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 The absolute mode requires a lot of octave specifications, which
94 not only becomes tedious but also easily leads to errors.
95 Therefore, it is usually more convenient to let notes be entered
96 relative to the previous note. This is done with the relative
100 \relative @var{startpitch} @var{musicexpr}
103 In relative mode, each note is assumed to be as close to the
104 previous note as possible. This means that the octave of pitches
105 in @var{musicexpr} is calculated as follows:
109 If no octave changing mark is used on a pitch, its octave is calculated
110 so that the interval with the previous note is less than a fifth. This
111 interval is determined without considering accidentals.
114 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
115 respectively raise or lower a pitch by an extra octave, relatively to
116 the pitch calculated without octave mark.
119 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
120 @code{,,}@tie{} will alter the pitch by two octaves.
123 The pitch of the first note is relative to
124 @code{@var{startpitch}}. @var{startpitch} is specified in
125 absolute octave mode, and it is recommended that it be a octave of
130 Here is the relative mode shown in action:
132 @lilypond[verbatim,quote,ragged-right]
141 Octave changing marks are used for intervals greater than a
144 @lilypond[verbatim,quote,ragged-right]
151 A note sequence without a single octave mark can nevertheless span
154 @lilypond[verbatim,quote,ragged-right]
161 If the preceding item is a chord, the first note of the chord is
162 used as the reference point for the octave placement of a
163 following note or chord. Inside of chords the next note is always
164 relative to the preceding one.
166 @lilypond[verbatim,quote,ragged-right]
170 % the C is now an octave higher
172 % the C returns to the original pitch
177 When octaves are specified in absolute mode it is easy to
178 accidentally put a pitch in the wrong octave. Relative octave
179 mode reduces these errors since most of the time it is not
180 necessary to indicate any octaves at all. Furthermore, in
181 absolute mode a single mistake may be difficult to spot, while in
182 relative mode a single error puts the rest of the piece off by one
185 As explained above, the octave of pitches is calculated only with
186 the note names, regardless of any alterations. Therefore, an
187 E-double-sharp sharp following a B will be placed higher, while an
188 F-double-flat would be placed lower. In other words, a
189 double-augmented fourth is considered a smaller interval than a
190 double-diminished fifth, regardless of the number of semitones
191 that each interval contains.
193 @lilypond[verbatim,quote,ragged-right]
205 Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
207 Notation Reference: @ref{Octave check}.
209 Snippets: @lsrdir{Pitches}.
214 The relative conversion will not affect @code{\transpose},
215 @code{\chordmode} or @code{\relative} sections in its argument.
216 To use relative mode within transposed music, an additional
217 @code{\relative} must be placed inside @code{\transpose}.
220 If no @var{startpitch} is specified for @code{\relative},
221 then@tie{}@code{c'} is assumed. However, this is a deprecated
222 option and may disappear in future versions, so its use is
228 @unnumberedsubsubsec Accidentals
230 @warning{New users are sometimes confused about accidentals and
231 key signatures. In LilyPond, note names are the raw input; key
232 signatures and clefs determine how this raw input is displayed.
233 An unaltered note like@tie{}@code{c} means @q{C natural},
234 regardless of the key signature or clef. For more information,
235 see @rlearning{Accidentals and key signatures}.}
237 @cindex note names, Dutch
238 @cindex note names, default
240 A @notation{sharp} pitch is made by adding @code{is} to the name,
241 and a @notation{flat} pitch by adding @code{es}. As you might
242 expect, a @notation{double sharp} or @notation{double flat} is
243 made by adding @code{isis} or @code{eses}. This syntax is derived
244 from Dutch note naming conventions. To use other names for
245 accidentals, see @ref{Note names in other languages}.
247 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
252 A natural will cancel the effect of an accidental or key
253 signature. However, naturals are not encoded into the note name
254 syntax with a suffix; a natural pitch is shown as a simple note
257 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
261 @cindex quarter tones
262 @cindex semi-flats, semi-sharps
264 Half-flats and half-sharps are formed by adding @code{eh} and
265 @code{ih}; the following is a series of Cs with increasing
268 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
269 ceseh1 ces ceh c cih cis cisih
274 @cindex accidental, reminder
275 @cindex accidental, cautionary
276 @cindex accidental, parenthesized
277 @cindex reminder accidental
279 @cindex cautionary accidental
280 @cindex parenthesized accidental
283 Normally accidentals are printed automatically, but you may also
284 print them manually. A reminder accidental can be forced by
285 adding an exclamation mark@tie{}@code{!} after the pitch. A
286 cautionary accidental (i.e., an accidental within parentheses) can
287 be obtained by adding the question mark@tie{}@code{?} after the
288 pitch. These extra accidentals can be used to produce natural
291 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
292 cis cis cis! cis? c c? c! c
295 Accidentals are only printed on tied notes which begin a new
298 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
307 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
308 {preventing-extra-naturals-from-being-automatically-added.ly}
312 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
313 @rglos{double flat}, @rglos{Pitch names}.
315 Learning Manual: @rlearning{Accidentals and key signatures}.
317 Notation Reference: @ref{Automatic accidentals},
318 @ref{Musica ficta accidentals},
319 @ref{Note names in other languages}.
321 Snippets: @lsrdir{Pitches},
323 dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
324 @lsr{Pitches, makam.ly}.
329 There are no generally accepted standards for denoting
330 three-quarter flats, so LilyPond's symbol does not conform to any
335 @node Note names in other languages
336 @unnumberedsubsubsec Note names in other languages
338 There are predefined sets of note names for various other
339 languages. To use them, include the language specific init file.
340 For example, add @code{\include "english.ly"} to the top of the
341 input file. The available language files and the note names they
344 @cindex note names, other languages
347 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
350 @tab sharp @tab flat @tab double sharp @tab double flat
352 @tab c d e f g a bes b
353 @tab -is @tab -es @tab -isis @tab -eses
355 @tab c d e f g a bf b
356 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
360 @tab -is @tab -es @tab -isis @tab -eses
363 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
367 @tab -iss @tab -ess @tab -ississ @tab -essess
370 @tab -is @tab -es @tab -isis @tab -eses
372 @tab do re mi fa sol la sib si
373 @tab -d @tab -b @tab -dd @tab -bb
375 @tab do re mi fa sol la sib si
376 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
378 @tab do re mi fa sol la sib si
379 @tab -s @tab -b @tab -ss @tab -bb
381 @tab do re mi fa sol la sib si
382 @tab -s @tab -b @tab -ss @tab -bb
384 @tab do re mi fa sol la sib si
385 @tab -k @tab -b @tab -kk @tab -bb
389 Some music uses microtones whose alterations are fractions of a
390 @q{normal} sharp or flat. The note names for quartertones defined
391 in the various language files are listed in the following table.
392 Here the prefixes @notation{semi-} and @notation{sesqui-} mean
393 @q{half} and @q{one and a half}, respectively. For the other
394 languages, no special names have been defined yet.
397 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
400 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
403 @tab c d e f g a bes b
404 @tab -ih @tab -eh @tab -isih @tab -eseh
406 @tab c d e f g a bf b
407 @tab -qs @tab -qf @tab -tqs @tab -tqf
410 @tab -ih @tab -eh @tab -isih @tab -eseh
412 @tab do re mi fa sol la sib si
413 @tab -sd @tab -sb @tab -dsd @tab -bsb
415 @tab do re mi fa sol la sib si
416 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
420 In Dutch, @code{aes} is contracted to @code{as}, but both forms
421 are accepted in LilyPond. Similarly, both @code{es} and
422 @code{ees} are accepted. This also applies to
423 @code{aeses}@tie{}/@tie{}@code{ases} and
424 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
425 contracted names are defined in the corresponding language files.
427 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
428 a2 as e es a ases e eses
431 In some languages such as Norwegian and Swedish, the usual
432 spelling for accidentals is a double @q{s} such as in @code{ciss}
433 or @code{cess}. For both historical reasons and a greater
434 simplicity, LilyPond uses a single @q{s} for all these languages.
438 Music Glossary: @lsrdir{Pitch names}.
440 Snippets: @lsrdir{Pitches}.
443 @node Changing multiple pitches
444 @subsection Changing multiple pitches
446 This section discusses how to modify pitches.
454 @unnumberedsubsubsec Octave check
458 In relative mode, it is easy to forget an octave changing mark.
459 Octave checks make such errors easier to correct by displaying a
460 warning if a note is found in an unexpected octave. There are two
461 types of octave checks: the first changes the pitch, while the
462 second does not change the pitch. Both checks print warnings and
463 change the octave for future notes.
465 Consider the simple example:
467 @lilypond[verbatim,quote,ragged-right,fragment]
474 To check the octave of the @code{d} (changing the pitch
475 automatically if necessary), add @code{=}@var{quotes} after the
476 pitch. The @var{quotes} indicate what its absolute octave should
477 be. This example will generate a warning, because the second note
478 is the absolute octave @code{d''} instead of @code{d'} indicated
481 @lilypond[verbatim,quote,ragged-right,fragment]
488 To check the octave of the@tie{}@code{d} (without changing the
489 pitch), add @code{\octave}@tie{}@var{controlpitch} to the note.
490 This checks that the note lies within the octave surrounding
491 @var{controlpitch}, i.e. not more than a fourth above or below it.
492 If this is not the case, a warning is printed and the octave is
493 corrected. The @var{controlpitch} is not printed as a note.
495 @lilypond[verbatim,quote,ragged-right,fragment]
502 In both cases, the following note (the@tie{}@code{e}) is adjusted
503 to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}.
507 Snippets: @lsrdir{Pitches}.
511 @unnumberedsubsubsec Transpose
514 @cindex transposition of pitches
517 A music expression can be transposed with @code{\transpose}. The
521 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
525 This means that @var{musicexpr} is transposed by the interval
526 between the pitches @var{frompitch} and @var{topitch}: any note
527 with pitch @var{frompitch} is changed to @var{topitch} and any
528 other note is transposed by the same interval.
530 Consider a piece written in the key of D-major. It can be
531 transposed up to E-major:
533 @lilypond[verbatim,quote,ragged-right]
542 If a part written in C (normal concert pitch) is to be played on
543 the A clarinet (for which an A is notated as a C and thus sounds a
544 minor third lower than notated), the appropriate part will be
547 @lilypond[verbatim,quote,ragged-right]
555 @code{\transpose} distinguishes between enharmonic pitches: both
556 @code{\transpose c cis} or @code{\transpose c des} will transpose
557 up half a tone. The first version will print sharps and the notes
558 will remain on the same scale step, the second version will print
559 flats on the scale step above.
561 @lilypond[verbatim,quote,ragged-right]
562 mus = \relative c' { c d e f }
564 \transpose c cis { \mus }
565 \transpose c des { \mus }
569 @cindex transposing instruments
571 @code{\transpose} may also be used in a different way, to input
572 written notes for a transposing instrument. The previous examples
573 show how to enter pitches in C (or @notation{concert pitch}) and
574 typeset them for a transposing instrument, but the opposite is
575 also possible if you for example have a set of instrumental parts
576 and want to print a conductor's score. For example, when entering
577 music for a B-flat trumpet which begins on a notated E (concert
581 musicInBflat = @{ e4 @dots{} @}
582 \transpose c bes, \musicInBflat
586 To print this music in F (e.g., rearranging to a French horn) you
587 could wrap the existing music with another @code{\transpose}:
590 musicInBflat = @{ e4 @dots{} @}
591 \transpose f c' @{ \transpose c bes, \musicInBflat @}
595 For more information about transposing instruments,
596 see @ref{Instrument transpositions}.
601 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
602 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
607 Notation Reference: @ref{Instrument transpositions}.
609 Snippets: @lsrdir{Pitches}.
611 Internals Reference: @internalsref{TransposedMusic}.
615 If you want to use both @code{\transpose} and @code{\relative},
616 you must put @code{\transpose} outside of @code{\relative}, since
617 @code{\relative} will have no effect on music that appears inside
621 @node Displaying pitches
622 @subsection Displaying pitches
624 This section discusses how to alter the output of pitches.
630 * Instrument transpositions::
631 * Automatic accidentals::
637 @unnumberedsubsubsec Clef
651 @cindex mezzosoprano clef
652 @cindex baritone clef
653 @cindex varbaritone clef
656 The clef is set with the @code{\clef} @var{clefname} command:
658 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
669 Supported clefs include
671 @multitable @columnfractions .4 .6
672 @headitem Clef @tab Position
673 @item @code{treble, violin, G, G2} @tab
674 G clef (g') on 2nd line
675 @item @code{alto, C} @tab
676 C clef (c') on 3rd line
677 @item @code{tenor} @tab
678 C clef (c') on 4th line
679 @item @code{bass, F} @tab
680 F clef (f) on 4th line
681 @item @code{french} @tab
682 G clef (g') on 1st line, so-called French violin clef
683 @item @code{soprano} @tab
684 C clef (c') on 1st line
685 @item @code{mezzosoprano} @tab
686 C clef (c') on 2nd line
687 @item @code{baritone} @tab
688 C clef (c') on 5th line
689 @item @code{varbaritone} @tab
690 F clef (f) on 3rd line
691 @item @code{subbass} @tab
692 F clef (f) on 5th line
693 @item @code{percussion} @tab
695 @item @code{tab} @tab
699 Further supported clefs are described under @ref{Ancient clefs}.
701 By adding @code{_8} or @code{^8} to the clef name, the clef is
702 transposed one octave down or up, respectively, and @code{_15} and
703 @code{^15} transposes by two octaves. The argument @var{clefname}
704 must be enclosed in quotes when it contains underscores or digits.
707 @cindex choral tenor clef
709 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
717 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
718 {clefs-commonly-tweaked-properties.ly}
723 Notation Reference: @ref{Ancient clefs}.
725 Snippets: @lsrdir{Pitches}.
727 Internals Reference: @internalsref{Clef}.
731 @unnumberedsubsubsec Key signature
733 @cindex key signature
736 @warning{New users are sometimes confused about accidentals and
737 key signatures. In LilyPond, note names are the raw input; key
738 signatures and clefs determine how this raw input is displayed.
739 An unaltered note like@tie{}@code{c} means @q{C natural},
740 regardless of the key signature or clef. For more information,
741 see @rlearning{Accidentals and key signatures}.}
743 The key signature indicates the tonality in which a piece is
744 played. It is denoted by a set of alterations (flats or sharps)
745 at the start of the staff.
747 Setting or changing the key signature is done with the @code{\key}
751 \key @var{pitch} @var{mode}
760 @funindex \mixolydian
766 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
767 key signature of @var{pitch}-major or @var{pitch}-minor,
768 respectively. You may also use the standard mode names, also
769 called @q{church modes}: @code{\ionian}, @code{\locrian},
770 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
771 @code{\phrygian}, and @code{\dorian}.
773 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
783 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
784 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
786 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
787 {non-traditional-key-signatures.ly}
792 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
794 Learning Manual: @rlearning{Accidentals and key signatures}.
796 Snippets: @lsrdir{Pitches}.
798 Internals Reference: @internalsref{KeyCancellation},
799 @internalsref{KeySignature}, @internalsref{Key_engraver}.
802 @node Ottava brackets
803 @unnumberedsubsubsec Ottava brackets
811 @notation{Ottava brackets} introduce an extra transposition of an
812 octave for the staff:
814 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
822 The @code{set-octavation} function also takes -1 (for 8va bassa),
823 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
829 Internally the function sets the properties @code{ottavation}
830 (e.g., to @code{"8va"} or @code{"8vb"}) and
831 @code{middleCPosition}. To override the text of the bracket, set
832 @code{ottavation} after invoking @code{set-octavation}, i.e.,
834 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
836 \set Staff.ottavation = #"8"
841 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
847 Music Glossary: @rglos{ottava}.
849 Snippets: @lsrdir{Pitches}.
851 Internals Reference: @internalsref{OttavaBracket}.
856 @c FIXME: This should have been fixed by Joe.
857 @c If it hasn't, we should mention the appropriate
858 @c workaround (there is a snippet in the LSR) -vv
859 @code{set-octavation} will get confused when clef changes happen
860 during an octavation bracket.
863 @node Instrument transpositions
864 @unnumberedsubsubsec Instrument transpositions
866 @cindex transposition, MIDI
867 @cindex transposition, instrument
869 When typesetting scores that involve transposing instruments, some
870 parts can be typeset in a different pitch than the
871 @notation{concert pitch}. In these cases, the key of the
872 @notation{transposing instrument} should be specified; otherwise
873 the MIDI output and cues in other parts will produce incorrect
874 pitches. For more information about quotations, see @ref{Quoting
878 \transposition @var{pitch}
881 The pitch to use for @code{\transposition} should correspond to
882 the real sound heard when a@tie{}@code{c'} written on the staff is
883 played by the transposing instrument.
885 Here are a few notes for violin and B-flat clarinet where the
886 parts have been entered using the notes and key as they appear in
887 each part of the conductor's score. The two instruments are
890 @lilypond[verbatim,quote,ragged-right]
895 \set Staff.instrumentName = "Vln"
896 \set Staff.midiInstrument="violin"
901 \new Staff = "clarinet" {
904 \set Staff.instrumentName = \markup {Cl (B\flat)}
905 \set Staff.midiInstrument="clarinet"
913 The @code{\transposition} may be changed during a piece. For
914 example, a clarinetist may switch from an A clarinet to a B-flat
917 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
918 \set Staff.instrumentName = "Cl (A)"
923 r1^\markup{Switch to B\flat clarinet}
933 Music Glossary: @rglos{concert pitch}, @rglos{transposing
936 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
938 Snippets: @lsrdir{Pitches}.
941 @node Automatic accidentals
942 @unnumberedsubsubsec Automatic accidentals
943 @cindex automatic accidentals
945 @funindex set-accidental-style
947 There are many different conventions on how to typeset
948 accidentals. LilyPond provides a function to specify which such
949 accidental style to use. This function is called as follows
953 #(set-accidental-style 'voice)
958 The accidental style applies to the current @code{Staff} by
959 default (with the exception of the styles @code{piano} and
960 @code{piano-cautionary}, which are explained below). Optionally,
961 the function can take a second argument which determines in which
962 scope the style should be changed. For example, to use the same
963 style in all staves of the current @code{StaffGroup}, use
966 #(set-accidental-style 'voice 'StaffGroup)
969 The following accidental styles are supported. To demonstrate
970 each style, we use the following example:
972 @lilypond[verbatim,quote,ragged-right]
976 cis'8 fis, d'4 <a cis>8 f bis4 |
990 \voiceTwo \relative c' {
999 <fis, a cis>4 gis <f a d>2 |
1006 \context Staff = "up" {
1007 %%% change the next line as desired:
1008 #(set-accidental-style 'default)
1011 \context Staff = "down" {
1012 %%% change the next line as desired:
1013 #(set-accidental-style 'default)
1020 Note that the last lines of this example can be replaced by the
1021 following, as long as the same accidental style should be used in
1026 \context Staff = "up" @{
1027 %%% change the next line as desired:
1028 #(set-accidental-style 'default 'Score)
1031 \context Staff = "down" @{
1039 @c NOTE: don't use verbatim in this table.
1042 This is the default typesetting behavior. It corresponds to
1043 eighteenth-century common practice: accidentals are remembered to
1044 the end of the measure in which they occur and only on their own
1045 octave. Thus, in the example below, no natural signs are printed
1046 before the@tie{}@code{b} in the second measure or the
1049 @lilypond[quote,ragged-right]
1053 cis'8 fis, d'4 <a cis>8 f bis4 |
1067 \voiceTwo \relative c' {
1071 \change Staff = down
1075 \change Staff = down
1076 <fis, a cis>4 gis <f a d>2 |
1083 \context Staff = "up" {
1084 #(set-accidental-style 'default)
1087 \context Staff = "down" {
1088 #(set-accidental-style 'default)
1096 The normal behavior is to remember the accidentals on Staff-level.
1097 In this style, however, accidentals are typeset individually for
1098 each voice. Apart from that, the rule is similar to
1101 As a result, accidentals from one voice do not get canceled in
1102 other voices, which is often an unwanted result: in the following
1103 example, it is hard to determine whether the second@tie{}@code{a}
1104 should be played natural or sharp. The @code{voice} option should
1105 therefore be used only if the voices are to be read solely by
1106 individual musicians. If the staff is to be used by one musician
1107 (e.g., a conductor or in a piano score) then @code{modern} or
1108 @code{modern-cautionary} should be used instead.
1111 @lilypond[quote,ragged-right]
1115 cis'8 fis, d'4 <a cis>8 f bis4 |
1129 \voiceTwo \relative c' {
1133 \change Staff = down
1137 \change Staff = down
1138 <fis, a cis>4 gis <f a d>2 |
1145 \context Staff = "up" {
1146 #(set-accidental-style 'voice)
1149 \context Staff = "down" {
1150 #(set-accidental-style 'voice)
1158 @funindex modern style accidentals
1160 This rule corresponds to the common practice in the twentieth
1161 century. It prints the same accidentals as @code{default}, with
1162 two exceptions which serve to avoid ambiguity: after temporary
1163 accidentals, cancellation marks are printed also in the following
1164 measure (for notes in the same octave) and, in the same measure,
1165 for notes in other octaves. Hence the naturals before
1166 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1169 @lilypond[quote,ragged-right]
1173 cis'8 fis, d'4 <a cis>8 f bis4 |
1187 \voiceTwo \relative c' {
1191 \change Staff = down
1195 \change Staff = down
1196 <fis, a cis>4 gis <f a d>2 |
1203 \context Staff = "up" {
1204 #(set-accidental-style 'modern)
1207 \context Staff = "down" {
1208 #(set-accidental-style 'modern)
1215 @item modern-cautionary
1216 @funindex modern-cautionary
1218 This rule is similar to @code{modern}, but the @q{extra}
1219 accidentals (the ones not typeset by @code{default}) are typeset
1220 as cautionary accidentals. They are by default printed with
1221 parentheses, but they can also be printed in reduced size by
1222 defining the @code{cautionary-style} property of
1223 @code{AccidentalSuggestion}.
1226 @lilypond[quote,ragged-right]
1230 cis'8 fis, d'4 <a cis>8 f bis4 |
1244 \voiceTwo \relative c' {
1248 \change Staff = down
1252 \change Staff = down
1253 <fis, a cis>4 gis <f a d>2 |
1260 \context Staff = "up" {
1261 #(set-accidental-style 'modern-cautionary)
1264 \context Staff = "down" {
1265 #(set-accidental-style 'modern-cautionary)
1273 @funindex modern-voice
1275 This rule is used for multivoice accidentals to be read both by
1276 musicians playing one voice and musicians playing all voices.
1277 Accidentals are typeset for each voice, but they @emph{are}
1278 canceled across voices in the same @code{Staff}. Hence,
1279 the@tie{}@code{a} in the last measure is canceled because the
1280 previous cancellation was in a different voice, and
1281 the@tie{}@code{d} in the lower staff is canceled because of the
1282 accidental in a different voice in the previous measure:
1285 @lilypond[quote,ragged-right]
1289 cis'8 fis, d'4 <a cis>8 f bis4 |
1303 \voiceTwo \relative c' {
1307 \change Staff = down
1311 \change Staff = down
1312 <fis, a cis>4 gis <f a d>2 |
1319 \context Staff = "up" {
1320 #(set-accidental-style 'modern-voice)
1323 \context Staff = "down" {
1324 #(set-accidental-style 'modern-voice)
1331 @funindex modern-voice-cautionary
1332 @item modern-voice-cautionary
1334 This rule is the same as @code{modern-voice}, but with the extra
1335 accidentals (the ones not typeset by @code{voice}) typeset
1336 as cautionaries. Even though all accidentals typeset by
1337 @code{default} @emph{are} typeset with this rule,
1338 some of them are typeset as cautionaries.
1340 @lilypond[quote,ragged-right]
1344 cis'8 fis, d'4 <a cis>8 f bis4 |
1358 \voiceTwo \relative c' {
1362 \change Staff = down
1366 \change Staff = down
1367 <fis, a cis>4 gis <f a d>2 |
1374 \context Staff = "up" {
1375 #(set-accidental-style 'modern-voice-cautionary)
1378 \context Staff = "down" {
1379 #(set-accidental-style 'modern-voice-cautionary)
1387 @funindex piano accidentals
1389 This rule reflects twentieth-century practice for piano notation.
1390 Its behavior is very similar to @code{modern} style, but here
1391 accidentals also get canceled across the staves in the same
1392 GrandStaff or PianoStaff, hence all the cancellations of the final
1395 This accidental style applies to the current @code{GrandStaff} or
1396 @code{PianoStaff} by default.
1398 @lilypond[quote,ragged-right]
1402 cis'8 fis, d'4 <a cis>8 f bis4 |
1416 \voiceTwo \relative c' {
1420 \change Staff = down
1424 \change Staff = down
1425 <fis, a cis>4 gis <f a d>2 |
1432 \context Staff = "up" {
1433 #(set-accidental-style 'piano)
1436 \context Staff = "down" {
1443 @item piano-cautionary
1444 @funindex #(set-accidental-style 'piano-cautionary)
1446 Same as @code{#(set-accidental-style 'piano)} but with the extra
1447 accidentals typeset as cautionaries.
1449 @lilypond[quote,ragged-right]
1453 cis'8 fis, d'4 <a cis>8 f bis4 |
1467 \voiceTwo \relative c' {
1471 \change Staff = down
1475 \change Staff = down
1476 <fis, a cis>4 gis <f a d>2 |
1483 \context Staff = "up" {
1484 #(set-accidental-style 'piano-cautionary)
1487 \context Staff = "down" {
1495 @funindex no-reset accidental style
1497 This is the same as @code{default} but with accidentals lasting
1498 @q{forever} and not only within the same measure:
1500 @lilypond[quote,ragged-right]
1504 cis'8 fis, d'4 <a cis>8 f bis4 |
1518 \voiceTwo \relative c' {
1522 \change Staff = down
1526 \change Staff = down
1527 <fis, a cis>4 gis <f a d>2 |
1534 \context Staff = "up" {
1535 #(set-accidental-style 'no-reset)
1538 \context Staff = "down" {
1539 #(set-accidental-style 'no-reset)
1547 @funindex forget accidental style
1549 This is the opposite of @code{no-reset}: Accidentals are not
1550 remembered at all -- and hence all accidentals are typeset
1551 relative to the key signature, regardless of what was before in
1554 @lilypond[quote,ragged-right]
1558 cis'8 fis, d'4 <a cis>8 f bis4 |
1572 \voiceTwo \relative c' {
1576 \change Staff = down
1580 \change Staff = down
1581 <fis, a cis>4 gis <f a d>2 |
1588 \context Staff = "up" {
1589 #(set-accidental-style 'forget)
1592 \context Staff = "down" {
1593 #(set-accidental-style 'forget)
1603 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1604 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1609 Snippets: @lsrdir{Pitches}.
1611 Internals Reference: @internalsref{Accidental_engraver},
1612 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1613 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1614 @internalsref{PianoStaff}, @internalsref{Staff}.
1619 Simultaneous notes are considered to be entered in sequential
1620 mode. This means that in a chord the accidentals are typeset as
1621 if the notes in the chord happen one at a time, in the order in
1622 which they appear in the input file. This is a problem when
1623 accidentals in a chord depend on each other, which does not happen
1624 for the default accidental style. The problem can be solved by
1625 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1630 @unnumberedsubsubsec Ambitus
1633 The term @notation{ambitus} or @notation{ambit} denotes a range of
1634 pitches for a given voice in a part of music. It may also denote
1635 the pitch range that a musical instrument is capable of playing.
1636 Ambits are printed on vocal parts so that performers can easily
1637 determine if it matches their capabilities.
1639 Ambits are denoted at the beginning of a piece near the initial
1640 clef. The range is graphically specified by two note heads that
1641 represent the minimum and maximum pitch. Accidentals are only
1642 printed if they are not part of the key signature.
1644 @lilypond[verbatim,quote,ragged-right]
1648 \consists Ambitus_engraver
1660 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1661 {adding-ambiti-per-voice.ly}
1663 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1664 {ambiti-multiple-voices.ly}
1669 Snippets: @lsrdir{Pitches}.
1671 Internals Reference: @internalsref{Ambitus},
1672 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1673 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1674 @internalsref{Staff}, @internalsref{Voice}.
1679 There is no collision handling in the case of multiple per-voice
1684 @subsection Note heads
1687 * Special note heads::
1688 * Easy notation note heads::
1689 * Shape note heads::
1693 @node Special note heads
1694 @unnumberedsubsubsec Special note heads
1696 @cindex note heads, special
1698 Different note heads are used by various instruments for various
1699 meanings -- crosses are used for @q{parlato} with vocalists,
1700 stopped notes on guitar; diamonds are used for harmonics on string
1701 instruments, etc. There is a shorthand (@code{\harmonic}) for
1702 diamond shapes; the other note head styles are produced by
1703 tweaking the property:
1705 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1707 \override NoteHead #'style = #'cross
1709 \revert NoteHead #'style
1710 e d <c f\harmonic> <d a'\harmonic>
1714 To see all note head styles, please see @ref{Note head styles}.
1719 Snippets: @lsrdir{Pitches}.
1721 Notation Reference: @ref{Note head styles}.
1723 Internals Reference: @internalsref{NoteHead},
1724 @internalsref{LedgerLineSpanner}.
1727 @node Easy notation note heads
1728 @unnumberedsubsubsec Easy notation note heads
1730 @cindex note heads, practice
1731 @cindex note heads, easy notation
1732 @cindex easy notation
1735 The @q{easy play} note head includes a note name inside the head.
1736 It is used in music for beginners
1738 @lilypond[verbatim,quote,ragged-right]
1739 #(set-global-staff-size 26)
1747 The command @code{\setEasyHeads} overrides settings for the
1748 @code{NoteHead} object. To make the letters readable, it
1749 has to be printed in a large font size. To print with a larger
1750 font, see @ref{Setting the staff size}.
1754 @funindex \setEasyHeads
1755 @code{\setEasyHeads}
1759 Notation Reference: @ref{Setting the staff size}.
1761 Snippets: @lsrdir{Pitches},
1763 Internals Reference: @internalsref{NoteHead}.
1766 @node Shape note heads
1767 @unnumberedsubsubsec Shape note heads
1769 @cindex note heads, shape
1771 @funindex shapeNoteStyles
1772 @funindex \aikenHeads
1773 @funindex \sacredHarpHeads
1775 In shape note head notation, the shape of the note head
1776 corresponds to the harmonic function of a note in the scale. This
1777 notation was popular in nineteenth-century American song books.
1779 Shape note heads can be produced by setting @code{\aikenHeads} or
1780 @code{\sacredHarpHeads}, depending on the style desired.
1782 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1789 Shapes are typeset according to the step in the scale, where
1790 the base of the scale is determined by the @code{\key} command.
1794 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1795 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1800 Snippets: @lsrdir{Pitches}.
1804 @unnumberedsubsubsec Improvisation
1806 @cindex improvisation
1807 @cindex slashed note heads
1808 @cindex note heads, improvisation
1809 @cindex note heads, slashed
1811 Improvisation is sometimes denoted with slashed note heads, where
1812 the performer may choose any pitch but should play the specified
1813 rhythm. Such note heads can be created:
1815 @lilypond[verbatim,quote,ragged-right]
1817 \consists Pitch_squash_engraver
1819 e8 e g a a16( bes) a8 g
1831 Snippets: @lsrdir{Pitches}.
1833 Internals Reference: @internalsref{Pitch_squash_engraver},
1834 @internalsref{Voice}.