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. The
478 @var{controlpitch} is not printed as a note.
480 @lilypond[verbatim,quote,ragged-right,fragment]
487 In both cases, the following note (the@tie{}@code{e}) is adjusted
488 to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}.
492 Snippets: @lsrdir{Pitches}.
496 @unnumberedsubsubsec Transpose
499 @cindex transposition of pitches
502 A music expression can be transposed with @code{\transpose}. The
506 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
510 This means that @var{musicexpr} is transposed by the interval
511 between the pitches @var{frompitch} and @var{topitch}: any note
512 with pitch @var{frompitch} is changed to @var{topitch} and any
513 other note is transposed by the same interval.
515 Consider a piece written in the key of D-major. It can be
516 transposed up to E-major; note that the key signature is
517 automatically transposed as well.
519 @lilypond[verbatim,quote,ragged-right]
528 If a part written in C (normal concert pitch) is to be played on
529 the A clarinet (for which an A is notated as a C and thus sounds a
530 minor third lower than notated), the appropriate part will be
533 @lilypond[verbatim,quote,ragged-right]
543 Note that we specify @code{\key c \major} explicitly. If we do
544 not specify a key signature, the notes will be transposed but no
545 key signature will be printed.
547 @code{\transpose} distinguishes between enharmonic pitches: both
548 @code{\transpose c cis} or @code{\transpose c des} will transpose
549 up half a tone. The first version will print sharps and the notes
550 will remain on the same scale step, the second version will print
551 flats on the scale step above.
553 @lilypond[verbatim,quote,ragged-right]
554 mus = \relative c' { c d e f }
556 \transpose c cis { \mus }
557 \transpose c des { \mus }
561 @cindex transposing instruments
563 @code{\transpose} may also be used in a different way, to input
564 written notes for a transposing instrument. The previous examples
565 show how to enter pitches in C (or @notation{concert pitch}) and
566 typeset them for a transposing instrument, but the opposite is
567 also possible if you for example have a set of instrumental parts
568 and want to print a conductor's score. For example, when entering
569 music for a B-flat trumpet which begins on a notated E (concert
573 musicInBflat = @{ e4 @dots{} @}
574 \transpose c bes, \musicInBflat
578 To print this music in F (e.g., rearranging to a French horn) you
579 could wrap the existing music with another @code{\transpose}:
582 musicInBflat = @{ e4 @dots{} @}
583 \transpose f c' @{ \transpose c bes, \musicInBflat @}
587 For more information about transposing instruments,
588 see @ref{Instrument transpositions}.
593 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
594 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
599 Notation Reference: @ref{Instrument transpositions}.
601 Snippets: @lsrdir{Pitches}.
603 Internals Reference: @internalsref{TransposedMusic}.
607 If you want to use both @code{\transpose} and @code{\relative},
608 you must put @code{\transpose} outside of @code{\relative}, since
609 @code{\relative} will have no effect on music that appears inside
613 @node Displaying pitches
614 @subsection Displaying pitches
616 This section discusses how to alter the output of pitches.
622 * Instrument transpositions::
623 * Automatic accidentals::
629 @unnumberedsubsubsec Clef
643 @cindex mezzosoprano clef
644 @cindex baritone clef
645 @cindex varbaritone clef
648 The clef is set with the @code{\clef} @var{clefname} command:
650 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
661 Supported clefs include:
663 @multitable @columnfractions .4 .6
664 @headitem Clef @tab Position
665 @item @code{treble, violin, G, G2} @tab
666 G clef (g') on 2nd line
667 @item @code{alto, C} @tab
668 C clef (c') on 3rd line
669 @item @code{tenor} @tab
670 C clef (c') on 4th line
671 @item @code{bass, F} @tab
672 F clef (f) on 4th line
673 @item @code{french} @tab
674 G clef (g') on 1st line, so-called French violin clef
675 @item @code{soprano} @tab
676 C clef (c') on 1st line
677 @item @code{mezzosoprano} @tab
678 C clef (c') on 2nd line
679 @item @code{baritone} @tab
680 C clef (c') on 5th line
681 @item @code{varbaritone} @tab
682 F clef (f) on 3rd line
683 @item @code{subbass} @tab
684 F clef (f) on 5th line
685 @item @code{percussion} @tab
687 @item @code{tab} @tab
691 Further supported clefs are described under @ref{Ancient clefs}.
693 By adding @code{_8} or @code{^8} to the clef name, the clef is
694 transposed one octave down or up, respectively, and @code{_15} and
695 @code{^15} transposes by two octaves. The argument @var{clefname}
696 must be enclosed in quotes when it contains underscores or digits.
699 @cindex choral tenor clef
701 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
709 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
710 {clefs-commonly-tweaked-properties.ly}
715 Notation Reference: @ref{Ancient clefs}.
717 Snippets: @lsrdir{Pitches}.
719 Internals Reference: @internalsref{Clef}.
723 @unnumberedsubsubsec Key signature
725 @cindex key signature
728 @warning{New users are sometimes confused about accidentals and
729 key signatures. In LilyPond, note names are the raw input; key
730 signatures and clefs determine how this raw input is displayed.
731 An unaltered note like@tie{}@code{c} means @q{C natural},
732 regardless of the key signature or clef. For more information,
733 see @rlearning{Accidentals and key signatures}.}
735 The key signature indicates the tonality in which a piece is
736 played. It is denoted by a set of alterations (flats or sharps)
737 at the start of the staff. Setting or changing the key signature
738 is done with the @code{\key} command:
741 \key @var{pitch} @var{mode}
750 @funindex \mixolydian
756 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
757 key signature of @var{pitch}-major or @var{pitch}-minor,
758 respectively. You may also use the standard mode names, also
759 called @q{church modes}: @code{\ionian}, @code{\locrian},
760 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
761 @code{\phrygian}, and @code{\dorian}.
763 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
773 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
774 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
776 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
777 {non-traditional-key-signatures.ly}
782 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
784 Learning Manual: @rlearning{Accidentals and key signatures}.
786 Snippets: @lsrdir{Pitches}.
788 Internals Reference: @internalsref{KeyCancellation},
789 @internalsref{KeySignature}, @internalsref{Key_engraver}.
792 @node Ottava brackets
793 @unnumberedsubsubsec Ottava brackets
801 @notation{Ottava brackets} introduce an extra transposition of an
802 octave for the staff:
804 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
812 The @code{set-octavation} function also takes -1 (for 8va bassa),
813 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
819 Internally the function sets the properties @code{ottavation}
820 (e.g., to @code{"8va"} or @code{"8vb"}) and
821 @code{middleCPosition}. To override the text of the bracket, set
822 @code{ottavation} after invoking @code{set-octavation}, i.e.,
824 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
826 \set Staff.ottavation = #"8"
832 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
838 Music Glossary: @rglos{ottava}.
840 Snippets: @lsrdir{Pitches}.
842 Internals Reference: @internalsref{OttavaBracket}.
847 @c FIXME: This should have been fixed by Joe.
848 @c If it hasn't, we should mention the appropriate
849 @c workaround (there is a snippet in the LSR) -vv
850 @code{set-octavation} will get confused when clef changes happen
851 during an octavation bracket.
854 @node Instrument transpositions
855 @unnumberedsubsubsec Instrument transpositions
857 @cindex transposition, MIDI
858 @cindex transposition, instrument
860 When typesetting scores that involve transposing instruments, some
861 parts can be typeset in a different pitch than the
862 @notation{concert pitch}. In these cases, the key of the
863 @notation{transposing instrument} should be specified; otherwise
864 the MIDI output and cues in other parts will produce incorrect
865 pitches. For more information about quotations, see @ref{Quoting
869 \transposition @var{pitch}
872 The pitch to use for @code{\transposition} should correspond to
873 the real sound heard when a@tie{}@code{c'} written on the staff is
874 played by the transposing instrument. @code{\transposition}
875 should @emph{only} be used if the pitches are @emph{not} being
876 entered in concert pitch.
878 Here are a few notes for violin and B-flat clarinet where the
879 parts have been entered using the notes and key as they appear in
880 each part of the conductor's score. The two instruments are
883 @lilypond[verbatim,quote,ragged-right]
887 \set Staff.instrumentName = "Vln"
888 \set Staff.midiInstrument="violin"
889 % strictly speaking not necessary, but a good reminder
896 \new Staff = "clarinet" {
898 \set Staff.instrumentName = \markup {Cl (B\flat)}
899 \set Staff.midiInstrument="clarinet"
910 The @code{\transposition} may be changed during a piece. For
911 example, a clarinetist may switch from an A clarinet to a B-flat
914 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
915 \set Staff.instrumentName = "Cl (A)"
920 r1^\markup{Switch to B\flat clarinet}
930 Music Glossary: @rglos{concert pitch},
931 @rglos{transposing instrument}.
933 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
935 Snippets: @lsrdir{Pitches}.
938 @node Automatic accidentals
939 @unnumberedsubsubsec Automatic accidentals
940 @cindex automatic accidentals
942 @funindex set-accidental-style
944 There are many different conventions on how to typeset
945 accidentals. LilyPond provides a function to specify which such
946 accidental style to use. This function is called as follows
950 #(set-accidental-style 'voice)
955 The accidental style applies to the current @code{Staff} by
956 default (with the exception of the styles @code{piano} and
957 @code{piano-cautionary}, which are explained below). Optionally,
958 the function can take a second argument which determines in which
959 scope the style should be changed. For example, to use the same
960 style in all staves of the current @code{StaffGroup}, use
963 #(set-accidental-style 'voice 'StaffGroup)
966 The following accidental styles are supported. To demonstrate
967 each style, we use the following example:
969 @lilypond[verbatim,quote,ragged-right]
973 cis'8 fis, d'4 <a cis>8 f bis4 |
987 \voiceTwo \relative c' {
996 <fis, a cis>4 gis <f a d>2 |
1003 \context Staff = "up" {
1004 %%% change the next line as desired:
1005 #(set-accidental-style 'default)
1008 \context Staff = "down" {
1009 %%% change the next line as desired:
1010 #(set-accidental-style 'default)
1017 Note that the last lines of this example can be replaced by the
1018 following, as long as the same accidental style should be used in
1023 \context Staff = "up" @{
1024 %%% change the next line as desired:
1025 #(set-accidental-style 'default 'Score)
1028 \context Staff = "down" @{
1036 @c NOTE: don't use verbatim in this table.
1039 This is the default typesetting behavior. It corresponds to
1040 eighteenth-century common practice: accidentals are remembered to
1041 the end of the measure in which they occur and only on their own
1042 octave. Thus, in the example below, no natural signs are printed
1043 before the@tie{}@code{b} in the second measure or the
1046 @lilypond[quote,ragged-right]
1050 cis'8 fis, d'4 <a cis>8 f bis4 |
1064 \voiceTwo \relative c' {
1068 \change Staff = down
1072 \change Staff = down
1073 <fis, a cis>4 gis <f a d>2 |
1080 \context Staff = "up" {
1081 #(set-accidental-style 'default)
1084 \context Staff = "down" {
1085 #(set-accidental-style 'default)
1093 The normal behavior is to remember the accidentals on Staff-level.
1094 In this style, however, accidentals are typeset individually for
1095 each voice. Apart from that, the rule is similar to
1098 As a result, accidentals from one voice do not get canceled in
1099 other voices, which is often an unwanted result: in the following
1100 example, it is hard to determine whether the second@tie{}@code{a}
1101 should be played natural or sharp. The @code{voice} option should
1102 therefore be used only if the voices are to be read solely by
1103 individual musicians. If the staff is to be used by one musician
1104 (e.g., a conductor or in a piano score) then @code{modern} or
1105 @code{modern-cautionary} should be used instead.
1108 @lilypond[quote,ragged-right]
1112 cis'8 fis, d'4 <a cis>8 f bis4 |
1126 \voiceTwo \relative c' {
1130 \change Staff = down
1134 \change Staff = down
1135 <fis, a cis>4 gis <f a d>2 |
1142 \context Staff = "up" {
1143 #(set-accidental-style 'voice)
1146 \context Staff = "down" {
1147 #(set-accidental-style 'voice)
1155 @funindex modern style accidentals
1157 This rule corresponds to the common practice in the twentieth
1158 century. It prints the same accidentals as @code{default}, with
1159 two exceptions which serve to avoid ambiguity: after temporary
1160 accidentals, cancellation marks are printed also in the following
1161 measure (for notes in the same octave) and, in the same measure,
1162 for notes in other octaves. Hence the naturals before
1163 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1166 @lilypond[quote,ragged-right]
1170 cis'8 fis, d'4 <a cis>8 f bis4 |
1184 \voiceTwo \relative c' {
1188 \change Staff = down
1192 \change Staff = down
1193 <fis, a cis>4 gis <f a d>2 |
1200 \context Staff = "up" {
1201 #(set-accidental-style 'modern)
1204 \context Staff = "down" {
1205 #(set-accidental-style 'modern)
1212 @item modern-cautionary
1213 @funindex modern-cautionary
1215 This rule is similar to @code{modern}, but the @q{extra}
1216 accidentals (the ones not typeset by @code{default}) are typeset
1217 as cautionary accidentals. They are by default printed with
1218 parentheses, but they can also be printed in reduced size by
1219 defining the @code{cautionary-style} property of
1220 @code{AccidentalSuggestion}.
1223 @lilypond[quote,ragged-right]
1227 cis'8 fis, d'4 <a cis>8 f bis4 |
1241 \voiceTwo \relative c' {
1245 \change Staff = down
1249 \change Staff = down
1250 <fis, a cis>4 gis <f a d>2 |
1257 \context Staff = "up" {
1258 #(set-accidental-style 'modern-cautionary)
1261 \context Staff = "down" {
1262 #(set-accidental-style 'modern-cautionary)
1270 @funindex modern-voice
1272 This rule is used for multivoice accidentals to be read both by
1273 musicians playing one voice and musicians playing all voices.
1274 Accidentals are typeset for each voice, but they @emph{are}
1275 canceled across voices in the same @code{Staff}. Hence,
1276 the@tie{}@code{a} in the last measure is canceled because the
1277 previous cancellation was in a different voice, and
1278 the@tie{}@code{d} in the lower staff is canceled because of the
1279 accidental in a different voice in the previous measure:
1282 @lilypond[quote,ragged-right]
1286 cis'8 fis, d'4 <a cis>8 f bis4 |
1300 \voiceTwo \relative c' {
1304 \change Staff = down
1308 \change Staff = down
1309 <fis, a cis>4 gis <f a d>2 |
1316 \context Staff = "up" {
1317 #(set-accidental-style 'modern-voice)
1320 \context Staff = "down" {
1321 #(set-accidental-style 'modern-voice)
1328 @funindex modern-voice-cautionary
1329 @item modern-voice-cautionary
1331 This rule is the same as @code{modern-voice}, but with the extra
1332 accidentals (the ones not typeset by @code{voice}) typeset
1333 as cautionaries. Even though all accidentals typeset by
1334 @code{default} @emph{are} typeset with this rule,
1335 some of them are typeset as cautionaries.
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-cautionary)
1375 \context Staff = "down" {
1376 #(set-accidental-style 'modern-voice-cautionary)
1384 @funindex piano accidentals
1386 This rule reflects twentieth-century practice for piano notation.
1387 Its behavior is very similar to @code{modern} style, but here
1388 accidentals also get canceled across the staves in the same
1389 GrandStaff or PianoStaff, hence all the cancellations of the final
1392 This accidental style applies to the current @code{GrandStaff} or
1393 @code{PianoStaff} by default.
1395 @lilypond[quote,ragged-right]
1399 cis'8 fis, d'4 <a cis>8 f bis4 |
1413 \voiceTwo \relative c' {
1417 \change Staff = down
1421 \change Staff = down
1422 <fis, a cis>4 gis <f a d>2 |
1429 \context Staff = "up" {
1430 #(set-accidental-style 'piano)
1433 \context Staff = "down" {
1440 @item piano-cautionary
1441 @funindex #(set-accidental-style 'piano-cautionary)
1443 Same as @code{#(set-accidental-style 'piano)} but with the extra
1444 accidentals typeset as cautionaries.
1446 @lilypond[quote,ragged-right]
1450 cis'8 fis, d'4 <a cis>8 f bis4 |
1464 \voiceTwo \relative c' {
1468 \change Staff = down
1472 \change Staff = down
1473 <fis, a cis>4 gis <f a d>2 |
1480 \context Staff = "up" {
1481 #(set-accidental-style 'piano-cautionary)
1484 \context Staff = "down" {
1492 @funindex no-reset accidental style
1494 This is the same as @code{default} but with accidentals lasting
1495 @q{forever} and not only within the same measure:
1497 @lilypond[quote,ragged-right]
1501 cis'8 fis, d'4 <a cis>8 f bis4 |
1515 \voiceTwo \relative c' {
1519 \change Staff = down
1523 \change Staff = down
1524 <fis, a cis>4 gis <f a d>2 |
1531 \context Staff = "up" {
1532 #(set-accidental-style 'no-reset)
1535 \context Staff = "down" {
1536 #(set-accidental-style 'no-reset)
1544 @funindex forget accidental style
1546 This is the opposite of @code{no-reset}: Accidentals are not
1547 remembered at all -- and hence all accidentals are typeset
1548 relative to the key signature, regardless of what was before in
1551 @lilypond[quote,ragged-right]
1555 cis'8 fis, d'4 <a cis>8 f bis4 |
1569 \voiceTwo \relative c' {
1573 \change Staff = down
1577 \change Staff = down
1578 <fis, a cis>4 gis <f a d>2 |
1585 \context Staff = "up" {
1586 #(set-accidental-style 'forget)
1589 \context Staff = "down" {
1590 #(set-accidental-style 'forget)
1600 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1601 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1606 Snippets: @lsrdir{Pitches}.
1608 Internals Reference: @internalsref{Accidental_engraver},
1609 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1610 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1611 @internalsref{PianoStaff}, @internalsref{Staff}.
1616 Simultaneous notes are considered to be entered in sequential
1617 mode. This means that in a chord the accidentals are typeset as
1618 if the notes in the chord happen one at a time, in the order in
1619 which they appear in the input file. This is a problem when
1620 accidentals in a chord depend on each other, which does not happen
1621 for the default accidental style. The problem can be solved by
1622 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1627 @unnumberedsubsubsec Ambitus
1630 The term @notation{ambitus} or @notation{ambit} denotes a range of
1631 pitches for a given voice in a part of music. It may also denote
1632 the pitch range that a musical instrument is capable of playing.
1633 Ambits are printed on vocal parts so that performers can easily
1634 determine if it matches their capabilities.
1636 Ambits are denoted at the beginning of a piece near the initial
1637 clef. The range is graphically specified by two note heads that
1638 represent the minimum and maximum pitch. Accidentals are only
1639 printed if they are not part of the key signature.
1641 @lilypond[verbatim,quote,ragged-right]
1645 \consists Ambitus_engraver
1657 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1658 {adding-ambiti-per-voice.ly}
1660 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1661 {ambiti-multiple-voices.ly}
1666 Snippets: @lsrdir{Pitches}.
1668 Internals Reference: @internalsref{Ambitus},
1669 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1670 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1671 @internalsref{Staff}, @internalsref{Voice}.
1676 There is no collision handling in the case of multiple per-voice
1681 @subsection Note heads
1684 * Special note heads::
1685 * Easy notation note heads::
1686 * Shape note heads::
1690 @node Special note heads
1691 @unnumberedsubsubsec Special note heads
1693 @cindex note heads, special
1695 Different note heads are used by various instruments for various
1696 meanings -- crosses are used for @q{parlato} with vocalists,
1697 stopped notes on guitar; diamonds are used for harmonics on string
1698 instruments, etc. There is a shorthand (@code{\harmonic}) for
1699 diamond shapes; the other note head styles are produced by
1700 tweaking the property:
1702 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1704 \override NoteHead #'style = #'cross
1706 \revert NoteHead #'style
1707 e d <c f\harmonic> <d a'\harmonic>
1711 To see all note head styles, please see @ref{Note head styles}.
1716 Snippets: @lsrdir{Pitches}.
1718 Notation Reference: @ref{Note head styles}.
1720 Internals Reference: @internalsref{NoteHead},
1721 @internalsref{LedgerLineSpanner}.
1724 @node Easy notation note heads
1725 @unnumberedsubsubsec Easy notation note heads
1727 @cindex note heads, practice
1728 @cindex note heads, easy notation
1729 @cindex easy notation
1732 The @q{easy play} note head includes a note name inside the head.
1733 It is used in music for beginners
1735 @lilypond[verbatim,quote,ragged-right]
1736 #(set-global-staff-size 26)
1744 The command @code{\setEasyHeads} overrides settings for the
1745 @code{NoteHead} object. To make the letters readable, it
1746 has to be printed in a large font size. To print with a larger
1747 font, see @ref{Setting the staff size}.
1751 @funindex \setEasyHeads
1752 @code{\setEasyHeads}
1756 Notation Reference: @ref{Setting the staff size}.
1758 Snippets: @lsrdir{Pitches},
1760 Internals Reference: @internalsref{NoteHead}.
1763 @node Shape note heads
1764 @unnumberedsubsubsec Shape note heads
1766 @cindex note heads, shape
1768 @funindex shapeNoteStyles
1769 @funindex \aikenHeads
1770 @funindex \sacredHarpHeads
1772 In shape note head notation, the shape of the note head
1773 corresponds to the harmonic function of a note in the scale. This
1774 notation was popular in nineteenth-century American song books.
1776 Shape note heads can be produced by setting @code{\aikenHeads} or
1777 @code{\sacredHarpHeads}, depending on the style desired.
1779 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1786 Shapes are typeset according to the step in the scale, where
1787 the base of the scale is determined by the @code{\key} command.
1791 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1792 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1797 Snippets: @lsrdir{Pitches}.
1801 @unnumberedsubsubsec Improvisation
1803 @cindex improvisation
1804 @cindex slashed note heads
1805 @cindex note heads, improvisation
1806 @cindex note heads, slashed
1808 Improvisation is sometimes denoted with slashed note heads, where
1809 the performer may choose any pitch but should play the specified
1810 rhythm. Such note heads can be created:
1812 @lilypond[verbatim,quote,ragged-right]
1814 \consists Pitch_squash_engraver
1816 e8 e g a a16( bes) a8 g
1828 Snippets: @lsrdir{Pitches}.
1830 Internals Reference: @internalsref{Pitch_squash_engraver},
1831 @internalsref{Voice}.