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,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,fragment]
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
115 calculated so that the interval with the previous note is less
116 than a fifth. This interval is determined without considering
120 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
121 added to respectively raise or lower a pitch by an extra octave,
122 relative to the pitch calculated without an octave mark.
125 Multiple octave changing marks can be used. For example,
126 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
130 The pitch of the first note is relative to
131 @code{@var{startpitch}}. @var{startpitch} is specified in
132 absolute octave mode, and it is recommended that it be a octave of
137 Here is the relative mode shown in action:
139 @lilypond[verbatim,quote]
148 Octave changing marks are used for intervals greater than a
151 @lilypond[verbatim,quote]
158 A note sequence without a single octave mark can nevertheless span
161 @lilypond[verbatim,quote]
168 If the preceding item is a chord, the first note of the chord is
169 used as the reference point for the octave placement of a
170 following note or chord. Inside chords, the next note is always
171 relative to the preceding one. Examine the next example
172 carefully, paying attention to the @code{c} notes.
174 @lilypond[verbatim,quote]
183 As explained above, the octave of pitches is calculated only with
184 the note names, regardless of any alterations. Therefore, an
185 E-double-sharp following a B will be placed higher, while an
186 F-double-flat will be placed lower. In other words, a
187 double-augmented fourth is considered a smaller interval than a
188 double-diminished fifth, regardless of the number of semitones
189 that each interval contains.
191 @lilypond[verbatim,quote]
215 @rinternals{RelativeOctaveMusic}.
224 The relative conversion will not affect @code{\transpose},
225 @code{\chordmode} or @code{\relative} sections in its argument.
226 To use relative mode within transposed music, an additional
227 @code{\relative} must be placed inside @code{\transpose}.
230 If no @var{startpitch} is specified for @code{\relative},
231 then@tie{}@code{c'} is assumed. However, this is a deprecated
232 option and may disappear in future versions, so its use is
238 @unnumberedsubsubsec Accidentals
241 @cindex key signature
244 @c duplicated in Key signature and Accidentals
245 @warning{New users are sometimes confused about accidentals and
246 key signatures. In LilyPond, note names are the raw input; key
247 signatures and clefs determine how this raw input is displayed.
248 An unaltered note like@tie{}@code{c} means @q{C natural},
249 regardless of the key signature or clef. For more information,
250 see @rlearning{Accidentals and key signatures}.}
252 @cindex note names, Dutch
253 @cindex note names, default
257 @cindex sharp, double
262 A @notation{sharp} pitch is made by adding @code{is} to the note
263 name, and a @notation{flat} pitch by adding @code{es}. As you
264 might expect, a @notation{double sharp} or @notation{double flat}
265 is made by adding @code{isis} or @code{eses}. This syntax is
266 derived from Dutch note naming conventions. To use other names
267 for accidentals, see @ref{Note names in other languages}.
269 @lilypond[verbatim,quote,relative=2]
273 A natural will cancel the effect of an accidental or key
274 signature. However, naturals are not encoded into the note name
275 syntax with a suffix; a natural pitch is shown as a simple note
278 @lilypond[verbatim,quote,relative=2]
282 @cindex quarter tones
283 @cindex semi-flats, semi-sharps
285 Quarter tones may be added; the following is a series of Cs with
288 @lilypond[verbatim,quote,relative=2]
289 ceseh1 ces ceh c cih cis cisih
294 @cindex accidental, reminder
295 @cindex accidental, cautionary
296 @cindex accidental, parenthesized
297 @cindex reminder accidental
299 @cindex cautionary accidental
300 @cindex parenthesized accidental
303 Normally accidentals are printed automatically, but you may also
304 print them manually. A reminder accidental can be forced by
305 adding an exclamation mark@tie{}@code{!} after the pitch. A
306 cautionary accidental (i.e., an accidental within parentheses) can
307 be obtained by adding the question mark@tie{}@code{?} after the
308 pitch. These extra accidentals can also be used to produce
311 @lilypond[verbatim,quote,relative=2]
312 cis cis cis! cis? c c c! c?
315 Accidentals on tied notes are only printed at the beginning of a
318 @lilypond[verbatim,quote,relative=2]
327 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
328 {preventing-extra-naturals-from-being-automatically-added.ly}
335 @rglos{double sharp},
338 @rglos{quarter tone}.
341 @rlearning{Accidentals and key signatures}.
344 @ref{Automatic accidentals},
345 @ref{Annotational accidentals},
346 @ref{Note names in other languages}.
352 @rinternals{Accidental_engraver},
353 @rinternals{Accidental},
354 @rinternals{AccidentalCautionary},
355 @rinternals{accidental-interface}.
360 There are no generally accepted standards for denoting
361 quarter-tone accidentals, so LilyPond's symbol does not conform to
366 @node Note names in other languages
367 @unnumberedsubsubsec Note names in other languages
369 There are predefined sets of note names for various other
370 languages. To use them, include the language-specific init file.
371 For example, to use English notes names, add
372 @w{@code{\include "english.ly"}} to the top of the input file.
373 The available language files and the note names they define are:
375 @cindex note names, other languages
376 @cindex pitch names, other languages
379 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
382 @tab sharp @tab flat @tab double sharp @tab double flat
384 @tab c d e f g a bes b
385 @tab -is @tab -es @tab -isis @tab -eses
387 @tab do re mi fa sol la sib si
388 @tab -d @tab -b @tab -dd @tab -bb
390 @tab do re mi fa sol la sib si
391 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
394 @tab -is @tab -es @tab -isis @tab -eses
396 @tab c d e f g a bf b
397 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
400 @tab do re mi fa sol la sib si
401 @tab -s @tab -b @tab -ss @tab -bb
403 @tab do re mi fa sol la sib si
404 @tab -d @tab -b @tab -dd @tab -bb
407 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
410 @tab do re mi fa sol la sib si
411 @tab -s @tab -b @tab -ss @tab -bb
414 @tab -is @tab -es @tab -isis @tab -eses
417 @tab -iss @tab -ess @tab -ississ @tab -essess
419 @tab do re mi fa sol la sib si
420 @tab -k @tab -b @tab -kk @tab -bb
424 In Dutch, @code{aes} is contracted to @code{as}, but both forms
425 are accepted in LilyPond. Similarly, both @code{es} and
426 @code{ees} are accepted. This also applies to
427 @code{aeses}@tie{}/@tie{}@code{ases} and
428 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
429 contracted names are defined in the corresponding language files.
431 @lilypond[verbatim,quote,relative=2]
432 a2 as e es a ases e eses
436 Some music uses microtones whose alterations are fractions of a
437 @q{normal} sharp or flat. The note names for quarter-tones
438 defined in the various language files are listed in the following
439 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
440 mean @q{half} and @q{one and a half}, respectively. For the other
441 languages, no special names have been defined yet.
444 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
447 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
450 @tab c d e f g a bes b
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
457 @tab -ih @tab -eh @tab -isih @tab -eseh
459 @tab c d e f g a bf b
460 @tab -qs @tab -qf @tab -tqs @tab -tqf
462 @tab do re mi fa sol la sib si
463 @tab -sd @tab -sb @tab -dsd @tab -bsb
465 @tab do re mi fa sol la sib si
466 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
480 @node Changing multiple pitches
481 @subsection Changing multiple pitches
483 This section discusses how to modify pitches.
491 @unnumberedsubsubsec Octave checks
493 @cindex octave correction
496 @funindex \octaveCheck
498 In relative mode, it is easy to forget an octave changing mark.
499 Octave checks make such errors easier to find by displaying a
500 warning and correcting the octave if a note is found in an
503 To check the octave of a note, specify the absolute octave after
504 the @code{=}@tie{}symbol. This example will generate a warning
505 (and change the pitch) because the second note is the absolute
506 octave @code{d''} instead of @code{d'} as indicated by the octave
509 @lilypond[verbatim,quote]
516 The octave of notes may also be checked with the
517 @code{\octaveCheck}@tie{}@var{controlpitch} command.
518 @var{controlpitch} is specified in absolute mode. This checks
519 that the interval between the previous note and the
520 @var{controlpitch} is within a fourth (i.e., the normal
521 calculation of relative mode). If this check fails, a warning is
522 printed, but the previous note is not changed. Future notes are
523 relative to the @var{controlpitch}.
525 @lilypond[verbatim,quote]
533 Compare the two bars below. The first and third @code{\octaveCheck}
534 checks fail, but the second one does not fail.
536 @lilypond[verbatim,quote]
557 @rinternals{RelativeOctaveCheck}.
561 @unnumberedsubsubsec Transpose
564 @cindex transposition
565 @cindex transposition of pitches
568 A music expression can be transposed with @code{\transpose}. The
572 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
576 This means that @var{musicexpr} is transposed by the interval
577 between the pitches @var{frompitch} and @var{topitch}: any note
578 with pitch @var{frompitch} is changed to @var{topitch} and any
579 other note is transposed by the same interval. Both pitches are
580 entered in absolute mode.
582 Consider a piece written in the key of D-major. It can be
583 transposed up to E-major; note that the key signature is
584 automatically transposed as well.
586 @lilypond[verbatim,quote]
595 If a part written in C (normal @notation{concert pitch}) is to be
596 played on the A clarinet (for which an A is notated as a C and
597 thus sounds a minor third lower than notated), the appropriate
598 part will be produced with:
600 @lilypond[verbatim,quote]
610 Note that we specify @w{@code{\key c \major}} explicitly. If we
611 do not specify a key signature, the notes will be transposed but
612 no key signature will be printed.
614 @code{\transpose} distinguishes between enharmonic pitches: both
615 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
616 transpose up a semitone. The first version will print sharps and
617 the notes will remain on the same scale step, the second version
618 will print flats on the scale step above.
620 @lilypond[verbatim,quote]
621 music = \relative c' { c d e f }
623 \transpose c cis { \music }
624 \transpose c des { \music }
628 @cindex transposing instruments
630 @code{\transpose} may also be used in a different way, to input
631 written notes for a transposing instrument. The previous examples
632 show how to enter pitches in C (or @notation{concert pitch}) and
633 typeset them for a transposing instrument, but the opposite is
634 also possible if you for example have a set of instrumental parts
635 and want to print a conductor's score. For example, when entering
636 music for a B-flat trumpet that begins on a notated E (concert D),
640 musicInBflat = @{ e4 @dots{} @}
641 \transpose c bes, \musicInBflat
645 To print this music in F (e.g., rearranging to a French horn) you
646 could wrap the existing music with another @code{\transpose}:
649 musicInBflat = @{ e4 @dots{} @}
650 \transpose f c' @{ \transpose c bes, \musicInBflat @}
654 For more information about transposing instruments,
655 see @ref{Instrument transpositions}.
660 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
661 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
667 @ref{Instrument transpositions}.
673 @rinternals{TransposedMusic}.
681 The relative conversion will not affect @code{\transpose},
682 @code{\chordmode} or @code{\relative} sections in its argument.
683 To use relative mode within transposed music, an additional
684 @code{\relative} must be placed inside @code{\transpose}.
687 @node Displaying pitches
688 @subsection Displaying pitches
690 This section discusses how to alter the output of pitches.
696 * Instrument transpositions::
697 * Automatic accidentals::
703 @unnumberedsubsubsec Clef
716 @cindex mezzosoprano clef
717 @cindex baritone clef
718 @cindex varbaritone clef
722 @cindex clef, ancient
732 @cindex clef, soprano
733 @cindex clef, mezzosoprano
734 @cindex clef, baritone
735 @cindex clef, varbaritone
736 @cindex subbass clef, subbass
738 The clef may be altered. Middle C is shown in every example.
740 @lilypond[verbatim,quote,relative=1]
753 @lilypond[verbatim,quote,relative=1]
775 Further supported clefs are described under @ref{Ancient clefs}.
777 @cindex transposing clefs
778 @cindex clef, transposing
779 @cindex octave transposition
780 @cindex choral tenor clef
782 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
783 clef is transposed one octave down or up, respectively,
784 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
785 The clef name must be enclosed in quotes when it contains
786 underscores or digits.
788 @lilypond[verbatim,quote,relative=2]
800 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
801 {tweaking-clef-properties.ly}
813 @rinternals{Clef_engraver},
815 @rinternals{OctavateEight},
816 @rinternals{clef-interface}.
820 @unnumberedsubsubsec Key signature
822 @cindex key signature
825 @c duplicated in Key signature and Accidentals
826 @warning{New users are sometimes confused about accidentals and
827 key signatures. In LilyPond, note names are the raw input; key
828 signatures and clefs determine how this raw input is displayed.
829 An unaltered note like@tie{}@code{c} means @q{C natural},
830 regardless of the key signature or clef. For more information,
831 see @rlearning{Accidentals and key signatures}.}
833 The key signature indicates the tonality in which a piece is
834 played. It is denoted by a set of alterations (flats or sharps)
835 at the start of the staff. The key signature may be altered:
838 \key @var{pitch} @var{mode}
846 @funindex \mixolydian
853 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
854 key signature of @var{pitch}-major or @var{pitch}-minor,
855 respectively. You may also use the standard mode names, also
856 called @notation{church modes}: @code{\ionian}, @code{\dorian},
857 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
858 @code{\aeolian}, and @code{\locrian}.
860 @lilypond[verbatim,quote,relative=2]
870 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
871 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
873 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
874 {non-traditional-key-signatures.ly}
884 @rlearning{Accidentals and key signatures}.
890 @rinternals{KeyChangeEvent},
891 @rinternals{Key_engraver},
892 @rinternals{Key_performer},
893 @rinternals{KeyCancellation},
894 @rinternals{KeySignature},
895 @rinternals{key-cancellation-interface},
896 @rinternals{key-signature-interface}.
899 @node Ottava brackets
900 @unnumberedsubsubsec Ottava brackets
908 @notation{Ottava brackets} introduce an extra transposition of an
909 octave for the staff:
911 @lilypond[verbatim,quote,relative=2]
919 The @code{ottava} function also takes -1 (for 8va bassa),
920 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
925 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
938 @rinternals{Ottava_spanner_engraver},
939 @rinternals{OttavaBracket},
940 @rinternals{ottava-bracket-interface}.
944 @node Instrument transpositions
945 @unnumberedsubsubsec Instrument transpositions
947 @cindex transposition, MIDI
948 @cindex transposition, instrument
949 @cindex transposing instrument
951 @funindex \transposition
953 When typesetting scores that involve transposing instruments, some
954 parts can be typeset in a different pitch than the
955 @notation{concert pitch}. In these cases, the key of the
956 @notation{transposing instrument} should be specified; otherwise
957 the MIDI output and cues in other parts will produce incorrect
958 pitches. For more information about quotations, see
959 @ref{Quoting other voices}.
962 \transposition @var{pitch}
965 The pitch to use for @code{\transposition} should correspond to
966 the real sound heard when a@tie{}@code{c'} written on the staff is
967 played by the transposing instrument. This pitch is entered in
968 absolute mode, so an instrument that produces a real sound which
969 is one tone higher than the printed music should use
970 @w{@code{\transposition d'}}. @code{\transposition} should
971 @emph{only} be used if the pitches are @emph{not} being entered in
974 Here are a few notes for violin and B-flat clarinet where the
975 parts have been entered using the notes and key as they appear in
976 each part of the conductor's score. The two instruments are
979 @lilypond[verbatim,quote]
981 \new Staff = "violin" {
983 \set Staff.instrumentName = "Vln"
984 \set Staff.midiInstrument = "violin"
985 % not strictly necessary, but a good reminder
992 \new Staff = "clarinet" {
994 \set Staff.instrumentName = \markup { Cl (B\flat) }
995 \set Staff.midiInstrument = "clarinet"
1005 The @code{\transposition} may be changed during a piece. For
1006 example, a clarinetist may switch from an A clarinet to a B-flat
1009 @lilypond[verbatim,quote,relative=2]
1010 \set Staff.instrumentName = "Cl (A)"
1015 s1*0^\markup { Switch to B\flat clarinet }
1027 @rglos{concert pitch},
1028 @rglos{transposing instrument}.
1031 @ref{Quoting other voices}, @ref{Transpose}.
1037 @node Automatic accidentals
1038 @unnumberedsubsubsec Automatic accidentals
1040 @cindex accidental style
1041 @cindex accidental style, default
1043 @cindex accidentals, automatic
1044 @cindex automatic accidentals
1045 @cindex default accidental style
1046 @funindex set-accidental-style
1048 There are many different conventions on how to typeset
1049 accidentals. LilyPond provides a function to specify which
1050 accidental style to use. This function is called as follows:
1054 #(set-accidental-style 'voice)
1059 The accidental style applies to the current @code{Staff} by
1060 default (with the exception of the styles @code{piano} and
1061 @code{piano-cautionary}, which are explained below). Optionally,
1062 the function can take a second argument that determines in which
1063 scope the style should be changed. For example, to use the same
1064 style in all staves of the current @code{StaffGroup}, use:
1067 #(set-accidental-style 'voice 'StaffGroup)
1070 The following accidental styles are supported. To demonstrate
1071 each style, we use the following example:
1073 @lilypond[verbatim,quote]
1077 cis'8 fis, d'4 <a cis>8 f bis4 |
1091 \voiceTwo \relative c' {
1095 \change Staff = down
1099 \change Staff = down
1100 <fis, a cis>4 gis <f a d>2 |
1107 \context Staff = "up" {
1108 #(set-accidental-style 'default)
1111 \context Staff = "down" {
1112 #(set-accidental-style 'default)
1119 Note that the last lines of this example can be replaced by the
1120 following, as long as the same accidental style should be used in
1126 \context Staff = "up" @{
1127 %%% change the next line as desired:
1128 #(set-accidental-style 'default 'Score)
1131 \context Staff = "down" @{
1139 @c don't use verbatim in this table.
1142 This is the default typesetting behavior. It corresponds to
1143 eighteenth-century common practice: accidentals are remembered to
1144 the end of the measure in which they occur and only in their own
1145 octave. Thus, in the example below, no natural signs are printed
1146 before the@tie{}@code{b} in the second measure or the
1153 cis'8 fis, d'4 <a cis>8 f bis4 |
1167 \voiceTwo \relative c' {
1171 \change Staff = down
1175 \change Staff = down
1176 <fis, a cis>4 gis <f a d>2 |
1183 \context Staff = "up" {
1184 #(set-accidental-style 'default)
1187 \context Staff = "down" {
1188 #(set-accidental-style 'default)
1196 The normal behavior is to remember the accidentals at
1197 @code{Staff}-level. In this style, however, accidentals are
1198 typeset individually for each voice. Apart from that, the rule is
1199 similar to @code{default}.
1201 As a result, accidentals from one voice do not get canceled in
1202 other voices, which is often an unwanted result: in the following
1203 example, it is hard to determine whether the second@tie{}@code{a}
1204 should be played natural or sharp. The @code{voice} option should
1205 therefore be used only if the voices are to be read solely by
1206 individual musicians. If the staff is to be used by one musician
1207 (e.g., a conductor or in a piano score) then @code{modern} or
1208 @code{modern-cautionary} should be used instead.
1215 cis'8 fis, d'4 <a cis>8 f bis4 |
1229 \voiceTwo \relative c' {
1233 \change Staff = down
1237 \change Staff = down
1238 <fis, a cis>4 gis <f a d>2 |
1245 \context Staff = "up" {
1246 #(set-accidental-style 'voice)
1249 \context Staff = "down" {
1250 #(set-accidental-style 'voice)
1258 @cindex accidentals, modern style
1259 @cindex modern style accidentals
1260 @funindex modern style accidentals
1262 This rule corresponds to the common practice in the twentieth
1263 century. It prints the same accidentals as @code{default}, with
1264 two exceptions that serve to avoid ambiguity: after temporary
1265 accidentals, cancellation marks are printed also in the following
1266 measure (for notes in the same octave) and, in the same measure,
1267 for notes in other octaves. Hence the naturals before
1268 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1275 cis'8 fis, d'4 <a cis>8 f bis4 |
1289 \voiceTwo \relative c' {
1293 \change Staff = down
1297 \change Staff = down
1298 <fis, a cis>4 gis <f a d>2 |
1305 \context Staff = "up" {
1306 #(set-accidental-style 'modern)
1309 \context Staff = "down" {
1310 #(set-accidental-style 'modern)
1317 @item modern-cautionary
1318 @cindex accidentals, modern cautionary style
1319 @cindex modern accidental style
1320 @cindex modern cautionary accidental style
1321 @cindex modern style accidentals
1322 @cindex modern style cautionary accidentals
1323 @funindex modern-cautionary
1325 This rule is similar to @code{modern}, but the @q{extra}
1326 accidentals (the ones not typeset by @code{default}) are typeset
1327 as cautionary accidentals. They are by default printed with
1328 parentheses, but they can also be printed in reduced size by
1329 defining the @code{cautionary-style} property of
1330 @code{AccidentalSuggestion}.
1336 cis'8 fis, d'4 <a cis>8 f bis4 |
1350 \voiceTwo \relative c' {
1354 \change Staff = down
1358 \change Staff = down
1359 <fis, a cis>4 gis <f a d>2 |
1366 \context Staff = "up" {
1367 #(set-accidental-style 'modern-cautionary)
1370 \context Staff = "down" {
1371 #(set-accidental-style 'modern-cautionary)
1379 @cindex accidental style, modern
1380 @cindex accidentals, modern
1381 @cindex accidentals, multivoice
1382 @cindex modern accidental style
1383 @cindex modern accidentals
1384 @cindex multivoice accidentals
1385 @funindex modern-voice
1387 This rule is used for multivoice accidentals to be read both by
1388 musicians playing one voice and musicians playing all voices.
1389 Accidentals are typeset for each voice, but they @emph{are}
1390 canceled across voices in the same @code{Staff}. Hence,
1391 the@tie{}@code{a} in the last measure is canceled because the
1392 previous cancellation was in a different voice, and
1393 the@tie{}@code{d} in the lower staff is canceled because of the
1394 accidental in a different voice in the previous measure:
1400 cis'8 fis, d'4 <a cis>8 f bis4 |
1414 \voiceTwo \relative c' {
1418 \change Staff = down
1422 \change Staff = down
1423 <fis, a cis>4 gis <f a d>2 |
1430 \context Staff = "up" {
1431 #(set-accidental-style 'modern-voice)
1434 \context Staff = "down" {
1435 #(set-accidental-style 'modern-voice)
1442 @cindex accidental style, cautionary, modern voice
1443 @cindex accidental style, modern voice cautionary
1444 @cindex accidental style, voice, modern cautionary
1445 @funindex modern-voice-cautionary
1446 @item modern-voice-cautionary
1448 This rule is the same as @code{modern-voice}, but with the extra
1449 accidentals (the ones not typeset by @code{voice}) typeset as
1450 cautionaries. Even though all accidentals typeset by
1451 @code{default} @emph{are} typeset with this rule, some of them are
1452 typeset as cautionaries.
1458 cis'8 fis, d'4 <a cis>8 f bis4 |
1472 \voiceTwo \relative c' {
1476 \change Staff = down
1480 \change Staff = down
1481 <fis, a cis>4 gis <f a d>2 |
1488 \context Staff = "up" {
1489 #(set-accidental-style 'modern-voice-cautionary)
1492 \context Staff = "down" {
1493 #(set-accidental-style 'modern-voice-cautionary)
1501 @cindex accidental style, piano
1502 @cindex accidentals, piano
1503 @cindex piano accidental style
1504 @cindex piano accidentals
1506 This rule reflects twentieth-century practice for piano notation.
1507 Its behavior is very similar to @code{modern} style, but here
1508 accidentals also get canceled across the staves in the same
1509 @code{GrandStaff} or @code{PianoStaff}, hence all the
1510 cancellations of the final notes.
1512 This accidental style applies to the current @code{GrandStaff} or
1513 @code{PianoStaff} by default.
1519 cis'8 fis, d'4 <a cis>8 f bis4 |
1533 \voiceTwo \relative c' {
1537 \change Staff = down
1541 \change Staff = down
1542 <fis, a cis>4 gis <f a d>2 |
1549 \context Staff = "up" {
1550 #(set-accidental-style 'piano)
1553 \context Staff = "down" {
1560 @item piano-cautionary
1561 @funindex #(set-accidental-style 'piano-cautionary)
1562 @cindex accidentals, piano cautionary
1563 @cindex cautionary accidentals, piano
1564 @cindex piano cautionary accidentals
1565 @cindex accidental style, piano cautionary
1566 @cindex cautionary accidental style, piano
1567 @cindex piano cautionary accidental style
1569 This is the same as @code{piano} but with the extra accidentals
1570 typeset as cautionaries.
1576 cis'8 fis, d'4 <a cis>8 f bis4 |
1590 \voiceTwo \relative c' {
1594 \change Staff = down
1598 \change Staff = down
1599 <fis, a cis>4 gis <f a d>2 |
1606 \context Staff = "up" {
1607 #(set-accidental-style 'piano-cautionary)
1610 \context Staff = "down" {
1618 @funindex no-reset accidental style
1619 @cindex accidental style, no reset
1620 @cindex no reset accidental style
1622 This is the same as @code{default} but with accidentals lasting
1623 @q{forever} and not only within the same measure:
1629 cis'8 fis, d'4 <a cis>8 f bis4 |
1643 \voiceTwo \relative c' {
1647 \change Staff = down
1651 \change Staff = down
1652 <fis, a cis>4 gis <f a d>2 |
1659 \context Staff = "up" {
1660 #(set-accidental-style 'no-reset)
1663 \context Staff = "down" {
1664 #(set-accidental-style 'no-reset)
1672 @funindex forget accidental style
1673 @cindex forget accidental style
1674 @cindex accidental style, forget
1676 This is the opposite of @code{no-reset}: Accidentals are not
1677 remembered at all -- and hence all accidentals are typeset
1678 relative to the key signature, regardless of what came before in
1685 cis'8 fis, d'4 <a cis>8 f bis4 |
1699 \voiceTwo \relative c' {
1703 \change Staff = down
1707 \change Staff = down
1708 <fis, a cis>4 gis <f a d>2 |
1715 \context Staff = "up" {
1716 #(set-accidental-style 'forget)
1719 \context Staff = "down" {
1720 #(set-accidental-style 'forget)
1730 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1731 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1739 Internals Reference:
1740 @rinternals{Accidental},
1741 @rinternals{Accidental_engraver},
1742 @rinternals{GrandStaff} and
1743 @rinternals{PianoStaff},
1745 @rinternals{AccidentalSuggestion},
1746 @rinternals{AccidentalPlacement},
1747 @rinternals{accidental-suggestion-interface}.
1750 @cindex accidentals and simultaneous notes
1751 @cindex simultaneous notes and accidentals
1752 @cindex accidentals in chords
1753 @cindex chords, accidentals in
1757 Simultaneous notes are considered to be entered in sequential
1758 mode. This means that in a chord the accidentals are typeset as
1759 if the notes in the chord happen one at a time, in the order in
1760 which they appear in the input file. This is a problem when
1761 accidentals in a chord depend on each other, which does not happen
1762 for the default accidental style. The problem can be solved by
1763 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1768 @unnumberedsubsubsec Ambitus
1771 @cindex range of pitches
1774 The term @notation{ambitus} (pl. ambitus) denotes a range of
1775 pitches for a given voice in a part of music. It may also denote
1776 the pitch range that a musical instrument is capable of playing.
1777 Ambitus are printed on vocal parts so that performers can easily
1778 determine if it matches their capabilities.
1780 Ambitus are denoted at the beginning of a piece near the initial
1781 clef. The range is graphically specified by two note heads that
1782 represent the lowest and highest pitches. Accidentals are only
1783 printed if they are not part of the key signature.
1785 @lilypond[verbatim,quote]
1789 \consists "Ambitus_engraver"
1802 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1803 {adding-ambitus-per-voice.ly}
1805 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1806 {ambitus-with-multiple-voices.ly}
1817 Internals Reference:
1818 @rinternals{Ambitus_engraver},
1821 @rinternals{Ambitus},
1822 @rinternals{AmbitusAccidental},
1823 @rinternals{AmbitusLine},
1824 @rinternals{AmbitusNoteHead},
1825 @rinternals{ambitus-interface}.
1830 There is no collision handling in the case of multiple per-voice
1835 @subsection Note heads
1837 This section suggests ways of altering note heads.
1840 * Special note heads::
1841 * Easy notation note heads::
1842 * Shape note heads::
1846 @node Special note heads
1847 @unnumberedsubsubsec Special note heads
1849 @cindex note heads, special
1850 @cindex note heads, cross
1851 @cindex note heads, diamond
1852 @cindex note heads, parlato
1853 @cindex note heads, harmonic
1854 @cindex note heads, guitar
1855 @cindex special note heads
1856 @cindex cross note heads
1857 @cindex diamond note heads
1858 @cindex parlato note heads
1859 @cindex harmonic note heads
1860 @cindex guitar note heads
1862 Note heads may be altered:
1864 @lilypond[verbatim,quote,relative=2]
1866 \override NoteHead #'style = #'cross
1868 \revert NoteHead #'style
1872 There is a shorthand for diamond shapes which can only be used
1875 @lilypond[verbatim,quote,relative=2]
1876 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
1880 To see all note head styles, see @ref{Note head styles}.
1888 @ref{Note head styles},
1889 @ref{Chorded notes}.
1891 Internals Reference:
1892 @rinternals{note-event},
1893 @rinternals{Note_heads_engraver},
1894 @rinternals{Ledger_line_engraver},
1895 @rinternals{NoteHead},
1896 @rinternals{LedgerLineSpanner},
1897 @rinternals{note-head-interface},
1898 @rinternals{ledger-line-spanner-interface}.
1901 @node Easy notation note heads
1902 @unnumberedsubsubsec Easy notation note heads
1904 @cindex note heads, practice
1905 @cindex note heads, easy notation
1906 @cindex easy notation
1908 @cindex beginners' music
1909 @cindex music, beginners'
1910 @cindex easy play note heads
1911 @cindex note heads, easy play
1913 The @q{easy play} note head includes a note name inside the head.
1914 It is used in music for beginners. To make the letters readable,
1915 it should be printed in a large font size. To print with a larger
1916 font, see @ref{Setting the staff size}.
1918 @lilypond[verbatim,quote]
1919 #(set-global-staff-size 26)
1931 @funindex \easyHeadsOn
1932 @funindex \easyHeadsOff
1933 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1938 @ref{Setting the staff size}.
1943 Internals Reference:
1944 @rinternals{note-event},
1945 @rinternals{Note_heads_engraver},
1946 @rinternals{NoteHead},
1947 @rinternals{note-head-interface}.
1950 @node Shape note heads
1951 @unnumberedsubsubsec Shape note heads
1953 @cindex note heads, shape
1954 @cindex note heads, Aiken
1955 @cindex note heads, sacred harp
1957 @cindex Aiken shape note heads
1958 @cindex sacred harp note heads
1960 @funindex shapeNoteStyles
1961 @funindex \aikenHeads
1962 @funindex \sacredHarpHeads
1964 In shape note head notation, the shape of the note head
1965 corresponds to the harmonic function of a note in the scale. This
1966 notation was popular in nineteenth-century American song books.
1967 Shape note heads can be produced:
1969 @lilypond[verbatim,quote,relative=2]
1976 Shapes are typeset according to the step in the scale, where the
1977 base of the scale is determined by the @code{\key} command.
1981 @funindex \aikenHeads
1982 @funindex \sacredHarpHeads
1983 @code{\aikenHeads}, @code{\sacredHarpHeads}
1987 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1988 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1991 To see all note head styles, see @ref{Note head styles}.
1999 @ref{Note head styles}.
2001 Internals Reference:
2002 @rinternals{note-event},
2003 @rinternals{Note_heads_engraver},
2004 @rinternals{NoteHead},
2005 @rinternals{note-head-interface}.
2009 @unnumberedsubsubsec Improvisation
2011 @cindex improvisation
2012 @cindex slashed note heads
2013 @cindex note heads, improvisation
2014 @cindex note heads, slashed
2016 Improvisation is sometimes denoted with slashed note heads, where
2017 the performer may choose any pitch but should play the specified
2018 rhythm. Such note heads can be created:
2020 @lilypond[verbatim,quote,relative=2]
2022 \consists "Pitch_squash_engraver"
2024 e8 e g a a16( bes) a8 g
2037 @funindex \improvisationOn
2038 @funindex \improvisationOff
2040 @code{\improvisationOn}, @code{\improvisationOff}
2047 Internals Reference:
2048 @rinternals{Pitch_squash_engraver},
2050 @rinternals{RhythmicStaff}.