1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
51 A pitch name is specified using lowercase letters@tie{}@code{a}
52 through@tie{}@code{g}. The note names @code{c} to @code{b} are
53 engraved in the octave below middle C.
56 @lilypond[verbatim,quote,ragged-right,fragment]
66 Other octaves may be specified with a single quote@tie{}(@code{'})
67 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
68 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
71 @lilypond[verbatim,quote,ragged-right,fragment]
86 @lsrdir{Pitches,Pitches}.
89 @node Relative octave entry
90 @unnumberedsubsubsec Relative octave entry
93 @cindex relative octave specification
96 When octaves are specified in absolute mode it is easy to
97 accidentally put a pitch in the wrong octave. Relative octave
98 mode reduces these errors since most of the time it is not
99 necessary to indicate any octaves at all. Furthermore, in
100 absolute mode a single mistake may be difficult to spot, while in
101 relative mode a single error puts the rest of the piece off by one
105 \relative @var{startpitch} @var{musicexpr}
108 In relative mode, each note is assumed to be as close to the
109 previous note as possible. This means that the octave of each
110 pitch inside @var{musicexpr} is calculated as follows:
114 If no octave changing mark is used on a pitch, its octave is calculated
115 so that the interval with the previous note is less than a fifth. This
116 interval is determined without considering accidentals.
119 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
120 respectively raise or lower a pitch by an extra octave, relative to
121 the pitch calculated without an octave mark.
124 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
125 @code{,,}@tie{} will alter the pitch by two octaves.
128 The pitch of the first note is relative to
129 @code{@var{startpitch}}. @var{startpitch} is specified in
130 absolute octave mode, and it is recommended that it be a octave of
135 Here is the relative mode shown in action:
137 @lilypond[verbatim,quote,ragged-right]
146 Octave changing marks are used for intervals greater than a
149 @lilypond[verbatim,quote,ragged-right]
156 A note sequence without a single octave mark can nevertheless span
159 @lilypond[verbatim,quote,ragged-right]
166 If the preceding item is a chord, the first note of the chord is
167 used as the reference point for the octave placement of a
168 following note or chord. Inside chords, the next note is always
169 relative to the preceding one. Examine the next example
170 carefully, paying attention to the @code{c} notes.
172 @lilypond[verbatim,quote,ragged-right]
181 As explained above, the octave of pitches is calculated only with
182 the note names, regardless of any alterations. Therefore, an
183 E-double-sharp following a B will be placed higher, while an
184 F-double-flat will be placed lower. In other words, a
185 double-augmented fourth is considered a smaller interval than a
186 double-diminished fifth, regardless of the number of semitones
187 that each interval contains.
189 @lilypond[verbatim,quote,ragged-right]
210 @lsrdir{Pitches,Pitches}.
213 @internalsref{RelativeOctaveMusic}.
222 The relative conversion will not affect @code{\transpose},
223 @code{\chordmode} or @code{\relative} sections in its argument.
224 To use relative mode within transposed music, an additional
225 @code{\relative} must be placed inside @code{\transpose}.
228 If no @var{startpitch} is specified for @code{\relative},
229 then@tie{}@code{c'} is assumed. However, this is a deprecated
230 option and may disappear in future versions, so its use is
236 @unnumberedsubsubsec Accidentals
239 @cindex key signature
242 @c duplicated in Key signature and Accidentals
243 @warning{New users are sometimes confused about accidentals and
244 key signatures. In LilyPond, note names are the raw input; key
245 signatures and clefs determine how this raw input is displayed.
246 An unaltered note like@tie{}@code{c} means @q{C natural},
247 regardless of the key signature or clef. For more information,
248 see @rlearning{Accidentals and key signatures}.}
250 @cindex note names, Dutch
251 @cindex note names, default
255 @cindex sharp, double
260 A @notation{sharp} pitch is made by adding @code{is} to the note name,
261 and a @notation{flat} pitch by adding @code{es}. As you might expect,
262 a @notation{double sharp} or @notation{double flat} is made by adding
263 @code{isis} or @code{eses}. This syntax is derived from Dutch note
264 naming conventions. To use other names for accidentals, see
265 @ref{Note names in other languages}.
267 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
271 A natural will cancel the effect of an accidental or key
272 signature. However, naturals are not encoded into the note name
273 syntax with a suffix; a natural pitch is shown as a simple note
276 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
280 @cindex quarter tones
281 @cindex semi-flats, semi-sharps
283 Quarter tones may be added; the following is a series of Cs with
286 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
287 ceseh1 ces ceh c cih cis cisih
292 @cindex accidental, reminder
293 @cindex accidental, cautionary
294 @cindex accidental, parenthesized
295 @cindex reminder accidental
297 @cindex cautionary accidental
298 @cindex parenthesized accidental
301 Normally accidentals are printed automatically, but you may also
302 print them manually. A reminder accidental can be forced by
303 adding an exclamation mark@tie{}@code{!} after the pitch. A
304 cautionary accidental (i.e., an accidental within parentheses) can
305 be obtained by adding the question mark@tie{}@code{?} after the
306 pitch. These extra accidentals can also be used to produce
309 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
310 cis cis cis! cis? c c c! c?
313 Accidentals on tied notes are only printed at the beginning of a
316 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
325 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
326 {preventing-extra-naturals-from-being-automatically-added.ly}
333 @rglos{double sharp},
336 @rglos{quarter tone}.
339 @rlearning{Accidentals and key signatures}.
342 @ref{Automatic accidentals},
343 @ref{Annotational accidentals},
344 @ref{Note names in other languages}.
347 @lsrdir{Pitches,Pitches}.
350 @internalsref{Accidental_engraver},
351 @internalsref{Accidental},
352 @internalsref{AccidentalCautionary},
353 @internalsref{accidental-interface}.
358 There are no generally accepted standards for denoting
359 quarter-tone accidentals, so LilyPond's symbol does not conform to
364 @node Note names in other languages
365 @unnumberedsubsubsec Note names in other languages
367 There are predefined sets of note names for various other
368 languages. To use them, include the language-specific init file.
369 For example, to use English notes names, add @code{\include
370 "english.ly"} to the top of the input file. The available
371 language files and the note names they define are:
373 @cindex note names, other languages
374 @cindex pitch names, other languages
377 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
380 @tab sharp @tab flat @tab double sharp @tab double flat
382 @tab c d e f g a bes b
383 @tab -is @tab -es @tab -isis @tab -eses
385 @tab c d e f g a bf b
386 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
390 @tab -is @tab -es @tab -isis @tab -eses
393 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
397 @tab -iss @tab -ess @tab -ississ @tab -essess
400 @tab -is @tab -es @tab -isis @tab -eses
402 @tab do re mi fa sol la sib si
403 @tab -d @tab -b @tab -dd @tab -bb
405 @tab do re mi fa sol la sib si
406 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
408 @tab do re mi fa sol la sib si
409 @tab -s @tab -b @tab -ss @tab -bb
411 @tab do re mi fa sol la sib si
412 @tab -s @tab -b @tab -ss @tab -bb
414 @tab do re mi fa sol la sib si
415 @tab -k @tab -b @tab -kk @tab -bb
419 In Dutch, @code{aes} is contracted to @code{as}, but both forms
420 are accepted in LilyPond. Similarly, both @code{es} and
421 @code{ees} are accepted. This also applies to
422 @code{aeses}@tie{}/@tie{}@code{ases} and
423 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
424 contracted names are defined in the corresponding language files.
426 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
427 a2 as e es a ases e eses
431 Some music uses microtones whose alterations are fractions of a
432 @q{normal} sharp or flat. The note names for quarter-tones
433 defined in the various language files are listed in the following
434 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
435 mean @q{half} and @q{one and a half}, respectively. For the other
436 languages, no special names have been defined yet.
439 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
442 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
445 @tab c d e f g a bes b
446 @tab -ih @tab -eh @tab -isih @tab -eseh
448 @tab c d e f g a bf b
449 @tab -qs @tab -qf @tab -tqs @tab -tqf
452 @tab -ih @tab -eh @tab -isih @tab -eseh
454 @tab do re mi fa sol la sib si
455 @tab -sd @tab -sb @tab -dsd @tab -bsb
457 @tab do re mi fa sol la sib si
458 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
469 @lsrdir{Pitches,Pitches}.
472 @node Changing multiple pitches
473 @subsection Changing multiple pitches
475 This section discusses how to modify pitches.
483 @unnumberedsubsubsec Octave checks
485 @cindex octave correction
490 In relative mode, it is easy to forget an octave changing mark.
491 Octave checks make such errors easier to find by displaying a
492 warning and correcting the octave if a note is found in an
495 To check the octave of a note, specify the absolute
496 octave after the @code{=}@tie{}symbol. This example will generate
497 a warning (and change the pitch) because the second note is the
498 absolute octave @code{d''} instead of @code{d'} as indicated by
499 the octave correction.
501 @lilypond[verbatim,quote,ragged-right,fragment]
508 The octave of notes may also be checked with the
509 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
510 specified in absolute mode. This checks that the interval between the
511 previous note and the @var{controlpitch} is within a fourth (i.e., the
512 normal calculation of relative mode). If this check fails, a warning
513 is printed, but the previous note is not changed. Future notes are
514 relative to the @var{controlpitch}.
516 @lilypond[verbatim,quote,ragged-right,fragment]
524 Compare the two bars below. The first and third @code{\octave}
525 checks fail, but the second one does not fail.
527 @lilypond[verbatim,quote,ragged-right,fragment]
545 @lsrdir{Pitches,Pitches}.
548 @internalsref{RelativeOctaveCheck}.
552 @unnumberedsubsubsec Transpose
555 @cindex transposition
556 @cindex transposition of pitches
559 A music expression can be transposed with @code{\transpose}. The
563 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
567 This means that @var{musicexpr} is transposed by the interval
568 between the pitches @var{frompitch} and @var{topitch}: any note
569 with pitch @var{frompitch} is changed to @var{topitch} and any
570 other note is transposed by the same interval. Both pitches are
571 entered in absolute mode.
573 Consider a piece written in the key of D-major. It can be
574 transposed up to E-major; note that the key signature is
575 automatically transposed as well.
577 @lilypond[verbatim,quote,ragged-right]
586 If a part written in C (normal @notation{concert pitch}) is to be played on
587 the A clarinet (for which an A is notated as a C and thus sounds a
588 minor third lower than notated), the appropriate part will be
591 @lilypond[verbatim,quote,ragged-right]
601 Note that we specify @code{\key c \major} explicitly. If we do
602 not specify a key signature, the notes will be transposed but no
603 key signature will be printed.
605 @code{\transpose} distinguishes between enharmonic pitches: both
606 @code{\transpose c cis} or @code{\transpose c des} will transpose
607 up a semitone. The first version will print sharps and the notes
608 will remain on the same scale step, the second version will print
609 flats on the scale step above.
611 @lilypond[verbatim,quote,ragged-right]
612 mus = \relative c' { c d e f }
614 \transpose c cis { \mus }
615 \transpose c des { \mus }
619 @cindex transposing instruments
621 @code{\transpose} may also be used in a different way, to input
622 written notes for a transposing instrument. The previous examples
623 show how to enter pitches in C (or @notation{concert pitch}) and
624 typeset them for a transposing instrument, but the opposite is
625 also possible if you for example have a set of instrumental parts
626 and want to print a conductor's score. For example, when entering
627 music for a B-flat trumpet that begins on a notated E (concert D),
631 musicInBflat = @{ e4 @dots{} @}
632 \transpose c bes, \musicInBflat
636 To print this music in F (e.g., rearranging to a French horn) you
637 could wrap the existing music with another @code{\transpose}:
640 musicInBflat = @{ e4 @dots{} @}
641 \transpose f c' @{ \transpose c bes, \musicInBflat @}
645 For more information about transposing instruments,
646 see @ref{Instrument transpositions}.
651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
652 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
658 @ref{Instrument transpositions}.
661 @lsrdir{Pitches,Pitches}.
664 @internalsref{TransposedMusic}.
673 The relative conversion will not affect @code{\transpose},
674 @code{\chordmode} or @code{\relative} sections in its argument.
675 To use relative mode within transposed music, an additional
676 @code{\relative} must be placed inside @code{\transpose}.
679 @node Displaying pitches
680 @subsection Displaying pitches
682 This section discusses how to alter the output of pitches.
688 * Instrument transpositions::
689 * Automatic accidentals::
695 @unnumberedsubsubsec Clef
708 @cindex mezzosoprano clef
709 @cindex baritone clef
710 @cindex varbaritone clef
714 @cindex clef, ancient
724 @cindex clef, soprano
725 @cindex clef, mezzosoprano
726 @cindex clef, baritone
727 @cindex clef, varbaritone
728 @cindex subbass clef, subbass
730 The clef is set with the @code{\clef} @var{clefname} command.
731 Middle C is shown in every example.
733 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
746 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
768 Further supported clefs are described under @ref{Ancient clefs}.
770 @cindex transposing clefs
771 @cindex clef, transposing
772 @cindex octave transposition
774 By adding @code{_8} or @code{^8} to the clef name, the clef is
775 transposed one octave down or up, respectively, and @code{_15} and
776 @code{^15} transpose by two octaves. The argument @var{clefname}
777 must be enclosed in quotes when it contains underscores or digits.
779 @cindex choral tenor clef
781 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
791 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
792 {tweaking-clef-properties.ly}
801 @lsrdir{Pitches,Pitches}.
804 @internalsref{Clef_engraver},
806 @internalsref{OctavateEight},
807 @internalsref{clef-interface}.
811 @unnumberedsubsubsec Key signature
813 @cindex key signature
816 @c duplicated in Key signature and Accidentals
817 @warning{New users are sometimes confused about accidentals and
818 key signatures. In LilyPond, note names are the raw input; key
819 signatures and clefs determine how this raw input is displayed.
820 An unaltered note like@tie{}@code{c} means @q{C natural},
821 regardless of the key signature or clef. For more information,
822 see @rlearning{Accidentals and key signatures}.}
824 The key signature indicates the tonality in which a piece is
825 played. It is denoted by a set of alterations (flats or sharps)
826 at the start of the staff. Setting or changing the key signature
827 is done with the @code{\key} command:
830 \key @var{pitch} @var{mode}
838 @funindex \mixolydian
845 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
846 key signature of @var{pitch}-major or @var{pitch}-minor,
847 respectively. You may also use the standard mode names, also
848 called @notation{church modes}: @code{\ionian}, @code{\dorian},
849 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
850 @code{\aeolian}, and @code{\locrian}.
852 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
862 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
863 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
865 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
866 {non-traditional-key-signatures.ly}
876 @rlearning{Accidentals and key signatures}.
879 @lsrdir{Pitches,Pitches}.
882 @internalsref{KeyChangeEvent},
883 @internalsref{Key_engraver},
884 @internalsref{Key_performer},
885 @internalsref{KeyCancellation},
886 @internalsref{KeySignature},
887 @internalsref{key-cancellation-interface},
888 @internalsref{key-signature-interface}.
891 @node Ottava brackets
892 @unnumberedsubsubsec Ottava brackets
900 @notation{Ottava brackets} introduce an extra transposition of an
901 octave for the staff:
903 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
911 The @code{set-octavation} function also takes -1 (for 8va bassa),
912 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
917 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
927 @lsrdir{Pitches,Pitches}.
930 @internalsref{Ottava_spanner_engraver},
931 @internalsref{OttavaBracket},
932 @internalsref{ottava-bracket-interface}.
936 @node Instrument transpositions
937 @unnumberedsubsubsec Instrument transpositions
939 @cindex transposition, MIDI
940 @cindex transposition, instrument
941 @cindex transposing instrument
943 @funindex \transposition
945 When typesetting scores that involve transposing instruments, some
946 parts can be typeset in a different pitch than the
947 @notation{concert pitch}. In these cases, the key of the
948 @notation{transposing instrument} should be specified; otherwise
949 the MIDI output and cues in other parts will produce incorrect
950 pitches. For more information about quotations, see @ref{Quoting
954 \transposition @var{pitch}
957 The pitch to use for @code{\transposition} should correspond to
958 the real sound heard when a@tie{}@code{c'} written on the staff is
959 played by the transposing instrument. This pitch is entered in
960 absolute mode, so an instrument that produces a real sound which
961 is one tone higher than the printed music should use
962 @code{\transposition d'}. @code{\transposition} should
963 @emph{only} be used if the pitches are @emph{not} being entered in
966 Here are a few notes for violin and B-flat clarinet where the
967 parts have been entered using the notes and key as they appear in
968 each part of the conductor's score. The two instruments are
969 playing in unison. Adding the @code{\transposition c'} to the
970 violin part is not strictly necessary, but it is a useful
973 @lilypond[verbatim,quote,ragged-right]
977 \set Staff.instrumentName = "Vln"
978 \set Staff.midiInstrument = "violin"
985 \new Staff = "clarinet" {
987 \set Staff.instrumentName = \markup { Cl (B\flat) }
988 \set Staff.midiInstrument = "clarinet"
998 The @code{\transposition} may be changed during a piece. For
999 example, a clarinetist may switch from an A clarinet to a B-flat
1002 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1003 \set Staff.instrumentName = "Cl (A)"
1008 s1*0^\markup { Switch to B\flat clarinet }
1020 @rglos{concert pitch},
1021 @rglos{transposing instrument}.
1024 @ref{Quoting other voices}, @ref{Transpose}.
1027 @lsrdir{Pitches,Pitches}.
1030 @node Automatic accidentals
1031 @unnumberedsubsubsec Automatic accidentals
1033 @cindex accidental style
1034 @cindex accidental style, default
1036 @cindex accidentals, automatic
1037 @cindex automatic accidentals
1038 @cindex default accidental style
1039 @funindex set-accidental-style
1041 There are many different conventions on how to typeset
1042 accidentals. LilyPond provides a function to specify which
1043 accidental style to use. This function is called as follows
1047 #(set-accidental-style 'voice)
1052 The accidental style applies to the current @code{Staff} by
1053 default (with the exception of the styles @code{piano} and
1054 @code{piano-cautionary}, which are explained below). Optionally,
1055 the function can take a second argument that determines in which
1056 scope the style should be changed. For example, to use the same
1057 style in all staves of the current @code{StaffGroup}, use
1060 #(set-accidental-style 'voice 'StaffGroup)
1063 The following accidental styles are supported. To demonstrate
1064 each style, we use the following example:
1066 @lilypond[verbatim,quote,ragged-right]
1070 cis'8 fis, d'4 <a cis>8 f bis4 |
1084 \voiceTwo \relative c' {
1088 \change Staff = down
1092 \change Staff = down
1093 <fis, a cis>4 gis <f a d>2 |
1100 \context Staff = "up" {
1101 #(set-accidental-style 'default)
1104 \context Staff = "down" {
1105 #(set-accidental-style 'default)
1112 Note that the last lines of this example can be replaced by the
1113 following, as long as the same accidental style should be used in
1119 \context Staff = "up" @{
1120 %%% change the next line as desired:
1121 #(set-accidental-style 'default 'Score)
1124 \context Staff = "down" @{
1132 @c don't use verbatim in this table.
1135 This is the default typesetting behavior. It corresponds to
1136 eighteenth-century common practice: accidentals are remembered to
1137 the end of the measure in which they occur and only in their own
1138 octave. Thus, in the example below, no natural signs are printed
1139 before the@tie{}@code{b} in the second measure or the
1142 @lilypond[quote,ragged-right]
1146 cis'8 fis, d'4 <a cis>8 f bis4 |
1160 \voiceTwo \relative c' {
1164 \change Staff = down
1168 \change Staff = down
1169 <fis, a cis>4 gis <f a d>2 |
1176 \context Staff = "up" {
1177 #(set-accidental-style 'default)
1180 \context Staff = "down" {
1181 #(set-accidental-style 'default)
1189 The normal behavior is to remember the accidentals at @code{Staff}-level.
1190 In this style, however, accidentals are typeset individually for
1191 each voice. Apart from that, the rule is similar to
1194 As a result, accidentals from one voice do not get canceled in
1195 other voices, which is often an unwanted result: in the following
1196 example, it is hard to determine whether the second@tie{}@code{a}
1197 should be played natural or sharp. The @code{voice} option should
1198 therefore be used only if the voices are to be read solely by
1199 individual musicians. If the staff is to be used by one musician
1200 (e.g., a conductor or in a piano score) then @code{modern} or
1201 @code{modern-cautionary} should be used instead.
1204 @lilypond[quote,ragged-right]
1208 cis'8 fis, d'4 <a cis>8 f bis4 |
1222 \voiceTwo \relative c' {
1226 \change Staff = down
1230 \change Staff = down
1231 <fis, a cis>4 gis <f a d>2 |
1238 \context Staff = "up" {
1239 #(set-accidental-style 'voice)
1242 \context Staff = "down" {
1243 #(set-accidental-style 'voice)
1251 @cindex accidentals, modern style
1252 @cindex modern style accidentals
1253 @funindex modern style accidentals
1255 This rule corresponds to the common practice in the twentieth
1256 century. It prints the same accidentals as @code{default}, with
1257 two exceptions that serve to avoid ambiguity: after temporary
1258 accidentals, cancellation marks are printed also in the following
1259 measure (for notes in the same octave) and, in the same measure,
1260 for notes in other octaves. Hence the naturals before
1261 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1264 @lilypond[quote,ragged-right]
1268 cis'8 fis, d'4 <a cis>8 f bis4 |
1282 \voiceTwo \relative c' {
1286 \change Staff = down
1290 \change Staff = down
1291 <fis, a cis>4 gis <f a d>2 |
1298 \context Staff = "up" {
1299 #(set-accidental-style 'modern)
1302 \context Staff = "down" {
1303 #(set-accidental-style 'modern)
1310 @item modern-cautionary
1311 @cindex accidentals, modern cautionary style
1312 @cindex modern accidental style
1313 @cindex modern cautionary accidental style
1314 @cindex modern style accidentals
1315 @cindex modern style cautionary accidentals
1316 @funindex modern-cautionary
1318 This rule is similar to @code{modern}, but the @q{extra}
1319 accidentals (the ones not typeset by @code{default}) are typeset
1320 as cautionary accidentals. They are by default printed with
1321 parentheses, but they can also be printed in reduced size by
1322 defining the @code{cautionary-style} property of
1323 @code{AccidentalSuggestion}.
1326 @lilypond[quote,ragged-right]
1330 cis'8 fis, d'4 <a cis>8 f bis4 |
1344 \voiceTwo \relative c' {
1348 \change Staff = down
1352 \change Staff = down
1353 <fis, a cis>4 gis <f a d>2 |
1360 \context Staff = "up" {
1361 #(set-accidental-style 'modern-cautionary)
1364 \context Staff = "down" {
1365 #(set-accidental-style 'modern-cautionary)
1373 @cindex accidental style, modern
1374 @cindex accidentals, modern
1375 @cindex accidentals, multivoice
1376 @cindex modern accidental style
1377 @cindex modern accidentals
1378 @cindex multivoice accidentals
1379 @funindex modern-voice
1381 This rule is used for multivoice accidentals to be read both by
1382 musicians playing one voice and musicians playing all voices.
1383 Accidentals are typeset for each voice, but they @emph{are}
1384 canceled across voices in the same @code{Staff}. Hence,
1385 the@tie{}@code{a} in the last measure is canceled because the
1386 previous cancellation was in a different voice, and
1387 the@tie{}@code{d} in the lower staff is canceled because of the
1388 accidental in a different voice in the previous measure:
1391 @lilypond[quote,ragged-right]
1395 cis'8 fis, d'4 <a cis>8 f bis4 |
1409 \voiceTwo \relative c' {
1413 \change Staff = down
1417 \change Staff = down
1418 <fis, a cis>4 gis <f a d>2 |
1425 \context Staff = "up" {
1426 #(set-accidental-style 'modern-voice)
1429 \context Staff = "down" {
1430 #(set-accidental-style 'modern-voice)
1437 @cindex accidental style, cautionary, modern voice
1438 @cindex accidental style, modern voice cautionary
1439 @cindex accidental style, voice, modern cautionary
1440 @funindex modern-voice-cautionary
1441 @item modern-voice-cautionary
1443 This rule is the same as @code{modern-voice}, but with the extra
1444 accidentals (the ones not typeset by @code{voice}) typeset
1445 as cautionaries. Even though all accidentals typeset by
1446 @code{default} @emph{are} typeset with this rule,
1447 some of them are typeset as cautionaries.
1449 @lilypond[quote,ragged-right]
1453 cis'8 fis, d'4 <a cis>8 f bis4 |
1467 \voiceTwo \relative c' {
1471 \change Staff = down
1475 \change Staff = down
1476 <fis, a cis>4 gis <f a d>2 |
1483 \context Staff = "up" {
1484 #(set-accidental-style 'modern-voice-cautionary)
1487 \context Staff = "down" {
1488 #(set-accidental-style 'modern-voice-cautionary)
1496 @cindex accidental style, piano
1497 @cindex accidentals, piano
1498 @cindex piano accidental style
1499 @cindex piano accidentals
1501 This rule reflects twentieth-century practice for piano notation.
1502 Its behavior is very similar to @code{modern} style, but here
1503 accidentals also get canceled across the staves in the same
1504 @code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
1507 This accidental style applies to the current @code{GrandStaff} or
1508 @code{PianoStaff} by default.
1510 @lilypond[quote,ragged-right]
1514 cis'8 fis, d'4 <a cis>8 f bis4 |
1528 \voiceTwo \relative c' {
1532 \change Staff = down
1536 \change Staff = down
1537 <fis, a cis>4 gis <f a d>2 |
1544 \context Staff = "up" {
1545 #(set-accidental-style 'piano)
1548 \context Staff = "down" {
1555 @item piano-cautionary
1556 @funindex #(set-accidental-style 'piano-cautionary)
1557 @cindex accidentals, piano cautionary
1558 @cindex cautionary accidentals, piano
1559 @cindex piano cautionary accidentals
1560 @cindex accidental style, piano cautionary
1561 @cindex cautionary accidental style, piano
1562 @cindex piano cautionary accidental style
1564 Same as @code{#(set-accidental-style 'piano)} but with the extra
1565 accidentals typeset as cautionaries.
1567 @lilypond[quote,ragged-right]
1571 cis'8 fis, d'4 <a cis>8 f bis4 |
1585 \voiceTwo \relative c' {
1589 \change Staff = down
1593 \change Staff = down
1594 <fis, a cis>4 gis <f a d>2 |
1601 \context Staff = "up" {
1602 #(set-accidental-style 'piano-cautionary)
1605 \context Staff = "down" {
1613 @funindex no-reset accidental style
1614 @cindex accidental style, no reset
1615 @cindex no reset accidental style
1617 This is the same as @code{default} but with accidentals lasting
1618 @q{forever} and not only within the same measure:
1620 @lilypond[quote,ragged-right]
1624 cis'8 fis, d'4 <a cis>8 f bis4 |
1638 \voiceTwo \relative c' {
1642 \change Staff = down
1646 \change Staff = down
1647 <fis, a cis>4 gis <f a d>2 |
1654 \context Staff = "up" {
1655 #(set-accidental-style 'no-reset)
1658 \context Staff = "down" {
1659 #(set-accidental-style 'no-reset)
1667 @funindex forget accidental style
1668 @cindex forget accidental style
1669 @cindex accidental style, forget
1671 This is the opposite of @code{no-reset}: Accidentals are not
1672 remembered at all -- and hence all accidentals are typeset
1673 relative to the key signature, regardless of what came before in
1676 @lilypond[quote,ragged-right]
1680 cis'8 fis, d'4 <a cis>8 f bis4 |
1694 \voiceTwo \relative c' {
1698 \change Staff = down
1702 \change Staff = down
1703 <fis, a cis>4 gis <f a d>2 |
1710 \context Staff = "up" {
1711 #(set-accidental-style 'forget)
1714 \context Staff = "down" {
1715 #(set-accidental-style 'forget)
1725 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1726 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1732 @lsrdir{Pitches,Pitches}.
1734 Internals Reference:
1735 @internalsref{Accidental},
1736 @internalsref{Accidental_engraver},
1737 @internalsref{GrandStaff} and
1738 @internalsref{PianoStaff},
1739 @internalsref{Staff},
1740 @internalsref{AccidentalSuggestion},
1741 @internalsref{AccidentalPlacement},
1742 @internalsref{accidental-suggestion-interface}.
1745 @cindex accidentals and simultaneous notes
1746 @cindex simultaneous notes and accidentals
1747 @cindex accidentals in chords
1748 @cindex chords, accidentals in
1752 Simultaneous notes are considered to be entered in sequential
1753 mode. This means that in a chord the accidentals are typeset as
1754 if the notes in the chord happen one at a time, in the order in
1755 which they appear in the input file. This is a problem when
1756 accidentals in a chord depend on each other, which does not happen
1757 for the default accidental style. The problem can be solved by
1758 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1763 @unnumberedsubsubsec Ambitus
1766 @cindex range of pitches
1769 The term @notation{ambitus} (pl. ambitus) denotes a range of
1770 pitches for a given voice in a part of music. It may also denote
1771 the pitch range that a musical instrument is capable of playing.
1772 Ambitus are printed on vocal parts so that performers can easily
1773 determine if it matches their capabilities.
1775 Ambitus are denoted at the beginning of a piece near the initial
1776 clef. The range is graphically specified by two note heads that
1777 represent the lowest and highest pitches. Accidentals are only
1778 printed if they are not part of the key signature.
1780 @lilypond[verbatim,quote,ragged-right]
1784 \consists "Ambitus_engraver"
1797 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1798 {adding-ambitus-per-voice.ly}
1800 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1801 {ambitus-with-multiple-voices.ly}
1810 @lsrdir{Pitches,Pitches}.
1812 Internals Reference:
1813 @internalsref{Ambitus_engraver},
1814 @internalsref{Voice},
1815 @internalsref{Staff},
1816 @internalsref{Ambitus},
1817 @internalsref{AmbitusAccidental},
1818 @internalsref{AmbitusLine},
1819 @internalsref{AmbitusNoteHead},
1820 @internalsref{ambitus-interface}.
1825 There is no collision handling in the case of multiple per-voice
1830 @subsection Note heads
1832 This section suggests ways of altering note heads.
1835 * Special note heads::
1836 * Easy notation note heads::
1837 * Shape note heads::
1841 @node Special note heads
1842 @unnumberedsubsubsec Special note heads
1844 @cindex note heads, special
1845 @cindex note heads, cross
1846 @cindex note heads, diamond
1847 @cindex note heads, parlato
1848 @cindex note heads, harmonic
1849 @cindex note heads, guitar
1850 @cindex special note heads
1851 @cindex cross note heads
1852 @cindex diamond note heads
1853 @cindex parlato note heads
1854 @cindex harmonic note heads
1855 @cindex guitar note heads
1857 Different note heads are used by various instruments for various
1858 meanings -- crosses are used for @q{parlato} with vocalists,
1859 stopped notes on guitar; diamonds are used for harmonics on string
1860 instruments, etc. There is a shorthand (@code{\harmonic}) for
1861 diamond shapes; the other note head styles are produced by
1862 tweaking the property:
1864 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1866 \override NoteHead #'style = #'cross
1868 \revert NoteHead #'style
1869 e d <c f\harmonic> <d a'\harmonic>
1873 To see all note head styles, see @ref{Note head styles}.
1879 @lsrdir{Pitches,Pitches}.
1882 @ref{Note head styles}.
1884 Internals Reference:
1885 @internalsref{note-event},
1886 @internalsref{Note_heads_engraver},
1887 @internalsref{Ledger_line_engraver},
1888 @internalsref{NoteHead},
1889 @internalsref{LedgerLineSpanner},
1890 @internalsref{note-head-interface},
1891 @internalsref{ledger-line-spanner-interface}.
1894 @node Easy notation note heads
1895 @unnumberedsubsubsec Easy notation note heads
1897 @cindex note heads, practice
1898 @cindex note heads, easy notation
1899 @cindex easy notation
1901 @cindex beginners' music
1902 @cindex music, beginners'
1903 @cindex easy play note heads
1904 @cindex note heads, easy play
1906 The @q{easy play} note head includes a note name inside the head.
1907 It is used in music for beginners.
1909 @lilypond[verbatim,quote,ragged-right]
1910 #(set-global-staff-size 26)
1920 The command @code{\easyHeadsOn} overrides settings for the
1921 @code{NoteHead} object. These settings can be reverted with the command
1922 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1923 in a large font size. To print with a larger font, see @ref{Setting the
1928 @funindex \easyHeadsOn
1929 @funindex \easyHeadsOff
1930 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1935 @ref{Setting the staff size}.
1938 @lsrdir{Pitches,Pitches}.
1940 Internals Reference:
1941 @internalsref{note-event},
1942 @internalsref{Note_heads_engraver},
1943 @internalsref{NoteHead},
1944 @internalsref{note-head-interface}.
1947 @node Shape note heads
1948 @unnumberedsubsubsec Shape note heads
1950 @cindex note heads, shape
1951 @cindex note heads, Aiken
1952 @cindex note heads, sacred harp
1954 @cindex Aiken shape note heads
1955 @cindex sacred harp note heads
1957 @funindex shapeNoteStyles
1958 @funindex \aikenHeads
1959 @funindex \sacredHarpHeads
1961 In shape note head notation, the shape of the note head
1962 corresponds to the harmonic function of a note in the scale. This
1963 notation was popular in nineteenth-century American song books.
1965 Shape note heads can be produced by setting @code{\aikenHeads} or
1966 @code{\sacredHarpHeads}, depending on the style desired.
1968 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1977 Shapes are typeset according to the step in the scale, where
1978 the base of the scale is determined by the @code{\key} command.
1982 @funindex \aikenHeads
1983 @funindex \sacredHarpHeads
1984 @code{\aikenHeads}, @code{\sacredHarpHeads}
1988 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1989 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1992 To see all note head styles, see @ref{Note head styles}.
1997 @lsrdir{Pitches,Pitches}.
2000 @ref{Note head styles}.
2002 Internals Reference:
2003 @internalsref{note-event},
2004 @internalsref{Note_heads_engraver},
2005 @internalsref{NoteHead},
2006 @internalsref{note-head-interface}.
2010 @unnumberedsubsubsec Improvisation
2012 @cindex improvisation
2013 @cindex slashed note heads
2014 @cindex note heads, improvisation
2015 @cindex note heads, slashed
2017 Improvisation is sometimes denoted with slashed note heads, where
2018 the performer may choose any pitch but should play the specified
2019 rhythm. Such note heads can be created:
2021 @lilypond[verbatim,quote,ragged-right]
2023 \consists "Pitch_squash_engraver"
2025 e8 e g a a16( bes) a8 g
2038 @funindex \improvisationOn
2039 @funindex \improvisationOff
2041 @code{\improvisationOn}, @code{\improvisationOff}
2046 @lsrdir{Pitches,Pitches}.
2048 Internals Reference:
2049 @internalsref{Pitch_squash_engraver},
2050 @internalsref{Voice},
2051 @internalsref{RhythmicStaff}.