1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
13 @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
16 This section discusses how to specify the pitch of notes. There
17 are three steps to this process: input, modifying, and output.
21 * Changing multiple pitches::
22 * Displaying pitches::
28 @subsection Writing pitches
30 This section discusses how to input pitches. There are two
31 different ways to place notes in octaves: absolute and relative
32 mode. In most cases, relative mode will be more convient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @unnumberedsubsubsec Absolute octave entry
48 @cindex absolute octave specification
50 A pitch name is specified using lowercase letters@tie{}@code{a}
51 through@tie{}@code{g}. The note names @code{c} to @code{b} are
52 engraved in the octave below middle C.
54 @c NOTE: don't use c' here.
55 @lilypond[verbatim,quote,ragged-right,fragment]
65 Other octaves may be specified with a single quote@tie{}(@code{'})
66 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
67 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
70 @lilypond[verbatim,quote,ragged-right,fragment]
81 Music Glossary: @rglos{Pitch names}.
83 Snippets: @lsrdir{Pitches}.
86 @node Relative octave entry
87 @unnumberedsubsubsec Relative octave entry
90 @cindex relative octave specification
93 When octaves are specified in absolute mode it is easy to
94 accidentally put a pitch in the wrong octave. Relative octave
95 mode reduces these errors since most of the time it is not
96 necessary to indicate any octaves at all. Furthermore, in
97 absolute mode a single mistake may be difficult to spot, while in
98 relative mode a single error puts the rest of the piece off by one
102 \relative @var{startpitch} @var{musicexpr}
105 In relative mode, each note is assumed to be as close to the
106 previous note as possible. This means that the octave of pitches
107 in @var{musicexpr} is calculated as follows:
111 If no octave changing mark is used on a pitch, its octave is calculated
112 so that the interval with the previous note is less than a fifth. This
113 interval is determined without considering accidentals.
116 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
117 respectively raise or lower a pitch by an extra octave, relatively to
118 the pitch calculated without octave mark.
121 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
122 @code{,,}@tie{} will alter the pitch by two octaves.
125 The pitch of the first note is relative to
126 @code{@var{startpitch}}. @var{startpitch} is specified in
127 absolute octave mode, and it is recommended that it be a octave of
132 Here is the relative mode shown in action:
134 @lilypond[verbatim,quote,ragged-right]
143 Octave changing marks are used for intervals greater than a
146 @lilypond[verbatim,quote,ragged-right]
153 A note sequence without a single octave mark can nevertheless span
156 @lilypond[verbatim,quote,ragged-right]
163 If the preceding item is a chord, the first note of the chord is
164 used as the reference point for the octave placement of a
165 following note or chord. Inside of chords the next note is always
166 relative to the preceding one.
168 @lilypond[verbatim,quote,ragged-right]
172 % the C is now an octave higher
174 % the C returns to the original pitch
179 As explained above, the octave of pitches is calculated only with
180 the note names, regardless of any alterations. Therefore, an
181 E-double-sharp sharp following a B will be placed higher, while an
182 F-double-flat would be placed lower. In other words, a
183 double-augmented fourth is considered a smaller interval than a
184 double-diminished fifth, regardless of the number of semitones
185 that each interval contains.
187 @lilypond[verbatim,quote,ragged-right]
199 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
201 Notation Reference: @ref{Octave corrections and checks}.
203 Snippets: @lsrdir{Pitches}.
208 The relative conversion will not affect @code{\transpose},
209 @code{\chordmode} or @code{\relative} sections in its argument.
210 To use relative mode within transposed music, an additional
211 @code{\relative} must be placed inside @code{\transpose}.
214 If no @var{startpitch} is specified for @code{\relative},
215 then@tie{}@code{c'} is assumed. However, this is a deprecated
216 option and may disappear in future versions, so its use is
222 @unnumberedsubsubsec Accidentals
224 @warning{New users are sometimes confused about accidentals and
225 key signatures. In LilyPond, note names are the raw input; key
226 signatures and clefs determine how this raw input is displayed.
227 An unaltered note like@tie{}@code{c} means @q{C natural},
228 regardless of the key signature or clef. For more information,
229 see @rlearning{Accidentals and key signatures}.}
231 @cindex note names, Dutch
232 @cindex note names, default
234 A @notation{sharp} pitch is made by adding @code{is} to the name,
235 and a @notation{flat} pitch by adding @code{es}. As you might
236 expect, a @notation{double sharp} or @notation{double flat} is
237 made by adding @code{isis} or @code{eses}. This syntax is derived
238 from Dutch note naming conventions. To use other names for
239 accidentals, see @ref{Note names in other languages}.
241 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
245 A natural will cancel the effect of an accidental or key
246 signature. However, naturals are not encoded into the note name
247 syntax with a suffix; a natural pitch is shown as a simple note
250 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
254 @cindex quarter tones
255 @cindex semi-flats, semi-sharps
257 Half-flats and half-sharps are formed by adding @code{eh} and
258 @code{ih}; the following is a series of Cs with increasing
261 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
262 ceseh1 ces ceh c cih cis cisih
267 @cindex accidental, reminder
268 @cindex accidental, cautionary
269 @cindex accidental, parenthesized
270 @cindex reminder accidental
272 @cindex cautionary accidental
273 @cindex parenthesized accidental
276 Normally accidentals are printed automatically, but you may also
277 print them manually. A reminder accidental can be forced by
278 adding an exclamation mark@tie{}@code{!} after the pitch. A
279 cautionary accidental (i.e., an accidental within parentheses) can
280 be obtained by adding the question mark@tie{}@code{?} after the
281 pitch. These extra accidentals can also be used to produce
284 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
285 cis cis cis! cis? c c c! c?
288 Accidentals are only printed on tied notes which begin a new
291 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
300 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
301 {preventing-extra-naturals-from-being-automatically-added.ly}
305 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
306 @rglos{double flat}, @rglos{Pitch names}.
308 Learning Manual: @rlearning{Accidentals and key signatures}.
310 Notation Reference: @ref{Automatic accidentals},
311 @ref{Musica ficta accidentals},
312 @ref{Note names in other languages}.
314 Snippets: @lsrdir{Pitches},
316 dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
317 @lsr{Pitches, makam.ly}.
322 There are no generally accepted standards for denoting
323 three-quarter flats, so LilyPond's symbol does not conform to any
328 @node Note names in other languages
329 @unnumberedsubsubsec Note names in other languages
331 There are predefined sets of note names for various other
332 languages. To use them, include the language specific init file.
333 For example, add @code{\include "english.ly"} to the top of the
334 input file. The available language files and the note names they
337 @cindex note names, other languages
340 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
343 @tab sharp @tab flat @tab double sharp @tab double flat
345 @tab c d e f g a bes b
346 @tab -is @tab -es @tab -isis @tab -eses
348 @tab c d e f g a bf b
349 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
353 @tab -is @tab -es @tab -isis @tab -eses
356 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
360 @tab -iss @tab -ess @tab -ississ @tab -essess
363 @tab -is @tab -es @tab -isis @tab -eses
365 @tab do re mi fa sol la sib si
366 @tab -d @tab -b @tab -dd @tab -bb
368 @tab do re mi fa sol la sib si
369 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
371 @tab do re mi fa sol la sib si
372 @tab -s @tab -b @tab -ss @tab -bb
374 @tab do re mi fa sol la sib si
375 @tab -s @tab -b @tab -ss @tab -bb
377 @tab do re mi fa sol la sib si
378 @tab -k @tab -b @tab -kk @tab -bb
382 Some music uses microtones whose alterations are fractions of a
383 @q{normal} sharp or flat. The note names for quartertones defined
384 in the various language files are listed in the following table.
385 Here the prefixes @notation{semi-} and @notation{sesqui-} mean
386 @q{half} and @q{one and a half}, respectively. For the other
387 languages, no special names have been defined yet.
390 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
393 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
396 @tab c d e f g a bes b
397 @tab -ih @tab -eh @tab -isih @tab -eseh
399 @tab c d e f g a bf b
400 @tab -qs @tab -qf @tab -tqs @tab -tqf
403 @tab -ih @tab -eh @tab -isih @tab -eseh
405 @tab do re mi fa sol la sib si
406 @tab -sd @tab -sb @tab -dsd @tab -bsb
408 @tab do re mi fa sol la sib si
409 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
413 In Dutch, @code{aes} is contracted to @code{as}, but both forms
414 are accepted in LilyPond. Similarly, both @code{es} and
415 @code{ees} are accepted. This also applies to
416 @code{aeses}@tie{}/@tie{}@code{ases} and
417 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
418 contracted names are defined in the corresponding language files.
420 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
421 a2 as e es a ases e eses
424 In some languages such as Norwegian and Swedish, the usual
425 spelling for accidentals is a double @q{s} such as in @code{ciss}
426 or @code{cess}. For both historical reasons and a greater
427 simplicity, LilyPond uses a single @q{s} for all these languages.
431 Music Glossary: @lsrdir{Pitch names}.
433 Snippets: @lsrdir{Pitches}.
436 @node Changing multiple pitches
437 @subsection Changing multiple pitches
439 This section discusses how to modify pitches.
442 * Octave corrections and checks::
446 @node Octave corrections and checks
447 @unnumberedsubsubsec Octave corrections and checks
449 @cindex octave correction
454 In relative mode, it is easy to forget an octave changing mark.
455 Octave corrections and checks make such errors easier to find
456 by displaying a warning if a note is found in an unexpected
457 octave. An octave correction will change the pitch, while an
458 octave check does not change the pitch. Both commands will print
459 a warning and change the octave for future notes.
461 To use an octave correction, add @code{=}@var{quotes} after the
462 pitch. The @var{quotes} indicate what its absolute octave should
463 be. This example will generate a warning (and change the pitch)
464 because the second note is the absolute octave @code{d''} instead
465 of @code{d'} as indicated by the octave correction.
467 @lilypond[verbatim,quote,ragged-right,fragment]
474 To use an octave check, add @code{\octave}@tie{}@var{controlpitch}
475 to the note. This checks that the note lies within the octave
476 surrounding @var{controlpitch}, i.e. not more than a fourth above
477 or below it. If this is not the case, a warning is printed and
478 the octave is corrected. The @var{controlpitch} is not printed as
481 @lilypond[verbatim,quote,ragged-right,fragment]
488 In both cases, the following note (the@tie{}@code{e}) is adjusted
489 to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}.
493 Snippets: @lsrdir{Pitches}.
497 @unnumberedsubsubsec Transpose
500 @cindex transposition of pitches
503 A music expression can be transposed with @code{\transpose}. The
507 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
511 This means that @var{musicexpr} is transposed by the interval
512 between the pitches @var{frompitch} and @var{topitch}: any note
513 with pitch @var{frompitch} is changed to @var{topitch} and any
514 other note is transposed by the same interval.
516 Consider a piece written in the key of D-major. It can be
517 transposed up to E-major; note that the key signature is
518 automatically transposed as well.
520 @lilypond[verbatim,quote,ragged-right]
529 If a part written in C (normal concert pitch) is to be played on
530 the A clarinet (for which an A is notated as a C and thus sounds a
531 minor third lower than notated), the appropriate part will be
534 @lilypond[verbatim,quote,ragged-right]
542 @code{\transpose} distinguishes between enharmonic pitches: both
543 @code{\transpose c cis} or @code{\transpose c des} will transpose
544 up half a tone. The first version will print sharps and the notes
545 will remain on the same scale step, the second version will print
546 flats on the scale step above.
548 @lilypond[verbatim,quote,ragged-right]
549 mus = \relative c' { c d e f }
551 \transpose c cis { \mus }
552 \transpose c des { \mus }
556 @cindex transposing instruments
558 @code{\transpose} may also be used in a different way, to input
559 written notes for a transposing instrument. The previous examples
560 show how to enter pitches in C (or @notation{concert pitch}) and
561 typeset them for a transposing instrument, but the opposite is
562 also possible if you for example have a set of instrumental parts
563 and want to print a conductor's score. For example, when entering
564 music for a B-flat trumpet which begins on a notated E (concert
568 musicInBflat = @{ e4 @dots{} @}
569 \transpose c bes, \musicInBflat
573 To print this music in F (e.g., rearranging to a French horn) you
574 could wrap the existing music with another @code{\transpose}:
577 musicInBflat = @{ e4 @dots{} @}
578 \transpose f c' @{ \transpose c bes, \musicInBflat @}
582 For more information about transposing instruments,
583 see @ref{Instrument transpositions}.
588 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
589 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
594 Notation Reference: @ref{Instrument transpositions}.
596 Snippets: @lsrdir{Pitches}.
598 Internals Reference: @internalsref{TransposedMusic}.
602 If you want to use both @code{\transpose} and @code{\relative},
603 you must put @code{\transpose} outside of @code{\relative}, since
604 @code{\relative} will have no effect on music that appears inside
608 @node Displaying pitches
609 @subsection Displaying pitches
611 This section discusses how to alter the output of pitches.
617 * Instrument transpositions::
618 * Automatic accidentals::
624 @unnumberedsubsubsec Clef
638 @cindex mezzosoprano clef
639 @cindex baritone clef
640 @cindex varbaritone clef
643 The clef is set with the @code{\clef} @var{clefname} command:
645 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
656 Supported clefs include:
658 @multitable @columnfractions .4 .6
659 @headitem Clef @tab Position
660 @item @code{treble, violin, G, G2} @tab
661 G clef (g') on 2nd line
662 @item @code{alto, C} @tab
663 C clef (c') on 3rd line
664 @item @code{tenor} @tab
665 C clef (c') on 4th line
666 @item @code{bass, F} @tab
667 F clef (f) on 4th line
668 @item @code{french} @tab
669 G clef (g') on 1st line, so-called French violin clef
670 @item @code{soprano} @tab
671 C clef (c') on 1st line
672 @item @code{mezzosoprano} @tab
673 C clef (c') on 2nd line
674 @item @code{baritone} @tab
675 C clef (c') on 5th line
676 @item @code{varbaritone} @tab
677 F clef (f) on 3rd line
678 @item @code{subbass} @tab
679 F clef (f) on 5th line
680 @item @code{percussion} @tab
682 @item @code{tab} @tab
686 Further supported clefs are described under @ref{Ancient clefs}.
688 By adding @code{_8} or @code{^8} to the clef name, the clef is
689 transposed one octave down or up, respectively, and @code{_15} and
690 @code{^15} transposes by two octaves. The argument @var{clefname}
691 must be enclosed in quotes when it contains underscores or digits.
694 @cindex choral tenor clef
696 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
704 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
705 {clefs-commonly-tweaked-properties.ly}
710 Notation Reference: @ref{Ancient clefs}.
712 Snippets: @lsrdir{Pitches}.
714 Internals Reference: @internalsref{Clef}.
718 @unnumberedsubsubsec Key signature
720 @cindex key signature
723 @warning{New users are sometimes confused about accidentals and
724 key signatures. In LilyPond, note names are the raw input; key
725 signatures and clefs determine how this raw input is displayed.
726 An unaltered note like@tie{}@code{c} means @q{C natural},
727 regardless of the key signature or clef. For more information,
728 see @rlearning{Accidentals and key signatures}.}
730 The key signature indicates the tonality in which a piece is
731 played. It is denoted by a set of alterations (flats or sharps)
732 at the start of the staff. Setting or changing the key signature
733 is done with the @code{\key} command:
736 \key @var{pitch} @var{mode}
745 @funindex \mixolydian
751 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
752 key signature of @var{pitch}-major or @var{pitch}-minor,
753 respectively. You may also use the standard mode names, also
754 called @q{church modes}: @code{\ionian}, @code{\locrian},
755 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
756 @code{\phrygian}, and @code{\dorian}.
758 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
768 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
769 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
771 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
772 {non-traditional-key-signatures.ly}
777 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
779 Learning Manual: @rlearning{Accidentals and key signatures}.
781 Snippets: @lsrdir{Pitches}.
783 Internals Reference: @internalsref{KeyCancellation},
784 @internalsref{KeySignature}, @internalsref{Key_engraver}.
787 @node Ottava brackets
788 @unnumberedsubsubsec Ottava brackets
796 @notation{Ottava brackets} introduce an extra transposition of an
797 octave for the staff:
799 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
807 The @code{set-octavation} function also takes -1 (for 8va bassa),
808 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
814 Internally the function sets the properties @code{ottavation}
815 (e.g., to @code{"8va"} or @code{"8vb"}) and
816 @code{middleCPosition}. To override the text of the bracket, set
817 @code{ottavation} after invoking @code{set-octavation}, i.e.,
819 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
821 \set Staff.ottavation = #"8"
827 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
833 Music Glossary: @rglos{ottava}.
835 Snippets: @lsrdir{Pitches}.
837 Internals Reference: @internalsref{OttavaBracket}.
842 @c FIXME: This should have been fixed by Joe.
843 @c If it hasn't, we should mention the appropriate
844 @c workaround (there is a snippet in the LSR) -vv
845 @code{set-octavation} will get confused when clef changes happen
846 during an octavation bracket.
849 @node Instrument transpositions
850 @unnumberedsubsubsec Instrument transpositions
852 @cindex transposition, MIDI
853 @cindex transposition, instrument
855 When typesetting scores that involve transposing instruments, some
856 parts can be typeset in a different pitch than the
857 @notation{concert pitch}. In these cases, the key of the
858 @notation{transposing instrument} should be specified; otherwise
859 the MIDI output and cues in other parts will produce incorrect
860 pitches. For more information about quotations, see @ref{Quoting
864 \transposition @var{pitch}
867 The pitch to use for @code{\transposition} should correspond to
868 the real sound heard when a@tie{}@code{c'} written on the staff is
869 played by the transposing instrument.
871 Here are a few notes for violin and B-flat clarinet where the
872 parts have been entered using the notes and key as they appear in
873 each part of the conductor's score. The two instruments are
876 @lilypond[verbatim,quote,ragged-right]
880 \set Staff.instrumentName = "Vln"
881 \set Staff.midiInstrument="violin"
882 % strictly speaking not necessary, but a good reminder
889 \new Staff = "clarinet" {
891 \set Staff.instrumentName = \markup {Cl (B\flat)}
892 \set Staff.midiInstrument="clarinet"
902 The @code{\transposition} may be changed during a piece. For
903 example, a clarinetist may switch from an A clarinet to a B-flat
906 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
907 \set Staff.instrumentName = "Cl (A)"
912 r1^\markup{Switch to B\flat clarinet}
922 Music Glossary: @rglos{concert pitch},
923 @rglos{transposing instrument}.
925 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
927 Snippets: @lsrdir{Pitches}.
930 @node Automatic accidentals
931 @unnumberedsubsubsec Automatic accidentals
932 @cindex automatic accidentals
934 @funindex set-accidental-style
936 There are many different conventions on how to typeset
937 accidentals. LilyPond provides a function to specify which such
938 accidental style to use. This function is called as follows
942 #(set-accidental-style 'voice)
947 The accidental style applies to the current @code{Staff} by
948 default (with the exception of the styles @code{piano} and
949 @code{piano-cautionary}, which are explained below). Optionally,
950 the function can take a second argument which determines in which
951 scope the style should be changed. For example, to use the same
952 style in all staves of the current @code{StaffGroup}, use
955 #(set-accidental-style 'voice 'StaffGroup)
958 The following accidental styles are supported. To demonstrate
959 each style, we use the following example:
961 @lilypond[verbatim,quote,ragged-right]
965 cis'8 fis, d'4 <a cis>8 f bis4 |
979 \voiceTwo \relative c' {
988 <fis, a cis>4 gis <f a d>2 |
995 \context Staff = "up" {
996 %%% change the next line as desired:
997 #(set-accidental-style 'default)
1000 \context Staff = "down" {
1001 %%% change the next line as desired:
1002 #(set-accidental-style 'default)
1009 Note that the last lines of this example can be replaced by the
1010 following, as long as the same accidental style should be used in
1015 \context Staff = "up" @{
1016 %%% change the next line as desired:
1017 #(set-accidental-style 'default 'Score)
1020 \context Staff = "down" @{
1028 @c NOTE: don't use verbatim in this table.
1031 This is the default typesetting behavior. It corresponds to
1032 eighteenth-century common practice: accidentals are remembered to
1033 the end of the measure in which they occur and only on their own
1034 octave. Thus, in the example below, no natural signs are printed
1035 before the@tie{}@code{b} in the second measure or the
1038 @lilypond[quote,ragged-right]
1042 cis'8 fis, d'4 <a cis>8 f bis4 |
1056 \voiceTwo \relative c' {
1060 \change Staff = down
1064 \change Staff = down
1065 <fis, a cis>4 gis <f a d>2 |
1072 \context Staff = "up" {
1073 #(set-accidental-style 'default)
1076 \context Staff = "down" {
1077 #(set-accidental-style 'default)
1085 The normal behavior is to remember the accidentals on Staff-level.
1086 In this style, however, accidentals are typeset individually for
1087 each voice. Apart from that, the rule is similar to
1090 As a result, accidentals from one voice do not get canceled in
1091 other voices, which is often an unwanted result: in the following
1092 example, it is hard to determine whether the second@tie{}@code{a}
1093 should be played natural or sharp. The @code{voice} option should
1094 therefore be used only if the voices are to be read solely by
1095 individual musicians. If the staff is to be used by one musician
1096 (e.g., a conductor or in a piano score) then @code{modern} or
1097 @code{modern-cautionary} should be used instead.
1100 @lilypond[quote,ragged-right]
1104 cis'8 fis, d'4 <a cis>8 f bis4 |
1118 \voiceTwo \relative c' {
1122 \change Staff = down
1126 \change Staff = down
1127 <fis, a cis>4 gis <f a d>2 |
1134 \context Staff = "up" {
1135 #(set-accidental-style 'voice)
1138 \context Staff = "down" {
1139 #(set-accidental-style 'voice)
1147 @funindex modern style accidentals
1149 This rule corresponds to the common practice in the twentieth
1150 century. It prints the same accidentals as @code{default}, with
1151 two exceptions which serve to avoid ambiguity: after temporary
1152 accidentals, cancellation marks are printed also in the following
1153 measure (for notes in the same octave) and, in the same measure,
1154 for notes in other octaves. Hence the naturals before
1155 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1158 @lilypond[quote,ragged-right]
1162 cis'8 fis, d'4 <a cis>8 f bis4 |
1176 \voiceTwo \relative c' {
1180 \change Staff = down
1184 \change Staff = down
1185 <fis, a cis>4 gis <f a d>2 |
1192 \context Staff = "up" {
1193 #(set-accidental-style 'modern)
1196 \context Staff = "down" {
1197 #(set-accidental-style 'modern)
1204 @item modern-cautionary
1205 @funindex modern-cautionary
1207 This rule is similar to @code{modern}, but the @q{extra}
1208 accidentals (the ones not typeset by @code{default}) are typeset
1209 as cautionary accidentals. They are by default printed with
1210 parentheses, but they can also be printed in reduced size by
1211 defining the @code{cautionary-style} property of
1212 @code{AccidentalSuggestion}.
1215 @lilypond[quote,ragged-right]
1219 cis'8 fis, d'4 <a cis>8 f bis4 |
1233 \voiceTwo \relative c' {
1237 \change Staff = down
1241 \change Staff = down
1242 <fis, a cis>4 gis <f a d>2 |
1249 \context Staff = "up" {
1250 #(set-accidental-style 'modern-cautionary)
1253 \context Staff = "down" {
1254 #(set-accidental-style 'modern-cautionary)
1262 @funindex modern-voice
1264 This rule is used for multivoice accidentals to be read both by
1265 musicians playing one voice and musicians playing all voices.
1266 Accidentals are typeset for each voice, but they @emph{are}
1267 canceled across voices in the same @code{Staff}. Hence,
1268 the@tie{}@code{a} in the last measure is canceled because the
1269 previous cancellation was in a different voice, and
1270 the@tie{}@code{d} in the lower staff is canceled because of the
1271 accidental in a different voice in the previous measure:
1274 @lilypond[quote,ragged-right]
1278 cis'8 fis, d'4 <a cis>8 f bis4 |
1292 \voiceTwo \relative c' {
1296 \change Staff = down
1300 \change Staff = down
1301 <fis, a cis>4 gis <f a d>2 |
1308 \context Staff = "up" {
1309 #(set-accidental-style 'modern-voice)
1312 \context Staff = "down" {
1313 #(set-accidental-style 'modern-voice)
1320 @funindex modern-voice-cautionary
1321 @item modern-voice-cautionary
1323 This rule is the same as @code{modern-voice}, but with the extra
1324 accidentals (the ones not typeset by @code{voice}) typeset
1325 as cautionaries. Even though all accidentals typeset by
1326 @code{default} @emph{are} typeset with this rule,
1327 some of them are typeset as cautionaries.
1329 @lilypond[quote,ragged-right]
1333 cis'8 fis, d'4 <a cis>8 f bis4 |
1347 \voiceTwo \relative c' {
1351 \change Staff = down
1355 \change Staff = down
1356 <fis, a cis>4 gis <f a d>2 |
1363 \context Staff = "up" {
1364 #(set-accidental-style 'modern-voice-cautionary)
1367 \context Staff = "down" {
1368 #(set-accidental-style 'modern-voice-cautionary)
1376 @funindex piano accidentals
1378 This rule reflects twentieth-century practice for piano notation.
1379 Its behavior is very similar to @code{modern} style, but here
1380 accidentals also get canceled across the staves in the same
1381 GrandStaff or PianoStaff, hence all the cancellations of the final
1384 This accidental style applies to the current @code{GrandStaff} or
1385 @code{PianoStaff} by default.
1387 @lilypond[quote,ragged-right]
1391 cis'8 fis, d'4 <a cis>8 f bis4 |
1405 \voiceTwo \relative c' {
1409 \change Staff = down
1413 \change Staff = down
1414 <fis, a cis>4 gis <f a d>2 |
1421 \context Staff = "up" {
1422 #(set-accidental-style 'piano)
1425 \context Staff = "down" {
1432 @item piano-cautionary
1433 @funindex #(set-accidental-style 'piano-cautionary)
1435 Same as @code{#(set-accidental-style 'piano)} but with the extra
1436 accidentals typeset as cautionaries.
1438 @lilypond[quote,ragged-right]
1442 cis'8 fis, d'4 <a cis>8 f bis4 |
1456 \voiceTwo \relative c' {
1460 \change Staff = down
1464 \change Staff = down
1465 <fis, a cis>4 gis <f a d>2 |
1472 \context Staff = "up" {
1473 #(set-accidental-style 'piano-cautionary)
1476 \context Staff = "down" {
1484 @funindex no-reset accidental style
1486 This is the same as @code{default} but with accidentals lasting
1487 @q{forever} and not only within the same measure:
1489 @lilypond[quote,ragged-right]
1493 cis'8 fis, d'4 <a cis>8 f bis4 |
1507 \voiceTwo \relative c' {
1511 \change Staff = down
1515 \change Staff = down
1516 <fis, a cis>4 gis <f a d>2 |
1523 \context Staff = "up" {
1524 #(set-accidental-style 'no-reset)
1527 \context Staff = "down" {
1528 #(set-accidental-style 'no-reset)
1536 @funindex forget accidental style
1538 This is the opposite of @code{no-reset}: Accidentals are not
1539 remembered at all -- and hence all accidentals are typeset
1540 relative to the key signature, regardless of what was before in
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 'forget)
1581 \context Staff = "down" {
1582 #(set-accidental-style 'forget)
1592 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1593 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1598 Snippets: @lsrdir{Pitches}.
1600 Internals Reference: @internalsref{Accidental_engraver},
1601 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1602 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1603 @internalsref{PianoStaff}, @internalsref{Staff}.
1608 Simultaneous notes are considered to be entered in sequential
1609 mode. This means that in a chord the accidentals are typeset as
1610 if the notes in the chord happen one at a time, in the order in
1611 which they appear in the input file. This is a problem when
1612 accidentals in a chord depend on each other, which does not happen
1613 for the default accidental style. The problem can be solved by
1614 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1619 @unnumberedsubsubsec Ambitus
1622 The term @notation{ambitus} or @notation{ambit} denotes a range of
1623 pitches for a given voice in a part of music. It may also denote
1624 the pitch range that a musical instrument is capable of playing.
1625 Ambits are printed on vocal parts so that performers can easily
1626 determine if it matches their capabilities.
1628 Ambits are denoted at the beginning of a piece near the initial
1629 clef. The range is graphically specified by two note heads that
1630 represent the minimum and maximum pitch. Accidentals are only
1631 printed if they are not part of the key signature.
1633 @lilypond[verbatim,quote,ragged-right]
1637 \consists Ambitus_engraver
1649 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1650 {adding-ambiti-per-voice.ly}
1652 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1653 {ambiti-multiple-voices.ly}
1658 Snippets: @lsrdir{Pitches}.
1660 Internals Reference: @internalsref{Ambitus},
1661 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1662 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1663 @internalsref{Staff}, @internalsref{Voice}.
1668 There is no collision handling in the case of multiple per-voice
1673 @subsection Note heads
1676 * Special note heads::
1677 * Easy notation note heads::
1678 * Shape note heads::
1682 @node Special note heads
1683 @unnumberedsubsubsec Special note heads
1685 @cindex note heads, special
1687 Different note heads are used by various instruments for various
1688 meanings -- crosses are used for @q{parlato} with vocalists,
1689 stopped notes on guitar; diamonds are used for harmonics on string
1690 instruments, etc. There is a shorthand (@code{\harmonic}) for
1691 diamond shapes; the other note head styles are produced by
1692 tweaking the property:
1694 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1696 \override NoteHead #'style = #'cross
1698 \revert NoteHead #'style
1699 e d <c f\harmonic> <d a'\harmonic>
1703 To see all note head styles, please see @ref{Note head styles}.
1708 Snippets: @lsrdir{Pitches}.
1710 Notation Reference: @ref{Note head styles}.
1712 Internals Reference: @internalsref{NoteHead},
1713 @internalsref{LedgerLineSpanner}.
1716 @node Easy notation note heads
1717 @unnumberedsubsubsec Easy notation note heads
1719 @cindex note heads, practice
1720 @cindex note heads, easy notation
1721 @cindex easy notation
1724 The @q{easy play} note head includes a note name inside the head.
1725 It is used in music for beginners
1727 @lilypond[verbatim,quote,ragged-right]
1728 #(set-global-staff-size 26)
1736 The command @code{\setEasyHeads} overrides settings for the
1737 @code{NoteHead} object. To make the letters readable, it
1738 has to be printed in a large font size. To print with a larger
1739 font, see @ref{Setting the staff size}.
1743 @funindex \setEasyHeads
1744 @code{\setEasyHeads}
1748 Notation Reference: @ref{Setting the staff size}.
1750 Snippets: @lsrdir{Pitches},
1752 Internals Reference: @internalsref{NoteHead}.
1755 @node Shape note heads
1756 @unnumberedsubsubsec Shape note heads
1758 @cindex note heads, shape
1760 @funindex shapeNoteStyles
1761 @funindex \aikenHeads
1762 @funindex \sacredHarpHeads
1764 In shape note head notation, the shape of the note head
1765 corresponds to the harmonic function of a note in the scale. This
1766 notation was popular in nineteenth-century American song books.
1768 Shape note heads can be produced by setting @code{\aikenHeads} or
1769 @code{\sacredHarpHeads}, depending on the style desired.
1771 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1778 Shapes are typeset according to the step in the scale, where
1779 the base of the scale is determined by the @code{\key} command.
1783 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1784 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1789 Snippets: @lsrdir{Pitches}.
1793 @unnumberedsubsubsec Improvisation
1795 @cindex improvisation
1796 @cindex slashed note heads
1797 @cindex note heads, improvisation
1798 @cindex note heads, slashed
1800 Improvisation is sometimes denoted with slashed note heads, where
1801 the performer may choose any pitch but should play the specified
1802 rhythm. Such note heads can be created:
1804 @lilypond[verbatim,quote,ragged-right]
1806 \consists Pitch_squash_engraver
1808 e8 e g a a16( bes) a8 g
1820 Snippets: @lsrdir{Pitches}.
1822 Internals Reference: @internalsref{Pitch_squash_engraver},
1823 @internalsref{Voice}.