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}.
318 There are no generally accepted standards for denoting
319 three-quarter flats, so LilyPond's symbol does not conform to any
324 @node Note names in other languages
325 @unnumberedsubsubsec 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, add @code{\include "english.ly"} to the top of the
330 input file. The available language files and the note names they
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 Some music uses microtones whose alterations are fractions of a
379 @q{normal} sharp or flat. The note names for quartertones defined
380 in the various language files are listed in the following table.
381 Here the prefixes @notation{semi-} and @notation{sesqui-} mean
382 @q{half} and @q{one and a half}, respectively. For the other
383 languages, no special names have been defined yet.
386 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
389 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
392 @tab c d e f g a bes b
393 @tab -ih @tab -eh @tab -isih @tab -eseh
395 @tab c d e f g a bf b
396 @tab -qs @tab -qf @tab -tqs @tab -tqf
399 @tab -ih @tab -eh @tab -isih @tab -eseh
401 @tab do re mi fa sol la sib si
402 @tab -sd @tab -sb @tab -dsd @tab -bsb
404 @tab do re mi fa sol la sib si
405 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
409 In Dutch, @code{aes} is contracted to @code{as}, but both forms
410 are accepted in LilyPond. Similarly, both @code{es} and
411 @code{ees} are accepted. This also applies to
412 @code{aeses}@tie{}/@tie{}@code{ases} and
413 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
414 contracted names are defined in the corresponding language files.
416 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
417 a2 as e es a ases e eses
420 In some languages such as Norwegian and Swedish, the usual
421 spelling for accidentals is a double @q{s} such as in @code{ciss}
422 or @code{cess}. For both historical reasons and a greater
423 simplicity, LilyPond uses a single @q{s} for all these languages.
427 Music Glossary: @lsrdir{Pitch names}.
429 Snippets: @lsrdir{Pitches}.
432 @node Changing multiple pitches
433 @subsection Changing multiple pitches
435 This section discusses how to modify pitches.
443 @unnumberedsubsubsec Octave checks
445 @cindex octave correction
450 In relative mode, it is easy to forget an octave changing mark.
451 Octave checks make such errors easier to find by displaying a
452 warning and correcting the octave if a note is found in an
455 To check the octave of a specific note, add
456 @code{=}@tie{}@var{quotes} after the pitch. The @var{quotes}
457 indicate what its absolute octave should be. This example will
458 generate a warning (and change the pitch) because the second note
459 is the absolute octave @code{d''} instead of @code{d'} as
460 indicated by the octave correction.
462 @lilypond[verbatim,quote,ragged-right,fragment]
469 The octave of pitches may also be checked with the
470 @code{\octave}@tie{}@var{controlpitch} command.
471 @var{controlpitch} is specified in absolute mode. This checks
472 that the interval between the previous note and the
473 @var{contorlpitch} is within a fourth (i.e. the normal calculation
474 of relative mode). If this check fails, a warning is printed, but
475 the previous note is not changed. Future notes are relative to
476 the @var{controlpitch}.
478 @lilypond[verbatim,quote,ragged-right,fragment]
486 Compare the two bars below. The first and third @code{\octave}
487 check fail, but the second ones passes without fail.
489 @lilypond[verbatim,quote,ragged-right,fragment]
506 Snippets: @lsrdir{Pitches}.
510 @unnumberedsubsubsec Transpose
513 @cindex transposition of pitches
516 A music expression can be transposed with @code{\transpose}. The
520 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
524 This means that @var{musicexpr} is transposed by the interval
525 between the pitches @var{frompitch} and @var{topitch}: any note
526 with pitch @var{frompitch} is changed to @var{topitch} and any
527 other note is transposed by the same interval.
529 Consider a piece written in the key of D-major. It can be
530 transposed up to E-major; note that the key signature is
531 automatically transposed as well.
533 @lilypond[verbatim,quote,ragged-right]
542 If a part written in C (normal concert pitch) is to be played on
543 the A clarinet (for which an A is notated as a C and thus sounds a
544 minor third lower than notated), the appropriate part will be
547 @lilypond[verbatim,quote,ragged-right]
557 Note that we specify @code{\key c \major} explicitly. If we do
558 not specify a key signature, the notes will be transposed but no
559 key signature will be printed.
561 @code{\transpose} distinguishes between enharmonic pitches: both
562 @code{\transpose c cis} or @code{\transpose c des} will transpose
563 up half a tone. The first version will print sharps and the notes
564 will remain on the same scale step, the second version will print
565 flats on the scale step above.
567 @lilypond[verbatim,quote,ragged-right]
568 mus = \relative c' { c d e f }
570 \transpose c cis { \mus }
571 \transpose c des { \mus }
575 @cindex transposing instruments
577 @code{\transpose} may also be used in a different way, to input
578 written notes for a transposing instrument. The previous examples
579 show how to enter pitches in C (or @notation{concert pitch}) and
580 typeset them for a transposing instrument, but the opposite is
581 also possible if you for example have a set of instrumental parts
582 and want to print a conductor's score. For example, when entering
583 music for a B-flat trumpet which begins on a notated E (concert
587 musicInBflat = @{ e4 @dots{} @}
588 \transpose c bes, \musicInBflat
592 To print this music in F (e.g., rearranging to a French horn) you
593 could wrap the existing music with another @code{\transpose}:
596 musicInBflat = @{ e4 @dots{} @}
597 \transpose f c' @{ \transpose c bes, \musicInBflat @}
601 For more information about transposing instruments,
602 see @ref{Instrument transpositions}.
607 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
608 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
613 Notation Reference: @ref{Instrument transpositions}.
615 Snippets: @lsrdir{Pitches}.
617 Internals Reference: @internalsref{TransposedMusic}.
621 If you want to use both @code{\transpose} and @code{\relative},
622 you must put @code{\transpose} outside of @code{\relative}, since
623 @code{\relative} will have no effect on music that appears inside
627 @node Displaying pitches
628 @subsection Displaying pitches
630 This section discusses how to alter the output of pitches.
636 * Instrument transpositions::
637 * Automatic accidentals::
643 @unnumberedsubsubsec Clef
657 @cindex mezzosoprano clef
658 @cindex baritone clef
659 @cindex varbaritone clef
662 The clef is set with the @code{\clef} @var{clefname} command:
664 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
675 Supported clefs include:
677 @multitable @columnfractions .4 .6
678 @headitem Clef @tab Position
679 @item @code{treble, violin, G, G2} @tab
680 G clef (g') on 2nd line
681 @item @code{alto, C} @tab
682 C clef (c') on 3rd line
683 @item @code{tenor} @tab
684 C clef (c') on 4th line
685 @item @code{bass, F} @tab
686 F clef (f) on 4th line
687 @item @code{french} @tab
688 G clef (g') on 1st line, so-called French violin clef
689 @item @code{soprano} @tab
690 C clef (c') on 1st line
691 @item @code{mezzosoprano} @tab
692 C clef (c') on 2nd line
693 @item @code{baritone} @tab
694 C clef (c') on 5th line
695 @item @code{varbaritone} @tab
696 F clef (f) on 3rd line
697 @item @code{subbass} @tab
698 F clef (f) on 5th line
699 @item @code{percussion} @tab
701 @item @code{tab} @tab
705 Further supported clefs are described under @ref{Ancient clefs}.
707 By adding @code{_8} or @code{^8} to the clef name, the clef is
708 transposed one octave down or up, respectively, and @code{_15} and
709 @code{^15} transposes by two octaves. The argument @var{clefname}
710 must be enclosed in quotes when it contains underscores or digits.
713 @cindex choral tenor clef
715 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
723 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
724 {clefs-commonly-tweaked-properties.ly}
729 Notation Reference: @ref{Ancient clefs}.
731 Snippets: @lsrdir{Pitches}.
733 Internals Reference: @internalsref{Clef}.
737 @unnumberedsubsubsec Key signature
739 @cindex key signature
742 @warning{New users are sometimes confused about accidentals and
743 key signatures. In LilyPond, note names are the raw input; key
744 signatures and clefs determine how this raw input is displayed.
745 An unaltered note like@tie{}@code{c} means @q{C natural},
746 regardless of the key signature or clef. For more information,
747 see @rlearning{Accidentals and key signatures}.}
749 The key signature indicates the tonality in which a piece is
750 played. It is denoted by a set of alterations (flats or sharps)
751 at the start of the staff. Setting or changing the key signature
752 is done with the @code{\key} command:
755 \key @var{pitch} @var{mode}
764 @funindex \mixolydian
770 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
771 key signature of @var{pitch}-major or @var{pitch}-minor,
772 respectively. You may also use the standard mode names, also
773 called @q{church modes}: @code{\ionian}, @code{\locrian},
774 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
775 @code{\phrygian}, and @code{\dorian}.
777 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
787 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
788 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
790 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
791 {non-traditional-key-signatures.ly}
796 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
798 Learning Manual: @rlearning{Accidentals and key signatures}.
800 Snippets: @lsrdir{Pitches}.
802 Internals Reference: @internalsref{KeyCancellation},
803 @internalsref{KeySignature}, @internalsref{Key_engraver}.
806 @node Ottava brackets
807 @unnumberedsubsubsec Ottava brackets
815 @notation{Ottava brackets} introduce an extra transposition of an
816 octave for the staff:
818 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
826 The @code{set-octavation} function also takes -1 (for 8va bassa),
827 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
833 Internally the function sets the properties @code{ottavation}
834 (e.g., to @code{"8va"} or @code{"8vb"}) and
835 @code{middleCPosition}. To override the text of the bracket, set
836 @code{ottavation} after invoking @code{set-octavation}, i.e.,
838 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
840 \set Staff.ottavation = #"8"
846 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
852 Music Glossary: @rglos{ottava}.
854 Snippets: @lsrdir{Pitches}.
856 Internals Reference: @internalsref{OttavaBracket}.
861 @c FIXME: This should have been fixed by Joe.
862 @c If it hasn't, we should mention the appropriate
863 @c workaround (there is a snippet in the LSR) -vv
864 @code{set-octavation} will get confused when clef changes happen
865 during an octavation bracket.
868 @node Instrument transpositions
869 @unnumberedsubsubsec Instrument transpositions
871 @cindex transposition, MIDI
872 @cindex transposition, instrument
874 When typesetting scores that involve transposing instruments, some
875 parts can be typeset in a different pitch than the
876 @notation{concert pitch}. In these cases, the key of the
877 @notation{transposing instrument} should be specified; otherwise
878 the MIDI output and cues in other parts will produce incorrect
879 pitches. For more information about quotations, see @ref{Quoting
883 \transposition @var{pitch}
886 The pitch to use for @code{\transposition} should correspond to
887 the real sound heard when a@tie{}@code{c'} written on the staff is
888 played by the transposing instrument. This pitch is entered in
889 absolute mode, so an instrument which produces a real sound which
890 is one tone higher than the printed music should use
891 @code{\transposition d'}. @code{\transposition} should
892 @emph{only} be used if the pitches are @emph{not} being entered in
895 Here are a few notes for violin and B-flat clarinet where the
896 parts have been entered using the notes and key as they appear in
897 each part of the conductor's score. The two instruments are
900 @lilypond[verbatim,quote,ragged-right]
904 \set Staff.instrumentName = "Vln"
905 \set Staff.midiInstrument="violin"
906 % strictly speaking not necessary, but a good reminder
913 \new Staff = "clarinet" {
915 \set Staff.instrumentName = \markup {Cl (B\flat)}
916 \set Staff.midiInstrument="clarinet"
927 The @code{\transposition} may be changed during a piece. For
928 example, a clarinetist may switch from an A clarinet to a B-flat
931 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
932 \set Staff.instrumentName = "Cl (A)"
937 r1^\markup{Switch to B\flat clarinet}
947 Music Glossary: @rglos{concert pitch},
948 @rglos{transposing instrument}.
950 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
952 Snippets: @lsrdir{Pitches}.
955 @node Automatic accidentals
956 @unnumberedsubsubsec Automatic accidentals
957 @cindex automatic accidentals
959 @funindex set-accidental-style
961 There are many different conventions on how to typeset
962 accidentals. LilyPond provides a function to specify which such
963 accidental style to use. This function is called as follows
967 #(set-accidental-style 'voice)
972 The accidental style applies to the current @code{Staff} by
973 default (with the exception of the styles @code{piano} and
974 @code{piano-cautionary}, which are explained below). Optionally,
975 the function can take a second argument which determines in which
976 scope the style should be changed. For example, to use the same
977 style in all staves of the current @code{StaffGroup}, use
980 #(set-accidental-style 'voice 'StaffGroup)
983 The following accidental styles are supported. To demonstrate
984 each style, we use the following example:
986 @lilypond[verbatim,quote,ragged-right]
990 cis'8 fis, d'4 <a cis>8 f bis4 |
1004 \voiceTwo \relative c' {
1008 \change Staff = down
1012 \change Staff = down
1013 <fis, a cis>4 gis <f a d>2 |
1020 \context Staff = "up" {
1021 %%% change the next line as desired:
1022 #(set-accidental-style 'default)
1025 \context Staff = "down" {
1026 %%% change the next line as desired:
1027 #(set-accidental-style 'default)
1034 Note that the last lines of this example can be replaced by the
1035 following, as long as the same accidental style should be used in
1040 \context Staff = "up" @{
1041 %%% change the next line as desired:
1042 #(set-accidental-style 'default 'Score)
1045 \context Staff = "down" @{
1053 @c NOTE: don't use verbatim in this table.
1056 This is the default typesetting behavior. It corresponds to
1057 eighteenth-century common practice: accidentals are remembered to
1058 the end of the measure in which they occur and only on their own
1059 octave. Thus, in the example below, no natural signs are printed
1060 before the@tie{}@code{b} in the second measure or the
1063 @lilypond[quote,ragged-right]
1067 cis'8 fis, d'4 <a cis>8 f bis4 |
1081 \voiceTwo \relative c' {
1085 \change Staff = down
1089 \change Staff = down
1090 <fis, a cis>4 gis <f a d>2 |
1097 \context Staff = "up" {
1098 #(set-accidental-style 'default)
1101 \context Staff = "down" {
1102 #(set-accidental-style 'default)
1110 The normal behavior is to remember the accidentals on Staff-level.
1111 In this style, however, accidentals are typeset individually for
1112 each voice. Apart from that, the rule is similar to
1115 As a result, accidentals from one voice do not get canceled in
1116 other voices, which is often an unwanted result: in the following
1117 example, it is hard to determine whether the second@tie{}@code{a}
1118 should be played natural or sharp. The @code{voice} option should
1119 therefore be used only if the voices are to be read solely by
1120 individual musicians. If the staff is to be used by one musician
1121 (e.g., a conductor or in a piano score) then @code{modern} or
1122 @code{modern-cautionary} should be used instead.
1125 @lilypond[quote,ragged-right]
1129 cis'8 fis, d'4 <a cis>8 f bis4 |
1143 \voiceTwo \relative c' {
1147 \change Staff = down
1151 \change Staff = down
1152 <fis, a cis>4 gis <f a d>2 |
1159 \context Staff = "up" {
1160 #(set-accidental-style 'voice)
1163 \context Staff = "down" {
1164 #(set-accidental-style 'voice)
1172 @funindex modern style accidentals
1174 This rule corresponds to the common practice in the twentieth
1175 century. It prints the same accidentals as @code{default}, with
1176 two exceptions which serve to avoid ambiguity: after temporary
1177 accidentals, cancellation marks are printed also in the following
1178 measure (for notes in the same octave) and, in the same measure,
1179 for notes in other octaves. Hence the naturals before
1180 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1183 @lilypond[quote,ragged-right]
1187 cis'8 fis, d'4 <a cis>8 f bis4 |
1201 \voiceTwo \relative c' {
1205 \change Staff = down
1209 \change Staff = down
1210 <fis, a cis>4 gis <f a d>2 |
1217 \context Staff = "up" {
1218 #(set-accidental-style 'modern)
1221 \context Staff = "down" {
1222 #(set-accidental-style 'modern)
1229 @item modern-cautionary
1230 @funindex modern-cautionary
1232 This rule is similar to @code{modern}, but the @q{extra}
1233 accidentals (the ones not typeset by @code{default}) are typeset
1234 as cautionary accidentals. They are by default printed with
1235 parentheses, but they can also be printed in reduced size by
1236 defining the @code{cautionary-style} property of
1237 @code{AccidentalSuggestion}.
1240 @lilypond[quote,ragged-right]
1244 cis'8 fis, d'4 <a cis>8 f bis4 |
1258 \voiceTwo \relative c' {
1262 \change Staff = down
1266 \change Staff = down
1267 <fis, a cis>4 gis <f a d>2 |
1274 \context Staff = "up" {
1275 #(set-accidental-style 'modern-cautionary)
1278 \context Staff = "down" {
1279 #(set-accidental-style 'modern-cautionary)
1287 @funindex modern-voice
1289 This rule is used for multivoice accidentals to be read both by
1290 musicians playing one voice and musicians playing all voices.
1291 Accidentals are typeset for each voice, but they @emph{are}
1292 canceled across voices in the same @code{Staff}. Hence,
1293 the@tie{}@code{a} in the last measure is canceled because the
1294 previous cancellation was in a different voice, and
1295 the@tie{}@code{d} in the lower staff is canceled because of the
1296 accidental in a different voice in the previous measure:
1299 @lilypond[quote,ragged-right]
1303 cis'8 fis, d'4 <a cis>8 f bis4 |
1317 \voiceTwo \relative c' {
1321 \change Staff = down
1325 \change Staff = down
1326 <fis, a cis>4 gis <f a d>2 |
1333 \context Staff = "up" {
1334 #(set-accidental-style 'modern-voice)
1337 \context Staff = "down" {
1338 #(set-accidental-style 'modern-voice)
1345 @funindex modern-voice-cautionary
1346 @item modern-voice-cautionary
1348 This rule is the same as @code{modern-voice}, but with the extra
1349 accidentals (the ones not typeset by @code{voice}) typeset
1350 as cautionaries. Even though all accidentals typeset by
1351 @code{default} @emph{are} typeset with this rule,
1352 some of them are typeset as cautionaries.
1354 @lilypond[quote,ragged-right]
1358 cis'8 fis, d'4 <a cis>8 f bis4 |
1372 \voiceTwo \relative c' {
1376 \change Staff = down
1380 \change Staff = down
1381 <fis, a cis>4 gis <f a d>2 |
1388 \context Staff = "up" {
1389 #(set-accidental-style 'modern-voice-cautionary)
1392 \context Staff = "down" {
1393 #(set-accidental-style 'modern-voice-cautionary)
1401 @funindex piano accidentals
1403 This rule reflects twentieth-century practice for piano notation.
1404 Its behavior is very similar to @code{modern} style, but here
1405 accidentals also get canceled across the staves in the same
1406 GrandStaff or PianoStaff, hence all the cancellations of the final
1409 This accidental style applies to the current @code{GrandStaff} or
1410 @code{PianoStaff} by default.
1412 @lilypond[quote,ragged-right]
1416 cis'8 fis, d'4 <a cis>8 f bis4 |
1430 \voiceTwo \relative c' {
1434 \change Staff = down
1438 \change Staff = down
1439 <fis, a cis>4 gis <f a d>2 |
1446 \context Staff = "up" {
1447 #(set-accidental-style 'piano)
1450 \context Staff = "down" {
1457 @item piano-cautionary
1458 @funindex #(set-accidental-style 'piano-cautionary)
1460 Same as @code{#(set-accidental-style 'piano)} but with the extra
1461 accidentals typeset as cautionaries.
1463 @lilypond[quote,ragged-right]
1467 cis'8 fis, d'4 <a cis>8 f bis4 |
1481 \voiceTwo \relative c' {
1485 \change Staff = down
1489 \change Staff = down
1490 <fis, a cis>4 gis <f a d>2 |
1497 \context Staff = "up" {
1498 #(set-accidental-style 'piano-cautionary)
1501 \context Staff = "down" {
1509 @funindex no-reset accidental style
1511 This is the same as @code{default} but with accidentals lasting
1512 @q{forever} and not only within the same measure:
1514 @lilypond[quote,ragged-right]
1518 cis'8 fis, d'4 <a cis>8 f bis4 |
1532 \voiceTwo \relative c' {
1536 \change Staff = down
1540 \change Staff = down
1541 <fis, a cis>4 gis <f a d>2 |
1548 \context Staff = "up" {
1549 #(set-accidental-style 'no-reset)
1552 \context Staff = "down" {
1553 #(set-accidental-style 'no-reset)
1561 @funindex forget accidental style
1563 This is the opposite of @code{no-reset}: Accidentals are not
1564 remembered at all -- and hence all accidentals are typeset
1565 relative to the key signature, regardless of what was before in
1568 @lilypond[quote,ragged-right]
1572 cis'8 fis, d'4 <a cis>8 f bis4 |
1586 \voiceTwo \relative c' {
1590 \change Staff = down
1594 \change Staff = down
1595 <fis, a cis>4 gis <f a d>2 |
1602 \context Staff = "up" {
1603 #(set-accidental-style 'forget)
1606 \context Staff = "down" {
1607 #(set-accidental-style 'forget)
1617 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1618 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1623 Snippets: @lsrdir{Pitches}.
1625 Internals Reference: @internalsref{Accidental_engraver},
1626 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1627 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1628 @internalsref{PianoStaff}, @internalsref{Staff}.
1633 Simultaneous notes are considered to be entered in sequential
1634 mode. This means that in a chord the accidentals are typeset as
1635 if the notes in the chord happen one at a time, in the order in
1636 which they appear in the input file. This is a problem when
1637 accidentals in a chord depend on each other, which does not happen
1638 for the default accidental style. The problem can be solved by
1639 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1644 @unnumberedsubsubsec Ambitus
1647 The term @notation{ambitus} or @notation{ambit} denotes a range of
1648 pitches for a given voice in a part of music. It may also denote
1649 the pitch range that a musical instrument is capable of playing.
1650 Ambits are printed on vocal parts so that performers can easily
1651 determine if it matches their capabilities.
1653 Ambits are denoted at the beginning of a piece near the initial
1654 clef. The range is graphically specified by two note heads that
1655 represent the minimum and maximum pitch. Accidentals are only
1656 printed if they are not part of the key signature.
1658 @lilypond[verbatim,quote,ragged-right]
1662 \consists Ambitus_engraver
1674 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1675 {adding-ambiti-per-voice.ly}
1677 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1678 {ambiti-multiple-voices.ly}
1683 Snippets: @lsrdir{Pitches}.
1685 Internals Reference: @internalsref{Ambitus},
1686 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1687 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1688 @internalsref{Staff}, @internalsref{Voice}.
1693 There is no collision handling in the case of multiple per-voice
1698 @subsection Note heads
1701 * Special note heads::
1702 * Easy notation note heads::
1703 * Shape note heads::
1707 @node Special note heads
1708 @unnumberedsubsubsec Special note heads
1710 @cindex note heads, special
1712 Different note heads are used by various instruments for various
1713 meanings -- crosses are used for @q{parlato} with vocalists,
1714 stopped notes on guitar; diamonds are used for harmonics on string
1715 instruments, etc. There is a shorthand (@code{\harmonic}) for
1716 diamond shapes; the other note head styles are produced by
1717 tweaking the property:
1719 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1721 \override NoteHead #'style = #'cross
1723 \revert NoteHead #'style
1724 e d <c f\harmonic> <d a'\harmonic>
1728 To see all note head styles, please see @ref{Note head styles}.
1733 Snippets: @lsrdir{Pitches}.
1735 Notation Reference: @ref{Note head styles}.
1737 Internals Reference: @internalsref{NoteHead},
1738 @internalsref{LedgerLineSpanner}.
1741 @node Easy notation note heads
1742 @unnumberedsubsubsec Easy notation note heads
1744 @cindex note heads, practice
1745 @cindex note heads, easy notation
1746 @cindex easy notation
1749 The @q{easy play} note head includes a note name inside the head.
1750 It is used in music for beginners.
1752 @lilypond[verbatim,quote,ragged-right]
1753 #(set-global-staff-size 26)
1763 The command @code{\easyHeadsOn} overrides settings for the
1764 @code{NoteHead} object. These settings can be reverted with the command
1765 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1766 in a large font size. To print with a larger font, see @ref{Setting the
1771 @funindex \easyHeadsOn
1772 @funindex \easyHeadsOff
1773 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1777 Notation Reference: @ref{Setting the staff size}.
1779 Snippets: @lsrdir{Pitches},
1781 Internals Reference: @internalsref{NoteHead}.
1784 @node Shape note heads
1785 @unnumberedsubsubsec Shape note heads
1787 @cindex note heads, shape
1789 @funindex shapeNoteStyles
1790 @funindex \aikenHeads
1791 @funindex \sacredHarpHeads
1793 In shape note head notation, the shape of the note head
1794 corresponds to the harmonic function of a note in the scale. This
1795 notation was popular in nineteenth-century American song books.
1797 Shape note heads can be produced by setting @code{\aikenHeads} or
1798 @code{\sacredHarpHeads}, depending on the style desired.
1800 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1807 Shapes are typeset according to the step in the scale, where
1808 the base of the scale is determined by the @code{\key} command.
1812 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1813 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1818 Snippets: @lsrdir{Pitches}.
1822 @unnumberedsubsubsec Improvisation
1824 @cindex improvisation
1825 @cindex slashed note heads
1826 @cindex note heads, improvisation
1827 @cindex note heads, slashed
1829 Improvisation is sometimes denoted with slashed note heads, where
1830 the performer may choose any pitch but should play the specified
1831 rhythm. Such note heads can be created:
1833 @lilypond[verbatim,quote,ragged-right]
1835 \consists Pitch_squash_engraver
1837 e8 e g a a16( bes) a8 g
1849 Snippets: @lsrdir{Pitches}.
1851 Internals Reference: @internalsref{Pitch_squash_engraver},
1852 @internalsref{Voice}.