1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
16 This section discusses how to specify the pitch of notes. There
17 are three steps to this process: input, modification, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches. There are two
31 different ways to place notes in octaves: absolute and relative
32 mode. In most cases, relative mode will be more convenient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @subsubsection Absolute octave entry
48 @cindex absolute octave specification
50 A pitch name is specified using lowercase letters@tie{}@code{a}
51 through@tie{}@code{g}. The note names @code{c} to @code{b} are
52 engraved in the octave below middle C.
54 @c NOTE: don't use c' here.
55 @lilypond[verbatim,quote,ragged-right,fragment]
65 Other octaves may be specified with a single quote@tie{}(@code{'})
66 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
67 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
70 @lilypond[verbatim,quote,ragged-right,fragment]
81 Music Glossary: @rglos{Pitch names}.
83 Snippets: @lsrdir{Pitches,Pitches}.
86 @node Relative octave entry
87 @subsubsection Relative octave entry
90 @cindex relative octave specification
93 When octaves are specified in absolute mode it is easy to
94 accidentally put a pitch in the wrong octave. Relative octave
95 mode reduces these errors since most of the time it is not
96 necessary to indicate any octaves at all. Furthermore, in
97 absolute mode a single mistake may be difficult to spot, while in
98 relative mode a single error puts the rest of the piece off by one
102 \relative @var{startpitch} @var{musicexpr}
105 In relative mode, each note is assumed to be as close to the
106 previous note as possible. This means that the octave of pitches
107 in @var{musicexpr} is calculated as follows:
111 If no octave changing mark is used on a pitch, its octave is calculated
112 so that the interval with the previous note is less than a fifth. This
113 interval is determined without considering accidentals.
116 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
117 respectively raise or lower a pitch by an extra octave, relative to
118 the pitch calculated without an octave mark.
121 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
122 @code{,,}@tie{} will alter the pitch by two octaves.
125 The pitch of the first note is relative to
126 @code{@var{startpitch}}. @var{startpitch} is specified in
127 absolute octave mode, and it is recommended that it be a octave of
132 Here is the relative mode shown in action:
134 @lilypond[verbatim,quote,ragged-right]
143 Octave changing marks are used for intervals greater than a
146 @lilypond[verbatim,quote,ragged-right]
153 A note sequence without a single octave mark can nevertheless span
156 @lilypond[verbatim,quote,ragged-right]
163 If the preceding item is a chord, the first note of the chord is
164 used as the reference point for the octave placement of a
165 following note or chord. Inside chords, the next note is always
166 relative to the preceding one.
168 @lilypond[verbatim,quote,ragged-right]
172 % the C is now an octave higher
174 % the C returns to the original pitch
179 As explained above, the octave of pitches is calculated only with
180 the note names, regardless of any alterations. Therefore, an
181 E-double-sharp following a B will be placed higher, while an
182 F-double-flat will be placed lower. In other words, a
183 double-augmented fourth is considered a smaller interval than a
184 double-diminished fifth, regardless of the number of semitones
185 that each interval contains.
187 @lilypond[verbatim,quote,ragged-right]
199 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
201 Notation Reference: @ref{Octave checks}.
203 Snippets: @lsrdir{Pitches,Pitches}.
212 The relative conversion will not affect @code{\transpose},
213 @code{\chordmode} or @code{\relative} sections in its argument.
214 To use relative mode within transposed music, an additional
215 @code{\relative} must be placed inside @code{\transpose}.
218 If no @var{startpitch} is specified for @code{\relative},
219 then@tie{}@code{c'} is assumed. However, this is a deprecated
220 option and may disappear in future versions, so its use is
226 @subsubsection Accidentals
229 @cindex key signature
232 @warning{New users are sometimes confused about accidentals and
233 key signatures. In LilyPond, note names are the raw input; key
234 signatures and clefs determine how this raw input is displayed.
235 An unaltered note like@tie{}@code{c} means @q{C natural},
236 regardless of the key signature or clef. For more information,
237 see @rlearning{Accidentals and key signatures}.}
239 @cindex note names, Dutch
240 @cindex note names, default
244 @cindex sharp, double
248 A @notation{sharp} pitch is made by adding @code{is} to the note name,
249 and a @notation{flat} pitch by adding @code{es}. As you might expect,
250 a @notation{double sharp} or @notation{double flat} is made by adding
251 @code{isis} or @code{eses}. This syntax is derived from Dutch note
252 naming conventions. To use other names for accidentals, see
253 @ref{Note names in other languages}.
255 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
259 A natural will cancel the effect of an accidental or key
260 signature. However, naturals are not encoded into the note name
261 syntax with a suffix; a natural pitch is shown as a simple note
264 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
268 @cindex quarter tones
269 @cindex semi-flats, semi-sharps
271 Quarter tones may be added; the following is a series of Cs with
274 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 ceseh1 ces ceh c cih cis cisih
280 @cindex accidental, reminder
281 @cindex accidental, cautionary
282 @cindex accidental, parenthesized
283 @cindex reminder accidental
285 @cindex cautionary accidental
286 @cindex parenthesized accidental
289 Normally accidentals are printed automatically, but you may also
290 print them manually. A reminder accidental can be forced by
291 adding an exclamation mark@tie{}@code{!} after the pitch. A
292 cautionary accidental (i.e., an accidental within parentheses) can
293 be obtained by adding the question mark@tie{}@code{?} after the
294 pitch. These extra accidentals can also be used to produce
297 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
298 cis cis cis! cis? c c c! c?
301 Accidentals on tied notes are only printed at the beginning of a
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
313 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
314 {preventing-extra-naturals-from-being-automatically-added.ly}
318 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
319 @rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
321 Learning Manual: @rlearning{Accidentals and key signatures}.
323 Notation Reference: @ref{Automatic accidentals},
324 @ref{Musica ficta accidentals},
325 @ref{Note names in other languages}.
327 Snippets: @lsrdir{Pitches,Pitches}.
332 There are no generally accepted standards for denoting
333 quarter-tone accidentals, so LilyPond's symbol does not conform to
338 @node Note names in other languages
339 @subsubsection Note names in other languages
341 There are predefined sets of note names for various other
342 languages. To use them, include the language-specific init file.
343 For example, to use English notes names, add @code{\include
344 "english.ly"} to the top of the input file. The available
345 language files and the note names they define are:
347 @cindex note names, other languages
348 @cindex pitch names, other languages
351 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
354 @tab sharp @tab flat @tab double sharp @tab double flat
356 @tab c d e f g a bes b
357 @tab -is @tab -es @tab -isis @tab -eses
359 @tab c d e f g a bf b
360 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
364 @tab -is @tab -es @tab -isis @tab -eses
367 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
371 @tab -iss @tab -ess @tab -ississ @tab -essess
374 @tab -is @tab -es @tab -isis @tab -eses
376 @tab do re mi fa sol la sib si
377 @tab -d @tab -b @tab -dd @tab -bb
379 @tab do re mi fa sol la sib si
380 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
382 @tab do re mi fa sol la sib si
383 @tab -s @tab -b @tab -ss @tab -bb
385 @tab do re mi fa sol la sib si
386 @tab -s @tab -b @tab -ss @tab -bb
388 @tab do re mi fa sol la sib si
389 @tab -k @tab -b @tab -kk @tab -bb
393 In Dutch, @code{aes} is contracted to @code{as}, but both forms
394 are accepted in LilyPond. Similarly, both @code{es} and
395 @code{ees} are accepted. This also applies to
396 @code{aeses}@tie{}/@tie{}@code{ases} and
397 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
398 contracted names are defined in the corresponding language files.
400 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
401 a2 as e es a ases e eses
405 Some music uses microtones whose alterations are fractions of a
406 @q{normal} sharp or flat. The note names for quarter-tones
407 defined in the various language files are listed in the following
408 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
409 mean @q{half} and @q{one and a half}, respectively. For the other
410 languages, no special names have been defined yet.
413 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
416 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
419 @tab c d e f g a bes b
420 @tab -ih @tab -eh @tab -isih @tab -eseh
422 @tab c d e f g a bf b
423 @tab -qs @tab -qf @tab -tqs @tab -tqf
426 @tab -ih @tab -eh @tab -isih @tab -eseh
428 @tab do re mi fa sol la sib si
429 @tab -sd @tab -sb @tab -dsd @tab -bsb
431 @tab do re mi fa sol la sib si
432 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
439 Music Glossary: @rglos{Pitch names}.
441 Snippets: @lsrdir{Pitches,Pitches}.
444 @node Changing multiple pitches
445 @subsection Changing multiple pitches
447 This section discusses how to modify pitches.
455 @subsubsection Octave checks
457 @cindex octave correction
462 In relative mode, it is easy to forget an octave changing mark.
463 Octave checks make such errors easier to find by displaying a
464 warning and correcting the octave if a note is found in an
467 To check the octave of a specific note, specify the absolute
468 octave after the @code{=}@tie{}symbol. This example will generate
469 a warning (and change the pitch) because the second note is the
470 absolute octave @code{d''} instead of @code{d'} as indicated by
471 the octave correction.
473 @lilypond[verbatim,quote,ragged-right,fragment]
480 The octave of notes may also be checked with the
481 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
482 specified in absolute mode. This checks that the interval between the
483 previous note and the @var{controlpitch} is within a fourth (i.e. the
484 normal calculation of relative mode). If this check fails, a warning
485 is printed, but the previous note is not changed. Future notes are
486 relative to the @var{controlpitch}.
488 @lilypond[verbatim,quote,ragged-right,fragment]
496 Compare the two bars below. The first and third @code{\octave}
497 check fail, but the second one does not fail.
499 @lilypond[verbatim,quote,ragged-right,fragment]
516 Snippets: @lsrdir{Pitches,Pitches}.
520 @subsubsection Transpose
523 @cindex transposition
524 @cindex transposition of pitches
527 A music expression can be transposed with @code{\transpose}. The
531 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
535 This means that @var{musicexpr} is transposed by the interval
536 between the pitches @var{frompitch} and @var{topitch}: any note
537 with pitch @var{frompitch} is changed to @var{topitch} and any
538 other note is transposed by the same interval. Both pitches are
539 entered in absolute mode.
541 Consider a piece written in the key of D-major. It can be
542 transposed up to E-major; note that the key signature is
543 automatically transposed as well.
545 @lilypond[verbatim,quote,ragged-right]
554 If a part written in C (normal concert pitch) is to be played on
555 the A clarinet (for which an A is notated as a C and thus sounds a
556 minor third lower than notated), the appropriate part will be
559 @lilypond[verbatim,quote,ragged-right]
569 Note that we specify @code{\key c \major} explicitly. If we do
570 not specify a key signature, the notes will be transposed but no
571 key signature will be printed.
573 @code{\transpose} distinguishes between enharmonic pitches: both
574 @code{\transpose c cis} or @code{\transpose c des} will transpose
575 up a semitone. The first version will print sharps and the notes
576 will remain on the same scale step, the second version will print
577 flats on the scale step above.
579 @lilypond[verbatim,quote,ragged-right]
580 mus = \relative c' { c d e f }
582 \transpose c cis { \mus }
583 \transpose c des { \mus }
587 @cindex transposing instruments
589 @code{\transpose} may also be used in a different way, to input
590 written notes for a transposing instrument. The previous examples
591 show how to enter pitches in C (or @notation{concert pitch}) and
592 typeset them for a transposing instrument, but the opposite is
593 also possible if you for example have a set of instrumental parts
594 and want to print a conductor's score. For example, when entering
595 music for a B-flat trumpet that begins on a notated E (concert D),
599 musicInBflat = @{ e4 @dots{} @}
600 \transpose c bes, \musicInBflat
604 To print this music in F (e.g., rearranging to a French horn) you
605 could wrap the existing music with another @code{\transpose}:
608 musicInBflat = @{ e4 @dots{} @}
609 \transpose f c' @{ \transpose c bes, \musicInBflat @}
613 For more information about transposing instruments,
614 see @ref{Instrument transpositions}.
619 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
620 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
625 Notation Reference: @ref{Instrument transpositions}.
627 Snippets: @lsrdir{Pitches,Pitches}.
629 Internals Reference: @internalsref{TransposedMusic}.
638 The relative conversion will not affect @code{\transpose},
639 @code{\chordmode} or @code{\relative} sections in its argument.
640 To use relative mode within transposed music, an additional
641 @code{\relative} must be placed inside @code{\transpose}.
644 @node Displaying pitches
645 @subsection Displaying pitches
647 This section discusses how to alter the output of pitches.
653 * Instrument transpositions::
654 * Automatic accidentals::
673 @cindex mezzosoprano clef
674 @cindex baritone clef
675 @cindex varbaritone clef
679 @cindex clef, ancient
689 @cindex clef, soprano
690 @cindex clef, mezzosoprano
691 @cindex clef, baritone
692 @cindex clef, varbaritone
693 @cindex subbass clef, subbass
695 The clef is set with the @code{\clef} @var{clefname} command.
696 Middle C is shown in every example.
698 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
711 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
733 Further supported clefs are described under @ref{Ancient clefs}.
735 @cindex transposing clefs
736 @cindex clef, transposing
737 @cindex octave transposition
739 By adding @code{_8} or @code{^8} to the clef name, the clef is
740 transposed one octave down or up, respectively, and @code{_15} and
741 @code{^15} transposes by two octaves. The argument @var{clefname}
742 must be enclosed in quotes when it contains underscores or digits.
744 @cindex choral tenor clef
746 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
756 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
757 {clefs-commonly-tweaked-properties.ly}
762 Notation Reference: @ref{Ancient clefs}.
764 Snippets: @lsrdir{Pitches,Pitches}.
766 Internals Reference: @internalsref{Clef}.
770 @subsubsection Key signature
772 @cindex key signature
775 @warning{New users are sometimes confused about accidentals and
776 key signatures. In LilyPond, note names are the raw input; key
777 signatures and clefs determine how this raw input is displayed.
778 An unaltered note like@tie{}@code{c} means @q{C natural},
779 regardless of the key signature or clef. For more information,
780 see @rlearning{Accidentals and key signatures}.}
782 The key signature indicates the tonality in which a piece is
783 played. It is denoted by a set of alterations (flats or sharps)
784 at the start of the staff. Setting or changing the key signature
785 is done with the @code{\key} command:
788 \key @var{pitch} @var{mode}
796 @funindex \mixolydian
803 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
804 key signature of @var{pitch}-major or @var{pitch}-minor,
805 respectively. You may also use the standard mode names, also
806 called @q{church modes}: @code{\ionian}, @code{\dorian},
807 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
808 @code{\aeolian}, and @code{\locrian}.
810 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
820 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
821 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
823 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
824 {non-traditional-key-signatures.ly}
829 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
831 Learning Manual: @rlearning{Accidentals and key signatures}.
833 Snippets: @lsrdir{Pitches,Pitches}.
835 Internals Reference: @internalsref{KeyCancellation},
836 @internalsref{KeySignature}, @internalsref{Key_engraver}.
839 @node Ottava brackets
840 @subsubsection Ottava brackets
848 @notation{Ottava brackets} introduce an extra transposition of an
849 octave for the staff:
851 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
859 The @code{set-octavation} function also takes -1 (for 8va bassa),
860 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
865 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
871 Music Glossary: @rglos{octavation}.
873 Snippets: @lsrdir{Pitches,Pitches}.
875 Internals Reference: @internalsref{OttavaBracket}.
879 @node Instrument transpositions
880 @subsubsection Instrument transpositions
882 @cindex transposition, MIDI
883 @cindex transposition, instrument
884 @cindex transposing instrument
886 @funindex \transposition
888 When typesetting scores that involve transposing instruments, some
889 parts can be typeset in a different pitch than the
890 @notation{concert pitch}. In these cases, the key of the
891 @notation{transposing instrument} should be specified; otherwise
892 the MIDI output and cues in other parts will produce incorrect
893 pitches. For more information about quotations, see @ref{Quoting
897 \transposition @var{pitch}
900 The pitch to use for @code{\transposition} should correspond to
901 the real sound heard when a@tie{}@code{c'} written on the staff is
902 played by the transposing instrument. This pitch is entered in
903 absolute mode, so an instrument that produces a real sound which
904 is one tone higher than the printed music should use
905 @code{\transposition d'}. @code{\transposition} should
906 @emph{only} be used if the pitches are @emph{not} being entered in
909 Here are a few notes for violin and B-flat clarinet where the
910 parts have been entered using the notes and key as they appear in
911 each part of the conductor's score. The two instruments are
914 @lilypond[verbatim,quote,ragged-right]
918 \set Staff.instrumentName = "Vln"
919 \set Staff.midiInstrument="violin"
920 % strictly speaking not necessary, but a good reminder
927 \new Staff = "clarinet" {
929 \set Staff.instrumentName = \markup {Cl (B\flat)}
930 \set Staff.midiInstrument="clarinet"
941 The @code{\transposition} may be changed during a piece. For
942 example, a clarinetist may switch from an A clarinet to a B-flat
945 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
946 \set Staff.instrumentName = "Cl (A)"
951 r1^\markup{Switch to B\flat clarinet}
961 Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
963 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
965 Snippets: @lsrdir{Pitches,Pitches}.
968 @node Automatic accidentals
969 @subsubsection Automatic accidentals
971 @cindex automatic accidentals
972 @cindex accidentals, automatic
974 @cindex accidental style
975 @cindex default accidental style
976 @cindex accidental style, default
977 @funindex set-accidental-style
979 There are many different conventions on how to typeset
980 accidentals. LilyPond provides a function to specify which
981 accidental style to use. This function is called as follows
985 #(set-accidental-style 'voice)
990 The accidental style applies to the current @code{Staff} by
991 default (with the exception of the styles @code{piano} and
992 @code{piano-cautionary}, which are explained below). Optionally,
993 the function can take a second argument that determines in which
994 scope the style should be changed. For example, to use the same
995 style in all staves of the current @code{StaffGroup}, use
998 #(set-accidental-style 'voice 'StaffGroup)
1001 The following accidental styles are supported. To demonstrate
1002 each style, we use the following example:
1004 @lilypond[verbatim,quote,ragged-right]
1008 cis'8 fis, d'4 <a cis>8 f bis4 |
1022 \voiceTwo \relative c' {
1026 \change Staff = down
1030 \change Staff = down
1031 <fis, a cis>4 gis <f a d>2 |
1038 \context Staff = "up" {
1039 %%% change the next line as desired:
1040 #(set-accidental-style 'default)
1043 \context Staff = "down" {
1044 %%% change the next line as desired:
1045 #(set-accidental-style 'default)
1052 Note that the last lines of this example can be replaced by the
1053 following, as long as the same accidental style should be used in
1058 \context Staff = "up" @{
1059 %%% change the next line as desired:
1060 #(set-accidental-style 'default 'Score)
1063 \context Staff = "down" @{
1071 @c NOTE: don't use verbatim in this table.
1074 This is the default typesetting behavior. It corresponds to
1075 eighteenth-century common practice: accidentals are remembered to
1076 the end of the measure in which they occur and only on their own
1077 octave. Thus, in the example below, no natural signs are printed
1078 before the@tie{}@code{b} in the second measure or the
1081 @lilypond[quote,ragged-right]
1085 cis'8 fis, d'4 <a cis>8 f bis4 |
1099 \voiceTwo \relative c' {
1103 \change Staff = down
1107 \change Staff = down
1108 <fis, a cis>4 gis <f a d>2 |
1115 \context Staff = "up" {
1116 #(set-accidental-style 'default)
1119 \context Staff = "down" {
1120 #(set-accidental-style 'default)
1128 The normal behavior is to remember the accidentals on Staff-level.
1129 In this style, however, accidentals are typeset individually for
1130 each voice. Apart from that, the rule is similar to
1133 As a result, accidentals from one voice do not get canceled in
1134 other voices, which is often an unwanted result: in the following
1135 example, it is hard to determine whether the second@tie{}@code{a}
1136 should be played natural or sharp. The @code{voice} option should
1137 therefore be used only if the voices are to be read solely by
1138 individual musicians. If the staff is to be used by one musician
1139 (e.g., a conductor or in a piano score) then @code{modern} or
1140 @code{modern-cautionary} should be used instead.
1143 @lilypond[quote,ragged-right]
1147 cis'8 fis, d'4 <a cis>8 f bis4 |
1161 \voiceTwo \relative c' {
1165 \change Staff = down
1169 \change Staff = down
1170 <fis, a cis>4 gis <f a d>2 |
1177 \context Staff = "up" {
1178 #(set-accidental-style 'voice)
1181 \context Staff = "down" {
1182 #(set-accidental-style 'voice)
1190 @cindex accidentals, modern style
1191 @cindex modern style accidentals
1192 @funindex modern style accidentals
1194 This rule corresponds to the common practice in the twentieth
1195 century. It prints the same accidentals as @code{default}, with
1196 two exceptions that serve to avoid ambiguity: after temporary
1197 accidentals, cancellation marks are printed also in the following
1198 measure (for notes in the same octave) and, in the same measure,
1199 for notes in other octaves. Hence the naturals before
1200 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1203 @lilypond[quote,ragged-right]
1207 cis'8 fis, d'4 <a cis>8 f bis4 |
1221 \voiceTwo \relative c' {
1225 \change Staff = down
1229 \change Staff = down
1230 <fis, a cis>4 gis <f a d>2 |
1237 \context Staff = "up" {
1238 #(set-accidental-style 'modern)
1241 \context Staff = "down" {
1242 #(set-accidental-style 'modern)
1249 @item modern-cautionary
1250 @cindex accidentals, modern cautionary style
1251 @cindex modern style accidentals
1252 @cindex modern style cautionary accidentals
1253 @cindex modern accidental style
1254 @cindex modern cautionary accidental style
1255 @funindex modern-cautionary
1257 This rule is similar to @code{modern}, but the @q{extra}
1258 accidentals (the ones not typeset by @code{default}) are typeset
1259 as cautionary accidentals. They are by default printed with
1260 parentheses, but they can also be printed in reduced size by
1261 defining the @code{cautionary-style} property of
1262 @code{AccidentalSuggestion}.
1265 @lilypond[quote,ragged-right]
1269 cis'8 fis, d'4 <a cis>8 f bis4 |
1283 \voiceTwo \relative c' {
1287 \change Staff = down
1291 \change Staff = down
1292 <fis, a cis>4 gis <f a d>2 |
1299 \context Staff = "up" {
1300 #(set-accidental-style 'modern-cautionary)
1303 \context Staff = "down" {
1304 #(set-accidental-style 'modern-cautionary)
1312 @cindex accidentals, multivoice
1313 @cindex accidentals, modern
1314 @cindex modern accidentals
1315 @cindex multivoice accidentals
1316 @funindex modern-voice
1318 This rule is used for multivoice accidentals to be read both by
1319 musicians playing one voice and musicians playing all voices.
1320 Accidentals are typeset for each voice, but they @emph{are}
1321 canceled across voices in the same @code{Staff}. Hence,
1322 the@tie{}@code{a} in the last measure is canceled because the
1323 previous cancellation was in a different voice, and
1324 the@tie{}@code{d} in the lower staff is canceled because of the
1325 accidental in a different voice in the previous measure:
1328 @lilypond[quote,ragged-right]
1332 cis'8 fis, d'4 <a cis>8 f bis4 |
1346 \voiceTwo \relative c' {
1350 \change Staff = down
1354 \change Staff = down
1355 <fis, a cis>4 gis <f a d>2 |
1362 \context Staff = "up" {
1363 #(set-accidental-style 'modern-voice)
1366 \context Staff = "down" {
1367 #(set-accidental-style 'modern-voice)
1374 @funindex modern-voice-cautionary
1375 @item modern-voice-cautionary
1377 This rule is the same as @code{modern-voice}, but with the extra
1378 accidentals (the ones not typeset by @code{voice}) typeset
1379 as cautionaries. Even though all accidentals typeset by
1380 @code{default} @emph{are} typeset with this rule,
1381 some of them are typeset as cautionaries.
1383 @lilypond[quote,ragged-right]
1387 cis'8 fis, d'4 <a cis>8 f bis4 |
1401 \voiceTwo \relative c' {
1405 \change Staff = down
1409 \change Staff = down
1410 <fis, a cis>4 gis <f a d>2 |
1417 \context Staff = "up" {
1418 #(set-accidental-style 'modern-voice-cautionary)
1421 \context Staff = "down" {
1422 #(set-accidental-style 'modern-voice-cautionary)
1430 @funindex piano accidentals
1432 This rule reflects twentieth-century practice for piano notation.
1433 Its behavior is very similar to @code{modern} style, but here
1434 accidentals also get canceled across the staves in the same
1435 GrandStaff or PianoStaff, hence all the cancellations of the final
1438 This accidental style applies to the current @code{GrandStaff} or
1439 @code{PianoStaff} by default.
1441 @lilypond[quote,ragged-right]
1445 cis'8 fis, d'4 <a cis>8 f bis4 |
1459 \voiceTwo \relative c' {
1463 \change Staff = down
1467 \change Staff = down
1468 <fis, a cis>4 gis <f a d>2 |
1475 \context Staff = "up" {
1476 #(set-accidental-style 'piano)
1479 \context Staff = "down" {
1486 @item piano-cautionary
1487 @funindex #(set-accidental-style 'piano-cautionary)
1489 Same as @code{#(set-accidental-style 'piano)} but with the extra
1490 accidentals typeset as cautionaries.
1492 @lilypond[quote,ragged-right]
1496 cis'8 fis, d'4 <a cis>8 f bis4 |
1510 \voiceTwo \relative c' {
1514 \change Staff = down
1518 \change Staff = down
1519 <fis, a cis>4 gis <f a d>2 |
1526 \context Staff = "up" {
1527 #(set-accidental-style 'piano-cautionary)
1530 \context Staff = "down" {
1538 @funindex no-reset accidental style
1540 This is the same as @code{default} but with accidentals lasting
1541 @q{forever} and not only within the same measure:
1543 @lilypond[quote,ragged-right]
1547 cis'8 fis, d'4 <a cis>8 f bis4 |
1561 \voiceTwo \relative c' {
1565 \change Staff = down
1569 \change Staff = down
1570 <fis, a cis>4 gis <f a d>2 |
1577 \context Staff = "up" {
1578 #(set-accidental-style 'no-reset)
1581 \context Staff = "down" {
1582 #(set-accidental-style 'no-reset)
1590 @funindex forget accidental style
1592 This is the opposite of @code{no-reset}: Accidentals are not
1593 remembered at all -- and hence all accidentals are typeset
1594 relative to the key signature, regardless of what was before in
1597 @lilypond[quote,ragged-right]
1601 cis'8 fis, d'4 <a cis>8 f bis4 |
1615 \voiceTwo \relative c' {
1619 \change Staff = down
1623 \change Staff = down
1624 <fis, a cis>4 gis <f a d>2 |
1631 \context Staff = "up" {
1632 #(set-accidental-style 'forget)
1635 \context Staff = "down" {
1636 #(set-accidental-style 'forget)
1646 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1647 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1652 Snippets: @lsrdir{Pitches,Pitches}.
1654 Internals Reference: @internalsref{Accidental_engraver},
1655 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1656 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1657 @internalsref{PianoStaff}, @internalsref{Staff}.
1662 Simultaneous notes are considered to be entered in sequential
1663 mode. This means that in a chord the accidentals are typeset as
1664 if the notes in the chord happen one at a time, in the order in
1665 which they appear in the input file. This is a problem when
1666 accidentals in a chord depend on each other, which does not happen
1667 for the default accidental style. The problem can be solved by
1668 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1673 @subsubsection Ambitus
1676 The term @notation{ambitus} or @notation{ambit} denotes a range of
1677 pitches for a given voice in a part of music. It may also denote
1678 the pitch range that a musical instrument is capable of playing.
1679 Ambits are printed on vocal parts so that performers can easily
1680 determine if it matches their capabilities.
1682 Ambits are denoted at the beginning of a piece near the initial
1683 clef. The range is graphically specified by two note heads that
1684 represent the lowest and highest pitches. Accidentals are only
1685 printed if they are not part of the key signature.
1687 @lilypond[verbatim,quote,ragged-right]
1691 \consists Ambitus_engraver
1703 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1704 {adding-ambiti-per-voice.ly}
1706 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1707 {ambiti-multiple-voices.ly}
1712 Snippets: @lsrdir{Pitches,Pitches}.
1714 Internals Reference: @internalsref{Ambitus},
1715 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1716 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1717 @internalsref{Staff}, @internalsref{Voice}.
1722 There is no collision handling in the case of multiple per-voice
1727 @subsection Note heads
1730 * Special note heads::
1731 * Easy notation note heads::
1732 * Shape note heads::
1736 @node Special note heads
1737 @subsubsection Special note heads
1739 @cindex note heads, special
1741 Different note heads are used by various instruments for various
1742 meanings -- crosses are used for @q{parlato} with vocalists,
1743 stopped notes on guitar; diamonds are used for harmonics on string
1744 instruments, etc. There is a shorthand (@code{\harmonic}) for
1745 diamond shapes; the other note head styles are produced by
1746 tweaking the property:
1748 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1750 \override NoteHead #'style = #'cross
1752 \revert NoteHead #'style
1753 e d <c f\harmonic> <d a'\harmonic>
1757 To see all note head styles, see @ref{Note head styles}.
1762 Snippets: @lsrdir{Pitches,Pitches}.
1764 Notation Reference: @ref{Note head styles}.
1766 Internals Reference: @internalsref{NoteHead},
1767 @internalsref{LedgerLineSpanner}.
1770 @node Easy notation note heads
1771 @subsubsection Easy notation note heads
1773 @cindex note heads, practice
1774 @cindex note heads, easy notation
1775 @cindex easy notation
1778 The @q{easy play} note head includes a note name inside the head.
1779 It is used in music for beginners.
1781 @lilypond[verbatim,quote,ragged-right]
1782 #(set-global-staff-size 26)
1792 The command @code{\easyHeadsOn} overrides settings for the
1793 @code{NoteHead} object. These settings can be reverted with the command
1794 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1795 in a large font size. To print with a larger font, see @ref{Setting the
1800 @funindex \easyHeadsOn
1801 @funindex \easyHeadsOff
1802 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1806 Notation Reference: @ref{Setting the staff size}.
1808 Snippets: @lsrdir{Pitches,Pitches},
1810 Internals Reference: @internalsref{NoteHead}.
1813 @node Shape note heads
1814 @subsubsection Shape note heads
1816 @cindex note heads, shape
1818 @funindex shapeNoteStyles
1819 @funindex \aikenHeads
1820 @funindex \sacredHarpHeads
1822 In shape note head notation, the shape of the note head
1823 corresponds to the harmonic function of a note in the scale. This
1824 notation was popular in nineteenth-century American song books.
1826 Shape note heads can be produced by setting @code{\aikenHeads} or
1827 @code{\sacredHarpHeads}, depending on the style desired.
1829 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1836 Shapes are typeset according to the step in the scale, where
1837 the base of the scale is determined by the @code{\key} command.
1841 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1842 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1847 Snippets: @lsrdir{Pitches,Pitches}.
1851 @subsubsection Improvisation
1853 @cindex improvisation
1854 @cindex slashed note heads
1855 @cindex note heads, improvisation
1856 @cindex note heads, slashed
1858 Improvisation is sometimes denoted with slashed note heads, where
1859 the performer may choose any pitch but should play the specified
1860 rhythm. Such note heads can be created:
1862 @lilypond[verbatim,quote,ragged-right]
1864 \consists Pitch_squash_engraver
1866 e8 e g a a16( bes) a8 g
1879 @funindex \improvisationOn
1880 @funindex \improvisationOff
1882 @code{\improvisationOn}, @code{\improvisationOff}
1886 Snippets: @lsrdir{Pitches,Pitches}.
1888 Internals Reference: @internalsref{Pitch_squash_engraver},
1889 @internalsref{Voice}.