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 @subsubsection 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.
53 @c NOTE: don't use c' here.
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]
80 Music Glossary: @rglos{Pitch names}.
82 Snippets: @lsrdir{Pitches,Pitches}.
85 @node Relative octave entry
86 @subsubsection Relative octave entry
89 @cindex relative octave specification
92 When octaves are specified in absolute mode it is easy to
93 accidentally put a pitch in the wrong octave. Relative octave
94 mode reduces these errors since most of the time it is not
95 necessary to indicate any octaves at all. Furthermore, in
96 absolute mode a single mistake may be difficult to spot, while in
97 relative mode a single error puts the rest of the piece off by one
101 \relative @var{startpitch} @var{musicexpr}
104 In relative mode, each note is assumed to be as close to the
105 previous note as possible. This means that the octave of pitches
106 in @var{musicexpr} is calculated as follows:
110 If no octave changing mark is used on a pitch, its octave is calculated
111 so that the interval with the previous note is less than a fifth. This
112 interval is determined without considering accidentals.
115 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
116 respectively raise or lower a pitch by an extra octave, relative to
117 the pitch calculated without an octave mark.
120 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
121 @code{,,}@tie{} will alter the pitch by two octaves.
124 The pitch of the first note is relative to
125 @code{@var{startpitch}}. @var{startpitch} is specified in
126 absolute octave mode, and it is recommended that it be a octave of
131 Here is the relative mode shown in action:
133 @lilypond[verbatim,quote,ragged-right]
142 Octave changing marks are used for intervals greater than a
145 @lilypond[verbatim,quote,ragged-right]
152 A note sequence without a single octave mark can nevertheless span
155 @lilypond[verbatim,quote,ragged-right]
162 If the preceding item is a chord, the first note of the chord is
163 used as the reference point for the octave placement of a
164 following note or chord. Inside chords, the next note is always
165 relative to the preceding one.
167 @lilypond[verbatim,quote,ragged-right]
171 % the C is now an octave higher
173 % the C returns to the original pitch
178 As explained above, the octave of pitches is calculated only with
179 the note names, regardless of any alterations. Therefore, an
180 E-double-sharp following a B will be placed higher, while an
181 F-double-flat will be placed lower. In other words, a
182 double-augmented fourth is considered a smaller interval than a
183 double-diminished fifth, regardless of the number of semitones
184 that each interval contains.
186 @lilypond[verbatim,quote,ragged-right]
198 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
200 Notation Reference: @ref{Octave checks}.
202 Snippets: @lsrdir{Pitches,Pitches}.
211 The relative conversion will not affect @code{\transpose},
212 @code{\chordmode} or @code{\relative} sections in its argument.
213 To use relative mode within transposed music, an additional
214 @code{\relative} must be placed inside @code{\transpose}.
217 If no @var{startpitch} is specified for @code{\relative},
218 then@tie{}@code{c'} is assumed. However, this is a deprecated
219 option and may disappear in future versions, so its use is
225 @subsubsection Accidentals
228 @cindex key signature
231 @warning{New users are sometimes confused about accidentals and
232 key signatures. In LilyPond, note names are the raw input; key
233 signatures and clefs determine how this raw input is displayed.
234 An unaltered note like@tie{}@code{c} means @q{C natural},
235 regardless of the key signature or clef. For more information,
236 see @rlearning{Accidentals and key signatures}.}
238 @cindex note names, Dutch
239 @cindex note names, default
243 @cindex sharp, double
248 A @notation{sharp} pitch is made by adding @code{is} to the note name,
249 and a @notation{flat} pitch by adding @code{es}. As you might expect,
250 a @notation{double sharp} or @notation{double flat} is made by adding
251 @code{isis} or @code{eses}. This syntax is derived from Dutch note
252 naming conventions. To use other names for accidentals, see
253 @ref{Note names in other languages}.
255 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
259 A natural will cancel the effect of an accidental or key
260 signature. However, naturals are not encoded into the note name
261 syntax with a suffix; a natural pitch is shown as a simple note
264 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
268 @cindex quarter tones
269 @cindex semi-flats, semi-sharps
271 Quarter tones may be added; the following is a series of Cs with
274 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 ceseh1 ces ceh c cih cis cisih
280 @cindex accidental, reminder
281 @cindex accidental, cautionary
282 @cindex accidental, parenthesized
283 @cindex reminder accidental
285 @cindex cautionary accidental
286 @cindex parenthesized accidental
289 Normally accidentals are printed automatically, but you may also
290 print them manually. A reminder accidental can be forced by
291 adding an exclamation mark@tie{}@code{!} after the pitch. A
292 cautionary accidental (i.e., an accidental within parentheses) can
293 be obtained by adding the question mark@tie{}@code{?} after the
294 pitch. These extra accidentals can also be used to produce
297 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
298 cis cis cis! cis? c c c! c?
301 Accidentals on tied notes are only printed at the beginning of a
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
313 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
314 {preventing-extra-naturals-from-being-automatically-added.ly}
318 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
319 @rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
321 Learning Manual: @rlearning{Accidentals and key signatures}.
323 Notation Reference: @ref{Automatic accidentals},
324 @ref{Musica ficta accidentals},
325 @ref{Note names in other languages}.
327 Snippets: @lsrdir{Pitches,Pitches}.
332 There are no generally accepted standards for denoting
333 quarter-tone accidentals, so LilyPond's symbol does not conform to
338 @node Note names in other languages
339 @subsubsection Note names in other languages
341 There are predefined sets of note names for various other
342 languages. To use them, include the language-specific init file.
343 For example, to use English notes names, add @code{\include
344 "english.ly"} to the top of the input file. The available
345 language files and the note names they define are:
347 @cindex note names, other languages
348 @cindex pitch names, other languages
351 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
354 @tab sharp @tab flat @tab double sharp @tab double flat
356 @tab c d e f g a bes b
357 @tab -is @tab -es @tab -isis @tab -eses
359 @tab c d e f g a bf b
360 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
364 @tab -is @tab -es @tab -isis @tab -eses
367 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
371 @tab -iss @tab -ess @tab -ississ @tab -essess
374 @tab -is @tab -es @tab -isis @tab -eses
376 @tab do re mi fa sol la sib si
377 @tab -d @tab -b @tab -dd @tab -bb
379 @tab do re mi fa sol la sib si
380 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
382 @tab do re mi fa sol la sib si
383 @tab -s @tab -b @tab -ss @tab -bb
385 @tab do re mi fa sol la sib si
386 @tab -s @tab -b @tab -ss @tab -bb
388 @tab do re mi fa sol la sib si
389 @tab -k @tab -b @tab -kk @tab -bb
393 In Dutch, @code{aes} is contracted to @code{as}, but both forms
394 are accepted in LilyPond. Similarly, both @code{es} and
395 @code{ees} are accepted. This also applies to
396 @code{aeses}@tie{}/@tie{}@code{ases} and
397 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
398 contracted names are defined in the corresponding language files.
400 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
401 a2 as e es a ases e eses
405 Some music uses microtones whose alterations are fractions of a
406 @q{normal} sharp or flat. The note names for quarter-tones
407 defined in the various language files are listed in the following
408 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
409 mean @q{half} and @q{one and a half}, respectively. For the other
410 languages, no special names have been defined yet.
413 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
416 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
419 @tab c d e f g a bes b
420 @tab -ih @tab -eh @tab -isih @tab -eseh
422 @tab c d e f g a bf b
423 @tab -qs @tab -qf @tab -tqs @tab -tqf
426 @tab -ih @tab -eh @tab -isih @tab -eseh
428 @tab do re mi fa sol la sib si
429 @tab -sd @tab -sb @tab -dsd @tab -bsb
431 @tab do re mi fa sol la sib si
432 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
439 Music Glossary: @rglos{Pitch names}.
441 Snippets: @lsrdir{Pitches,Pitches}.
444 @node Changing multiple pitches
445 @subsection Changing multiple pitches
447 This section discusses how to modify pitches.
455 @subsubsection Octave checks
457 @cindex octave correction
462 In relative mode, it is easy to forget an octave changing mark.
463 Octave checks make such errors easier to find by displaying a
464 warning and correcting the octave if a note is found in an
467 To check the octave of a specific note, specify the absolute
468 octave after the @code{=}@tie{}symbol. This example will generate
469 a warning (and change the pitch) because the second note is the
470 absolute octave @code{d''} instead of @code{d'} as indicated by
471 the octave correction.
473 @lilypond[verbatim,quote,ragged-right,fragment]
480 The octave of notes may also be checked with the
481 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
482 specified in absolute mode. This checks that the interval between the
483 previous note and the @var{controlpitch} is within a fourth (i.e. the
484 normal calculation of relative mode). If this check fails, a warning
485 is printed, but the previous note is not changed. Future notes are
486 relative to the @var{controlpitch}.
488 @lilypond[verbatim,quote,ragged-right,fragment]
496 Compare the two bars below. The first and third @code{\octave}
497 check fail, but the second one does not fail.
499 @lilypond[verbatim,quote,ragged-right,fragment]
516 Snippets: @lsrdir{Pitches,Pitches}.
520 @subsubsection Transpose
523 @cindex transposition
524 @cindex transposition of pitches
527 A music expression can be transposed with @code{\transpose}. The
531 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
535 This means that @var{musicexpr} is transposed by the interval
536 between the pitches @var{frompitch} and @var{topitch}: any note
537 with pitch @var{frompitch} is changed to @var{topitch} and any
538 other note is transposed by the same interval. Both pitches are
539 entered in absolute mode.
541 Consider a piece written in the key of D-major. It can be
542 transposed up to E-major; note that the key signature is
543 automatically transposed as well.
545 @lilypond[verbatim,quote,ragged-right]
554 If a part written in C (normal concert pitch) is to be played on
555 the A clarinet (for which an A is notated as a C and thus sounds a
556 minor third lower than notated), the appropriate part will be
559 @lilypond[verbatim,quote,ragged-right]
569 Note that we specify @code{\key c \major} explicitly. If we do
570 not specify a key signature, the notes will be transposed but no
571 key signature will be printed.
573 @code{\transpose} distinguishes between enharmonic pitches: both
574 @code{\transpose c cis} or @code{\transpose c des} will transpose
575 up a semitone. The first version will print sharps and the notes
576 will remain on the same scale step, the second version will print
577 flats on the scale step above.
579 @lilypond[verbatim,quote,ragged-right]
580 mus = \relative c' { c d e f }
582 \transpose c cis { \mus }
583 \transpose c des { \mus }
587 @cindex transposing instruments
589 @code{\transpose} may also be used in a different way, to input
590 written notes for a transposing instrument. The previous examples
591 show how to enter pitches in C (or @notation{concert pitch}) and
592 typeset them for a transposing instrument, but the opposite is
593 also possible if you for example have a set of instrumental parts
594 and want to print a conductor's score. For example, when entering
595 music for a B-flat trumpet that begins on a notated E (concert D),
599 musicInBflat = @{ e4 @dots{} @}
600 \transpose c bes, \musicInBflat
604 To print this music in F (e.g., rearranging to a French horn) you
605 could wrap the existing music with another @code{\transpose}:
608 musicInBflat = @{ e4 @dots{} @}
609 \transpose f c' @{ \transpose c bes, \musicInBflat @}
613 For more information about transposing instruments,
614 see @ref{Instrument transpositions}.
619 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
620 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
625 Notation Reference: @ref{Instrument transpositions}.
627 Snippets: @lsrdir{Pitches,Pitches}.
629 Internals Reference: @internalsref{TransposedMusic}.
638 The relative conversion will not affect @code{\transpose},
639 @code{\chordmode} or @code{\relative} sections in its argument.
640 To use relative mode within transposed music, an additional
641 @code{\relative} must be placed inside @code{\transpose}.
644 @node Displaying pitches
645 @subsection Displaying pitches
647 This section discusses how to alter the output of pitches.
653 * Instrument transpositions::
654 * Automatic accidentals::
673 @cindex mezzosoprano clef
674 @cindex baritone clef
675 @cindex varbaritone clef
679 @cindex clef, ancient
689 @cindex clef, soprano
690 @cindex clef, mezzosoprano
691 @cindex clef, baritone
692 @cindex clef, varbaritone
693 @cindex subbass clef, subbass
695 The clef is set with the @code{\clef} @var{clefname} command.
696 Middle C is shown in every example.
698 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
711 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
733 Further supported clefs are described under @ref{Ancient clefs}.
735 @cindex transposing clefs
736 @cindex clef, transposing
737 @cindex octave transposition
739 By adding @code{_8} or @code{^8} to the clef name, the clef is
740 transposed one octave down or up, respectively, and @code{_15} and
741 @code{^15} transposes by two octaves. The argument @var{clefname}
742 must be enclosed in quotes when it contains underscores or digits.
744 @cindex choral tenor clef
746 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
756 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
757 {clefs-commonly-tweaked-properties.ly}
762 Notation Reference: @ref{Ancient clefs}.
764 Snippets: @lsrdir{Pitches,Pitches}.
766 Internals Reference: @internalsref{Clef}.
770 @subsubsection Key signature
772 @cindex key signature
775 @warning{New users are sometimes confused about accidentals and
776 key signatures. In LilyPond, note names are the raw input; key
777 signatures and clefs determine how this raw input is displayed.
778 An unaltered note like@tie{}@code{c} means @q{C natural},
779 regardless of the key signature or clef. For more information,
780 see @rlearning{Accidentals and key signatures}.}
782 The key signature indicates the tonality in which a piece is
783 played. It is denoted by a set of alterations (flats or sharps)
784 at the start of the staff. Setting or changing the key signature
785 is done with the @code{\key} command:
788 \key @var{pitch} @var{mode}
796 @funindex \mixolydian
803 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
804 key signature of @var{pitch}-major or @var{pitch}-minor,
805 respectively. You may also use the standard mode names, also
806 called @q{church modes}: @code{\ionian}, @code{\dorian},
807 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
808 @code{\aeolian}, and @code{\locrian}.
810 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
820 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
821 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
823 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
824 {non-traditional-key-signatures.ly}
829 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
831 Learning Manual: @rlearning{Accidentals and key signatures}.
833 Snippets: @lsrdir{Pitches,Pitches}.
835 Internals Reference: @internalsref{KeyCancellation},
836 @internalsref{KeySignature}, @internalsref{Key_engraver}.
839 @node Ottava brackets
840 @subsubsection Ottava brackets
848 @notation{Ottava brackets} introduce an extra transposition of an
849 octave for the staff:
851 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
859 The @code{set-octavation} function also takes -1 (for 8va bassa),
860 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
865 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
871 Music Glossary: @rglos{octavation}.
873 Snippets: @lsrdir{Pitches,Pitches}.
875 Internals Reference: @internalsref{OttavaBracket}.
879 @node Instrument transpositions
880 @subsubsection Instrument transpositions
882 @cindex transposition, MIDI
883 @cindex transposition, instrument
884 @cindex transposing instrument
886 @funindex \transposition
888 When typesetting scores that involve transposing instruments, some
889 parts can be typeset in a different pitch than the
890 @notation{concert pitch}. In these cases, the key of the
891 @notation{transposing instrument} should be specified; otherwise
892 the MIDI output and cues in other parts will produce incorrect
893 pitches. For more information about quotations, see @ref{Quoting
897 \transposition @var{pitch}
900 The pitch to use for @code{\transposition} should correspond to
901 the real sound heard when a@tie{}@code{c'} written on the staff is
902 played by the transposing instrument. This pitch is entered in
903 absolute mode, so an instrument that produces a real sound which
904 is one tone higher than the printed music should use
905 @code{\transposition d'}. @code{\transposition} should
906 @emph{only} be used if the pitches are @emph{not} being entered in
909 Here are a few notes for violin and B-flat clarinet where the
910 parts have been entered using the notes and key as they appear in
911 each part of the conductor's score. The two instruments are
914 @lilypond[verbatim,quote,ragged-right]
918 \set Staff.instrumentName = "Vln"
919 \set Staff.midiInstrument="violin"
920 % strictly speaking not necessary, but a good reminder
927 \new Staff = "clarinet" {
929 \set Staff.instrumentName = \markup {Cl (B\flat)}
930 \set Staff.midiInstrument="clarinet"
941 The @code{\transposition} may be changed during a piece. For
942 example, a clarinetist may switch from an A clarinet to a B-flat
945 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
946 \set Staff.instrumentName = "Cl (A)"
951 r1^\markup{Switch to B\flat clarinet}
961 Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
963 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
965 Snippets: @lsrdir{Pitches,Pitches}.
968 @node Automatic accidentals
969 @subsubsection Automatic accidentals
971 @cindex automatic accidentals
972 @cindex accidentals, automatic
974 @cindex accidental style
975 @cindex default accidental style
976 @cindex accidental style, default
977 @funindex set-accidental-style
979 There are many different conventions on how to typeset
980 accidentals. LilyPond provides a function to specify which
981 accidental style to use. This function is called as follows
985 #(set-accidental-style 'voice)
990 The accidental style applies to the current @code{Staff} by
991 default (with the exception of the styles @code{piano} and
992 @code{piano-cautionary}, which are explained below). Optionally,
993 the function can take a second argument that determines in which
994 scope the style should be changed. For example, to use the same
995 style in all staves of the current @code{StaffGroup}, use
998 #(set-accidental-style 'voice 'StaffGroup)
1001 The following accidental styles are supported. To demonstrate
1002 each style, we use the following example:
1004 @lilypond[verbatim,quote,ragged-right]
1008 cis'8 fis, d'4 <a cis>8 f bis4 |
1022 \voiceTwo \relative c' {
1026 \change Staff = down
1030 \change Staff = down
1031 <fis, a cis>4 gis <f a d>2 |
1038 \context Staff = "up" {
1039 %%% change the next line as desired:
1040 #(set-accidental-style 'default)
1043 \context Staff = "down" {
1044 %%% change the next line as desired:
1045 #(set-accidental-style 'default)
1052 Note that the last lines of this example can be replaced by the
1053 following, as long as the same accidental style should be used in
1058 \context Staff = "up" @{
1059 %%% change the next line as desired:
1060 #(set-accidental-style 'default 'Score)
1063 \context Staff = "down" @{
1071 @c NOTE: don't use verbatim in this table.
1074 This is the default typesetting behavior. It corresponds to
1075 eighteenth-century common practice: accidentals are remembered to
1076 the end of the measure in which they occur and only on their own
1077 octave. Thus, in the example below, no natural signs are printed
1078 before the@tie{}@code{b} in the second measure or the
1081 @lilypond[quote,ragged-right]
1085 cis'8 fis, d'4 <a cis>8 f bis4 |
1099 \voiceTwo \relative c' {
1103 \change Staff = down
1107 \change Staff = down
1108 <fis, a cis>4 gis <f a d>2 |
1115 \context Staff = "up" {
1116 #(set-accidental-style 'default)
1119 \context Staff = "down" {
1120 #(set-accidental-style 'default)
1128 The normal behavior is to remember the accidentals on Staff-level.
1129 In this style, however, accidentals are typeset individually for
1130 each voice. Apart from that, the rule is similar to
1133 As a result, accidentals from one voice do not get canceled in
1134 other voices, which is often an unwanted result: in the following
1135 example, it is hard to determine whether the second@tie{}@code{a}
1136 should be played natural or sharp. The @code{voice} option should
1137 therefore be used only if the voices are to be read solely by
1138 individual musicians. If the staff is to be used by one musician
1139 (e.g., a conductor or in a piano score) then @code{modern} or
1140 @code{modern-cautionary} should be used instead.
1143 @lilypond[quote,ragged-right]
1147 cis'8 fis, d'4 <a cis>8 f bis4 |
1161 \voiceTwo \relative c' {
1165 \change Staff = down
1169 \change Staff = down
1170 <fis, a cis>4 gis <f a d>2 |
1177 \context Staff = "up" {
1178 #(set-accidental-style 'voice)
1181 \context Staff = "down" {
1182 #(set-accidental-style 'voice)
1190 @cindex accidentals, modern style
1191 @cindex modern style accidentals
1192 @funindex modern style accidentals
1194 This rule corresponds to the common practice in the twentieth
1195 century. It prints the same accidentals as @code{default}, with
1196 two exceptions that serve to avoid ambiguity: after temporary
1197 accidentals, cancellation marks are printed also in the following
1198 measure (for notes in the same octave) and, in the same measure,
1199 for notes in other octaves. Hence the naturals before
1200 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1203 @lilypond[quote,ragged-right]
1207 cis'8 fis, d'4 <a cis>8 f bis4 |
1221 \voiceTwo \relative c' {
1225 \change Staff = down
1229 \change Staff = down
1230 <fis, a cis>4 gis <f a d>2 |
1237 \context Staff = "up" {
1238 #(set-accidental-style 'modern)
1241 \context Staff = "down" {
1242 #(set-accidental-style 'modern)
1249 @item modern-cautionary
1250 @cindex accidentals, modern cautionary style
1251 @cindex modern style accidentals
1252 @cindex modern style cautionary accidentals
1253 @cindex modern accidental style
1254 @cindex modern cautionary accidental style
1255 @funindex modern-cautionary
1257 This rule is similar to @code{modern}, but the @q{extra}
1258 accidentals (the ones not typeset by @code{default}) are typeset
1259 as cautionary accidentals. They are by default printed with
1260 parentheses, but they can also be printed in reduced size by
1261 defining the @code{cautionary-style} property of
1262 @code{AccidentalSuggestion}.
1265 @lilypond[quote,ragged-right]
1269 cis'8 fis, d'4 <a cis>8 f bis4 |
1283 \voiceTwo \relative c' {
1287 \change Staff = down
1291 \change Staff = down
1292 <fis, a cis>4 gis <f a d>2 |
1299 \context Staff = "up" {
1300 #(set-accidental-style 'modern-cautionary)
1303 \context Staff = "down" {
1304 #(set-accidental-style 'modern-cautionary)
1312 @cindex accidentals, multivoice
1313 @cindex accidentals, modern
1314 @cindex modern accidentals
1315 @cindex multivoice accidentals
1316 @cindex accidental style, modern
1317 @cindex modern accidental style
1318 @funindex modern-voice
1320 This rule is used for multivoice accidentals to be read both by
1321 musicians playing one voice and musicians playing all voices.
1322 Accidentals are typeset for each voice, but they @emph{are}
1323 canceled across voices in the same @code{Staff}. Hence,
1324 the@tie{}@code{a} in the last measure is canceled because the
1325 previous cancellation was in a different voice, and
1326 the@tie{}@code{d} in the lower staff is canceled because of the
1327 accidental in a different voice in the previous measure:
1330 @lilypond[quote,ragged-right]
1334 cis'8 fis, d'4 <a cis>8 f bis4 |
1348 \voiceTwo \relative c' {
1352 \change Staff = down
1356 \change Staff = down
1357 <fis, a cis>4 gis <f a d>2 |
1364 \context Staff = "up" {
1365 #(set-accidental-style 'modern-voice)
1368 \context Staff = "down" {
1369 #(set-accidental-style 'modern-voice)
1376 @cindex accidental style, modern voice cautionary
1377 @cindex accidental style, cautionary, modern voice
1378 @cindex accidental style, voice, modern cautionary
1379 @funindex modern-voice-cautionary
1380 @item modern-voice-cautionary
1382 This rule is the same as @code{modern-voice}, but with the extra
1383 accidentals (the ones not typeset by @code{voice}) typeset
1384 as cautionaries. Even though all accidentals typeset by
1385 @code{default} @emph{are} typeset with this rule,
1386 some of them are typeset as cautionaries.
1388 @lilypond[quote,ragged-right]
1392 cis'8 fis, d'4 <a cis>8 f bis4 |
1406 \voiceTwo \relative c' {
1410 \change Staff = down
1414 \change Staff = down
1415 <fis, a cis>4 gis <f a d>2 |
1422 \context Staff = "up" {
1423 #(set-accidental-style 'modern-voice-cautionary)
1426 \context Staff = "down" {
1427 #(set-accidental-style 'modern-voice-cautionary)
1435 @cindex piano accidentals
1436 @cindex piano accidentals
1437 @cindex accidentals, piano
1438 @cindex piano accidental style
1439 @cindex accidental style, piano
1441 This rule reflects twentieth-century practice for piano notation.
1442 Its behavior is very similar to @code{modern} style, but here
1443 accidentals also get canceled across the staves in the same
1444 GrandStaff or PianoStaff, hence all the cancellations of the final
1447 This accidental style applies to the current @code{GrandStaff} or
1448 @code{PianoStaff} by default.
1450 @lilypond[quote,ragged-right]
1454 cis'8 fis, d'4 <a cis>8 f bis4 |
1468 \voiceTwo \relative c' {
1472 \change Staff = down
1476 \change Staff = down
1477 <fis, a cis>4 gis <f a d>2 |
1484 \context Staff = "up" {
1485 #(set-accidental-style 'piano)
1488 \context Staff = "down" {
1495 @item piano-cautionary
1496 @funindex #(set-accidental-style 'piano-cautionary)
1497 @cindex accidentals, piano cautionary
1498 @cindex cautionary accidentals, piano
1499 @cindex piano cautionary accidentals
1500 @cindex accidental style, piano cautionary
1501 @cindex cautionary accidental style, piano
1502 @cindex piano cautionary accidental style
1504 Same as @code{#(set-accidental-style 'piano)} but with the extra
1505 accidentals typeset as cautionaries.
1507 @lilypond[quote,ragged-right]
1511 cis'8 fis, d'4 <a cis>8 f bis4 |
1525 \voiceTwo \relative c' {
1529 \change Staff = down
1533 \change Staff = down
1534 <fis, a cis>4 gis <f a d>2 |
1541 \context Staff = "up" {
1542 #(set-accidental-style 'piano-cautionary)
1545 \context Staff = "down" {
1553 @funindex no-reset accidental style
1554 @cindex accidental style, no reset
1555 @cindex no reset accidental style
1557 This is the same as @code{default} but with accidentals lasting
1558 @q{forever} and not only within the same measure:
1560 @lilypond[quote,ragged-right]
1564 cis'8 fis, d'4 <a cis>8 f bis4 |
1578 \voiceTwo \relative c' {
1582 \change Staff = down
1586 \change Staff = down
1587 <fis, a cis>4 gis <f a d>2 |
1594 \context Staff = "up" {
1595 #(set-accidental-style 'no-reset)
1598 \context Staff = "down" {
1599 #(set-accidental-style 'no-reset)
1607 @funindex forget accidental style
1608 @cindex forget accidental style
1609 @cindex accidental style, forget
1611 This is the opposite of @code{no-reset}: Accidentals are not
1612 remembered at all -- and hence all accidentals are typeset
1613 relative to the key signature, regardless of what was before in
1616 @lilypond[quote,ragged-right]
1620 cis'8 fis, d'4 <a cis>8 f bis4 |
1634 \voiceTwo \relative c' {
1638 \change Staff = down
1642 \change Staff = down
1643 <fis, a cis>4 gis <f a d>2 |
1650 \context Staff = "up" {
1651 #(set-accidental-style 'forget)
1654 \context Staff = "down" {
1655 #(set-accidental-style 'forget)
1665 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1666 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1671 Snippets: @lsrdir{Pitches,Pitches}.
1673 Internals Reference: @internalsref{Accidental_engraver},
1674 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1675 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1676 @internalsref{PianoStaff}, @internalsref{Staff}.
1679 @cindex accidentals and simultaneous notes
1680 @cindex simultaneous notes and accidentals
1681 @cindex accidentals in chords
1682 @cindex chords, accidentals in
1686 Simultaneous notes are considered to be entered in sequential
1687 mode. This means that in a chord the accidentals are typeset as
1688 if the notes in the chord happen one at a time, in the order in
1689 which they appear in the input file. This is a problem when
1690 accidentals in a chord depend on each other, which does not happen
1691 for the default accidental style. The problem can be solved by
1692 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1697 @subsubsection Ambitus
1700 @cindex range of pitches
1703 The term @notation{ambitus} (pl. ambitus) denotes a range of
1704 pitches for a given voice in a part of music. It may also denote
1705 the pitch range that a musical instrument is capable of playing.
1706 Ambitus are printed on vocal parts so that performers can easily
1707 determine if it matches their capabilities.
1709 Ambitus are denoted at the beginning of a piece near the initial
1710 clef. The range is graphically specified by two note heads that
1711 represent the lowest and highest pitches. Accidentals are only
1712 printed if they are not part of the key signature.
1714 @lilypond[verbatim,quote,ragged-right]
1718 \consists Ambitus_engraver
1730 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1731 {adding-ambiti-per-voice.ly}
1733 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1734 {ambiti-multiple-voices.ly}
1739 Music Glossary: @rglos{ambitus}.
1741 Snippets: @lsrdir{Pitches,Pitches}.
1743 Internals Reference: @internalsref{Ambitus},
1744 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1745 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1746 @internalsref{Staff}, @internalsref{Voice}.
1751 There is no collision handling in the case of multiple per-voice
1756 @subsection Note heads
1758 This section suggests ways of altering note heads.
1761 * Special note heads::
1762 * Easy notation note heads::
1763 * Shape note heads::
1767 @node Special note heads
1768 @subsubsection Special note heads
1770 @cindex note heads, special
1771 @cindex note heads, cross
1772 @cindex note heads, diamond
1773 @cindex note heads, parlato
1774 @cindex note heads, harmonic
1775 @cindex note heads, guitar
1776 @cindex special note heads
1777 @cindex cross note heads
1778 @cindex diamond note heads
1779 @cindex parlato note heads
1780 @cindex harmonic note heads
1781 @cindex guitar note heads
1783 Different note heads are used by various instruments for various
1784 meanings -- crosses are used for @q{parlato} with vocalists,
1785 stopped notes on guitar; diamonds are used for harmonics on string
1786 instruments, etc. There is a shorthand (@code{\harmonic}) for
1787 diamond shapes; the other note head styles are produced by
1788 tweaking the property:
1790 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1792 \override NoteHead #'style = #'cross
1794 \revert NoteHead #'style
1795 e d <c f\harmonic> <d a'\harmonic>
1799 To see all note head styles, see @ref{Note head styles}.
1804 Snippets: @lsrdir{Pitches,Pitches}.
1806 Notation Reference: @ref{Note head styles}.
1808 Internals Reference: @internalsref{NoteHead},
1809 @internalsref{LedgerLineSpanner}.
1812 @node Easy notation note heads
1813 @subsubsection Easy notation note heads
1815 @cindex note heads, practice
1816 @cindex note heads, easy notation
1817 @cindex easy notation
1819 @cindex beginners' music
1820 @cindex music, beginners'
1821 @cindex easy play note heads
1822 @cindex note heads, easy play
1824 The @q{easy play} note head includes a note name inside the head.
1825 It is used in music for beginners.
1827 @lilypond[verbatim,quote,ragged-right]
1828 #(set-global-staff-size 26)
1838 The command @code{\easyHeadsOn} overrides settings for the
1839 @code{NoteHead} object. These settings can be reverted with the command
1840 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1841 in a large font size. To print with a larger font, see @ref{Setting the
1846 @funindex \easyHeadsOn
1847 @funindex \easyHeadsOff
1848 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1852 Notation Reference: @ref{Setting the staff size}.
1854 Snippets: @lsrdir{Pitches,Pitches},
1856 Internals Reference: @internalsref{NoteHead}.
1859 @node Shape note heads
1860 @subsubsection Shape note heads
1862 @cindex note heads, shape
1863 @cindex note heads, Aiken
1864 @cindex note heads, sacred harp
1866 @cindex Aiken shape note heads
1867 @cindex sacred harp note heads
1869 @funindex shapeNoteStyles
1870 @funindex \aikenHeads
1871 @funindex \sacredHarpHeads
1873 In shape note head notation, the shape of the note head
1874 corresponds to the harmonic function of a note in the scale. This
1875 notation was popular in nineteenth-century American song books.
1877 Shape note heads can be produced by setting @code{\aikenHeads} or
1878 @code{\sacredHarpHeads}, depending on the style desired.
1880 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1887 Shapes are typeset according to the step in the scale, where
1888 the base of the scale is determined by the @code{\key} command.
1892 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1893 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1896 To see all note head styles, see @ref{Note head styles}.
1900 Snippets: @lsrdir{Pitches,Pitches}.
1902 Notation Reference: @ref{Note head styles}.
1906 @subsubsection Improvisation
1908 @cindex improvisation
1909 @cindex slashed note heads
1910 @cindex note heads, improvisation
1911 @cindex note heads, slashed
1913 Improvisation is sometimes denoted with slashed note heads, where
1914 the performer may choose any pitch but should play the specified
1915 rhythm. Such note heads can be created:
1917 @lilypond[verbatim,quote,ragged-right]
1919 \consists Pitch_squash_engraver
1921 e8 e g a a16( bes) a8 g
1934 @funindex \improvisationOn
1935 @funindex \improvisationOff
1937 @code{\improvisationOn}, @code{\improvisationOff}
1941 Snippets: @lsrdir{Pitches,Pitches}.
1943 Internals Reference: @internalsref{Pitch_squash_engraver},
1944 @internalsref{Voice}.