1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
16 This section discusses how to specify the pitch of notes. There
17 are three steps to this process: input, modification, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches. There are two
31 different ways to place notes in octaves: absolute and relative
32 mode. In most cases, relative mode will be more convenient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @subsubsection Absolute octave entry
48 @cindex absolute octave specification
50 A pitch name is specified using lowercase letters@tie{}@code{a}
51 through@tie{}@code{g}. The note names @code{c} to @code{b} are
52 engraved in the octave below middle C.
54 @c NOTE: don't use c' here.
55 @lilypond[verbatim,quote,ragged-right,fragment]
65 Other octaves may be specified with a single quote@tie{}(@code{'})
66 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
67 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
70 @lilypond[verbatim,quote,ragged-right,fragment]
81 Music Glossary: @rglos{Pitch names}.
83 Snippets: @lsrdir{Pitches,Pitches}.
86 @node Relative octave entry
87 @subsubsection Relative octave entry
90 @cindex relative octave specification
93 When octaves are specified in absolute mode it is easy to
94 accidentally put a pitch in the wrong octave. Relative octave
95 mode reduces these errors since most of the time it is not
96 necessary to indicate any octaves at all. Furthermore, in
97 absolute mode a single mistake may be difficult to spot, while in
98 relative mode a single error puts the rest of the piece off by one
102 \relative @var{startpitch} @var{musicexpr}
105 In relative mode, each note is assumed to be as close to the
106 previous note as possible. This means that the octave of pitches
107 in @var{musicexpr} is calculated as follows:
111 If no octave changing mark is used on a pitch, its octave is calculated
112 so that the interval with the previous note is less than a fifth. This
113 interval is determined without considering accidentals.
116 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
117 respectively raise or lower a pitch by an extra octave, relative to
118 the pitch calculated without an octave mark.
121 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
122 @code{,,}@tie{} will alter the pitch by two octaves.
125 The pitch of the first note is relative to
126 @code{@var{startpitch}}. @var{startpitch} is specified in
127 absolute octave mode, and it is recommended that it be a octave of
132 Here is the relative mode shown in action:
134 @lilypond[verbatim,quote,ragged-right]
143 Octave changing marks are used for intervals greater than a
146 @lilypond[verbatim,quote,ragged-right]
153 A note sequence without a single octave mark can nevertheless span
156 @lilypond[verbatim,quote,ragged-right]
163 If the preceding item is a chord, the first note of the chord is
164 used as the reference point for the octave placement of a
165 following note or chord. Inside chords, the next note is always
166 relative to the preceding one.
168 @lilypond[verbatim,quote,ragged-right]
172 % the C is now an octave higher
174 % the C returns to the original pitch
179 As explained above, the octave of pitches is calculated only with
180 the note names, regardless of any alterations. Therefore, an
181 E-double-sharp following a B will be placed higher, while an
182 F-double-flat will be placed lower. In other words, a
183 double-augmented fourth is considered a smaller interval than a
184 double-diminished fifth, regardless of the number of semitones
185 that each interval contains.
187 @lilypond[verbatim,quote,ragged-right]
199 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
201 Notation Reference: @ref{Octave checks}.
203 Snippets: @lsrdir{Pitches,Pitches}.
208 The relative conversion will not affect @code{\transpose},
209 @code{\chordmode} or @code{\relative} sections in its argument.
210 To use relative mode within transposed music, an additional
211 @code{\relative} must be placed inside @code{\transpose}.
214 If no @var{startpitch} is specified for @code{\relative},
215 then@tie{}@code{c'} is assumed. However, this is a deprecated
216 option and may disappear in future versions, so its use is
222 @subsubsection Accidentals
224 @warning{New users are sometimes confused about accidentals and
225 key signatures. In LilyPond, note names are the raw input; key
226 signatures and clefs determine how this raw input is displayed.
227 An unaltered note like@tie{}@code{c} means @q{C natural},
228 regardless of the key signature or clef. For more information,
229 see @rlearning{Accidentals and key signatures}.}
231 @cindex note names, Dutch
232 @cindex note names, default
234 A @notation{sharp} pitch is made by adding @code{is} to the name,
235 and a @notation{flat} pitch by adding @code{es}. As you might
236 expect, a @notation{double sharp} or @notation{double flat} is
237 made by adding @code{isis} or @code{eses}. This syntax is derived
238 from Dutch note naming conventions. To use other names for
239 accidentals, see @ref{Note names in other languages}.
241 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
245 A natural will cancel the effect of an accidental or key
246 signature. However, naturals are not encoded into the note name
247 syntax with a suffix; a natural pitch is shown as a simple note
250 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
254 @cindex quarter tones
255 @cindex semi-flats, semi-sharps
257 Quarter tones may be added; the following is a series of Cs with
260 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
261 ceseh1 ces ceh c cih cis cisih
266 @cindex accidental, reminder
267 @cindex accidental, cautionary
268 @cindex accidental, parenthesized
269 @cindex reminder accidental
271 @cindex cautionary accidental
272 @cindex parenthesized accidental
275 Normally accidentals are printed automatically, but you may also
276 print them manually. A reminder accidental can be forced by
277 adding an exclamation mark@tie{}@code{!} after the pitch. A
278 cautionary accidental (i.e., an accidental within parentheses) can
279 be obtained by adding the question mark@tie{}@code{?} after the
280 pitch. These extra accidentals can also be used to produce
283 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
284 cis cis cis! cis? c c c! c?
287 Accidentals are only printed on tied notes that begin a new
290 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
299 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
300 {preventing-extra-naturals-from-being-automatically-added.ly}
304 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
305 @rglos{double flat}, @rglos{Pitch names}.
307 Learning Manual: @rlearning{Accidentals and key signatures}.
309 Notation Reference: @ref{Automatic accidentals},
310 @ref{Musica ficta accidentals},
311 @ref{Note names in other languages}.
313 Snippets: @lsrdir{Pitches,Pitches}.
318 There are no generally accepted standards for denoting
319 quarter-tone accidentals, so LilyPond's symbol does not conform to
324 @node Note names in other languages
325 @subsubsection Note names in other languages
327 There are predefined sets of note names for various other
328 languages. To use them, include the language-specific init file.
329 For example, to use English notes names, add @code{\include
330 "english.ly"} to the top of the input file. The available
331 language files and the note names they define are:
333 @cindex note names, other languages
336 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
339 @tab sharp @tab flat @tab double sharp @tab double flat
341 @tab c d e f g a bes b
342 @tab -is @tab -es @tab -isis @tab -eses
344 @tab c d e f g a bf b
345 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
349 @tab -is @tab -es @tab -isis @tab -eses
352 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
356 @tab -iss @tab -ess @tab -ississ @tab -essess
359 @tab -is @tab -es @tab -isis @tab -eses
361 @tab do re mi fa sol la sib si
362 @tab -d @tab -b @tab -dd @tab -bb
364 @tab do re mi fa sol la sib si
365 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
367 @tab do re mi fa sol la sib si
368 @tab -s @tab -b @tab -ss @tab -bb
370 @tab do re mi fa sol la sib si
371 @tab -s @tab -b @tab -ss @tab -bb
373 @tab do re mi fa sol la sib si
374 @tab -k @tab -b @tab -kk @tab -bb
378 In Dutch, @code{aes} is contracted to @code{as}, but both forms
379 are accepted in LilyPond. Similarly, both @code{es} and
380 @code{ees} are accepted. This also applies to
381 @code{aeses}@tie{}/@tie{}@code{ases} and
382 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
383 contracted names are defined in the corresponding language files.
385 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
386 a2 as e es a ases e eses
390 Some music uses microtones whose alterations are fractions of a
391 @q{normal} sharp or flat. The note names for quarter-tones
392 defined in the various language files are listed in the following
393 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
394 mean @q{half} and @q{one and a half}, respectively. For the other
395 languages, no special names have been defined yet.
398 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
401 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
404 @tab c d e f g a bes b
405 @tab -ih @tab -eh @tab -isih @tab -eseh
407 @tab c d e f g a bf b
408 @tab -qs @tab -qf @tab -tqs @tab -tqf
411 @tab -ih @tab -eh @tab -isih @tab -eseh
413 @tab do re mi fa sol la sib si
414 @tab -sd @tab -sb @tab -dsd @tab -bsb
416 @tab do re mi fa sol la sib si
417 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
424 Music Glossary: @rglos{Pitch names}.
426 Snippets: @lsrdir{Pitches,Pitches}.
429 @node Changing multiple pitches
430 @subsection Changing multiple pitches
432 This section discusses how to modify pitches.
440 @subsubsection Octave checks
442 @cindex octave correction
447 In relative mode, it is easy to forget an octave changing mark.
448 Octave checks make such errors easier to find by displaying a
449 warning and correcting the octave if a note is found in an
452 To check the octave of a specific note, specify the absolute
453 octave after the @code{=}@tie{}symbol. This example will generate
454 a warning (and change the pitch) because the second note is the
455 absolute octave @code{d''} instead of @code{d'} as indicated by
456 the octave correction.
458 @lilypond[verbatim,quote,ragged-right,fragment]
465 The octave of pitches may also be checked with the
466 @code{\octave}@tie{}@var{controlpitch} command.
467 @var{controlpitch} is specified in absolute mode. This checks
468 that the interval between the previous note and the
469 @var{controlpitch} is within a fourth (i.e. the normal calculation
470 of relative mode). If this check fails, a warning is printed, but
471 the previous note is not changed. Future notes are relative to
472 the @var{controlpitch}.
474 @lilypond[verbatim,quote,ragged-right,fragment]
482 Compare the two bars below. The first and third @code{\octave}
483 check fail, but the second ones does not fail.
485 @lilypond[verbatim,quote,ragged-right,fragment]
502 Snippets: @lsrdir{Pitches,Pitches}.
506 @subsubsection Transpose
509 @cindex transposition of pitches
512 A music expression can be transposed with @code{\transpose}. The
516 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
520 This means that @var{musicexpr} is transposed by the interval
521 between the pitches @var{frompitch} and @var{topitch}: any note
522 with pitch @var{frompitch} is changed to @var{topitch} and any
523 other note is transposed by the same interval. Both pitches are
524 entered in absolute mode.
526 Consider a piece written in the key of D-major. It can be
527 transposed up to E-major; note that the key signature is
528 automatically transposed as well.
530 @lilypond[verbatim,quote,ragged-right]
539 If a part written in C (normal concert pitch) is to be played on
540 the A clarinet (for which an A is notated as a C and thus sounds a
541 minor third lower than notated), the appropriate part will be
544 @lilypond[verbatim,quote,ragged-right]
554 Note that we specify @code{\key c \major} explicitly. If we do
555 not specify a key signature, the notes will be transposed but no
556 key signature will be printed.
558 @code{\transpose} distinguishes between enharmonic pitches: both
559 @code{\transpose c cis} or @code{\transpose c des} will transpose
560 up a semitone. The first version will print sharps and the notes
561 will remain on the same scale step, the second version will print
562 flats on the scale step above.
564 @lilypond[verbatim,quote,ragged-right]
565 mus = \relative c' { c d e f }
567 \transpose c cis { \mus }
568 \transpose c des { \mus }
572 @cindex transposing instruments
574 @code{\transpose} may also be used in a different way, to input
575 written notes for a transposing instrument. The previous examples
576 show how to enter pitches in C (or @notation{concert pitch}) and
577 typeset them for a transposing instrument, but the opposite is
578 also possible if you for example have a set of instrumental parts
579 and want to print a conductor's score. For example, when entering
580 music for a B-flat trumpet that begins on a notated E (concert D),
584 musicInBflat = @{ e4 @dots{} @}
585 \transpose c bes, \musicInBflat
589 To print this music in F (e.g., rearranging to a French horn) you
590 could wrap the existing music with another @code{\transpose}:
593 musicInBflat = @{ e4 @dots{} @}
594 \transpose f c' @{ \transpose c bes, \musicInBflat @}
598 For more information about transposing instruments,
599 see @ref{Instrument transpositions}.
604 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
605 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
610 Notation Reference: @ref{Instrument transpositions}.
612 Snippets: @lsrdir{Pitches,Pitches}.
614 Internals Reference: @internalsref{TransposedMusic}.
618 The relative conversion will not affect @code{\transpose},
619 @code{\chordmode} or @code{\relative} sections in its argument.
620 To use relative mode within transposed music, an additional
621 @code{\relative} must be placed inside @code{\transpose}.
624 @node Displaying pitches
625 @subsection Displaying pitches
627 This section discusses how to alter the output of pitches.
633 * Instrument transpositions::
634 * Automatic accidentals::
654 @cindex mezzosoprano clef
655 @cindex baritone clef
656 @cindex varbaritone clef
659 The clef is set with the @code{\clef} @var{clefname} command.
660 Middle C is shown in every example.
662 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
675 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
697 Further supported clefs are described under @ref{Ancient clefs}.
699 By adding @code{_8} or @code{^8} to the clef name, the clef is
700 transposed one octave down or up, respectively, and @code{_15} and
701 @code{^15} transposes by two octaves. The argument @var{clefname}
702 must be enclosed in quotes when it contains underscores or digits.
704 @cindex choral tenor clef
706 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
716 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
717 {clefs-commonly-tweaked-properties.ly}
722 Notation Reference: @ref{Ancient clefs}.
724 Snippets: @lsrdir{Pitches,Pitches}.
726 Internals Reference: @internalsref{Clef}.
730 @subsubsection Key signature
732 @cindex key signature
735 @warning{New users are sometimes confused about accidentals and
736 key signatures. In LilyPond, note names are the raw input; key
737 signatures and clefs determine how this raw input is displayed.
738 An unaltered note like@tie{}@code{c} means @q{C natural},
739 regardless of the key signature or clef. For more information,
740 see @rlearning{Accidentals and key signatures}.}
742 The key signature indicates the tonality in which a piece is
743 played. It is denoted by a set of alterations (flats or sharps)
744 at the start of the staff. Setting or changing the key signature
745 is done with the @code{\key} command:
748 \key @var{pitch} @var{mode}
757 @funindex \mixolydian
763 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
764 key signature of @var{pitch}-major or @var{pitch}-minor,
765 respectively. You may also use the standard mode names, also
766 called @q{church modes}: @code{\ionian}, @code{\dorian},
767 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
768 @code{\aeolian}, and @code{\locrian}.
770 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
780 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
781 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
783 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
784 {non-traditional-key-signatures.ly}
789 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
791 Learning Manual: @rlearning{Accidentals and key signatures}.
793 Snippets: @lsrdir{Pitches,Pitches}.
795 Internals Reference: @internalsref{KeyCancellation},
796 @internalsref{KeySignature}, @internalsref{Key_engraver}.
799 @node Ottava brackets
800 @subsubsection Ottava brackets
808 @notation{Ottava brackets} introduce an extra transposition of an
809 octave for the staff:
811 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
819 The @code{set-octavation} function also takes -1 (for 8va bassa),
820 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
825 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
831 Music Glossary: @rglos{ottava}.
833 Snippets: @lsrdir{Pitches,Pitches}.
835 Internals Reference: @internalsref{OttavaBracket}.
839 @node Instrument transpositions
840 @subsubsection Instrument transpositions
842 @cindex transposition, MIDI
843 @cindex transposition, instrument
845 When typesetting scores that involve transposing instruments, some
846 parts can be typeset in a different pitch than the
847 @notation{concert pitch}. In these cases, the key of the
848 @notation{transposing instrument} should be specified; otherwise
849 the MIDI output and cues in other parts will produce incorrect
850 pitches. For more information about quotations, see @ref{Quoting
854 \transposition @var{pitch}
857 The pitch to use for @code{\transposition} should correspond to
858 the real sound heard when a@tie{}@code{c'} written on the staff is
859 played by the transposing instrument. This pitch is entered in
860 absolute mode, so an instrument that produces a real sound which
861 is one tone higher than the printed music should use
862 @code{\transposition d'}. @code{\transposition} should
863 @emph{only} be used if the pitches are @emph{not} being entered in
866 Here are a few notes for violin and B-flat clarinet where the
867 parts have been entered using the notes and key as they appear in
868 each part of the conductor's score. The two instruments are
871 @lilypond[verbatim,quote,ragged-right]
875 \set Staff.instrumentName = "Vln"
876 \set Staff.midiInstrument="violin"
877 % strictly speaking not necessary, but a good reminder
884 \new Staff = "clarinet" {
886 \set Staff.instrumentName = \markup {Cl (B\flat)}
887 \set Staff.midiInstrument="clarinet"
898 The @code{\transposition} may be changed during a piece. For
899 example, a clarinetist may switch from an A clarinet to a B-flat
902 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
903 \set Staff.instrumentName = "Cl (A)"
908 r1^\markup{Switch to B\flat clarinet}
918 Music Glossary: @rglos{concert pitch},
919 @rglos{transposing instrument}.
921 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
923 Snippets: @lsrdir{Pitches,Pitches}.
926 @node Automatic accidentals
927 @subsubsection Automatic accidentals
928 @cindex automatic accidentals
930 @funindex set-accidental-style
932 There are many different conventions on how to typeset
933 accidentals. LilyPond provides a function to specify which
934 accidental style to use. This function is called as follows
938 #(set-accidental-style 'voice)
943 The accidental style applies to the current @code{Staff} by
944 default (with the exception of the styles @code{piano} and
945 @code{piano-cautionary}, which are explained below). Optionally,
946 the function can take a second argument that determines in which
947 scope the style should be changed. For example, to use the same
948 style in all staves of the current @code{StaffGroup}, use
951 #(set-accidental-style 'voice 'StaffGroup)
954 The following accidental styles are supported. To demonstrate
955 each style, we use the following example:
957 @lilypond[verbatim,quote,ragged-right]
961 cis'8 fis, d'4 <a cis>8 f bis4 |
975 \voiceTwo \relative c' {
984 <fis, a cis>4 gis <f a d>2 |
991 \context Staff = "up" {
992 %%% change the next line as desired:
993 #(set-accidental-style 'default)
996 \context Staff = "down" {
997 %%% change the next line as desired:
998 #(set-accidental-style 'default)
1005 Note that the last lines of this example can be replaced by the
1006 following, as long as the same accidental style should be used in
1011 \context Staff = "up" @{
1012 %%% change the next line as desired:
1013 #(set-accidental-style 'default 'Score)
1016 \context Staff = "down" @{
1024 @c NOTE: don't use verbatim in this table.
1027 This is the default typesetting behavior. It corresponds to
1028 eighteenth-century common practice: accidentals are remembered to
1029 the end of the measure in which they occur and only on their own
1030 octave. Thus, in the example below, no natural signs are printed
1031 before the@tie{}@code{b} in the second measure or the
1034 @lilypond[quote,ragged-right]
1038 cis'8 fis, d'4 <a cis>8 f bis4 |
1052 \voiceTwo \relative c' {
1056 \change Staff = down
1060 \change Staff = down
1061 <fis, a cis>4 gis <f a d>2 |
1068 \context Staff = "up" {
1069 #(set-accidental-style 'default)
1072 \context Staff = "down" {
1073 #(set-accidental-style 'default)
1081 The normal behavior is to remember the accidentals on Staff-level.
1082 In this style, however, accidentals are typeset individually for
1083 each voice. Apart from that, the rule is similar to
1086 As a result, accidentals from one voice do not get canceled in
1087 other voices, which is often an unwanted result: in the following
1088 example, it is hard to determine whether the second@tie{}@code{a}
1089 should be played natural or sharp. The @code{voice} option should
1090 therefore be used only if the voices are to be read solely by
1091 individual musicians. If the staff is to be used by one musician
1092 (e.g., a conductor or in a piano score) then @code{modern} or
1093 @code{modern-cautionary} should be used instead.
1096 @lilypond[quote,ragged-right]
1100 cis'8 fis, d'4 <a cis>8 f bis4 |
1114 \voiceTwo \relative c' {
1118 \change Staff = down
1122 \change Staff = down
1123 <fis, a cis>4 gis <f a d>2 |
1130 \context Staff = "up" {
1131 #(set-accidental-style 'voice)
1134 \context Staff = "down" {
1135 #(set-accidental-style 'voice)
1143 @funindex modern style accidentals
1145 This rule corresponds to the common practice in the twentieth
1146 century. It prints the same accidentals as @code{default}, with
1147 two exceptions that serve to avoid ambiguity: after temporary
1148 accidentals, cancellation marks are printed also in the following
1149 measure (for notes in the same octave) and, in the same measure,
1150 for notes in other octaves. Hence the naturals before
1151 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1154 @lilypond[quote,ragged-right]
1158 cis'8 fis, d'4 <a cis>8 f bis4 |
1172 \voiceTwo \relative c' {
1176 \change Staff = down
1180 \change Staff = down
1181 <fis, a cis>4 gis <f a d>2 |
1188 \context Staff = "up" {
1189 #(set-accidental-style 'modern)
1192 \context Staff = "down" {
1193 #(set-accidental-style 'modern)
1200 @item modern-cautionary
1201 @funindex modern-cautionary
1203 This rule is similar to @code{modern}, but the @q{extra}
1204 accidentals (the ones not typeset by @code{default}) are typeset
1205 as cautionary accidentals. They are by default printed with
1206 parentheses, but they can also be printed in reduced size by
1207 defining the @code{cautionary-style} property of
1208 @code{AccidentalSuggestion}.
1211 @lilypond[quote,ragged-right]
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 'modern-cautionary)
1249 \context Staff = "down" {
1250 #(set-accidental-style 'modern-cautionary)
1258 @funindex modern-voice
1260 This rule is used for multivoice accidentals to be read both by
1261 musicians playing one voice and musicians playing all voices.
1262 Accidentals are typeset for each voice, but they @emph{are}
1263 canceled across voices in the same @code{Staff}. Hence,
1264 the@tie{}@code{a} in the last measure is canceled because the
1265 previous cancellation was in a different voice, and
1266 the@tie{}@code{d} in the lower staff is canceled because of the
1267 accidental in a different voice in the previous measure:
1270 @lilypond[quote,ragged-right]
1274 cis'8 fis, d'4 <a cis>8 f bis4 |
1288 \voiceTwo \relative c' {
1292 \change Staff = down
1296 \change Staff = down
1297 <fis, a cis>4 gis <f a d>2 |
1304 \context Staff = "up" {
1305 #(set-accidental-style 'modern-voice)
1308 \context Staff = "down" {
1309 #(set-accidental-style 'modern-voice)
1316 @funindex modern-voice-cautionary
1317 @item modern-voice-cautionary
1319 This rule is the same as @code{modern-voice}, but with the extra
1320 accidentals (the ones not typeset by @code{voice}) typeset
1321 as cautionaries. Even though all accidentals typeset by
1322 @code{default} @emph{are} typeset with this rule,
1323 some of them are typeset as cautionaries.
1325 @lilypond[quote,ragged-right]
1329 cis'8 fis, d'4 <a cis>8 f bis4 |
1343 \voiceTwo \relative c' {
1347 \change Staff = down
1351 \change Staff = down
1352 <fis, a cis>4 gis <f a d>2 |
1359 \context Staff = "up" {
1360 #(set-accidental-style 'modern-voice-cautionary)
1363 \context Staff = "down" {
1364 #(set-accidental-style 'modern-voice-cautionary)
1372 @funindex piano accidentals
1374 This rule reflects twentieth-century practice for piano notation.
1375 Its behavior is very similar to @code{modern} style, but here
1376 accidentals also get canceled across the staves in the same
1377 GrandStaff or PianoStaff, hence all the cancellations of the final
1380 This accidental style applies to the current @code{GrandStaff} or
1381 @code{PianoStaff} by default.
1383 @lilypond[quote,ragged-right]
1387 cis'8 fis, d'4 <a cis>8 f bis4 |
1401 \voiceTwo \relative c' {
1405 \change Staff = down
1409 \change Staff = down
1410 <fis, a cis>4 gis <f a d>2 |
1417 \context Staff = "up" {
1418 #(set-accidental-style 'piano)
1421 \context Staff = "down" {
1428 @item piano-cautionary
1429 @funindex #(set-accidental-style 'piano-cautionary)
1431 Same as @code{#(set-accidental-style 'piano)} but with the extra
1432 accidentals typeset as cautionaries.
1434 @lilypond[quote,ragged-right]
1438 cis'8 fis, d'4 <a cis>8 f bis4 |
1452 \voiceTwo \relative c' {
1456 \change Staff = down
1460 \change Staff = down
1461 <fis, a cis>4 gis <f a d>2 |
1468 \context Staff = "up" {
1469 #(set-accidental-style 'piano-cautionary)
1472 \context Staff = "down" {
1480 @funindex no-reset accidental style
1482 This is the same as @code{default} but with accidentals lasting
1483 @q{forever} and not only within the same measure:
1485 @lilypond[quote,ragged-right]
1489 cis'8 fis, d'4 <a cis>8 f bis4 |
1503 \voiceTwo \relative c' {
1507 \change Staff = down
1511 \change Staff = down
1512 <fis, a cis>4 gis <f a d>2 |
1519 \context Staff = "up" {
1520 #(set-accidental-style 'no-reset)
1523 \context Staff = "down" {
1524 #(set-accidental-style 'no-reset)
1532 @funindex forget accidental style
1534 This is the opposite of @code{no-reset}: Accidentals are not
1535 remembered at all -- and hence all accidentals are typeset
1536 relative to the key signature, regardless of what was before in
1539 @lilypond[quote,ragged-right]
1543 cis'8 fis, d'4 <a cis>8 f bis4 |
1557 \voiceTwo \relative c' {
1561 \change Staff = down
1565 \change Staff = down
1566 <fis, a cis>4 gis <f a d>2 |
1573 \context Staff = "up" {
1574 #(set-accidental-style 'forget)
1577 \context Staff = "down" {
1578 #(set-accidental-style 'forget)
1588 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1589 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1594 Snippets: @lsrdir{Pitches,Pitches}.
1596 Internals Reference: @internalsref{Accidental_engraver},
1597 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1598 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1599 @internalsref{PianoStaff}, @internalsref{Staff}.
1604 Simultaneous notes are considered to be entered in sequential
1605 mode. This means that in a chord the accidentals are typeset as
1606 if the notes in the chord happen one at a time, in the order in
1607 which they appear in the input file. This is a problem when
1608 accidentals in a chord depend on each other, which does not happen
1609 for the default accidental style. The problem can be solved by
1610 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1615 @subsubsection Ambitus
1618 The term @notation{ambitus} or @notation{ambit} denotes a range of
1619 pitches for a given voice in a part of music. It may also denote
1620 the pitch range that a musical instrument is capable of playing.
1621 Ambits are printed on vocal parts so that performers can easily
1622 determine if it matches their capabilities.
1624 Ambits are denoted at the beginning of a piece near the initial
1625 clef. The range is graphically specified by two note heads that
1626 represent the lowest and highest pitches. Accidentals are only
1627 printed if they are not part of the key signature.
1629 @lilypond[verbatim,quote,ragged-right]
1633 \consists Ambitus_engraver
1645 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1646 {adding-ambiti-per-voice.ly}
1648 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1649 {ambiti-multiple-voices.ly}
1654 Snippets: @lsrdir{Pitches,Pitches}.
1656 Internals Reference: @internalsref{Ambitus},
1657 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1658 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1659 @internalsref{Staff}, @internalsref{Voice}.
1664 There is no collision handling in the case of multiple per-voice
1669 @subsection Note heads
1672 * Special note heads::
1673 * Easy notation note heads::
1674 * Shape note heads::
1678 @node Special note heads
1679 @subsubsection Special note heads
1681 @cindex note heads, special
1683 Different note heads are used by various instruments for various
1684 meanings -- crosses are used for @q{parlato} with vocalists,
1685 stopped notes on guitar; diamonds are used for harmonics on string
1686 instruments, etc. There is a shorthand (@code{\harmonic}) for
1687 diamond shapes; the other note head styles are produced by
1688 tweaking the property:
1690 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1692 \override NoteHead #'style = #'cross
1694 \revert NoteHead #'style
1695 e d <c f\harmonic> <d a'\harmonic>
1699 To see all note head styles, please see @ref{Note head styles}.
1704 Snippets: @lsrdir{Pitches,Pitches}.
1706 Notation Reference: @ref{Note head styles}.
1708 Internals Reference: @internalsref{NoteHead},
1709 @internalsref{LedgerLineSpanner}.
1712 @node Easy notation note heads
1713 @subsubsection Easy notation note heads
1715 @cindex note heads, practice
1716 @cindex note heads, easy notation
1717 @cindex easy notation
1720 The @q{easy play} note head includes a note name inside the head.
1721 It is used in music for beginners.
1723 @lilypond[verbatim,quote,ragged-right]
1724 #(set-global-staff-size 26)
1734 The command @code{\easyHeadsOn} overrides settings for the
1735 @code{NoteHead} object. These settings can be reverted with the command
1736 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1737 in a large font size. To print with a larger font, see @ref{Setting the
1742 @funindex \easyHeadsOn
1743 @funindex \easyHeadsOff
1744 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1748 Notation Reference: @ref{Setting the staff size}.
1750 Snippets: @lsrdir{Pitches,Pitches},
1752 Internals Reference: @internalsref{NoteHead}.
1755 @node Shape note heads
1756 @subsubsection Shape note heads
1758 @cindex note heads, shape
1760 @funindex shapeNoteStyles
1761 @funindex \aikenHeads
1762 @funindex \sacredHarpHeads
1764 In shape note head notation, the shape of the note head
1765 corresponds to the harmonic function of a note in the scale. This
1766 notation was popular in nineteenth-century American song books.
1768 Shape note heads can be produced by setting @code{\aikenHeads} or
1769 @code{\sacredHarpHeads}, depending on the style desired.
1771 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1778 Shapes are typeset according to the step in the scale, where
1779 the base of the scale is determined by the @code{\key} command.
1783 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1784 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1789 Snippets: @lsrdir{Pitches,Pitches}.
1793 @subsubsection Improvisation
1795 @cindex improvisation
1796 @cindex slashed note heads
1797 @cindex note heads, improvisation
1798 @cindex note heads, slashed
1800 Improvisation is sometimes denoted with slashed note heads, where
1801 the performer may choose any pitch but should play the specified
1802 rhythm. Such note heads can be created:
1804 @lilypond[verbatim,quote,ragged-right]
1806 \consists Pitch_squash_engraver
1808 e8 e g a a16( bes) a8 g
1821 @funindex \improvisationOn
1822 @funindex \improvisationOff
1824 @code{\improvisationOn}, @code{\improvisationOff}
1828 Snippets: @lsrdir{Pitches,Pitches}.
1830 Internals Reference: @internalsref{Pitch_squash_engraver},
1831 @internalsref{Voice}.