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, modifying, 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 convient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @unnumberedsubsubsec 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}.
86 @node Relative octave entry
87 @unnumberedsubsubsec 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, relatively to
118 the pitch calculated without 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 of 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 sharp following a B will be placed higher, while an
182 F-double-flat would 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}.
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 @unnumberedsubsubsec 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 which 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},
315 dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
316 @lsr{Pitches, makam.ly}.
321 There are no generally accepted standards for denoting
322 three-quarter flats, so LilyPond's symbol does not conform to any
327 @node Note names in other languages
328 @unnumberedsubsubsec Note names in other languages
330 There are predefined sets of note names for various other
331 languages. To use them, include the language specific init file.
332 For example, add @code{\include "english.ly"} to the top of the
333 input file. The available language files and the note names they
336 @cindex note names, other languages
339 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
342 @tab sharp @tab flat @tab double sharp @tab double flat
344 @tab c d e f g a bes b
345 @tab -is @tab -es @tab -isis @tab -eses
347 @tab c d e f g a bf b
348 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
352 @tab -is @tab -es @tab -isis @tab -eses
355 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
359 @tab -iss @tab -ess @tab -ississ @tab -essess
362 @tab -is @tab -es @tab -isis @tab -eses
364 @tab do re mi fa sol la sib si
365 @tab -d @tab -b @tab -dd @tab -bb
367 @tab do re mi fa sol la sib si
368 @tab -d/-s @tab -b @tab -dd/-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 -s @tab -b @tab -ss @tab -bb
376 @tab do re mi fa sol la sib si
377 @tab -k @tab -b @tab -kk @tab -bb
381 Some music uses microtones whose alterations are fractions of a
382 @q{normal} sharp or flat. The note names for quartertones defined
383 in the various language files are listed in the following table.
384 Here the prefixes @notation{semi-} and @notation{sesqui-} mean
385 @q{half} and @q{one and a half}, respectively. For the other
386 languages, no special names have been defined yet.
389 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
392 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
395 @tab c d e f g a bes b
396 @tab -ih @tab -eh @tab -isih @tab -eseh
398 @tab c d e f g a bf b
399 @tab -qs @tab -qf @tab -tqs @tab -tqf
402 @tab -ih @tab -eh @tab -isih @tab -eseh
404 @tab do re mi fa sol la sib si
405 @tab -sd @tab -sb @tab -dsd @tab -bsb
407 @tab do re mi fa sol la sib si
408 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
412 In Dutch, @code{aes} is contracted to @code{as}, but both forms
413 are accepted in LilyPond. Similarly, both @code{es} and
414 @code{ees} are accepted. This also applies to
415 @code{aeses}@tie{}/@tie{}@code{ases} and
416 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
417 contracted names are defined in the corresponding language files.
419 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
420 a2 as e es a ases e eses
423 In some languages such as Norwegian and Swedish, the usual
424 spelling for accidentals is a double @q{s} such as in @code{ciss}
425 or @code{cess}. For both historical reasons and a greater
426 simplicity, LilyPond uses a single @q{s} for all these languages.
430 Music Glossary: @lsrdir{Pitch names}.
432 Snippets: @lsrdir{Pitches}.
435 @node Changing multiple pitches
436 @subsection Changing multiple pitches
438 This section discusses how to modify pitches.
446 @unnumberedsubsubsec Octave checks
448 @cindex octave correction
453 @c FIXME: bad descriptions.
454 In relative mode, it is easy to forget an octave changing mark.
455 Octave checks make such errors easier to find by displaying a
456 warning and correcting the octave if a note is found in an
459 To check the octave of a specific note, add
460 @code{=}@tie{}@var{quotes} after the pitch. The @var{quotes}
461 indicate what its absolute octave should be. This example will
462 generate a warning (and change the pitch) because the second note
463 is the absolute octave @code{d''} instead of @code{d'} as
464 indicated by the octave correction.
466 @lilypond[verbatim,quote,ragged-right,fragment]
473 The octave of pitches may also be checked with the
474 @code{\octave}@tie{}@var{controlpitch} command.
475 @var{controlpitch} is specified in absolute mode. This checks
476 that the interval between the previous note and the
477 @var{contorlpitch} is within a fourth (the normal calculation of
478 relative mode). If this check fails, a warning is printed, but
479 the previous note is not changed. Future notes are relative to
480 the @var{controlpitch}.
482 @lilypond[verbatim,quote,ragged-right,fragment]
490 Compare these two bars. The first and third @code{\octave} check
491 fail, but the second ones passes without fail.
493 @lilypond[verbatim,quote,ragged-right,fragment]
511 Snippets: @lsrdir{Pitches}.
515 @unnumberedsubsubsec Transpose
518 @cindex transposition of pitches
521 A music expression can be transposed with @code{\transpose}. The
525 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
529 This means that @var{musicexpr} is transposed by the interval
530 between the pitches @var{frompitch} and @var{topitch}: any note
531 with pitch @var{frompitch} is changed to @var{topitch} and any
532 other note is transposed by the same interval.
534 Consider a piece written in the key of D-major. It can be
535 transposed up to E-major; note that the key signature is
536 automatically transposed as well.
538 @lilypond[verbatim,quote,ragged-right]
547 If a part written in C (normal concert pitch) is to be played on
548 the A clarinet (for which an A is notated as a C and thus sounds a
549 minor third lower than notated), the appropriate part will be
552 @lilypond[verbatim,quote,ragged-right]
562 Note that we specify @code{\key c \major} explicitly. If we do
563 not specify a key signature, the notes will be transposed but no
564 key signature will be printed.
566 @code{\transpose} distinguishes between enharmonic pitches: both
567 @code{\transpose c cis} or @code{\transpose c des} will transpose
568 up half a tone. The first version will print sharps and the notes
569 will remain on the same scale step, the second version will print
570 flats on the scale step above.
572 @lilypond[verbatim,quote,ragged-right]
573 mus = \relative c' { c d e f }
575 \transpose c cis { \mus }
576 \transpose c des { \mus }
580 @cindex transposing instruments
582 @code{\transpose} may also be used in a different way, to input
583 written notes for a transposing instrument. The previous examples
584 show how to enter pitches in C (or @notation{concert pitch}) and
585 typeset them for a transposing instrument, but the opposite is
586 also possible if you for example have a set of instrumental parts
587 and want to print a conductor's score. For example, when entering
588 music for a B-flat trumpet which begins on a notated E (concert
592 musicInBflat = @{ e4 @dots{} @}
593 \transpose c bes, \musicInBflat
597 To print this music in F (e.g., rearranging to a French horn) you
598 could wrap the existing music with another @code{\transpose}:
601 musicInBflat = @{ e4 @dots{} @}
602 \transpose f c' @{ \transpose c bes, \musicInBflat @}
606 For more information about transposing instruments,
607 see @ref{Instrument transpositions}.
612 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
613 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
618 Notation Reference: @ref{Instrument transpositions}.
620 Snippets: @lsrdir{Pitches}.
622 Internals Reference: @internalsref{TransposedMusic}.
626 If you want to use both @code{\transpose} and @code{\relative},
627 you must put @code{\transpose} outside of @code{\relative}, since
628 @code{\relative} will have no effect on music that appears inside
632 @node Displaying pitches
633 @subsection Displaying pitches
635 This section discusses how to alter the output of pitches.
641 * Instrument transpositions::
642 * Automatic accidentals::
648 @unnumberedsubsubsec Clef
662 @cindex mezzosoprano clef
663 @cindex baritone clef
664 @cindex varbaritone clef
667 The clef is set with the @code{\clef} @var{clefname} command:
669 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
680 Supported clefs include:
682 @multitable @columnfractions .4 .6
683 @headitem Clef @tab Position
684 @item @code{treble, violin, G, G2} @tab
685 G clef (g') on 2nd line
686 @item @code{alto, C} @tab
687 C clef (c') on 3rd line
688 @item @code{tenor} @tab
689 C clef (c') on 4th line
690 @item @code{bass, F} @tab
691 F clef (f) on 4th line
692 @item @code{french} @tab
693 G clef (g') on 1st line, so-called French violin clef
694 @item @code{soprano} @tab
695 C clef (c') on 1st line
696 @item @code{mezzosoprano} @tab
697 C clef (c') on 2nd line
698 @item @code{baritone} @tab
699 C clef (c') on 5th line
700 @item @code{varbaritone} @tab
701 F clef (f) on 3rd line
702 @item @code{subbass} @tab
703 F clef (f) on 5th line
704 @item @code{percussion} @tab
706 @item @code{tab} @tab
710 Further supported clefs are described under @ref{Ancient clefs}.
712 By adding @code{_8} or @code{^8} to the clef name, the clef is
713 transposed one octave down or up, respectively, and @code{_15} and
714 @code{^15} transposes by two octaves. The argument @var{clefname}
715 must be enclosed in quotes when it contains underscores or digits.
718 @cindex choral tenor clef
720 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
728 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
729 {clefs-commonly-tweaked-properties.ly}
734 Notation Reference: @ref{Ancient clefs}.
736 Snippets: @lsrdir{Pitches}.
738 Internals Reference: @internalsref{Clef}.
742 @unnumberedsubsubsec Key signature
744 @cindex key signature
747 @warning{New users are sometimes confused about accidentals and
748 key signatures. In LilyPond, note names are the raw input; key
749 signatures and clefs determine how this raw input is displayed.
750 An unaltered note like@tie{}@code{c} means @q{C natural},
751 regardless of the key signature or clef. For more information,
752 see @rlearning{Accidentals and key signatures}.}
754 The key signature indicates the tonality in which a piece is
755 played. It is denoted by a set of alterations (flats or sharps)
756 at the start of the staff. Setting or changing the key signature
757 is done with the @code{\key} command:
760 \key @var{pitch} @var{mode}
769 @funindex \mixolydian
775 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
776 key signature of @var{pitch}-major or @var{pitch}-minor,
777 respectively. You may also use the standard mode names, also
778 called @q{church modes}: @code{\ionian}, @code{\locrian},
779 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
780 @code{\phrygian}, and @code{\dorian}.
782 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
792 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
793 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
795 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
796 {non-traditional-key-signatures.ly}
801 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
803 Learning Manual: @rlearning{Accidentals and key signatures}.
805 Snippets: @lsrdir{Pitches}.
807 Internals Reference: @internalsref{KeyCancellation},
808 @internalsref{KeySignature}, @internalsref{Key_engraver}.
811 @node Ottava brackets
812 @unnumberedsubsubsec Ottava brackets
820 @notation{Ottava brackets} introduce an extra transposition of an
821 octave for the staff:
823 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
831 The @code{set-octavation} function also takes -1 (for 8va bassa),
832 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
838 Internally the function sets the properties @code{ottavation}
839 (e.g., to @code{"8va"} or @code{"8vb"}) and
840 @code{middleCPosition}. To override the text of the bracket, set
841 @code{ottavation} after invoking @code{set-octavation}, i.e.,
843 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
845 \set Staff.ottavation = #"8"
851 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
857 Music Glossary: @rglos{ottava}.
859 Snippets: @lsrdir{Pitches}.
861 Internals Reference: @internalsref{OttavaBracket}.
866 @c FIXME: This should have been fixed by Joe.
867 @c If it hasn't, we should mention the appropriate
868 @c workaround (there is a snippet in the LSR) -vv
869 @code{set-octavation} will get confused when clef changes happen
870 during an octavation bracket.
873 @node Instrument transpositions
874 @unnumberedsubsubsec Instrument transpositions
876 @cindex transposition, MIDI
877 @cindex transposition, instrument
879 When typesetting scores that involve transposing instruments, some
880 parts can be typeset in a different pitch than the
881 @notation{concert pitch}. In these cases, the key of the
882 @notation{transposing instrument} should be specified; otherwise
883 the MIDI output and cues in other parts will produce incorrect
884 pitches. For more information about quotations, see @ref{Quoting
888 \transposition @var{pitch}
891 The pitch to use for @code{\transposition} should correspond to
892 the real sound heard when a@tie{}@code{c'} written on the staff is
893 played by the transposing instrument. @code{\transposition}
894 should @emph{only} be used if the pitches are @emph{not} being
895 entered in concert pitch.
897 Here are a few notes for violin and B-flat clarinet where the
898 parts have been entered using the notes and key as they appear in
899 each part of the conductor's score. The two instruments are
902 @lilypond[verbatim,quote,ragged-right]
906 \set Staff.instrumentName = "Vln"
907 \set Staff.midiInstrument="violin"
908 % strictly speaking not necessary, but a good reminder
915 \new Staff = "clarinet" {
917 \set Staff.instrumentName = \markup {Cl (B\flat)}
918 \set Staff.midiInstrument="clarinet"
929 The @code{\transposition} may be changed during a piece. For
930 example, a clarinetist may switch from an A clarinet to a B-flat
933 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
934 \set Staff.instrumentName = "Cl (A)"
939 r1^\markup{Switch to B\flat clarinet}
949 Music Glossary: @rglos{concert pitch},
950 @rglos{transposing instrument}.
952 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
954 Snippets: @lsrdir{Pitches}.
957 @node Automatic accidentals
958 @unnumberedsubsubsec Automatic accidentals
959 @cindex automatic accidentals
961 @funindex set-accidental-style
963 There are many different conventions on how to typeset
964 accidentals. LilyPond provides a function to specify which such
965 accidental style to use. This function is called as follows
969 #(set-accidental-style 'voice)
974 The accidental style applies to the current @code{Staff} by
975 default (with the exception of the styles @code{piano} and
976 @code{piano-cautionary}, which are explained below). Optionally,
977 the function can take a second argument which determines in which
978 scope the style should be changed. For example, to use the same
979 style in all staves of the current @code{StaffGroup}, use
982 #(set-accidental-style 'voice 'StaffGroup)
985 The following accidental styles are supported. To demonstrate
986 each style, we use the following example:
988 @lilypond[verbatim,quote,ragged-right]
992 cis'8 fis, d'4 <a cis>8 f bis4 |
1006 \voiceTwo \relative c' {
1010 \change Staff = down
1014 \change Staff = down
1015 <fis, a cis>4 gis <f a d>2 |
1022 \context Staff = "up" {
1023 %%% change the next line as desired:
1024 #(set-accidental-style 'default)
1027 \context Staff = "down" {
1028 %%% change the next line as desired:
1029 #(set-accidental-style 'default)
1036 Note that the last lines of this example can be replaced by the
1037 following, as long as the same accidental style should be used in
1042 \context Staff = "up" @{
1043 %%% change the next line as desired:
1044 #(set-accidental-style 'default 'Score)
1047 \context Staff = "down" @{
1055 @c NOTE: don't use verbatim in this table.
1058 This is the default typesetting behavior. It corresponds to
1059 eighteenth-century common practice: accidentals are remembered to
1060 the end of the measure in which they occur and only on their own
1061 octave. Thus, in the example below, no natural signs are printed
1062 before the@tie{}@code{b} in the second measure or the
1065 @lilypond[quote,ragged-right]
1069 cis'8 fis, d'4 <a cis>8 f bis4 |
1083 \voiceTwo \relative c' {
1087 \change Staff = down
1091 \change Staff = down
1092 <fis, a cis>4 gis <f a d>2 |
1099 \context Staff = "up" {
1100 #(set-accidental-style 'default)
1103 \context Staff = "down" {
1104 #(set-accidental-style 'default)
1112 The normal behavior is to remember the accidentals on Staff-level.
1113 In this style, however, accidentals are typeset individually for
1114 each voice. Apart from that, the rule is similar to
1117 As a result, accidentals from one voice do not get canceled in
1118 other voices, which is often an unwanted result: in the following
1119 example, it is hard to determine whether the second@tie{}@code{a}
1120 should be played natural or sharp. The @code{voice} option should
1121 therefore be used only if the voices are to be read solely by
1122 individual musicians. If the staff is to be used by one musician
1123 (e.g., a conductor or in a piano score) then @code{modern} or
1124 @code{modern-cautionary} should be used instead.
1127 @lilypond[quote,ragged-right]
1131 cis'8 fis, d'4 <a cis>8 f bis4 |
1145 \voiceTwo \relative c' {
1149 \change Staff = down
1153 \change Staff = down
1154 <fis, a cis>4 gis <f a d>2 |
1161 \context Staff = "up" {
1162 #(set-accidental-style 'voice)
1165 \context Staff = "down" {
1166 #(set-accidental-style 'voice)
1174 @funindex modern style accidentals
1176 This rule corresponds to the common practice in the twentieth
1177 century. It prints the same accidentals as @code{default}, with
1178 two exceptions which serve to avoid ambiguity: after temporary
1179 accidentals, cancellation marks are printed also in the following
1180 measure (for notes in the same octave) and, in the same measure,
1181 for notes in other octaves. Hence the naturals before
1182 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1185 @lilypond[quote,ragged-right]
1189 cis'8 fis, d'4 <a cis>8 f bis4 |
1203 \voiceTwo \relative c' {
1207 \change Staff = down
1211 \change Staff = down
1212 <fis, a cis>4 gis <f a d>2 |
1219 \context Staff = "up" {
1220 #(set-accidental-style 'modern)
1223 \context Staff = "down" {
1224 #(set-accidental-style 'modern)
1231 @item modern-cautionary
1232 @funindex modern-cautionary
1234 This rule is similar to @code{modern}, but the @q{extra}
1235 accidentals (the ones not typeset by @code{default}) are typeset
1236 as cautionary accidentals. They are by default printed with
1237 parentheses, but they can also be printed in reduced size by
1238 defining the @code{cautionary-style} property of
1239 @code{AccidentalSuggestion}.
1242 @lilypond[quote,ragged-right]
1246 cis'8 fis, d'4 <a cis>8 f bis4 |
1260 \voiceTwo \relative c' {
1264 \change Staff = down
1268 \change Staff = down
1269 <fis, a cis>4 gis <f a d>2 |
1276 \context Staff = "up" {
1277 #(set-accidental-style 'modern-cautionary)
1280 \context Staff = "down" {
1281 #(set-accidental-style 'modern-cautionary)
1289 @funindex modern-voice
1291 This rule is used for multivoice accidentals to be read both by
1292 musicians playing one voice and musicians playing all voices.
1293 Accidentals are typeset for each voice, but they @emph{are}
1294 canceled across voices in the same @code{Staff}. Hence,
1295 the@tie{}@code{a} in the last measure is canceled because the
1296 previous cancellation was in a different voice, and
1297 the@tie{}@code{d} in the lower staff is canceled because of the
1298 accidental in a different voice in the previous measure:
1301 @lilypond[quote,ragged-right]
1305 cis'8 fis, d'4 <a cis>8 f bis4 |
1319 \voiceTwo \relative c' {
1323 \change Staff = down
1327 \change Staff = down
1328 <fis, a cis>4 gis <f a d>2 |
1335 \context Staff = "up" {
1336 #(set-accidental-style 'modern-voice)
1339 \context Staff = "down" {
1340 #(set-accidental-style 'modern-voice)
1347 @funindex modern-voice-cautionary
1348 @item modern-voice-cautionary
1350 This rule is the same as @code{modern-voice}, but with the extra
1351 accidentals (the ones not typeset by @code{voice}) typeset
1352 as cautionaries. Even though all accidentals typeset by
1353 @code{default} @emph{are} typeset with this rule,
1354 some of them are typeset as cautionaries.
1356 @lilypond[quote,ragged-right]
1360 cis'8 fis, d'4 <a cis>8 f bis4 |
1374 \voiceTwo \relative c' {
1378 \change Staff = down
1382 \change Staff = down
1383 <fis, a cis>4 gis <f a d>2 |
1390 \context Staff = "up" {
1391 #(set-accidental-style 'modern-voice-cautionary)
1394 \context Staff = "down" {
1395 #(set-accidental-style 'modern-voice-cautionary)
1403 @funindex piano accidentals
1405 This rule reflects twentieth-century practice for piano notation.
1406 Its behavior is very similar to @code{modern} style, but here
1407 accidentals also get canceled across the staves in the same
1408 GrandStaff or PianoStaff, hence all the cancellations of the final
1411 This accidental style applies to the current @code{GrandStaff} or
1412 @code{PianoStaff} by default.
1414 @lilypond[quote,ragged-right]
1418 cis'8 fis, d'4 <a cis>8 f bis4 |
1432 \voiceTwo \relative c' {
1436 \change Staff = down
1440 \change Staff = down
1441 <fis, a cis>4 gis <f a d>2 |
1448 \context Staff = "up" {
1449 #(set-accidental-style 'piano)
1452 \context Staff = "down" {
1459 @item piano-cautionary
1460 @funindex #(set-accidental-style 'piano-cautionary)
1462 Same as @code{#(set-accidental-style 'piano)} but with the extra
1463 accidentals typeset as cautionaries.
1465 @lilypond[quote,ragged-right]
1469 cis'8 fis, d'4 <a cis>8 f bis4 |
1483 \voiceTwo \relative c' {
1487 \change Staff = down
1491 \change Staff = down
1492 <fis, a cis>4 gis <f a d>2 |
1499 \context Staff = "up" {
1500 #(set-accidental-style 'piano-cautionary)
1503 \context Staff = "down" {
1511 @funindex no-reset accidental style
1513 This is the same as @code{default} but with accidentals lasting
1514 @q{forever} and not only within the same measure:
1516 @lilypond[quote,ragged-right]
1520 cis'8 fis, d'4 <a cis>8 f bis4 |
1534 \voiceTwo \relative c' {
1538 \change Staff = down
1542 \change Staff = down
1543 <fis, a cis>4 gis <f a d>2 |
1550 \context Staff = "up" {
1551 #(set-accidental-style 'no-reset)
1554 \context Staff = "down" {
1555 #(set-accidental-style 'no-reset)
1563 @funindex forget accidental style
1565 This is the opposite of @code{no-reset}: Accidentals are not
1566 remembered at all -- and hence all accidentals are typeset
1567 relative to the key signature, regardless of what was before in
1570 @lilypond[quote,ragged-right]
1574 cis'8 fis, d'4 <a cis>8 f bis4 |
1588 \voiceTwo \relative c' {
1592 \change Staff = down
1596 \change Staff = down
1597 <fis, a cis>4 gis <f a d>2 |
1604 \context Staff = "up" {
1605 #(set-accidental-style 'forget)
1608 \context Staff = "down" {
1609 #(set-accidental-style 'forget)
1619 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1620 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1625 Snippets: @lsrdir{Pitches}.
1627 Internals Reference: @internalsref{Accidental_engraver},
1628 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1629 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1630 @internalsref{PianoStaff}, @internalsref{Staff}.
1635 Simultaneous notes are considered to be entered in sequential
1636 mode. This means that in a chord the accidentals are typeset as
1637 if the notes in the chord happen one at a time, in the order in
1638 which they appear in the input file. This is a problem when
1639 accidentals in a chord depend on each other, which does not happen
1640 for the default accidental style. The problem can be solved by
1641 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1646 @unnumberedsubsubsec Ambitus
1649 The term @notation{ambitus} or @notation{ambit} denotes a range of
1650 pitches for a given voice in a part of music. It may also denote
1651 the pitch range that a musical instrument is capable of playing.
1652 Ambits are printed on vocal parts so that performers can easily
1653 determine if it matches their capabilities.
1655 Ambits are denoted at the beginning of a piece near the initial
1656 clef. The range is graphically specified by two note heads that
1657 represent the minimum and maximum pitch. Accidentals are only
1658 printed if they are not part of the key signature.
1660 @lilypond[verbatim,quote,ragged-right]
1664 \consists Ambitus_engraver
1676 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1677 {adding-ambiti-per-voice.ly}
1679 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1680 {ambiti-multiple-voices.ly}
1685 Snippets: @lsrdir{Pitches}.
1687 Internals Reference: @internalsref{Ambitus},
1688 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1689 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1690 @internalsref{Staff}, @internalsref{Voice}.
1695 There is no collision handling in the case of multiple per-voice
1700 @subsection Note heads
1703 * Special note heads::
1704 * Easy notation note heads::
1705 * Shape note heads::
1709 @node Special note heads
1710 @unnumberedsubsubsec Special note heads
1712 @cindex note heads, special
1714 Different note heads are used by various instruments for various
1715 meanings -- crosses are used for @q{parlato} with vocalists,
1716 stopped notes on guitar; diamonds are used for harmonics on string
1717 instruments, etc. There is a shorthand (@code{\harmonic}) for
1718 diamond shapes; the other note head styles are produced by
1719 tweaking the property:
1721 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1723 \override NoteHead #'style = #'cross
1725 \revert NoteHead #'style
1726 e d <c f\harmonic> <d a'\harmonic>
1730 To see all note head styles, please see @ref{Note head styles}.
1735 Snippets: @lsrdir{Pitches}.
1737 Notation Reference: @ref{Note head styles}.
1739 Internals Reference: @internalsref{NoteHead},
1740 @internalsref{LedgerLineSpanner}.
1743 @node Easy notation note heads
1744 @unnumberedsubsubsec Easy notation note heads
1746 @cindex note heads, practice
1747 @cindex note heads, easy notation
1748 @cindex easy notation
1751 The @q{easy play} note head includes a note name inside the head.
1752 It is used in music for beginners
1754 @lilypond[verbatim,quote,ragged-right]
1755 #(set-global-staff-size 26)
1763 The command @code{\setEasyHeads} overrides settings for the
1764 @code{NoteHead} object. To make the letters readable, it
1765 has to be printed in a large font size. To print with a larger
1766 font, see @ref{Setting the staff size}.
1770 @funindex \setEasyHeads
1771 @code{\setEasyHeads}
1775 Notation Reference: @ref{Setting the staff size}.
1777 Snippets: @lsrdir{Pitches},
1779 Internals Reference: @internalsref{NoteHead}.
1782 @node Shape note heads
1783 @unnumberedsubsubsec Shape note heads
1785 @cindex note heads, shape
1787 @funindex shapeNoteStyles
1788 @funindex \aikenHeads
1789 @funindex \sacredHarpHeads
1791 In shape note head notation, the shape of the note head
1792 corresponds to the harmonic function of a note in the scale. This
1793 notation was popular in nineteenth-century American song books.
1795 Shape note heads can be produced by setting @code{\aikenHeads} or
1796 @code{\sacredHarpHeads}, depending on the style desired.
1798 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1805 Shapes are typeset according to the step in the scale, where
1806 the base of the scale is determined by the @code{\key} command.
1810 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1811 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1816 Snippets: @lsrdir{Pitches}.
1820 @unnumberedsubsubsec Improvisation
1822 @cindex improvisation
1823 @cindex slashed note heads
1824 @cindex note heads, improvisation
1825 @cindex note heads, slashed
1827 Improvisation is sometimes denoted with slashed note heads, where
1828 the performer may choose any pitch but should play the specified
1829 rhythm. Such note heads can be created:
1831 @lilypond[verbatim,quote,ragged-right]
1833 \consists Pitch_squash_engraver
1835 e8 e g a a16( bes) a8 g
1847 Snippets: @lsrdir{Pitches}.
1849 Internals Reference: @internalsref{Pitch_squash_engraver},
1850 @internalsref{Voice}.