key signature is
574 automatically transposed as well.
576 @lilypond[verbatim,quote,ragged-right]
585 If a part written in C (normal @notation{concert pitch}) is to be played on
586 the A clarinet (for which an A is notated as a C and thus sounds a
587 minor third lower than notated), the appropriate part will be
590 @lilypond[verbatim,quote,ragged-right]
600 Note that we specify @code{\key c \major} explicitly. If we do
601 not specify a key signature, the notes will be transposed but no
602 key signature will be printed.
604 @code{\transpose} distinguishes between enharmonic pitches: both
605 @code{\transpose c cis} or @code{\transpose c des} will transpose
606 up a semitone. The first version will print sharps and the notes
607 will remain on the same scale step, the second version will print
608 flats on the scale step above.
610 @lilypond[verbatim,quote,ragged-right]
611 mus = \relative c' { c d e f }
613 \transpose c cis { \mus }
614 \transpose c des { \mus }
618 @cindex transposing instruments
620 @code{\transpose} may also be used in a different way, to input
621 written notes for a transposing instrument. The previous examples
622 show how to enter pitches in C (or @notation{concert pitch}) and
623 typeset them for a transposing instrument, but the opposite is
624 also possible if you for example have a set of instrumental parts
625 and want to print a conductor's score. For example, when entering
626 music for a B-flat trumpet that begins on a notated E (concert D),
630 musicInBflat = @{ e4 @dots{} @}
631 \transpose c bes, \musicInBflat
635 To print this music in F (e.g., rearranging to a French horn) you
636 could wrap the existing music with another @code{\transpose}:
639 musicInBflat = @{ e4 @dots{} @}
640 \transpose f c' @{ \transpose c bes, \musicInBflat @}
644 For more information about transposing instruments,
645 see @ref{Instrument transpositions}.
650 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
651 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
657 @ref{Instrument transpositions}.
660 @lsrdir{Pitches,Pitches}.
663 @internalsref{TransposedMusic}.
672 The relative conversion will not affect @code{\transpose},
673 @code{\chordmode} or @code{\relative} sections in its argument.
674 To use relative mode within transposed music, an additional
675 @code{\relative} must be placed inside @code{\transpose}.
678 @node Displaying pitches
679 @subsection Displaying pitches
681 This section discusses how to alter the output of pitches.
687 * Instrument transpositions::
688 * Automatic accidentals::
694 @unnumberedsubsubsec Clef
707 @cindex mezzosoprano clef
708 @cindex baritone clef
709 @cindex varbaritone clef
713 @cindex clef, ancient
723 @cindex clef, soprano
724 @cindex clef, mezzosoprano
725 @cindex clef, baritone
726 @cindex clef, varbaritone
727 @cindex subbass clef, subbass
729 The clef is set with the @code{\clef} @var{clefname} command.
730 Middle C is shown in every example.
732 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
745 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
767 Further supported clefs are described under @ref{Ancient clefs}.
769 @cindex transposing clefs
770 @cindex clef, transposing
771 @cindex octave transposition
773 By adding @code{_8} or @code{^8} to the clef name, the clef is
774 transposed one octave down or up, respectively, and @code{_15} and
775 @code{^15} transpose by two octaves. The argument @var{clefname}
776 must be enclosed in quotes when it contains underscores or digits.
778 @cindex choral tenor clef
780 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
790 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
791 {tweaking-clef-properties.ly}
800 @lsrdir{Pitches,Pitches}.
803 @internalsref{Clef_engraver},
805 @internalsref{OctavateEight},
806 @internalsref{clef-interface}.
810 @unnumberedsubsubsec Key signature
812 @cindex key signature
815 @c duplicated in Key signature and Accidentals
816 @warning{New users are sometimes confused about accidentals and
817 key signatures. In LilyPond, note names are the raw input; key
818 signatures and clefs determine how this raw input is displayed.
819 An unaltered note like@tie{}@code{c} means @q{C natural},
820 regardless of the key signature or clef. For more information,
821 see @rlearning{Accidentals and key signatures}.}
823 The key signature indicates the tonality in which a piece is
824 played. It is denoted by a set of alterations (flats or sharps)
825 at the start of the staff. Setting or changing the key signature
826 is done with the @code{\key} command:
829 \key @var{pitch} @var{mode}
837 @funindex \mixolydian
844 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
845 key signature of @var{pitch}-major or @var{pitch}-minor,
846 respectively. You may also use the standard mode names, also
847 called @notation{church modes}: @code{\ionian}, @code{\dorian},
848 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
849 @code{\aeolian}, and @code{\locrian}.
851 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
861 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
862 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
864 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
865 {non-traditional-key-signatures.ly}
875 @rlearning{Accidentals and key signatures}.
878 @lsrdir{Pitches,Pitches}.
881 @internalsref{KeyChangeEvent},
882 @internalsref{Key_engraver},
883 @internalsref{Key_performer},
884 @internalsref{KeyCancellation},
885 @internalsref{KeySignature},
886 @internalsref{key-cancellation-interface},
887 @internalsref{key-signature-interface}.
890 @node Ottava brackets
891 @unnumberedsubsubsec Ottava brackets
899 @notation{Ottava brackets} introduce an extra transposition of an
900 octave for the staff:
902 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
910 The @code{set-octavation} function also takes -1 (for 8va bassa),
911 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
916 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
926 @lsrdir{Pitches,Pitches}.
929 @internalsref{Ottava_spanner_engraver},
930 @internalsref{OttavaBracket},
931 @internalsref{ottava-bracket-interface}.
935 @node Instrument transpositions
936 @unnumberedsubsubsec Instrument transpositions
938 @cindex transposition, MIDI
939 @cindex transposition, instrument
940 @cindex transposing instrument
942 @funindex \transposition
944 When typesetting scores that involve transposing instruments, some
945 parts can be typeset in a different pitch than the
946 @notation{concert pitch}. In these cases, the key of the
947 @notation{transposing instrument} should be specified; otherwise
948 the MIDI output and cues in other parts will produce incorrect
949 pitches. For more information about quotations, see @ref{Quoting
953 \transposition @var{pitch}
956 The pitch to use for @code{\transposition} should correspond to
957 the real sound heard when a@tie{}@code{c'} written on the staff is
958 played by the transposing instrument. This pitch is entered in
959 absolute mode, so an instrument that produces a real sound which
960 is one tone higher than the printed music should use
961 @code{\transposition d'}. @code{\transposition} should
962 @emph{only} be used if the pitches are @emph{not} being entered in
965 Here are a few notes for violin and B-flat clarinet where the
966 parts have been entered using the notes and key as they appear in
967 each part of the conductor's score. The two instruments are
970 @lilypond[verbatim,quote,ragged-right]
974 \set Staff.instrumentName = "Vln"
975 \set Staff.midiInstrument = "violin"
976 % strictly speaking not necessary, but a good reminder
983 \new Staff = "clarinet" {
985 \set Staff.instrumentName = \markup { Cl (B\flat) }
986 \set Staff.midiInstrument = "clarinet"
997 The @code{\transposition} may be changed during a piece. For
998 example, a clarinetist may switch from an A clarinet to a B-flat
1001 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1002 \set Staff.instrumentName = "Cl (A)"
1007 s1*0^\markup { Switch to B\flat clarinet }
1019 @rglos{concert pitch},
1020 @rglos{transposing instrument}.
1023 @ref{Quoting other voices}, @ref{Transpose}.
1026 @lsrdir{Pitches,Pitches}.
1029 @node Automatic accidentals
1030 @unnumberedsubsubsec Automatic accidentals
1032 @cindex automatic accidentals
1033 @cindex accidentals, automatic
1035 @cindex accidental style
1036 @cindex default accidental style
1037 @cindex accidental style, default
1038 @funindex set-accidental-style
1040 There are many different conventions on how to typeset
1041 accidentals. LilyPond provides a function to specify which
1042 accidental style to use. This function is called as follows
1046 #(set-accidental-style 'voice)
1051 The accidental style applies to the current @code{Staff} by
1052 default (with the exception of the styles @code{piano} and
1053 @code{piano-cautionary}, which are explained below). Optionally,
1054 the function can take a second argument that determines in which
1055 scope the style should be changed. For example, to use the same
1056 style in all staves of the current @code{StaffGroup}, use
1059 #(set-accidental-style 'voice 'StaffGroup)
1062 The following accidental styles are supported. To demonstrate
1063 each style, we use the following example:
1065 @lilypond[verbatim,quote,ragged-right]
1069 cis'8 fis, d'4 <a cis>8 f bis4 |
1083 \voiceTwo \relative c' {
1087 \change Staff = down
1091 \change Staff = down
1092 <fis, a cis>4 gis <f a d>2 |
1099 \context Staff = "up" {
1100 %%% change the next line as desired:
1101 #(set-accidental-style 'default)
1104 \context Staff = "down" {
1105 %%% change the next line as desired:
1106 #(set-accidental-style 'default)
1113 Note that the last lines of this example can be replaced by the
1114 following, as long as the same accidental style should be used in
1119 \context Staff = "up" @{
1120 %%% change the next line as desired:
1121 #(set-accidental-style 'default 'Score)
1124 \context Staff = "down" @{
1132 @c don't use verbatim in this table.
1135 This is the default typesetting behavior. It corresponds to
1136 eighteenth-century common practice: accidentals are remembered to
1137 the end of the measure in which they occur and only in their own
1138 octave. Thus, in the example below, no natural signs are printed
1139 before the@tie{}@code{b} in the second measure or the
1142 @lilypond[quote,ragged-right]
1146 cis'8 fis, d'4 <a cis>8 f bis4 |
1160 \voiceTwo \relative c' {
1164 \change Staff = down
1168 \change Staff = down
1169 <fis, a cis>4 gis <f a d>2 |
1176 \context Staff = "up" {
1177 #(set-accidental-style 'default)
1180 \context Staff = "down" {
1181 #(set-accidental-style 'default)
1189 The normal behavior is to remember the accidentals at @code{Staff}-level.
1190 In this style, however, accidentals are typeset individually for
1191 each voice. Apart from that, the rule is similar to
1194 As a result, accidentals from one voice do not get canceled in
1195 other voices, which is often an unwanted result: in the following
1196 example, it is hard to determine whether the second@tie{}@code{a}
1197 should be played natural or sharp. The @code{voice} option should
1198 therefore be used only if the voices are to be read solely by
1199 individual musicians. If the staff is to be used by one musician
1200 (e.g., a conductor or in a piano score) then @code{modern} or
1201 @code{modern-cautionary} should be used instead.
1204 @lilypond[quote,ragged-right]
1208 cis'8 fis, d'4 <a cis>8 f bis4 |
1222 \voiceTwo \relative c' {
1226 \change Staff = down
1230 \change Staff = down
1231 <fis, a cis>4 gis <f a d>2 |
1238 \context Staff = "up" {
1239 #(set-accidental-style 'voice)
1242 \context Staff = "down" {
1243 #(set-accidental-style 'voice)
1251 @cindex accidentals, modern style
1252 @cindex modern style accidentals
1253 @funindex modern style accidentals
1255 This rule corresponds to the common practice in the twentieth
1256 century. It prints the same accidentals as @code{default}, with
1257 two exceptions that serve to avoid ambiguity: after temporary
1258 accidentals, cancellation marks are printed also in the following
1259 measure (for notes in the same octave) and, in the same measure,
1260 for notes in other octaves. Hence the naturals before
1261 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1264 @lilypond[quote,ragged-right]
1268 cis'8 fis, d'4 <a cis>8 f bis4 |
1282 \voiceTwo \relative c' {
1286 \change Staff = down
1290 \change Staff = down
1291 <fis, a cis>4 gis <f a d>2 |
1298 \context Staff = "up" {
1299 #(set-accidental-style 'modern)
1302 \context Staff = "down" {
1303 #(set-accidental-style 'modern)
1310 @item modern-cautionary
1311 @cindex accidentals, modern cautionary style
1312 @cindex modern style accidentals
1313 @cindex modern style cautionary accidentals
1314 @cindex modern accidental style
1315 @cindex modern cautionary accidental style
1316 @funindex modern-cautionary
1318 This rule is similar to @code{modern}, but the @q{extra}
1319 accidentals (the ones not typeset by @code{default}) are typeset
1320 as cautionary accidentals. They are by default printed with
1321 parentheses, but they can also be printed in reduced size by
1322 defining the @code{cautionary-style} property of
1323 @code{AccidentalSuggestion}.
1326 @lilypond[quote,ragged-right]
1330 cis'8 fis, d'4 <a cis>8 f bis4 |
1344 \voiceTwo \relative c' {
1348 \change Staff = down
1352 \change Staff = down
1353 <fis, a cis>4 gis <f a d>2 |
1360 \context Staff = "up" {
1361 #(set-accidental-style 'modern-cautionary)
1364 \context Staff = "down" {
1365 #(set-accidental-style 'modern-cautionary)
1373 @cindex accidentals, multivoice
1374 @cindex accidentals, modern
1375 @cindex modern accidentals
1376 @cindex multivoice accidentals
1377 @cindex accidental style, modern
1378 @cindex modern accidental style
1379 @funindex modern-voice
1381 This rule is used for multivoice accidentals to be read both by
1382 musicians playing one voice and musicians playing all voices.
1383 Accidentals are typeset for each voice, but they @emph{are}
1384 canceled across voices in the same @code{Staff}. Hence,
1385 the@tie{}@code{a} in the last measure is canceled because the
1386 previous cancellation was in a different voice, and
1387 the@tie{}@code{d} in the lower staff is canceled because of the
1388 accidental in a different voice in the previous measure:
1391 @lilypond[quote,ragged-right]
1395 cis'8 fis, d'4 <a cis>8 f bis4 |
1409 \voiceTwo \relative c' {
1413 \change Staff = down
1417 \change Staff = down
1418 <fis, a cis>4 gis <f a d>2 |
1425 \context Staff = "up" {
1426 #(set-accidental-style 'modern-voice)
1429 \context Staff = "down" {
1430 #(set-accidental-style 'modern-voice)
1437 @cindex accidental style, modern voice cautionary
1438 @cindex accidental style, cautionary, modern voice
1439 @cindex accidental style, voice, modern cautionary
1440 @funindex modern-voice-cautionary
1441 @item modern-voice-cautionary
1443 This rule is the same as @code{modern-voice}, but with the extra
1444 accidentals (the ones not typeset by @code{voice}) typeset
1445 as cautionaries. Even though all accidentals typeset by
1446 @code{default} @emph{are} typeset with this rule,
1447 some of them are typeset as cautionaries.
1449 @lilypond[quote,ragged-right]
1453 cis'8 fis, d'4 <a cis>8 f bis4 |
1467 \voiceTwo \relative c' {
1471 \change Staff = down
1475 \change Staff = down
1476 <fis, a cis>4 gis <f a d>2 |
1483 \context Staff = "up" {
1484 #(set-accidental-style 'modern-voice-cautionary)
1487 \context Staff = "down" {
1488 #(set-accidental-style 'modern-voice-cautionary)
1496 @cindex piano accidentals
1497 @cindex piano accidentals
1498 @cindex accidentals, piano
1499 @cindex piano accidental style
1500 @cindex accidental style, piano
1502 This rule reflects twentieth-century practice for piano notation.
1503 Its behavior is very similar to @code{modern} style, but here
1504 accidentals also get canceled across the staves in the same
1505 @code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
1508 This accidental style applies to the current @code{GrandStaff} or
1509 @code{PianoStaff} by default.
1511 @lilypond[quote,ragged-right]
1515 cis'8 fis, d'4 <a cis>8 f bis4 |
1529 \voiceTwo \relative c' {
1533 \change Staff = down
1537 \change Staff = down
1538 <fis, a cis>4 gis <f a d>2 |
1545 \context Staff = "up" {
1546 #(set-accidental-style 'piano)
1549 \context Staff = "down" {
1556 @item piano-cautionary
1557 @funindex #(set-accidental-style 'piano-cautionary)
1558 @cindex accidentals, piano cautionary
1559 @cindex cautionary accidentals, piano
1560 @cindex piano cautionary accidentals
1561 @cindex accidental style, piano cautionary
1562 @cindex cautionary accidental style, piano
1563 @cindex piano cautionary accidental style
1565 Same as @code{#(set-accidental-style 'piano)} but with the extra
1566 accidentals typeset as cautionaries.
1568 @lilypond[quote,ragged-right]
1572 cis'8 fis, d'4 <a cis>8 f bis4 |
1586 \voiceTwo \relative c' {
1590 \change Staff = down
1594 \change Staff = down
1595 <fis, a cis>4 gis <f a d>2 |
1602 \context Staff = "up" {
1603 #(set-accidental-style 'piano-cautionary)
1606 \context Staff = "down" {
1614 @funindex no-reset accidental style
1615 @cindex accidental style, no reset
1616 @cindex no reset accidental style
1618 This is the same as @code{default} but with accidentals lasting
1619 @q{forever} and not only within the same measure:
1621 @lilypond[quote,ragged-right]
1625 cis'8 fis, d'4 <a cis>8 f bis4 |
1639 \voiceTwo \relative c' {
1643 \change Staff = down
1647 \change Staff = down
1648 <fis, a cis>4 gis <f a d>2 |
1655 \context Staff = "up" {
1656 #(set-accidental-style 'no-reset)
1659 \context Staff = "down" {
1660 #(set-accidental-style 'no-reset)
1668 @funindex forget accidental style
1669 @cindex forget accidental style
1670 @cindex accidental style, forget
1672 This is the opposite of @code{no-reset}: Accidentals are not
1673 remembered at all -- and hence all accidentals are typeset
1674 relative to the key signature, regardless of what came before in
1677 @lilypond[quote,ragged-right]
1681 cis'8 fis, d'4 <a cis>8 f bis4 |
1695 \voiceTwo \relative c' {
1699 \change Staff = down
1703 \change Staff = down
1704 <fis, a cis>4 gis <f a d>2 |
1711 \context Staff = "up" {
1712 #(set-accidental-style 'forget)
1715 \context Staff = "down" {
1716 #(set-accidental-style 'forget)
1726 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1727 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1733 @lsrdir{Pitches,Pitches}.
1735 Internals Reference:
1736 @internalsref{Accidental},
1737 @internalsref{Accidental_engraver},
1738 @internalsref{GrandStaff} and
1739 @internalsref{PianoStaff},
1740 @internalsref{Staff},
1741 @internalsref{AccidentalSuggestion},
1742 @internalsref{AccidentalPlacement},
1743 @internalsref{accidental-suggestion-interface}.
1746 @cindex accidentals and simultaneous notes
1747 @cindex simultaneous notes and accidentals
1748 @cindex accidentals in chords
1749 @cindex chords, accidentals in
1753 Simultaneous notes are considered to be entered in sequential
1754 mode. This means that in a chord the accidentals are typeset as
1755 if the notes in the chord happen one at a time, in the order in
1756 which they appear in the input file. This is a problem when
1757 accidentals in a chord depend on each other, which does not happen
1758 for the default accidental style. The problem can be solved by
1759 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1764 @unnumberedsubsubsec Ambitus
1767 @cindex range of pitches
1770 The term @notation{ambitus} (pl. ambitus) denotes a range of
1771 pitches for a given voice in a part of music. It may also denote
1772 the pitch range that a musical instrument is capable of playing.
1773 Ambitus are printed on vocal parts so that performers can easily
1774 determine if it matches their capabilities.
1776 Ambitus are denoted at the beginning of a piece near the initial
1777 clef. The range is graphically specified by two note heads that
1778 represent the lowest and highest pitches. Accidentals are only
1779 printed if they are not part of the key signature.
1781 @lilypond[verbatim,quote,ragged-right]
1785 \consists "Ambitus_engraver"
1798 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1799 {adding-ambitus-per-voice.ly}
1801 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1802 {ambitus-with-multiple-voices.ly}
1811 @lsrdir{Pitches,Pitches}.
1813 Internals Reference:
1814 @internalsref{Ambitus_engraver},
1815 @internalsref{Voice},
1816 @internalsref{Staff},
1817 @internalsref{Ambitus},
1818 @internalsref{AmbitusAccidental},
1819 @internalsref{AmbitusLine},
1820 @internalsref{AmbitusNoteHead},
1821 @internalsref{ambitus-interface}.
1826 There is no collision handling in the case of multiple per-voice
1831 @subsection Note heads
1833 This section suggests ways of altering note heads.
1836 * Special note heads::
1837 * Easy notation note heads::
1838 * Shape note heads::
1842 @node Special note heads
1843 @unnumberedsubsubsec Special note heads
1845 @cindex note heads, special
1846 @cindex note heads, cross
1847 @cindex note heads, diamond
1848 @cindex note heads, parlato
1849 @cindex note heads, harmonic
1850 @cindex note heads, guitar
1851 @cindex special note heads
1852 @cindex cross note heads
1853 @cindex diamond note heads
1854 @cindex parlato note heads
1855 @cindex harmonic note heads
1856 @cindex guitar note heads
1858 Different note heads are used by various instruments for various
1859 meanings -- crosses are used for @q{parlato} with vocalists,
1860 stopped notes on guitar; diamonds are used for harmonics on string
1861 instruments, etc. There is a shorthand (@code{\harmonic}) for
1862 diamond shapes; the other note head styles are produced by
1863 tweaking the property:
1865 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1867 \override NoteHead #'style = #'cross
1869 \revert NoteHead #'style
1870 e d <c f\harmonic> <d a'\harmonic>
1874 To see all note head styles, see @ref{Note head styles}.
1880 @lsrdir{Pitches,Pitches}.
1883 @ref{Note head styles}.
1885 Internals Reference:
1886 @internalsref{note-event},
1887 @internalsref{Note_heads_engraver},
1888 @internalsref{Ledger_line_engraver},
1889 @internalsref{NoteHead},
1890 @internalsref{LedgerLineSpanner},
1891 @internalsref{note-head-interface},
1892 @internalsref{ledger-line-spanner-interface}.
1895 @node Easy notation note heads
1896 @unnumberedsubsubsec Easy notation note heads
1898 @cindex note heads, practice
1899 @cindex note heads, easy notation
1900 @cindex easy notation
1902 @cindex beginners' music
1903 @cindex music, beginners'
1904 @cindex easy play note heads
1905 @cindex note heads, easy play
1907 The @q{easy play} note head includes a note name inside the head.
1908 It is used in music for beginners.
1910 @lilypond[verbatim,quote,ragged-right]
1911 #(set-global-staff-size 26)
1921 The command @code{\easyHeadsOn} overrides settings for the
1922 @code{NoteHead} object. These settings can be reverted with the command
1923 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1924 in a large font size. To print with a larger font, see @ref{Setting the
1929 @funindex \easyHeadsOn
1930 @funindex \easyHeadsOff
1931 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1936 @ref{Setting the staff size}.
1939 @lsrdir{Pitches,Pitches}.
1941 Internals Reference:
1942 @internalsref{note-event},
1943 @internalsref{Note_heads_engraver},
1944 @internalsref{NoteHead},
1945 @internalsref{note-head-interface}.
1948 @node Shape note heads
1949 @unnumberedsubsubsec Shape note heads
1951 @cindex note heads, shape
1952 @cindex note heads, Aiken
1953 @cindex note heads, sacred harp
1955 @cindex Aiken shape note heads
1956 @cindex sacred harp note heads
1958 @funindex shapeNoteStyles
1959 @funindex \aikenHeads
1960 @funindex \sacredHarpHeads
1962 In shape note head notation, the shape of the note head
1963 corresponds to the harmonic function of a note in the scale. This
1964 notation was popular in nineteenth-century American song books.
1966 Shape note heads can be produced by setting @code{\aikenHeads} or
1967 @code{\sacredHarpHeads}, depending on the style desired.
1969 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1978 Shapes are typeset according to the step in the scale, where
1979 the base of the scale is determined by the @code{\key} command.
1983 @funindex \aikenHeads
1984 @funindex \sacredHarpHeads
1985 @code{\aikenHeads}, @code{\sacredHarpHeads}
1989 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1990 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1993 To see all note head styles, see @ref{Note head styles}.
1998 @lsrdir{Pitches,Pitches}.
2001 @ref{Note head styles}.
2003 Internals Reference:
2004 @internalsref{note-event},
2005 @internalsref{Note_heads_engraver},
2006 @internalsref{NoteHead},
2007 @internalsref{note-head-interface}.
2011 @unnumberedsubsubsec Improvisation
2013 @cindex improvisation
2014 @cindex slashed note heads
2015 @cindex note heads, improvisation
2016 @cindex note heads, slashed
2018 Improvisation is sometimes denoted with slashed note heads, where
2019 the performer may choose any pitch but should play the specified
2020 rhythm. Such note heads can be created:
2022 @lilypond[verbatim,quote,ragged-right]
2024 \consists "Pitch_squash_engraver"
2026 e8 e g a a16( bes) a8 g
2039 @funindex \improvisationOn
2040 @funindex \improvisationOff
2042 @code{\improvisationOn}, @code{\improvisationOff}
2047 @lsrdir{Pitches,Pitches}.
2049 Internals Reference:
2050 @internalsref{Pitch_squash_engraver},
2051 @internalsref{Voice},
2052 @internalsref{RhythmicStaff}.