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.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex octave specification, absolute
51 @cindex absolute octave entry
52 @cindex octave entry, absolute
54 A pitch name is specified using lowercase letters@tie{}@code{a}
55 through@tie{}@code{g}. The note names @code{c} to @code{b} are
56 engraved in the octave below middle C.
59 @lilypond[verbatim,quote,fragment]
66 @cindex octave changing mark
71 Other octaves may be specified with a single quote@tie{}(@code{'})
72 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
73 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
76 @lilypond[verbatim,quote,fragment]
94 @node Relative octave entry
95 @unnumberedsubsubsec Relative octave entry
98 @cindex relative octave entry
99 @cindex octave entry, relative
100 @cindex relative octave specification
101 @cindex ocatve specification, relative
106 When octaves are specified in absolute mode it is easy to
107 accidentally put a pitch in the wrong octave. Relative octave
108 mode reduces these errors since most of the time it is not
109 necessary to indicate any octaves at all. Furthermore, in
110 absolute mode a single mistake may be difficult to spot, while in
111 relative mode a single error puts the rest of the piece off by one
115 \relative @var{startpitch} @var{musicexpr}
118 In relative mode, each note is assumed to be as close to the
119 previous note as possible. This means that the octave of each
120 pitch inside @var{musicexpr} is calculated as follows:
124 If no octave changing mark is used on a pitch, its octave is
125 calculated so that the interval with the previous note is less
126 than a fifth. This interval is determined without considering
130 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
131 added to respectively raise or lower a pitch by an extra octave,
132 relative to the pitch calculated without an octave mark.
135 Multiple octave changing marks can be used. For example,
136 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
140 The pitch of the first note is relative to
141 @code{@var{startpitch}}. @var{startpitch} is specified in
142 absolute octave mode, and it is recommended that it be a octave of
147 Here is the relative mode shown in action:
149 @lilypond[verbatim,quote]
158 Octave changing marks are used for intervals greater than a
161 @lilypond[verbatim,quote]
168 A note sequence without a single octave mark can nevertheless span
171 @lilypond[verbatim,quote]
178 When @code{\relative} blocks are nested, the innermost
179 @code{\relative} block applies.
181 @lilypond[verbatim,quote]
190 @code{\relative} has no effect on @code{\chordmode} blocks.
192 @lilypond[verbatim,quote]
201 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
203 Music inside a @code{\transpose} block is absolute unless a
204 @code{\relative} is included.
206 @lilypond[verbatim,quote]
219 @cindex chords and relative octave entry
220 @cindex relative octave entry and chords
222 If the preceding item is a chord, the first note of the chord is
223 used as the reference point for the octave placement of a
224 following note or chord. Inside chords, the next note is always
225 relative to the preceding one. Examine the next example
226 carefully, paying attention to the @code{c} notes.
228 @lilypond[verbatim,quote]
237 As explained above, the octave of pitches is calculated only with
238 the note names, regardless of any alterations. Therefore, an
239 E-double-sharp following a B will be placed higher, while an
240 F-double-flat will be placed lower. In other words, a
241 double-augmented fourth is considered a smaller interval than a
242 double-diminished fifth, regardless of the number of semitones
243 that each interval contains.
245 @lilypond[verbatim,quote]
268 @rinternals{RelativeOctaveMusic}.
271 @cindex relative octave entry and transposition
272 @cindex transposition and relative octave entry
283 If no @var{startpitch} is specified for @code{\relative},
284 then@tie{}@code{c'} is assumed. However, this is a deprecated
285 option and may disappear in future versions, so its use is
291 @unnumberedsubsubsec Accidentals
294 @cindex key signature
297 @c duplicated in Key signature and Accidentals
298 @warning{New users are sometimes confused about accidentals and
299 key signatures. In LilyPond, note names are the raw input; key
300 signatures and clefs determine how this raw input is displayed.
301 An unaltered note like@tie{}@code{c} means @q{C natural},
302 regardless of the key signature or clef. For more information,
303 see @rlearning{Accidentals and key signatures}.}
305 @cindex note names, Dutch
306 @cindex note names, default
307 @cindex default note names
311 @cindex sharp, double
315 @cindex natural pitch
317 A @notation{sharp} pitch is made by adding @code{is} to the note
318 name, and a @notation{flat} pitch by adding @code{es}. As you
319 might expect, a @notation{double sharp} or @notation{double flat}
320 is made by adding @code{isis} or @code{eses}. This syntax is
321 derived from Dutch note naming conventions. To use other names
322 for accidentals, see @ref{Note names in other languages}.
324 @lilypond[verbatim,quote,relative=2]
328 A natural will cancel the effect of an accidental or key
329 signature. However, naturals are not encoded into the note name
330 syntax with a suffix; a natural pitch is shown as a simple note
333 @lilypond[verbatim,quote,relative=2]
337 @cindex quarter tones
341 Quarter tones may be added; the following is a series of Cs with
344 @lilypond[verbatim,quote,relative=2]
345 ceseh1 ces ceh c cih cis cisih
350 @cindex accidental, reminder
351 @cindex accidental, cautionary
352 @cindex accidental, parenthesized
353 @cindex reminder accidental
354 @cindex cautionary accidental
355 @cindex parenthesized accidental
361 Normally accidentals are printed automatically, but you may also
362 print them manually. A reminder accidental can be forced by
363 adding an exclamation mark@tie{}@code{!} after the pitch. A
364 cautionary accidental (i.e., an accidental within parentheses) can
365 be obtained by adding the question mark@tie{}@code{?} after the
366 pitch. These extra accidentals can also be used to produce
369 @lilypond[verbatim,quote,relative=2]
370 cis cis cis! cis? c c c! c?
373 @cindex accidental on tied note
374 @cindex tied note, accidental
376 Accidentals on tied notes are only printed at the beginning of a
379 @lilypond[verbatim,quote,relative=2]
388 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
389 {preventing-extra-naturals-from-being-automatically-added.ly}
391 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. To use them, include the language-specific init
443 file listed below. For example, to use English note names, add
444 @code{@w{\include "english.ly"}} to the input file.
446 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
447 use default (Nederlands) note names, the @code{@bs{}include}
448 command for the language file should be placed after all other
449 LilyPond distribution files.}
451 The available language files and the note names they define are:
454 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
455 @headitem Language File
457 @item @file{nederlands.ly}
458 @tab c d e f g a bes b
459 @item @file{arabic.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{catalan.ly}
462 @tab do re mi fa sol la sib si
463 @item @file{deutsch.ly}
465 @item @file{english.ly}
466 @tab c d e f g a bf b
467 @item @file{espanol.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{italiano.ly}
470 @tab do re mi fa sol la sib si
471 @item @file{norsk.ly}
473 @item @file{portugues.ly}
474 @tab do re mi fa sol la sib si
475 @item @file{suomi.ly}
477 @item @file{svenska.ly}
479 @item @file{vlaams.ly}
480 @tab do re mi fa sol la sib si
485 and the accidental suffixes they define are:
488 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
489 @headitem Language File
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @file{nederlands.ly}
492 @tab -is @tab -es @tab -isis @tab -eses
493 @item @file{arabic.ly}
494 @tab -d @tab -b @tab -dd @tab -bb
495 @item @file{catalan.ly}
496 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
497 @item @file{deutsch.ly}
498 @tab -is @tab -es @tab -isis @tab -eses
499 @item @file{english.ly}
500 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
502 @item @file{espanol.ly}
503 @tab -s @tab -b @tab -ss @tab -bb
504 @item @file{italiano.ly}
505 @tab -d @tab -b @tab -dd @tab -bb
506 @item @file{norsk.ly}
507 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
509 @item @file{portugues.ly}
510 @tab -s @tab -b @tab -ss @tab -bb
511 @item @file{suomi.ly}
512 @tab -is @tab -es @tab -isis @tab -eses
513 @item @file{svenska.ly}
514 @tab -iss @tab -ess @tab -ississ @tab -essess
515 @item @file{vlaams.ly}
516 @tab -k @tab -b @tab -kk @tab -bb
520 In Dutch, @code{aes} is contracted to @code{as}, but both forms
521 are accepted in LilyPond. Similarly, both @code{es} and
522 @code{ees} are accepted. This also applies to
523 @code{aeses}@tie{}/@tie{}@code{ases} and
524 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
525 contracted names are defined in the corresponding language files.
527 @lilypond[verbatim,quote,relative=2]
528 a2 as e es a ases e eses
538 Some music uses microtones whose alterations are fractions of a
539 @q{normal} sharp or flat. The note names for quarter-tones
540 defined in the various language files are listed in the following
541 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
542 mean @q{half} and @q{one and a half}, respectively. For the other
543 languages, no special names have been defined yet.
546 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
547 @headitem Language File
548 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
550 @item @file{nederlands.ly}
551 @tab -ih @tab -eh @tab -isih @tab -eseh
552 @item @file{arabic.ly}
553 @tab -sd @tab -sb @tab -dsd @tab -bsb
554 @item @file{deutsch.ly}
555 @tab -ih @tab -eh @tab -isih @tab -eseh
556 @item @file{english.ly}
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
558 @item @file{italiano.ly}
559 @tab -sd @tab -sb @tab -dsd @tab -bsb
560 @item @file{portugues.ly}
561 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
574 @node Changing multiple pitches
575 @subsection Changing multiple pitches
577 This section discusses how to modify pitches.
585 @unnumberedsubsubsec Octave checks
587 @cindex octave correction
589 @cindex control pitch
592 @funindex \octaveCheck
593 @funindex octaveCheck
594 @funindex controlpitch
596 In relative mode, it is easy to forget an octave changing mark.
597 Octave checks make such errors easier to find by displaying a
598 warning and correcting the octave if a note is found in an
601 To check the octave of a note, specify the absolute octave after
602 the @code{=}@tie{}symbol. This example will generate a warning
603 (and change the pitch) because the second note is the absolute
604 octave @code{d''} instead of @code{d'} as indicated by the octave
607 @lilypond[verbatim,quote]
614 The octave of notes may also be checked with the
615 @code{\octaveCheck}@tie{}@var{controlpitch} command.
616 @var{controlpitch} is specified in absolute mode. This checks
617 that the interval between the previous note and the
618 @var{controlpitch} is within a fourth (i.e., the normal
619 calculation of relative mode). If this check fails, a warning is
620 printed, but the previous note is not changed. Future notes are
621 relative to the @var{controlpitch}.
623 @lilypond[verbatim,quote]
631 Compare the two bars below. The first and third @code{\octaveCheck}
632 checks fail, but the second one does not fail.
634 @lilypond[verbatim,quote]
654 @rinternals{RelativeOctaveCheck}.
658 @unnumberedsubsubsec Transpose
662 @cindex transposition
663 @cindex transposition of pitches
664 @cindex transposition of notes
665 @cindex pitches, transposition of
666 @cindex notes, transposition of
671 A music expression can be transposed with @code{\transpose}. The
675 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
679 This means that @var{musicexpr} is transposed by the interval
680 between the pitches @var{frompitch} and @var{topitch}: any note
681 with pitch @var{frompitch} is changed to @var{topitch} and any
682 other note is transposed by the same interval. Both pitches are
683 entered in absolute mode.
685 @warning{Music inside a @code{@bs{}transpose} block is absolute
686 unless a @code{@bs{}relative} is included in the block.}
688 Consider a piece written in the key of D-major. It can be
689 transposed up to E-major; note that the key signature is
690 automatically transposed as well.
692 @lilypond[verbatim,quote]
701 @cindex transposing instruments
702 @cindex instruments, transposing
704 If a part written in C (normal @notation{concert pitch}) is to be
705 played on the A clarinet (for which an A is notated as a C and
706 thus sounds a minor third lower than notated), the appropriate
707 part will be produced with:
709 @lilypond[verbatim,quote]
719 Note that we specify @w{@code{\key c \major}} explicitly. If we
720 do not specify a key signature, the notes will be transposed but
721 no key signature will be printed.
723 @code{\transpose} distinguishes between enharmonic pitches: both
724 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
725 transpose up a semitone. The first version will print sharps and
726 the notes will remain on the same scale step, the second version
727 will print flats on the scale step above.
729 @lilypond[verbatim,quote]
730 music = \relative c' { c d e f }
732 \transpose c cis { \music }
733 \transpose c des { \music }
738 @code{\transpose} may also be used in a different way, to input
739 written notes for a transposing instrument. The previous examples
740 show how to enter pitches in C (or @notation{concert pitch}) and
741 typeset them for a transposing instrument, but the opposite is
742 also possible if you for example have a set of instrumental parts
743 and want to print a conductor's score. For example, when entering
744 music for a B-flat trumpet that begins on a notated E (concert D),
748 musicInBflat = @{ e4 @dots{} @}
749 \transpose c bes, \musicInBflat
753 To print this music in F (e.g., rearranging to a French horn) you
754 could wrap the existing music with another @code{\transpose}:
757 musicInBflat = @{ e4 @dots{} @}
758 \transpose f c' @{ \transpose c bes, \musicInBflat @}
762 For more information about transposing instruments,
763 see @ref{Instrument transpositions}.
768 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
769 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
774 @ref{Relative octave entry},
775 @ref{Instrument transpositions}.
781 @rinternals{TransposedMusic}.
793 The relative conversion will not affect @code{\transpose},
794 @code{\chordmode} or @code{\relative} sections in its argument.
795 To use relative mode within transposed music, an additional
796 @code{\relative} must be placed inside @code{\transpose}.
798 @node Displaying pitches
799 @subsection Displaying pitches
801 This section discusses how to alter the output of pitches.
807 * Instrument transpositions::
808 * Automatic accidentals::
814 @unnumberedsubsubsec Clef
826 @cindex mezzosoprano clef
827 @cindex baritone clef
828 @cindex varbaritone clef
832 @cindex clef, ancient
842 @cindex clef, soprano
843 @cindex clef, mezzosoprano
844 @cindex clef, baritone
845 @cindex clef, varbaritone
846 @cindex subbass clef, subbass
851 The clef may be altered. Middle C is shown in every example.
853 @lilypond[verbatim,quote,relative=1]
866 @lilypond[verbatim,quote,relative=1]
888 Further supported clefs are described under @ref{Mensural clefs}
889 and @ref{Gregorian clefs}.
891 @cindex transposing clefs
892 @cindex clef, transposing
893 @cindex octave transposition
894 @cindex choral tenor clef
895 @cindex tenor clef, choral
897 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
898 clef is transposed one octave down or up, respectively,
899 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
900 The clef name must be enclosed in quotes when it contains
901 underscores or digits.
903 @lilypond[verbatim,quote,relative=2]
915 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
916 {tweaking-clef-properties.ly}
921 @ref{Mensural clefs}, @ref{Gregorian clefs}.
927 @rinternals{Clef_engraver},
929 @rinternals{OctavateEight},
930 @rinternals{clef-interface}.
934 @unnumberedsubsubsec Key signature
936 @cindex key signature
941 @c duplicated in Key signature and Accidentals
942 @warning{New users are sometimes confused about accidentals and
943 key signatures. In LilyPond, note names are the raw input; key
944 signatures and clefs determine how this raw input is displayed.
945 An unaltered note like@tie{}@code{c} means @q{C natural},
946 regardless of the key signature or clef. For more information,
947 see @rlearning{Accidentals and key signatures}.}
949 The key signature indicates the tonality in which a piece is
950 played. It is denoted by a set of alterations (flats or sharps)
951 at the start of the staff. The key signature may be altered:
954 \key @var{pitch} @var{mode}
967 @funindex \mixolydian
988 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
989 key signature of @var{pitch}-major or @var{pitch}-minor,
990 respectively. You may also use the standard mode names, also
991 called @notation{church modes}: @code{\ionian}, @code{\dorian},
992 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
993 @code{\aeolian}, and @code{\locrian}.
995 @lilypond[verbatim,quote,relative=2]
1005 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1006 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1008 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1009 {non-traditional-key-signatures.ly}
1014 @rglos{church mode},
1018 @rlearning{Accidentals and key signatures}.
1023 Internals Reference:
1024 @rinternals{KeyChangeEvent},
1025 @rinternals{Key_engraver},
1026 @rinternals{Key_performer},
1027 @rinternals{KeyCancellation},
1028 @rinternals{KeySignature},
1029 @rinternals{key-cancellation-interface},
1030 @rinternals{key-signature-interface}.
1033 @node Ottava brackets
1034 @unnumberedsubsubsec Ottava brackets
1042 @funindex set-octavation
1046 @notation{Ottava brackets} introduce an extra transposition of an
1047 octave for the staff:
1049 @lilypond[verbatim,quote,relative=2]
1057 The @code{ottava} function also takes -1 (for 8va bassa),
1058 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1063 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1074 Internals Reference:
1075 @rinternals{Ottava_spanner_engraver},
1076 @rinternals{OttavaBracket},
1077 @rinternals{ottava-bracket-interface}.
1080 @node Instrument transpositions
1081 @unnumberedsubsubsec Instrument transpositions
1083 @cindex transposition, MIDI
1084 @cindex transposition, instrument
1085 @cindex transposing instrument
1087 @cindex MIDI transposition
1089 @funindex \transposition
1090 @funindex transposition
1092 When typesetting scores that involve transposing instruments, some
1093 parts can be typeset in a different pitch than the
1094 @notation{concert pitch}. In these cases, the key of the
1095 @notation{transposing instrument} should be specified; otherwise
1096 the MIDI output and cues in other parts will produce incorrect
1097 pitches. For more information about quotations, see
1098 @ref{Quoting other voices}.
1101 \transposition @var{pitch}
1104 The pitch to use for @code{\transposition} should correspond to
1105 the real sound heard when a@tie{}@code{c'} written on the staff is
1106 played by the transposing instrument. This pitch is entered in
1107 absolute mode, so an instrument that produces a real sound which
1108 is one tone higher than the printed music should use
1109 @w{@code{\transposition d'}}. @code{\transposition} should
1110 @emph{only} be used if the pitches are @emph{not} being entered in
1113 Here are a few notes for violin and B-flat clarinet where the
1114 parts have been entered using the notes and key as they appear in
1115 each part of the conductor's score. The two instruments are
1118 @lilypond[verbatim,quote]
1120 \new Staff = "violin" {
1122 \set Staff.instrumentName = #"Vln"
1123 \set Staff.midiInstrument = #"violin"
1124 % not strictly necessary, but a good reminder
1131 \new Staff = "clarinet" {
1133 \set Staff.instrumentName = \markup { Cl (B\flat) }
1134 \set Staff.midiInstrument = #"clarinet"
1144 The @code{\transposition} may be changed during a piece. For
1145 example, a clarinetist may switch from an A clarinet to a B-flat
1148 @lilypond[verbatim,quote,relative=2]
1149 \set Staff.instrumentName = #"Cl (A)"
1154 s1*0^\markup { Switch to B\flat clarinet }
1165 @rglos{concert pitch},
1166 @rglos{transposing instrument}.
1169 @ref{Quoting other voices}, @ref{Transpose}.
1175 @node Automatic accidentals
1176 @unnumberedsubsubsec Automatic accidentals
1178 @cindex accidental style
1179 @cindex accidental style, default
1181 @cindex accidentals, automatic
1182 @cindex automatic accidentals
1183 @cindex default accidental style
1185 @funindex set-accidental-style
1189 There are many different conventions on how to typeset
1190 accidentals. LilyPond provides a function to specify which
1191 accidental style to use. This function is called as follows:
1195 #(set-accidental-style 'voice)
1200 The accidental style applies to the current @code{Staff} by
1201 default (with the exception of the styles @code{piano} and
1202 @code{piano-cautionary}, which are explained below). Optionally,
1203 the function can take a second argument that determines in which
1204 scope the style should be changed. For example, to use the same
1205 style in all staves of the current @code{StaffGroup}, use:
1208 #(set-accidental-style 'voice 'StaffGroup)
1211 The following accidental styles are supported. To demonstrate
1212 each style, we use the following example:
1215 @lilypond[verbatim,quote]
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 'default)
1253 \context Staff = "down" {
1254 #(set-accidental-style 'default)
1261 Note that the last lines of this example can be replaced by the
1262 following, as long as the same accidental style should be used in
1268 \context Staff = "up" @{
1269 %%% change the next line as desired:
1270 #(set-accidental-style 'default 'Score)
1273 \context Staff = "down" @{
1281 @c don't use verbatim in this table.
1285 @cindex default accidental style
1286 @cindex accidental style, default
1290 This is the default typesetting behavior. It corresponds to
1291 eighteenth-century common practice: accidentals are remembered to
1292 the end of the measure in which they occur and only in their own
1293 octave. Thus, in the example below, no natural signs are printed
1294 before the@tie{}@code{b} in the second measure or the
1301 cis'8 fis, d'4 <a cis>8 f bis4 |
1315 \voiceTwo \relative c' {
1319 \change Staff = down
1323 \change Staff = down
1324 <fis, a cis>4 gis <f a d>2 |
1331 \context Staff = "up" {
1332 #(set-accidental-style 'default)
1335 \context Staff = "down" {
1336 #(set-accidental-style 'default)
1345 @cindex accidental style, voice
1346 @cindex voice accidental style
1347 @cindex accidental style, modern
1348 @cindex modern accidental style
1349 @cindex accidental style, modern-cautionary
1350 @cindex modern-cautionary accidental style
1354 The normal behavior is to remember the accidentals at
1355 @code{Staff}-level. In this style, however, accidentals are
1356 typeset individually for each voice. Apart from that, the rule is
1357 similar to @code{default}.
1359 As a result, accidentals from one voice do not get canceled in
1360 other voices, which is often an unwanted result: in the following
1361 example, it is hard to determine whether the second@tie{}@code{a}
1362 should be played natural or sharp. The @code{voice} option should
1363 therefore be used only if the voices are to be read solely by
1364 individual musicians. If the staff is to be used by one musician
1365 (e.g., a conductor or in a piano score) then @code{modern} or
1366 @code{modern-cautionary} should be used instead.
1373 cis'8 fis, d'4 <a cis>8 f bis4 |
1387 \voiceTwo \relative c' {
1391 \change Staff = down
1395 \change Staff = down
1396 <fis, a cis>4 gis <f a d>2 |
1403 \context Staff = "up" {
1404 #(set-accidental-style 'voice)
1407 \context Staff = "down" {
1408 #(set-accidental-style 'voice)
1417 @cindex accidentals, modern style
1418 @cindex modern style accidentals
1422 This rule corresponds to the common practice in the twentieth
1423 century. It prints the same accidentals as @code{default}, with
1424 two exceptions that serve to avoid ambiguity: after temporary
1425 accidentals, cancellation marks are printed also in the following
1426 measure (for notes in the same octave) and, in the same measure,
1427 for notes in other octaves. Hence the naturals before
1428 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1435 cis'8 fis, d'4 <a cis>8 f bis4 |
1449 \voiceTwo \relative c' {
1453 \change Staff = down
1457 \change Staff = down
1458 <fis, a cis>4 gis <f a d>2 |
1465 \context Staff = "up" {
1466 #(set-accidental-style 'modern)
1469 \context Staff = "down" {
1470 #(set-accidental-style 'modern)
1477 @item modern-cautionary
1479 @cindex accidentals, modern cautionary style
1480 @cindex modern accidental style
1481 @cindex modern cautionary accidental style
1482 @cindex modern style accidentals
1483 @cindex modern style cautionary accidentals
1485 @funindex modern-cautionary
1487 This rule is similar to @code{modern}, but the @q{extra}
1488 accidentals (the ones not typeset by @code{default}) are typeset
1489 as cautionary accidentals. They are by default printed with
1490 parentheses, but they can also be printed in reduced size by
1491 defining the @code{cautionary-style} property of
1492 @code{AccidentalSuggestion}.
1498 cis'8 fis, d'4 <a cis>8 f bis4 |
1512 \voiceTwo \relative c' {
1516 \change Staff = down
1520 \change Staff = down
1521 <fis, a cis>4 gis <f a d>2 |
1528 \context Staff = "up" {
1529 #(set-accidental-style 'modern-cautionary)
1532 \context Staff = "down" {
1533 #(set-accidental-style 'modern-cautionary)
1542 @cindex accidental style, modern
1543 @cindex accidentals, modern
1544 @cindex accidentals, multivoice
1545 @cindex modern accidental style
1546 @cindex modern accidentals
1547 @cindex multivoice accidentals
1549 @funindex modern-voice
1551 This rule is used for multivoice accidentals to be read both by
1552 musicians playing one voice and musicians playing all voices.
1553 Accidentals are typeset for each voice, but they @emph{are}
1554 canceled across voices in the same @code{Staff}. Hence,
1555 the@tie{}@code{a} in the last measure is canceled because the
1556 previous cancellation was in a different voice, and
1557 the@tie{}@code{d} in the lower staff is canceled because of the
1558 accidental in a different voice in the previous measure:
1564 cis'8 fis, d'4 <a cis>8 f bis4 |
1578 \voiceTwo \relative c' {
1582 \change Staff = down
1586 \change Staff = down
1587 <fis, a cis>4 gis <f a d>2 |
1594 \context Staff = "up" {
1595 #(set-accidental-style 'modern-voice)
1598 \context Staff = "down" {
1599 #(set-accidental-style 'modern-voice)
1606 @cindex accidental style, cautionary, modern voice
1607 @cindex accidental style, modern voice cautionary
1608 @cindex accidental style, voice, modern cautionary
1610 @funindex modern-voice-cautionary
1612 @item modern-voice-cautionary
1614 This rule is the same as @code{modern-voice}, but with the extra
1615 accidentals (the ones not typeset by @code{voice}) typeset as
1616 cautionaries. Even though all accidentals typeset by
1617 @code{default} @emph{are} typeset with this rule, some of them are
1618 typeset as cautionaries.
1624 cis'8 fis, d'4 <a cis>8 f bis4 |
1638 \voiceTwo \relative c' {
1642 \change Staff = down
1646 \change Staff = down
1647 <fis, a cis>4 gis <f a d>2 |
1654 \context Staff = "up" {
1655 #(set-accidental-style 'modern-voice-cautionary)
1658 \context Staff = "down" {
1659 #(set-accidental-style 'modern-voice-cautionary)
1668 @cindex accidental style, piano
1669 @cindex accidentals, piano
1670 @cindex piano accidental style
1671 @cindex piano accidentals
1675 This rule reflects twentieth-century practice for piano notation.
1676 Its behavior is very similar to @code{modern} style, but here
1677 accidentals also get canceled across the staves in the same
1678 @code{GrandStaff} or @code{PianoStaff}, hence all the
1679 cancellations of the final notes.
1681 This accidental style applies to the current @code{GrandStaff} or
1682 @code{PianoStaff} by default.
1688 cis'8 fis, d'4 <a cis>8 f bis4 |
1702 \voiceTwo \relative c' {
1706 \change Staff = down
1710 \change Staff = down
1711 <fis, a cis>4 gis <f a d>2 |
1718 \context Staff = "up" {
1719 #(set-accidental-style 'piano)
1722 \context Staff = "down" {
1729 @item piano-cautionary
1731 @cindex accidentals, piano cautionary
1732 @cindex cautionary accidentals, piano
1733 @cindex piano cautionary accidentals
1734 @cindex accidental style, piano cautionary
1735 @cindex cautionary accidental style, piano
1736 @cindex piano cautionary accidental style
1738 @funindex piano-cautionary
1740 This is the same as @code{piano} but with the extra accidentals
1741 typeset as cautionaries.
1747 cis'8 fis, d'4 <a cis>8 f bis4 |
1761 \voiceTwo \relative c' {
1765 \change Staff = down
1769 \change Staff = down
1770 <fis, a cis>4 gis <f a d>2 |
1777 \context Staff = "up" {
1778 #(set-accidental-style 'piano-cautionary)
1781 \context Staff = "down" {
1791 @cindex neo-modern accidental style
1792 @cindex accidental style, neo-modern
1794 @funindex neo-modern
1796 This rule reproduces a common practice in contemporary music:
1797 accidentals are printed like with @code{modern}, but they are printed
1798 again if the same note appears later in the same measure -- except
1799 if the note is immediately repeated.
1805 cis'8 fis, d'4 <a cis>8 f bis4 |
1819 \voiceTwo \relative c' {
1823 \change Staff = down
1827 \change Staff = down
1828 <fis, a cis>4 gis <f a d>2 |
1835 \context Staff = "up" {
1836 #(set-accidental-style 'neo-modern)
1839 \context Staff = "down" {
1840 #(set-accidental-style 'neo-modern)
1847 @item neo-modern-cautionary
1849 @cindex neo-modern-cautionary accidental style
1850 @cindex accidental style, neo-modern-cautionary
1852 @funindex neo-modern-cautionary
1854 This rule is similar to @code{neo-modern}, but the extra
1855 accidentals are printed as cautionary accidentals.
1861 cis'8 fis, d'4 <a cis>8 f bis4 |
1875 \voiceTwo \relative c' {
1879 \change Staff = down
1883 \change Staff = down
1884 <fis, a cis>4 gis <f a d>2 |
1891 \context Staff = "up" {
1892 #(set-accidental-style 'neo-modern-cautionary)
1895 \context Staff = "down" {
1896 #(set-accidental-style 'neo-modern-cautionary)
1906 @cindex dodecaphonic accidental style
1907 @cindex dodecaphonic style, neo-modern
1909 @funindex dodecaphonic
1911 This rule reflects a practice introduced by composers at
1912 the beginning of the 20th century, in an attempt to
1913 abolish the hierarchy between natural and non-natural notes.
1914 With this style, @emph{every} note gets an accidental sign,
1915 including natural signs.
1921 cis'8 fis, d'4 <a cis>8 f bis4 |
1935 \voiceTwo \relative c' {
1939 \change Staff = down
1943 \change Staff = down
1944 <fis, a cis>4 gis <f a d>2 |
1951 \context Staff = "up" {
1952 #(set-accidental-style 'dodecaphonic)
1955 \context Staff = "down" {
1956 #(set-accidental-style 'dodecaphonic)
1966 @cindex teaching accidental style
1967 @cindex accidental style, teaching
1971 This rule is intended for students, and makes it easy to create
1972 scale sheets with automagically created cautionary accidentals.
1973 Accidentals are printed like with @code{modern}, but cautionary
1974 accidentals are added for all sharp or flat tones specified by the
1975 key signature, except if the note is immediately repeated.
1981 cis'8 fis, d'4 <a cis>8 f bis4 |
1995 \voiceTwo \relative c' {
1999 \change Staff = down
2003 \change Staff = down
2004 <fis, a cis>4 gis <f a d>2 |
2011 \context Staff = "up" {
2013 #(set-accidental-style 'teaching)
2016 \context Staff = "down" {
2018 #(set-accidental-style 'teaching)
2029 @cindex accidental style, no reset
2030 @cindex no reset accidental style
2034 This is the same as @code{default} but with accidentals lasting
2035 @q{forever} and not only within the same measure:
2041 cis'8 fis, d'4 <a cis>8 f bis4 |
2055 \voiceTwo \relative c' {
2059 \change Staff = down
2063 \change Staff = down
2064 <fis, a cis>4 gis <f a d>2 |
2071 \context Staff = "up" {
2072 #(set-accidental-style 'no-reset)
2075 \context Staff = "down" {
2076 #(set-accidental-style 'no-reset)
2085 @cindex forget accidental style
2086 @cindex accidental style, forget
2090 This is the opposite of @code{no-reset}: Accidentals are not
2091 remembered at all -- and hence all accidentals are typeset
2092 relative to the key signature, regardless of what came before in
2093 the music. Unlike @code{dodecaphonic}, this rule never prints
2100 cis'8 fis, d'4 <a cis>8 f bis4 |
2114 \voiceTwo \relative c' {
2118 \change Staff = down
2122 \change Staff = down
2123 <fis, a cis>4 gis <f a d>2 |
2130 \context Staff = "up" {
2131 #(set-accidental-style 'forget)
2134 \context Staff = "down" {
2135 #(set-accidental-style 'forget)
2145 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2146 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2153 Internals Reference:
2154 @rinternals{Accidental},
2155 @rinternals{Accidental_engraver},
2156 @rinternals{GrandStaff} and
2157 @rinternals{PianoStaff},
2159 @rinternals{AccidentalSuggestion},
2160 @rinternals{AccidentalPlacement},
2161 @rinternals{accidental-suggestion-interface}.
2164 @cindex accidentals and simultaneous notes
2165 @cindex simultaneous notes and accidentals
2166 @cindex accidentals in chords
2167 @cindex chords, accidentals in
2171 Simultaneous notes are considered to be entered in sequential
2172 mode. This means that in a chord the accidentals are typeset as
2173 if the notes in the chord happen one at a time, in the order in
2174 which they appear in the input file. This is a problem when
2175 accidentals in a chord depend on each other, which does not happen
2176 for the default accidental style. The problem can be solved by
2177 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2182 @unnumberedsubsubsec Ambitus
2185 @cindex range of pitches
2188 The term @notation{ambitus} (pl. ambitus) denotes a range of
2189 pitches for a given voice in a part of music. It may also denote
2190 the pitch range that a musical instrument is capable of playing.
2191 Ambitus are printed on vocal parts so that performers can easily
2192 determine if it matches their capabilities.
2194 Ambitus are denoted at the beginning of a piece near the initial
2195 clef. The range is graphically specified by two note heads that
2196 represent the lowest and highest pitches. Accidentals are only
2197 printed if they are not part of the key signature.
2199 @lilypond[verbatim,quote]
2203 \consists "Ambitus_engraver"
2216 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2217 {adding-ambitus-per-voice.ly}
2219 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2220 {ambitus-with-multiple-voices.ly}
2230 Internals Reference:
2231 @rinternals{Ambitus_engraver},
2234 @rinternals{Ambitus},
2235 @rinternals{AmbitusAccidental},
2236 @rinternals{AmbitusLine},
2237 @rinternals{AmbitusNoteHead},
2238 @rinternals{ambitus-interface}.
2243 There is no collision handling in the case of multiple per-voice
2248 @subsection Note heads
2250 This section suggests ways of altering note heads.
2253 * Special note heads::
2254 * Easy notation note heads::
2255 * Shape note heads::
2259 @node Special note heads
2260 @unnumberedsubsubsec Special note heads
2262 @cindex note heads, special
2263 @cindex note heads, cross
2264 @cindex note heads, diamond
2265 @cindex note heads, parlato
2266 @cindex note heads, harmonic
2267 @cindex note heads, guitar
2268 @cindex special note heads
2269 @cindex cross note heads
2270 @cindex diamond note heads
2271 @cindex parlato note heads
2272 @cindex harmonic note heads
2273 @cindex guitar note heads
2274 @cindex note head styles
2275 @cindex styles, note heads
2279 Note heads may be altered:
2281 @lilypond[verbatim,quote,relative=2]
2283 \override NoteHead #'style = #'cross
2285 \revert NoteHead #'style
2289 There is a shorthand for diamond shapes which can only be used
2292 @lilypond[verbatim,quote,relative=2]
2293 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2297 To see all note head styles, see @ref{Note head styles}.
2305 @ref{Note head styles},
2306 @ref{Chorded notes}.
2308 Internals Reference:
2309 @rinternals{note-event},
2310 @rinternals{Note_heads_engraver},
2311 @rinternals{Ledger_line_engraver},
2312 @rinternals{NoteHead},
2313 @rinternals{LedgerLineSpanner},
2314 @rinternals{note-head-interface},
2315 @rinternals{ledger-line-spanner-interface}.
2318 @node Easy notation note heads
2319 @unnumberedsubsubsec Easy notation note heads
2321 @cindex note heads, practice
2322 @cindex practice note heads
2323 @cindex note heads, easy notation
2324 @cindex easy notation
2326 @cindex beginners' music
2327 @cindex music, beginners'
2328 @cindex easy play note heads
2329 @cindex note heads, easy play
2331 @funindex \easyHeadsOn
2332 @funindex easyHeadsOn
2333 @funindex \easyHeadsOff
2334 @funindex easyHeadsOff
2336 The @q{easy play} note head includes a note name inside the head.
2337 It is used in music for beginners. To make the letters readable,
2338 it should be printed in a large font size. To print with a larger
2339 font, see @ref{Setting the staff size}.
2341 @lilypond[verbatim,quote]
2342 #(set-global-staff-size 26)
2354 @code{\easyHeadsOn},
2355 @code{\easyHeadsOff}.
2361 @ref{Setting the staff size}.
2366 Internals Reference:
2367 @rinternals{note-event},
2368 @rinternals{Note_heads_engraver},
2369 @rinternals{NoteHead},
2370 @rinternals{note-head-interface}.
2373 @node Shape note heads
2374 @unnumberedsubsubsec Shape note heads
2376 @cindex note heads, shape
2377 @cindex note heads, Aiken
2378 @cindex note heads, sacred harp
2380 @cindex Aiken shape note heads
2381 @cindex sacred harp note heads
2385 @funindex \aikenHeads
2386 @funindex aikenHeads
2387 @funindex \sacredHarpHeads
2388 @funindex sacredHarpHeads
2390 In shape note head notation, the shape of the note head
2391 corresponds to the harmonic function of a note in the scale. This
2392 notation was popular in nineteenth-century American song books.
2393 Shape note heads can be produced:
2395 @lilypond[verbatim,quote,relative=2]
2402 Shapes are typeset according to the step in the scale, where the
2403 base of the scale is determined by the @code{\key} command.
2408 @code{\sacredHarpHeads}.
2414 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2415 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2418 To see all note head styles, see @ref{Note head styles}.
2426 @ref{Note head styles}.
2428 Internals Reference:
2429 @rinternals{note-event},
2430 @rinternals{Note_heads_engraver},
2431 @rinternals{NoteHead},
2432 @rinternals{note-head-interface}.
2436 @unnumberedsubsubsec Improvisation
2438 @cindex improvisation
2439 @cindex slashed note heads
2440 @cindex note heads, improvisation
2441 @cindex note heads, slashed
2443 @funindex \improvisationOn
2444 @funindex improvisationOn
2445 @funindex \improvisationOff
2446 @funindex improvisationOff
2448 Improvisation is sometimes denoted with slashed note heads, where
2449 the performer may choose any pitch but should play the specified
2450 rhythm. Such note heads can be created:
2452 @lilypond[verbatim,quote,relative=2]
2454 \consists "Pitch_squash_engraver"
2456 e8 e g a a16( bes) a8 g
2468 @code{\improvisationOn},
2469 @code{\improvisationOff}.
2477 Internals Reference:
2478 @rinternals{Pitch_squash_engraver},
2480 @rinternals{RhythmicStaff}.