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.
33 * Absolute octave entry::
34 * Relative octave entry::
36 * Note names in other languages::
40 @node Absolute octave entry
41 @unnumberedsubsubsec Absolute octave entry
46 A pitch name is specified using lowercase letters@tie{}@code{a}
47 through@tie{}@code{g}. An ascending C-major scale is engraved
50 @lilypond[verbatim,quote,ragged-right,fragment]
56 @cindex absolute octave specification
58 There are two different ways to enter these note names with regard
59 to octave placement: absolute and relative. The relative mode
60 will in most cases be the most convenient, but the absolute mode
61 is more fundamental and will be presented first. In absolute
62 mode, every note is placed explicitly in a specific octave. The
63 note names @code{c} to @code{b} are engraved in the octave below
64 middle C, as in the previous example.
66 @lilypond[verbatim,quote,ragged-right,fragment]
76 If a note should be in another octave than this, an octave
77 specification must be given. It takes the form of a series of
78 single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) characters.
79 Each@tie{}@code{'} raises the pitch by one octave;
80 each@tie{}@code{,} lowers the pitch by an octave.
82 @lilypond[verbatim,quote,ragged-right,fragment]
84 c' c'' e' g d'' d' d c
86 c, c,, e, g d,, d, d c
91 Snippets: @lsrdir{Pitches}.
93 Internals Reference: @internalsref{LedgerLineSpanner},
94 @internalsref{NoteHead}.
97 @node Relative octave entry
98 @unnumberedsubsubsec Relative octave entry
101 @cindex relative octave specification
104 The absolute mode requires a lot of octave specifications, which
105 not only becomes tedious but also easily leads to errors.
106 Therefore, it is usually more convenient to let notes be entered
107 relative to the previous note. This is done with the relative
111 \relative @var{startpitch} @var{musicexpr}
114 In relative mode, each note is assumed to be as close to the
115 previous note as possible. This means that the octave of notes
116 that appear in @var{musicexpr} are calculated as follows:
120 The pitch of the first note is relative to @code{\relative
124 If no octave changing marks are used, the basic interval between a
125 note and the one that precedes it is always taken to be a fourth
129 This distance is determined without regarding alterations or the
130 actual sounding pitches; a @code{fisis} following a @code{ceses}
131 will be put above the @code{ceses}. In other words, a
132 doubly-augmented fourth is considered a smaller interval than a
133 diminished fifth, even though the doubly-augmented fourth spans
134 seven semitones while the diminished fifth only spans six
138 The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be
139 added to raise or lower the pitch by an extra octave from the
143 Multiple octave changing marks can be used. @code{''}@tie{}will
144 raise the pitch by two octaves.
148 Here is the relative mode shown in action:
150 @lilypond[verbatim,quote,ragged-right,fragment]
156 Octave changing marks are used for intervals greater than a
159 @lilypond[verbatim,quote,ragged-right,fragment]
165 A note sequence without a single octave mark can nevertheless span
168 @lilypond[verbatim,quote,ragged-right,fragment]
174 If the preceding item is a chord, the first note of the chord is
175 used as the reference point for the octave placement of a
176 following note or chord. Inside of chords the next note is always
177 relative to the preceding one.
179 @lilypond[verbatim,quote,ragged-right,fragment]
187 The @var{startpitch} (after @code{\relative}) is a note name in
188 absolute mode. In principle it can be any note name, but common
189 practice is to use@tie{}@code{c} in various octave positions.
191 When octaves are specified as above by adding@tie{}@code{'}
192 and@tie{}@code{,} to pitch names, it is easy to accidentally put a
193 pitch in the wrong octave. The relative octave mode prevents
194 these errors since most of the time it is not necessary to
195 indicate any octaves at all. Furthermore, in absolute mode, a
196 single mistake may be difficult to spot; in relative mode, a
197 single error puts the rest of the piece off by one octave.
199 LilyPond examines pitches based on the note names -- in other
200 words, an augmented fourth is @emph{not} treated the same as a
201 diminished fifth. If we begin at a C, then an F-sharp will be
202 placed higher than the C, while a G-flat will be placed lower than
205 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
212 Snippets: @lsrdir{Pitches}.
217 The relative conversion will not affect @code{\transpose},
218 @code{\chordmode} or @code{\relative} sections in its argument.
219 To use relative within transposed music, an additional
220 @code{\relative} must be placed inside @code{\transpose}.
223 If no @var{startpitch} is specified for @code{\relative},
224 then@tie{}@code{c'} is assumed. However, this is a deprecated
225 option and may disappear in future versions, so its use is
231 @unnumberedsubsubsec Accidentals
233 @warning{New users are sometimes confused about accidentals and
234 key signatures. In LilyPond, note names are the raw input; key
235 signatures and clefs determine how this raw input is displayed.
236 An unaltered note like@tie{}@code{c} means @q{C natural},
237 regardless of the key signature or clef. For more information,
238 see @rlearning{Accidentals and key signatures}.}
240 @cindex note names, Dutch
241 @cindex note names, default
243 A @notation{sharp} pitch is made by adding @code{is} to the name,
244 and a @notation{flat} pitch by adding @code{es}. As you might
245 expect, a @notation{double sharp} or @notation{double flat} is
246 made by adding @code{isis} or @code{eses}. This syntax derived
247 from note naming conventions in Nordic and Germanic languages,
248 like German and Dutch. To use other names for accidentals, see
249 @ref{Note names in other languages}.
251 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
257 The above notes are the Dutch note names. In Dutch, @code{aes} is
258 contracted to @code{as}, but both forms are accepted in LilyPond.
259 Similarly, both @code{es} and @code{ees} are accepted:
261 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
265 A natural will cancel the effect of an accidental or key
266 signature. However, naturals are not encoded into the note name
267 syntax with a suffix; a natural pitch is shown as a simple note
270 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 @cindex accidental, reminder
276 @cindex accidental, cautionary
277 @cindex accidental, parenthesized
278 @cindex reminder accidental
280 @cindex cautionary accidental
281 @cindex parenthesized accidental
284 Normally accidentals are printed automatically, but you may also
285 print them manually. A reminder accidental can be forced by
286 adding an exclamation mark@tie{}@code{!} after the pitch. A
287 cautionary accidental (i.e., an accidental within parentheses) can
288 be obtained by adding the question mark@tie{}@code{?} after the
289 pitch. These extra accidentals can be used to produce natural
292 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
293 cis cis cis! cis? c c? c! c
297 @cindex quarter tones
298 @cindex semi-flats, semi-sharps
300 Half-flats and half-sharps are formed by adding @code{eh} and
301 @code{ih}; the following is a series of Cs with increasing
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
305 \set Staff.extraNatural = ##f
306 ceseh ces ceh c cih cis cisih
312 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
313 {preventing-extra-naturals-from-being-automatically-added.ly}
317 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
320 Learning Manual: @rlearning{Accidentals and key signatures}.
322 Notation Reference: @ref{Automatic accidentals},
323 @ref{Musica ficta accidentals},
324 @ref{Note names in other languages}.
326 Snippets: @lsrdir{Pitches},
328 dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
329 @lsr{Pitches, makam.ly}.
335 There are no generally accepted standards for denoting
336 three-quarter flats, so LilyPond's symbol does not conform to any
341 @node Note names in other languages
342 @unnumberedsubsubsec Note names in other languages
344 There are predefined sets of note names for various other
345 languages. To use them, include the language specific init file.
346 For example, add @code{\include "english.ly"} to the top of the
347 input file. The available language files and the note names they
350 @cindex note names, other languages
353 @multitable @columnfractions .2 .6 .05 .05 .05 .05
356 @tab sharp @tab flat @tab double sharp @tab double flat
358 @tab c d e f g a bes b
359 @tab -is @tab -es @tab -isis @tab -eses
361 @tab c d e f g a bf b
362 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
366 @tab -is @tab -es @tab -isis @tab -eses
369 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
373 @tab -iss @tab -ess @tab -ississ @tab -essess
376 @tab -is @tab -es @tab -isis @tab -eses
378 @tab do re mi fa sol la sib si
379 @tab -d @tab -b @tab -dd @tab -bb
381 @tab do re mi fa sol la sib si
382 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
384 @tab do re mi fa sol la sib si
385 @tab -s @tab -b @tab -ss @tab -bb
387 @tab do re mi fa sol la sib si
388 @tab -s @tab -b @tab -ss @tab -bb
390 @tab do re mi fa sol la sib si
391 @tab -k @tab -b @tab -kk @tab -bb
396 Note that in Dutch, German, Norwegian, and Swedish, the flat
397 alterations of@tie{}@code{a} like for example @code{aes} and
398 @code{aeses} are usually contracted to @code{as} and @code{ases}
399 (or more commonly @code{asas}). Sometimes only these contracted
400 names are defined in the corresponding language files (this also
401 applies to the suffixes for quartertones below).
404 Some music uses microtones whose alterations are fractions of a
405 @q{normal} sharp or flat. The note names for quartertones defined
406 in the various language files are listed in the following table.
407 Here the prefixes @q{semi-} and @q{sesqui-} mean @q{half} and
408 @q{one and a half}, respectively. For the other languages no
409 special names have been defined yet.
413 @multitable @columnfractions .2 .6 .05 .05 .05 .05
416 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
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 @c @tab c d e f g a b h
430 @c @tab c d e f g a b h
432 @tab do re mi fa sol la sib si
433 @tab -sd @tab -sb @tab -dsd @tab -bsb
435 @c @tab do re mi fa sol la sib si
437 @c @tab do re mi fa sol la sib si
439 @tab do re mi fa sol la sib si
440 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
446 Snippets: @lsrdir{Pitches}.
449 @node Changing multiple pitches
450 @subsection Changing multiple pitches
452 This section discusses how to modify pitches.
460 @unnumberedsubsubsec Octave check
464 In relative mode, it is easy to forget an octave changing mark.
465 Octave checks make such errors easier to correct. A note may be
466 followed by @code{=}@var{quotes} to indicate what its absolute
467 octave should be. In the following example,
470 \relative c'' @{ c g d='' @}
474 the@tie{}@code{d} will generate a warning, because
475 a@tie{}@code{d''} is expected, as indicated by the octave check
476 @code{=''}, but a@tie{}@code{d'} is found, since both
477 @code{c}-@code{g} and @code{g}-@code{d} without octavation marks
478 are descending fourths. In the output, the octave is corrected to
479 be a@tie{}@code{d''} and the next note is calculated relative
480 to@tie{}@code{d''} instead of@tie{}@code{d'}.
482 There is also an octave check that produces no visible output.
486 @var{pitch} \octave @var{controlpitch}
490 where @var{pitch} is a regular note within a music expression in
491 relative mode and @var{controlpitch} is a pitch in absolute mode.
492 This checks that @var{pitch} lies within the octave surrounding
493 @var{controlpitch}, i.e. not more than a fourth above or below it.
494 If this is not the case, a warning is printed and the octave is
495 corrected. The @var{controlpitch} is not printed as a note.
497 In the example below, the first check passes without incident,
498 since the@tie{}@code{e} (in @code{relative} mode) is within the
499 octave range of@tie{}@code{a'}. However, the second check
500 produces a warning, since the@tie{}@code{e} is not within the
501 octave range of@tie{}@code{b'}. The warning message is printed,
502 and the octave is adjusted so that the following notes are in the
503 correct octave once again.
514 The octave of a note following an @code{\octave} check is
515 determined with respect to the note preceding it, as modified by
516 the outcome of the octave check. In the next fragment, the first
517 note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
518 and the @code{\octave} check passes successfully. The second note
519 is then calculated relative to (absolute)@tie{}@code{e'}, which
520 yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
521 check had no influence on the output of the piece.
523 The second @code{\octave} check fails: @code{a'}@tie{}is not
524 within the range of@tie{}@code{b}. A warning is issued, and the
525 last note is calculated relative to@tie{}@code{a}, not
526 to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
527 @code{\octave} check, the last note would have been
530 @lilypond[verbatim,quote,ragged-right,fragment]
542 Snippets: @lsrdir{Pitches}.
546 @unnumberedsubsubsec Transpose
549 @cindex transposition of pitches
550 @cindex transposing instruments
553 A music expression can be transposed with @code{\transpose}. The
557 \transpose @var{from} @var{to} @var{musicexpr}
561 This means that @var{musicexpr} is transposed by the interval
562 between the pitches @var{from} and @var{to}: any note with pitch
563 @var{from} is changed to @var{to} and any other note is transposed
564 by the same interval.
566 Consider a piece written in the key of D-major. If this piece is
567 a little too low for its performer, it can be transposed up to
571 \transpose d e @dots{}
574 Consider a part written for violin (a C instrument). If this part
575 is to be played on the A clarinet (for which an A is notated as a
576 C, and thus sounds a minor third lower than notated), the
577 following transposition will produce the appropriate part:
580 \transpose a c @dots{}
583 @code{\transpose} will also transpose key signatures:
585 @lilypond[verbatim,quote,ragged-right]
586 mus = { \key d \major cis d fis g }
595 @code{\transpose} distinguishes between enharmonic pitches: both
596 @code{\transpose c cis} or @code{\transpose c des} will transpose
597 up half a tone. The first version will print sharps and the notes
598 will remain on the same scale step, the second version will print
599 flats on the scale step above.
601 @lilypond[verbatim,quote,ragged-right]
602 mus = \relative c' { c d e f }
604 \transpose c cis { \mus }
605 \transpose c des { \mus }
609 @code{\transpose} may also be used to input written notes for a
610 transposing instrument. The previous examples show how to enter
611 pitches in C (or @notation{concert pitch}) and typeset them for a
612 transposing instrument, but the opposite is also possible if you
613 for example have a set of instrumental parts and want to print a
614 conductor's score. For example, when entering music for a B-flat
615 trumpet which begins on a notated E (concert D), one would write:
618 musicInBflat = @{ e4 @dots{} @}
619 \transpose c bes \musicInBflat
622 To print this music in F (e.g., rearranging to a french horn) you
623 would wrap the existing music with another @code{\transpose}
626 musicInBflat = @{ e4 @dots{} @}
627 \transpose f c @{ \transpose c bes \musicInBflat @}
632 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
633 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
638 Snippets: @lsrdir{Pitches}.
640 Internals Reference: @internalsref{TransposedMusic}.
644 If you want to use both @code{\transpose} and @code{\relative},
645 you must put @code{\transpose} outside of @code{\relative}, since
646 @code{\relative} will have no effect on music that appears inside
647 a @code{\transpose}. See the previous example.
650 @node Displaying pitches
651 @subsection Displaying pitches
653 This section discusses how to alter the output of pitches.
659 * Instrument transpositions::
660 * Automatic accidentals::
665 @unnumberedsubsubsec Clef
679 @cindex mezzosoprano clef
680 @cindex baritone clef
681 @cindex varbaritone clef
684 The clef is set with the @code{\clef} @var{clefname} command:
686 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
697 The clef can also be changed inside the staff:
699 @lilypond[verbatim,quote,ragged-right,fragment]
717 These same clef symbols are used in different positions on the
718 staff to change the range of notes shown by that staff. The
719 treble (alto, bass) clef is always positioned to show the line on
720 which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed.
722 Supported clefs include
724 @multitable @columnfractions .4 .6
725 @headitem Clef @tab Position
726 @item @code{treble, violin, G, G2} @tab
727 G clef (g') on 2nd line
728 @item @code{alto, C} @tab
729 C clef (c') on 3rd line
730 @item @code{tenor} @tab
731 C clef (c') on 4th line
732 @item @code{bass, F} @tab
733 F clef (f) on 4th line
734 @item @code{french} @tab
735 G clef (g') on 1st line, so-called French violin clef
736 @item @code{soprano} @tab
737 C clef (c') on 1st line
738 @item @code{mezzosoprano} @tab
739 C clef (c') on 2nd line
740 @item @code{baritone} @tab
741 C clef (c') on 5th line
742 @item @code{varbaritone} @tab
743 F clef (f) on 3rd line
744 @item @code{subbass} @tab
745 F clef (f) on 5th line
746 @item @code{percussion} @tab
748 @item @code{tab} @tab
752 Further supported clefs are described under @ref{Ancient clefs}.
754 By adding @code{_8} or @code{^8} to the clef name, the clef is
755 transposed one octave down or up, respectively, and @code{_15} and
756 @code{^15} transposes by two octaves. The argument @var{clefname}
757 must be enclosed in quotes when it contains underscores or digits.
760 @cindex choral tenor clef
762 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
769 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
770 {clefs-commonly-tweaked-properties.ly}
775 Notation Reference: @ref{Ancient clefs}.
777 Snippets: @lsrdir{Pitches}.
779 Internals Reference: @internalsref{Clef}.
783 @unnumberedsubsubsec Key signature
785 @cindex key signature
788 @warning{New users are sometimes confused about accidentals and
789 key signatures. In LilyPond, note names are the raw input; key
790 signatures and clefs determine how this raw input is displayed.
791 An unaltered note like@tie{}@code{c} means @q{C natural},
792 regardless of the key signature or clef. For more information,
793 see @rlearning{Accidentals and key signatures}.}
795 The key signature indicates the tonality in which a piece is
796 played. It is denoted by a set of alterations (flats or sharps)
797 at the start of the staff.
799 Setting or changing the key signature is done with the @code{\key}
803 \key @var{pitch} @var{type}
812 @funindex \mixolydian
818 Here, @var{type} should be @code{\major} or @code{\minor} to get
819 @var{pitch}-major or @var{pitch}-minor, respectively. You may
820 also use the standard mode names (also called @q{church modes}):
821 @code{\ionian}, @code{\locrian}, @code{\aeolian},
822 @code{\mixolydian}, @code{\lydian}, @code{\phrygian}, and
825 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
834 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
835 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
837 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
838 {non-traditional-key-signatures.ly}
843 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
845 Learning Manual: @rlearning{Accidentals and key signatures}.
847 Snippets: @lsrdir{Pitches}.
849 Internals Reference: @internalsref{KeyCancellation},
850 @internalsref{KeySignature}, @internalsref{Key_engraver}.
853 @node Ottava brackets
854 @unnumberedsubsubsec Ottava brackets
862 @notation{Ottava brackets} introduce an extra transposition of an
863 octave for the staff:
865 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
873 The @code{set-octavation} function also takes -1 (for 8va bassa),
874 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
875 Internally the function sets the properties @code{ottavation}
876 (e.g., to @code{"8va"} or @code{"8vb"}) and
877 @code{middleCPosition}. To override the text of the bracket, set
878 @code{ottavation} after invoking @code{set-octavation}, i.e.,
880 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
882 \set Staff.ottavation = #"8"
889 Music Glossary: @rglos{ottava}.
891 Snippets: @lsrdir{Pitches}.
893 Internals Reference: @internalsref{OttavaBracket}.
898 @code{set-octavation} will get confused when clef changes happen
899 during an octavation bracket.
902 @node Instrument transpositions
903 @unnumberedsubsubsec Instrument transpositions
905 @cindex transposition, MIDI
906 @cindex transposition, instrument
908 The key of a @notation{transposing instrument} can be specified.
909 This applies to many wind instruments, for example, clarinets
910 (B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
913 The transposition is entered with the command
916 \transposition @var{pitch}
920 where @var{pitch} specifies the key in which the instrument plays.
921 For example, a part for B-flat clarinet would include
927 This command sets the property @code{instrumentTransposition}.
928 The value of this property is used for MIDI output and quotations.
929 MIDI output is transposed to play at concert pitch, and cue notes
930 and quotations are automatically transposed to the key of the
931 instrument in which they are quoted. For more information about
932 quotations, see @ref{Quoting other voices}.
934 The pitch to use for @code{\transposition} should correspond to
935 the real sound heard when a@tie{}@code{c'} written on the staff is
936 played by the transposing instrument. @code{\transposition}
937 should be used when the music is entered from an orchestral part
938 written for the instrument. For example, in classical horn parts,
939 the tuning of the instrument is often changed during a piece.
940 Here are a few notes for a violin and a B-flat clarinet where the
941 parts have been entered using the notes and key as they appear in
942 each part or the conductor's score:
944 @lilypond[verbatim,quote,ragged-right]
946 \new Staff = "Violin I" {
947 \set Staff.instrumentName = "Vln"
948 \set Staff.midiInstrument="violin"
951 g'4( c''8) r c'' r c''4
953 \new Staff = "Clarinet" {
954 \set Staff.instrumentName = "Cl"
955 \set Staff.midiInstrument="clarinet"
958 a'4( d''8) r d'' r d''4
963 Without the @code{\transposition} command the MIDI output of this
964 music would play the notes a tone apart; with it the notes are
965 played correctly in unison.
967 However, when entering the notes of a score in concert pitch, when
968 all voices are entered in C, they may be prefaced by (the default)
969 @code{\transposition c'}:
983 to serve as a reminder that these parts are written in C.
988 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
990 Snippets: @lsrdir{Pitches}.
993 @node Automatic accidentals
994 @unnumberedsubsubsec Automatic accidentals
995 @cindex automatic accidentals
997 @funindex set-accidental-style
999 There are many different conventions on how to typeset
1000 accidentals. LilyPond provides a function to specify which such
1001 accidental style to use. This function is called as follows
1005 #(set-accidental-style 'voice)
1010 The accidental style applies to the current @code{Staff} by
1011 default (with the exception of the styles @code{piano} and
1012 @code{piano-cautionary}, see below. Optionally, the function can
1013 take a second argument which determines in which scope the style
1014 should be changed. For example, to use the same style in all
1015 staves of the current @code{StaffGroup}, use
1018 #(set-accidental-style 'voice 'StaffGroup)
1021 The following accidental styles are supported. To demonstrate
1022 each style, we use the following example:
1024 @lilypond[verbatim,quote,ragged-right]
1028 cis'8 fis, d'4 <a cis>8 f bis4 |
1042 \voiceTwo \relative c' {
1046 \change Staff = down
1050 \change Staff = down
1051 <fis, a cis>4 gis <f a d>2 |
1058 \context Staff = "up" {
1059 %%% change the next line as desired:
1060 #(set-accidental-style 'default)
1063 \context Staff = "down" {
1064 %%% change the next line as desired:
1065 #(set-accidental-style 'default)
1072 Note that the last lines of this example can be replaced by the
1073 following, as long as the same accidental style should be used in
1078 \context Staff = "up" @{
1079 %%% change the next line as desired:
1080 #(set-accidental-style 'default 'Score)
1083 \context Staff = "down" @{
1091 @c don't use verbatim in this table.
1094 This is the default typesetting behavior. It corresponds to
1095 eighteenth-century common practice: accidentals are remembered to
1096 the end of the measure in which they occur and only on their own
1097 octave. Thus, in the example below, no natural signs are printed
1098 before the@tie{}@code{b} in the second measure or the
1101 @lilypond[quote,ragged-right]
1105 cis'8 fis, d'4 <a cis>8 f bis4 |
1119 \voiceTwo \relative c' {
1123 \change Staff = down
1127 \change Staff = down
1128 <fis, a cis>4 gis <f a d>2 |
1135 \context Staff = "up" {
1136 #(set-accidental-style 'default)
1139 \context Staff = "down" {
1140 #(set-accidental-style 'default)
1148 The normal behavior is to remember the accidentals on Staff-level.
1149 In this style, however, accidentals are typeset individually for
1150 each voice. Apart from that, the rule is similar to
1153 As a result, accidentals from one voice do not get canceled in
1154 other voices, which is often an unwanted result: in the following
1155 example, it is hard to determine whether the second@tie{}@code{a}
1156 should be played natural or sharp. The @code{voice} option should
1157 therefore be used only if the voices are to be read solely by
1158 individual musicians. If the staff is to be used by one musician
1159 (e.g., a conductor or in a piano score) then @code{modern} or
1160 @code{modern-cautionary} should be used instead.
1163 @lilypond[quote,ragged-right]
1167 cis'8 fis, d'4 <a cis>8 f bis4 |
1181 \voiceTwo \relative c' {
1185 \change Staff = down
1189 \change Staff = down
1190 <fis, a cis>4 gis <f a d>2 |
1197 \context Staff = "up" {
1198 #(set-accidental-style 'voice)
1201 \context Staff = "down" {
1202 #(set-accidental-style 'voice)
1210 @funindex modern style accidentals
1212 This rule corresponds to the common practice in the twentieth
1213 century. It prints the same accidentals as @code{default}, with
1214 two exceptions which serve to avoid ambiguity: after temporary
1215 accidentals, cancellation marks are printed also in the following
1216 measure (for notes in the same octave) and, in the same measure,
1217 for notes in other octaves. Hence the naturals before
1218 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1221 @lilypond[quote,ragged-right]
1225 cis'8 fis, d'4 <a cis>8 f bis4 |
1239 \voiceTwo \relative c' {
1243 \change Staff = down
1247 \change Staff = down
1248 <fis, a cis>4 gis <f a d>2 |
1255 \context Staff = "up" {
1256 #(set-accidental-style 'modern)
1259 \context Staff = "down" {
1260 #(set-accidental-style 'modern)
1267 @item modern-cautionary
1268 @funindex modern-cautionary
1270 This rule is similar to @code{modern}, but the @q{extra}
1271 accidentals (the ones not typeset by @code{default}) are typeset
1272 as cautionary accidentals. They are by default printed with
1273 parentheses, but they can also be printed in reduced size by
1274 defining the @code{cautionary-style} property of
1275 @code{AccidentalSuggestion}.
1278 @lilypond[quote,ragged-right]
1282 cis'8 fis, d'4 <a cis>8 f bis4 |
1296 \voiceTwo \relative c' {
1300 \change Staff = down
1304 \change Staff = down
1305 <fis, a cis>4 gis <f a d>2 |
1312 \context Staff = "up" {
1313 #(set-accidental-style 'modern-cautionary)
1316 \context Staff = "down" {
1317 #(set-accidental-style 'modern-cautionary)
1325 @funindex modern-voice
1327 This rule is used for multivoice accidentals to be read both by
1328 musicians playing one voice and musicians playing all voices.
1329 Accidentals are typeset for each voice, but they @emph{are}
1330 canceled across voices in the same @code{Staff}. Hence,
1331 the@tie{}@code{a} in the last measure is canceled because the
1332 previous cancellation was in a different voice, and
1333 the@tie{}@code{d} in the lower staff is canceled because of the
1334 accidental in a different voice in the previous measure:
1337 @lilypond[quote,ragged-right]
1341 cis'8 fis, d'4 <a cis>8 f bis4 |
1355 \voiceTwo \relative c' {
1359 \change Staff = down
1363 \change Staff = down
1364 <fis, a cis>4 gis <f a d>2 |
1371 \context Staff = "up" {
1372 #(set-accidental-style 'modern-voice)
1375 \context Staff = "down" {
1376 #(set-accidental-style 'modern-voice)
1383 @funindex modern-voice-cautionary
1384 @item modern-voice-cautionary
1386 This rule is the same as @code{modern-voice}, but with the extra
1387 accidentals (the ones not typeset by @code{voice}) typeset
1388 as cautionaries. Even though all accidentals typeset by
1389 @code{default} @emph{are} typeset with this rule,
1390 some of them are typeset as cautionaries.
1392 @lilypond[quote,ragged-right]
1396 cis'8 fis, d'4 <a cis>8 f bis4 |
1410 \voiceTwo \relative c' {
1414 \change Staff = down
1418 \change Staff = down
1419 <fis, a cis>4 gis <f a d>2 |
1426 \context Staff = "up" {
1427 #(set-accidental-style 'modern-voice-cautionary)
1430 \context Staff = "down" {
1431 #(set-accidental-style 'modern-voice-cautionary)
1439 @funindex piano accidentals
1441 This rule reflects twentieth-century practice for piano notation.
1442 Its behavior is very similar to @code{modern} style, but here
1443 accidentals also get canceled across the staves in the same
1444 GrandStaff or PianoStaff, hence all the cancellations of the final
1447 This accidental style applies to the current @code{GrandStaff} or
1448 @code{PianoStaff} by default.
1450 @lilypond[quote,ragged-right]
1454 cis'8 fis, d'4 <a cis>8 f bis4 |
1468 \voiceTwo \relative c' {
1472 \change Staff = down
1476 \change Staff = down
1477 <fis, a cis>4 gis <f a d>2 |
1484 \context Staff = "up" {
1485 #(set-accidental-style 'piano)
1488 \context Staff = "down" {
1495 @item piano-cautionary
1496 @funindex #(set-accidental-style 'piano-cautionary)
1498 Same as @code{#(set-accidental-style 'piano)} but with the extra
1499 accidentals typeset as cautionaries.
1501 @lilypond[quote,ragged-right]
1505 cis'8 fis, d'4 <a cis>8 f bis4 |
1519 \voiceTwo \relative c' {
1523 \change Staff = down
1527 \change Staff = down
1528 <fis, a cis>4 gis <f a d>2 |
1535 \context Staff = "up" {
1536 #(set-accidental-style 'piano-cautionary)
1539 \context Staff = "down" {
1547 @funindex no-reset accidental style
1549 This is the same as @code{default} but with accidentals lasting
1550 @q{forever} and not only within the same measure:
1552 @lilypond[quote,ragged-right]
1556 cis'8 fis, d'4 <a cis>8 f bis4 |
1570 \voiceTwo \relative c' {
1574 \change Staff = down
1578 \change Staff = down
1579 <fis, a cis>4 gis <f a d>2 |
1586 \context Staff = "up" {
1587 #(set-accidental-style 'no-reset)
1590 \context Staff = "down" {
1591 #(set-accidental-style 'no-reset)
1599 @funindex forget accidental style
1601 This is the opposite of @code{no-reset}: Accidentals are not
1602 remembered at all -- and hence all accidentals are typeset
1603 relative to the key signature, regardless of what was before in
1606 @lilypond[quote,ragged-right]
1610 cis'8 fis, d'4 <a cis>8 f bis4 |
1624 \voiceTwo \relative c' {
1628 \change Staff = down
1632 \change Staff = down
1633 <fis, a cis>4 gis <f a d>2 |
1640 \context Staff = "up" {
1641 #(set-accidental-style 'forget)
1644 \context Staff = "down" {
1645 #(set-accidental-style 'forget)
1655 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1656 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1661 Snippets: @lsrdir{Pitches}.
1663 Internals Reference: @internalsref{Accidental_engraver},
1664 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1665 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1666 @internalsref{PianoStaff}, @internalsref{Staff}.
1671 Simultaneous notes are considered to be entered in sequential
1672 mode. This means that in a chord the accidentals are typeset as
1673 if the notes in the chord happen one at a time, in the order in
1674 which they appear in the input file. This is a problem when
1675 accidentals in a chord depend on each other, which does not happen
1676 for the default accidental style. The problem can be solved by
1677 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1682 @unnumberedsubsubsec Ambitus
1685 The term @notation{ambitus} or @notation{ambit} denotes a range of
1686 pitches for a given voice in a part of music. It may also denote
1687 the pitch range that a musical instrument is capable of playing.
1688 Ambits are printed on vocal parts, so performers can easily
1689 determine if it matches their capabilities.
1691 Ambits are denoted at the beginning of a piece near the initial
1692 clef. The range is graphically specified by two note heads that
1693 represent the minimum and maximum pitch. Accidentals are only
1694 printed if they are not part of the key signature.
1696 @lilypond[verbatim,quote,ragged-right]
1700 \consists Ambitus_engraver
1712 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1713 {adding-ambiti-per-voice.ly}
1715 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1716 {ambiti-multiple-voices.ly}
1721 Snippets: @lsrdir{Pitches}.
1723 Internals Reference: @internalsref{Ambitus},
1724 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1725 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1726 @internalsref{Staff}, @internalsref{Voice}.
1731 There is no collision handling in the case of multiple per-voice
1736 @subsection Note heads
1739 * Easy notation note heads::
1740 * Shape note heads::
1742 * Special noteheads::
1745 @node Easy notation note heads
1746 @unnumberedsubsubsec Easy notation note heads
1748 @cindex note heads, practice
1749 @cindex note heads, easy notation
1750 @cindex easy notation
1753 The @q{easy play} note head includes a note name inside the head.
1754 It is used in music for beginners
1756 @lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
1762 The command @code{\setEasyHeads} overrides settings for the
1763 @code{NoteHead} object. To make the letters readable, it
1764 has to be printed in a large font size. To print with a larger
1765 font, see @ref{Setting the staff size}.
1769 @funindex \setEasyHeads
1770 @code{\setEasyHeads}
1774 Notation Reference: @ref{Setting the staff size}.
1776 Snippets: @lsrdir{Pitches},
1778 Internals Reference: @internalsref{NoteHead}.
1781 @node Shape note heads
1782 @unnumberedsubsubsec Shape note heads
1784 @cindex note heads, shape
1786 In shape note head notation, the shape of the note head
1787 corresponds to the harmonic function of a note in the scale. This
1788 notation was popular in nineteenth-century American song books.
1790 Shape note heads can be produced by setting @code{\aikenHeads} or
1791 @code{\sacredHarpHeads}, depending on the style desired.
1793 @lilypond[verbatim,fragment,relative=1]
1800 Shapes are typeset according to the step in the scale, where
1801 the base of the scale is determined by the @code{\key} command.
1804 @funindex shapeNoteStyles
1805 @funindex \aikenHeads
1806 @funindex \sacredHarpHeads
1808 Shape note heads are implemented through the
1809 @code{shapeNoteStyles} property. Its value is a vector of
1810 symbols. The k-th element indicates the style to use for the k-th
1811 step of the scale. Arbitrary combinations are possible, e.g.:
1813 @lilypond[verbatim,fragment,relative=1]
1814 \set shapeNoteStyles =
1815 ##(cross triangle fa #f mensural xcircle diamond)
1821 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1822 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1827 Snippets: @lsrdir{Pitches}.
1831 @unnumberedsubsubsec Improvisation
1833 Improvisation is sometimes denoted with slashed note heads. Such
1834 note heads can be created by adding a @code{Pitch_squash_engraver}
1835 to the @code{Voice} context. Then, the following command
1838 \set squashedPosition = #0
1839 \override NoteHead #'style = #'slash
1843 switches on the slashes.
1845 There are shortcuts @code{\improvisationOn} (and an accompanying
1846 @code{\improvisationOff}) for this command sequence. They are
1847 used in the following example:
1849 @lilypond[verbatim,quote,ragged-right]
1851 \consists Pitch_squash_engraver
1853 e8 e g a a16(bes)(a8) g
1865 Snippets: @lsrdir{Pitches}.
1867 Internals Reference: @internalsref{Pitch_squash_engraver},
1868 @internalsref{Voice}.
1870 @node Special noteheads
1871 @unnumberedsubsubsec Special noteheads
1873 @cindex note heads, special
1875 Different noteheads are used by various instruments for various
1876 meanings -- crosses are used for @q{parlato} with vocalists,
1877 stopped notes on guitar; diamonds are used for harmonics on string
1878 instruments, etc. There is a shorthand (@code{\harmonic}) for
1879 diamond shapes; the other notehead styles are produced by tweaking
1882 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1884 \override NoteHead #'style = #'cross
1886 \revert NoteHead #'style
1887 e d <c f\harmonic> <d a'\harmonic>
1891 To see all notehead styles, please see @ref{Note head styles}.
1896 Snippets: @lsrdir{Pitches}.
1898 Notation Reference: @ref{Note head styles}.
1900 Internals Reference: @internalsref{NoteHead}.