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,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 checks}.
203 Snippets: @lsrdir{Pitches,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 Quarter tones may be added; the following is a series of Cs with
260 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
261 ceseh1 ces ceh c cih cis cisih
266 @cindex accidental, reminder
267 @cindex accidental, cautionary
268 @cindex accidental, parenthesized
269 @cindex reminder accidental
271 @cindex cautionary accidental
272 @cindex parenthesized accidental
275 Normally accidentals are printed automatically, but you may also
276 print them manually. A reminder accidental can be forced by
277 adding an exclamation mark@tie{}@code{!} after the pitch. A
278 cautionary accidental (i.e., an accidental within parentheses) can
279 be obtained by adding the question mark@tie{}@code{?} after the
280 pitch. These extra accidentals can also be used to produce
283 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
284 cis cis cis! cis? c c c! c?
287 Accidentals are only printed on tied notes which begin a new
290 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
299 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
300 {preventing-extra-naturals-from-being-automatically-added.ly}
304 Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
305 @rglos{double flat}, @rglos{Pitch names}.
307 Learning Manual: @rlearning{Accidentals and key signatures}.
309 Notation Reference: @ref{Automatic accidentals},
310 @ref{Musica ficta accidentals},
311 @ref{Note names in other languages}.
313 Snippets: @lsrdir{Pitches,Pitches}.
318 There are no generally accepted standards for denoting
319 three-quarter flats, so LilyPond's symbol does not conform to any
324 @node Note names in other languages
325 @unnumberedsubsubsec Note names in other languages
327 There are predefined sets of note names for various other
328 languages. To use them, include the language specific init file.
329 For example, add @code{\include "english.ly"} to the top of the
330 input file. The available language files and the note names they
333 @cindex note names, other languages
336 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
339 @tab sharp @tab flat @tab double sharp @tab double flat
341 @tab c d e f g a bes b
342 @tab -is @tab -es @tab -isis @tab -eses
344 @tab c d e f g a bf b
345 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
349 @tab -is @tab -es @tab -isis @tab -eses
352 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
356 @tab -iss @tab -ess @tab -ississ @tab -essess
359 @tab -is @tab -es @tab -isis @tab -eses
361 @tab do re mi fa sol la sib si
362 @tab -d @tab -b @tab -dd @tab -bb
364 @tab do re mi fa sol la sib si
365 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
367 @tab do re mi fa sol la sib si
368 @tab -s @tab -b @tab -ss @tab -bb
370 @tab do re mi fa sol la sib si
371 @tab -s @tab -b @tab -ss @tab -bb
373 @tab do re mi fa sol la sib si
374 @tab -k @tab -b @tab -kk @tab -bb
378 Some music uses microtones whose alterations are fractions of a
379 @q{normal} sharp or flat. The note names for quartertones defined
380 in the various language files are listed in the following table.
381 Here the prefixes @notation{semi-} and @notation{sesqui-} mean
382 @q{half} and @q{one and a half}, respectively. For the other
383 languages, no special names have been defined yet.
386 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
389 @tab semi- @tab semi- @tab sesqui- @tab sesqui-
392 @tab c d e f g a bes b
393 @tab -ih @tab -eh @tab -isih @tab -eseh
395 @tab c d e f g a bf b
396 @tab -qs @tab -qf @tab -tqs @tab -tqf
399 @tab -ih @tab -eh @tab -isih @tab -eseh
401 @tab do re mi fa sol la sib si
402 @tab -sd @tab -sb @tab -dsd @tab -bsb
404 @tab do re mi fa sol la sib si
405 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
409 In Dutch, @code{aes} is contracted to @code{as}, but both forms
410 are accepted in LilyPond. Similarly, both @code{es} and
411 @code{ees} are accepted. This also applies to
412 @code{aeses}@tie{}/@tie{}@code{ases} and
413 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
414 contracted names are defined in the corresponding language files.
416 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
417 a2 as e es a ases e eses
420 In some languages such as Norwegian and Swedish, the usual
421 spelling for accidentals is a double @q{s} such as in @code{ciss}
422 or @code{cess}. For both historical reasons and a greater
423 simplicity, LilyPond uses a single @q{s} for all these languages.
427 Music Glossary: @rglos{Pitch names}.
429 Snippets: @lsrdir{Pitches,Pitches}.
432 @node Changing multiple pitches
433 @subsection Changing multiple pitches
435 This section discusses how to modify pitches.
443 @unnumberedsubsubsec Octave checks
445 @cindex octave correction
450 In relative mode, it is easy to forget an octave changing mark.
451 Octave checks make such errors easier to find by displaying a
452 warning and correcting the octave if a note is found in an
455 To check the octave of a specific note, specify the absolute
456 octave after the @code{=}@tie{}symbol. This example will generate
457 a warning (and change the pitch) because the second note is the
458 absolute octave @code{d''} instead of @code{d'} as indicated by
459 the octave correction.
461 @lilypond[verbatim,quote,ragged-right,fragment]
468 The octave of pitches may also be checked with the
469 @code{\octave}@tie{}@var{controlpitch} command.
470 @var{controlpitch} is specified in absolute mode. This checks
471 that the interval between the previous note and the
472 @var{controlpitch} is within a fourth (i.e. the normal calculation
473 of relative mode). If this check fails, a warning is printed, but
474 the previous note is not changed. Future notes are relative to
475 the @var{controlpitch}.
477 @lilypond[verbatim,quote,ragged-right,fragment]
485 Compare the two bars below. The first and third @code{\octave}
486 check fail, but the second ones passes without fail.
488 @lilypond[verbatim,quote,ragged-right,fragment]
505 Snippets: @lsrdir{Pitches,Pitches}.
509 @unnumberedsubsubsec Transpose
512 @cindex transposition of pitches
515 A music expression can be transposed with @code{\transpose}. The
519 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
523 This means that @var{musicexpr} is transposed by the interval
524 between the pitches @var{frompitch} and @var{topitch}: any note
525 with pitch @var{frompitch} is changed to @var{topitch} and any
526 other note is transposed by the same interval.
528 Consider a piece written in the key of D-major. It can be
529 transposed up to E-major; note that the key signature is
530 automatically transposed as well.
532 @lilypond[verbatim,quote,ragged-right]
541 If a part written in C (normal concert pitch) is to be played on
542 the A clarinet (for which an A is notated as a C and thus sounds a
543 minor third lower than notated), the appropriate part will be
546 @lilypond[verbatim,quote,ragged-right]
556 Note that we specify @code{\key c \major} explicitly. If we do
557 not specify a key signature, the notes will be transposed but no
558 key signature will be printed.
560 @code{\transpose} distinguishes between enharmonic pitches: both
561 @code{\transpose c cis} or @code{\transpose c des} will transpose
562 up half a tone. The first version will print sharps and the notes
563 will remain on the same scale step, the second version will print
564 flats on the scale step above.
566 @lilypond[verbatim,quote,ragged-right]
567 mus = \relative c' { c d e f }
569 \transpose c cis { \mus }
570 \transpose c des { \mus }
574 @cindex transposing instruments
576 @code{\transpose} may also be used in a different way, to input
577 written notes for a transposing instrument. The previous examples
578 show how to enter pitches in C (or @notation{concert pitch}) and
579 typeset them for a transposing instrument, but the opposite is
580 also possible if you for example have a set of instrumental parts
581 and want to print a conductor's score. For example, when entering
582 music for a B-flat trumpet which begins on a notated E (concert
586 musicInBflat = @{ e4 @dots{} @}
587 \transpose c bes, \musicInBflat
591 To print this music in F (e.g., rearranging to a French horn) you
592 could wrap the existing music with another @code{\transpose}:
595 musicInBflat = @{ e4 @dots{} @}
596 \transpose f c' @{ \transpose c bes, \musicInBflat @}
600 For more information about transposing instruments,
601 see @ref{Instrument transpositions}.
606 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
607 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
612 Notation Reference: @ref{Instrument transpositions}.
614 Snippets: @lsrdir{Pitches,Pitches}.
616 Internals Reference: @internalsref{TransposedMusic}.
620 If you want to use both @code{\transpose} and @code{\relative},
621 you must put @code{\transpose} outside of @code{\relative}, since
622 @code{\relative} will have no effect on music that appears inside
626 @node Displaying pitches
627 @subsection Displaying pitches
629 This section discusses how to alter the output of pitches.
635 * Instrument transpositions::
636 * Automatic accidentals::
642 @unnumberedsubsubsec Clef
656 @cindex mezzosoprano clef
657 @cindex baritone clef
658 @cindex varbaritone clef
661 The clef is set with the @code{\clef} @var{clefname} command:
663 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
674 Supported clefs include:
676 @multitable @columnfractions .4 .6
677 @headitem Clef @tab Position
678 @item @code{treble, violin, G, G2} @tab
679 G clef (g') on 2nd line
680 @item @code{alto, C} @tab
681 C clef (c') on 3rd line
682 @item @code{tenor} @tab
683 C clef (c') on 4th line
684 @item @code{bass, F} @tab
685 F clef (f) on 4th line
686 @item @code{french} @tab
687 G clef (g') on 1st line, so-called French violin clef
688 @item @code{soprano} @tab
689 C clef (c') on 1st line
690 @item @code{mezzosoprano} @tab
691 C clef (c') on 2nd line
692 @item @code{baritone} @tab
693 C clef (c') on 5th line
694 @item @code{varbaritone} @tab
695 F clef (f) on 3rd line
696 @item @code{subbass} @tab
697 F clef (f) on 5th line
698 @item @code{percussion} @tab
700 @item @code{tab} @tab
704 Further supported clefs are described under @ref{Ancient clefs}.
706 By adding @code{_8} or @code{^8} to the clef name, the clef is
707 transposed one octave down or up, respectively, and @code{_15} and
708 @code{^15} transposes by two octaves. The argument @var{clefname}
709 must be enclosed in quotes when it contains underscores or digits.
712 @cindex choral tenor clef
714 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
722 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
723 {clefs-commonly-tweaked-properties.ly}
728 Notation Reference: @ref{Ancient clefs}.
730 Snippets: @lsrdir{Pitches,Pitches}.
732 Internals Reference: @internalsref{Clef}.
736 @unnumberedsubsubsec Key signature
738 @cindex key signature
741 @warning{New users are sometimes confused about accidentals and
742 key signatures. In LilyPond, note names are the raw input; key
743 signatures and clefs determine how this raw input is displayed.
744 An unaltered note like@tie{}@code{c} means @q{C natural},
745 regardless of the key signature or clef. For more information,
746 see @rlearning{Accidentals and key signatures}.}
748 The key signature indicates the tonality in which a piece is
749 played. It is denoted by a set of alterations (flats or sharps)
750 at the start of the staff. Setting or changing the key signature
751 is done with the @code{\key} command:
754 \key @var{pitch} @var{mode}
763 @funindex \mixolydian
769 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
770 key signature of @var{pitch}-major or @var{pitch}-minor,
771 respectively. You may also use the standard mode names, also
772 called @q{church modes}: @code{\ionian}, @code{\locrian},
773 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
774 @code{\phrygian}, and @code{\dorian}.
776 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
786 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
787 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
789 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
790 {non-traditional-key-signatures.ly}
795 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
797 Learning Manual: @rlearning{Accidentals and key signatures}.
799 Snippets: @lsrdir{Pitches,Pitches}.
801 Internals Reference: @internalsref{KeyCancellation},
802 @internalsref{KeySignature}, @internalsref{Key_engraver}.
805 @node Ottava brackets
806 @unnumberedsubsubsec Ottava brackets
814 @notation{Ottava brackets} introduce an extra transposition of an
815 octave for the staff:
817 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
825 The @code{set-octavation} function also takes -1 (for 8va bassa),
826 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
831 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
837 Music Glossary: @rglos{ottava}.
839 Snippets: @lsrdir{Pitches,Pitches}.
841 Internals Reference: @internalsref{OttavaBracket}.
845 @node Instrument transpositions
846 @unnumberedsubsubsec Instrument transpositions
848 @cindex transposition, MIDI
849 @cindex transposition, instrument
851 When typesetting scores that involve transposing instruments, some
852 parts can be typeset in a different pitch than the
853 @notation{concert pitch}. In these cases, the key of the
854 @notation{transposing instrument} should be specified; otherwise
855 the MIDI output and cues in other parts will produce incorrect
856 pitches. For more information about quotations, see @ref{Quoting
860 \transposition @var{pitch}
863 The pitch to use for @code{\transposition} should correspond to
864 the real sound heard when a@tie{}@code{c'} written on the staff is
865 played by the transposing instrument. This pitch is entered in
866 absolute mode, so an instrument which produces a real sound which
867 is one tone higher than the printed music should use
868 @code{\transposition d'}. @code{\transposition} should
869 @emph{only} be used if the pitches are @emph{not} being entered in
872 Here are a few notes for violin and B-flat clarinet where the
873 parts have been entered using the notes and key as they appear in
874 each part of the conductor's score. The two instruments are
877 @lilypond[verbatim,quote,ragged-right]
881 \set Staff.instrumentName = "Vln"
882 \set Staff.midiInstrument="violin"
883 % strictly speaking not necessary, but a good reminder
890 \new Staff = "clarinet" {
892 \set Staff.instrumentName = \markup {Cl (B\flat)}
893 \set Staff.midiInstrument="clarinet"
904 The @code{\transposition} may be changed during a piece. For
905 example, a clarinetist may switch from an A clarinet to a B-flat
908 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
909 \set Staff.instrumentName = "Cl (A)"
914 r1^\markup{Switch to B\flat clarinet}
924 Music Glossary: @rglos{concert pitch},
925 @rglos{transposing instrument}.
927 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
929 Snippets: @lsrdir{Pitches,Pitches}.
932 @node Automatic accidentals
933 @unnumberedsubsubsec Automatic accidentals
934 @cindex automatic accidentals
936 @funindex set-accidental-style
938 There are many different conventions on how to typeset
939 accidentals. LilyPond provides a function to specify which such
940 accidental style to use. This function is called as follows
944 #(set-accidental-style 'voice)
949 The accidental style applies to the current @code{Staff} by
950 default (with the exception of the styles @code{piano} and
951 @code{piano-cautionary}, which are explained below). Optionally,
952 the function can take a second argument which determines in which
953 scope the style should be changed. For example, to use the same
954 style in all staves of the current @code{StaffGroup}, use
957 #(set-accidental-style 'voice 'StaffGroup)
960 The following accidental styles are supported. To demonstrate
961 each style, we use the following example:
963 @lilypond[verbatim,quote,ragged-right]
967 cis'8 fis, d'4 <a cis>8 f bis4 |
981 \voiceTwo \relative c' {
990 <fis, a cis>4 gis <f a d>2 |
997 \context Staff = "up" {
998 %%% change the next line as desired:
999 #(set-accidental-style 'default)
1002 \context Staff = "down" {
1003 %%% change the next line as desired:
1004 #(set-accidental-style 'default)
1011 Note that the last lines of this example can be replaced by the
1012 following, as long as the same accidental style should be used in
1017 \context Staff = "up" @{
1018 %%% change the next line as desired:
1019 #(set-accidental-style 'default 'Score)
1022 \context Staff = "down" @{
1030 @c NOTE: don't use verbatim in this table.
1033 This is the default typesetting behavior. It corresponds to
1034 eighteenth-century common practice: accidentals are remembered to
1035 the end of the measure in which they occur and only on their own
1036 octave. Thus, in the example below, no natural signs are printed
1037 before the@tie{}@code{b} in the second measure or the
1040 @lilypond[quote,ragged-right]
1044 cis'8 fis, d'4 <a cis>8 f bis4 |
1058 \voiceTwo \relative c' {
1062 \change Staff = down
1066 \change Staff = down
1067 <fis, a cis>4 gis <f a d>2 |
1074 \context Staff = "up" {
1075 #(set-accidental-style 'default)
1078 \context Staff = "down" {
1079 #(set-accidental-style 'default)
1087 The normal behavior is to remember the accidentals on Staff-level.
1088 In this style, however, accidentals are typeset individually for
1089 each voice. Apart from that, the rule is similar to
1092 As a result, accidentals from one voice do not get canceled in
1093 other voices, which is often an unwanted result: in the following
1094 example, it is hard to determine whether the second@tie{}@code{a}
1095 should be played natural or sharp. The @code{voice} option should
1096 therefore be used only if the voices are to be read solely by
1097 individual musicians. If the staff is to be used by one musician
1098 (e.g., a conductor or in a piano score) then @code{modern} or
1099 @code{modern-cautionary} should be used instead.
1102 @lilypond[quote,ragged-right]
1106 cis'8 fis, d'4 <a cis>8 f bis4 |
1120 \voiceTwo \relative c' {
1124 \change Staff = down
1128 \change Staff = down
1129 <fis, a cis>4 gis <f a d>2 |
1136 \context Staff = "up" {
1137 #(set-accidental-style 'voice)
1140 \context Staff = "down" {
1141 #(set-accidental-style 'voice)
1149 @funindex modern style accidentals
1151 This rule corresponds to the common practice in the twentieth
1152 century. It prints the same accidentals as @code{default}, with
1153 two exceptions which serve to avoid ambiguity: after temporary
1154 accidentals, cancellation marks are printed also in the following
1155 measure (for notes in the same octave) and, in the same measure,
1156 for notes in other octaves. Hence the naturals before
1157 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1160 @lilypond[quote,ragged-right]
1164 cis'8 fis, d'4 <a cis>8 f bis4 |
1178 \voiceTwo \relative c' {
1182 \change Staff = down
1186 \change Staff = down
1187 <fis, a cis>4 gis <f a d>2 |
1194 \context Staff = "up" {
1195 #(set-accidental-style 'modern)
1198 \context Staff = "down" {
1199 #(set-accidental-style 'modern)
1206 @item modern-cautionary
1207 @funindex modern-cautionary
1209 This rule is similar to @code{modern}, but the @q{extra}
1210 accidentals (the ones not typeset by @code{default}) are typeset
1211 as cautionary accidentals. They are by default printed with
1212 parentheses, but they can also be printed in reduced size by
1213 defining the @code{cautionary-style} property of
1214 @code{AccidentalSuggestion}.
1217 @lilypond[quote,ragged-right]
1221 cis'8 fis, d'4 <a cis>8 f bis4 |
1235 \voiceTwo \relative c' {
1239 \change Staff = down
1243 \change Staff = down
1244 <fis, a cis>4 gis <f a d>2 |
1251 \context Staff = "up" {
1252 #(set-accidental-style 'modern-cautionary)
1255 \context Staff = "down" {
1256 #(set-accidental-style 'modern-cautionary)
1264 @funindex modern-voice
1266 This rule is used for multivoice accidentals to be read both by
1267 musicians playing one voice and musicians playing all voices.
1268 Accidentals are typeset for each voice, but they @emph{are}
1269 canceled across voices in the same @code{Staff}. Hence,
1270 the@tie{}@code{a} in the last measure is canceled because the
1271 previous cancellation was in a different voice, and
1272 the@tie{}@code{d} in the lower staff is canceled because of the
1273 accidental in a different voice in the previous measure:
1276 @lilypond[quote,ragged-right]
1280 cis'8 fis, d'4 <a cis>8 f bis4 |
1294 \voiceTwo \relative c' {
1298 \change Staff = down
1302 \change Staff = down
1303 <fis, a cis>4 gis <f a d>2 |
1310 \context Staff = "up" {
1311 #(set-accidental-style 'modern-voice)
1314 \context Staff = "down" {
1315 #(set-accidental-style 'modern-voice)
1322 @funindex modern-voice-cautionary
1323 @item modern-voice-cautionary
1325 This rule is the same as @code{modern-voice}, but with the extra
1326 accidentals (the ones not typeset by @code{voice}) typeset
1327 as cautionaries. Even though all accidentals typeset by
1328 @code{default} @emph{are} typeset with this rule,
1329 some of them are typeset as cautionaries.
1331 @lilypond[quote,ragged-right]
1335 cis'8 fis, d'4 <a cis>8 f bis4 |
1349 \voiceTwo \relative c' {
1353 \change Staff = down
1357 \change Staff = down
1358 <fis, a cis>4 gis <f a d>2 |
1365 \context Staff = "up" {
1366 #(set-accidental-style 'modern-voice-cautionary)
1369 \context Staff = "down" {
1370 #(set-accidental-style 'modern-voice-cautionary)
1378 @funindex piano accidentals
1380 This rule reflects twentieth-century practice for piano notation.
1381 Its behavior is very similar to @code{modern} style, but here
1382 accidentals also get canceled across the staves in the same
1383 GrandStaff or PianoStaff, hence all the cancellations of the final
1386 This accidental style applies to the current @code{GrandStaff} or
1387 @code{PianoStaff} by default.
1389 @lilypond[quote,ragged-right]
1393 cis'8 fis, d'4 <a cis>8 f bis4 |
1407 \voiceTwo \relative c' {
1411 \change Staff = down
1415 \change Staff = down
1416 <fis, a cis>4 gis <f a d>2 |
1423 \context Staff = "up" {
1424 #(set-accidental-style 'piano)
1427 \context Staff = "down" {
1434 @item piano-cautionary
1435 @funindex #(set-accidental-style 'piano-cautionary)
1437 Same as @code{#(set-accidental-style 'piano)} but with the extra
1438 accidentals typeset as cautionaries.
1440 @lilypond[quote,ragged-right]
1444 cis'8 fis, d'4 <a cis>8 f bis4 |
1458 \voiceTwo \relative c' {
1462 \change Staff = down
1466 \change Staff = down
1467 <fis, a cis>4 gis <f a d>2 |
1474 \context Staff = "up" {
1475 #(set-accidental-style 'piano-cautionary)
1478 \context Staff = "down" {
1486 @funindex no-reset accidental style
1488 This is the same as @code{default} but with accidentals lasting
1489 @q{forever} and not only within the same measure:
1491 @lilypond[quote,ragged-right]
1495 cis'8 fis, d'4 <a cis>8 f bis4 |
1509 \voiceTwo \relative c' {
1513 \change Staff = down
1517 \change Staff = down
1518 <fis, a cis>4 gis <f a d>2 |
1525 \context Staff = "up" {
1526 #(set-accidental-style 'no-reset)
1529 \context Staff = "down" {
1530 #(set-accidental-style 'no-reset)
1538 @funindex forget accidental style
1540 This is the opposite of @code{no-reset}: Accidentals are not
1541 remembered at all -- and hence all accidentals are typeset
1542 relative to the key signature, regardless of what was before in
1545 @lilypond[quote,ragged-right]
1549 cis'8 fis, d'4 <a cis>8 f bis4 |
1563 \voiceTwo \relative c' {
1567 \change Staff = down
1571 \change Staff = down
1572 <fis, a cis>4 gis <f a d>2 |
1579 \context Staff = "up" {
1580 #(set-accidental-style 'forget)
1583 \context Staff = "down" {
1584 #(set-accidental-style 'forget)
1594 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1595 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1600 Snippets: @lsrdir{Pitches,Pitches}.
1602 Internals Reference: @internalsref{Accidental_engraver},
1603 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1604 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1605 @internalsref{PianoStaff}, @internalsref{Staff}.
1610 Simultaneous notes are considered to be entered in sequential
1611 mode. This means that in a chord the accidentals are typeset as
1612 if the notes in the chord happen one at a time, in the order in
1613 which they appear in the input file. This is a problem when
1614 accidentals in a chord depend on each other, which does not happen
1615 for the default accidental style. The problem can be solved by
1616 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1621 @unnumberedsubsubsec Ambitus
1624 The term @notation{ambitus} or @notation{ambit} denotes a range of
1625 pitches for a given voice in a part of music. It may also denote
1626 the pitch range that a musical instrument is capable of playing.
1627 Ambits are printed on vocal parts so that performers can easily
1628 determine if it matches their capabilities.
1630 Ambits are denoted at the beginning of a piece near the initial
1631 clef. The range is graphically specified by two note heads that
1632 represent the minimum and maximum pitch. Accidentals are only
1633 printed if they are not part of the key signature.
1635 @lilypond[verbatim,quote,ragged-right]
1639 \consists Ambitus_engraver
1651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1652 {adding-ambiti-per-voice.ly}
1654 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1655 {ambiti-multiple-voices.ly}
1660 Snippets: @lsrdir{Pitches,Pitches}.
1662 Internals Reference: @internalsref{Ambitus},
1663 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1664 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1665 @internalsref{Staff}, @internalsref{Voice}.
1670 There is no collision handling in the case of multiple per-voice
1675 @subsection Note heads
1678 * Special note heads::
1679 * Easy notation note heads::
1680 * Shape note heads::
1684 @node Special note heads
1685 @unnumberedsubsubsec Special note heads
1687 @cindex note heads, special
1689 Different note heads are used by various instruments for various
1690 meanings -- crosses are used for @q{parlato} with vocalists,
1691 stopped notes on guitar; diamonds are used for harmonics on string
1692 instruments, etc. There is a shorthand (@code{\harmonic}) for
1693 diamond shapes; the other note head styles are produced by
1694 tweaking the property:
1696 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1698 \override NoteHead #'style = #'cross
1700 \revert NoteHead #'style
1701 e d <c f\harmonic> <d a'\harmonic>
1705 To see all note head styles, please see @ref{Note head styles}.
1710 Snippets: @lsrdir{Pitches,Pitches}.
1712 Notation Reference: @ref{Note head styles}.
1714 Internals Reference: @internalsref{NoteHead},
1715 @internalsref{LedgerLineSpanner}.
1718 @node Easy notation note heads
1719 @unnumberedsubsubsec Easy notation note heads
1721 @cindex note heads, practice
1722 @cindex note heads, easy notation
1723 @cindex easy notation
1726 The @q{easy play} note head includes a note name inside the head.
1727 It is used in music for beginners.
1729 @lilypond[verbatim,quote,ragged-right]
1730 #(set-global-staff-size 26)
1740 The command @code{\easyHeadsOn} overrides settings for the
1741 @code{NoteHead} object. These settings can be reverted with the command
1742 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1743 in a large font size. To print with a larger font, see @ref{Setting the
1748 @funindex \easyHeadsOn
1749 @funindex \easyHeadsOff
1750 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1754 Notation Reference: @ref{Setting the staff size}.
1756 Snippets: @lsrdir{Pitches,Pitches},
1758 Internals Reference: @internalsref{NoteHead}.
1761 @node Shape note heads
1762 @unnumberedsubsubsec Shape note heads
1764 @cindex note heads, shape
1766 @funindex shapeNoteStyles
1767 @funindex \aikenHeads
1768 @funindex \sacredHarpHeads
1770 In shape note head notation, the shape of the note head
1771 corresponds to the harmonic function of a note in the scale. This
1772 notation was popular in nineteenth-century American song books.
1774 Shape note heads can be produced by setting @code{\aikenHeads} or
1775 @code{\sacredHarpHeads}, depending on the style desired.
1777 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1784 Shapes are typeset according to the step in the scale, where
1785 the base of the scale is determined by the @code{\key} command.
1789 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1790 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1795 Snippets: @lsrdir{Pitches,Pitches}.
1799 @unnumberedsubsubsec Improvisation
1801 @cindex improvisation
1802 @cindex slashed note heads
1803 @cindex note heads, improvisation
1804 @cindex note heads, slashed
1806 Improvisation is sometimes denoted with slashed note heads, where
1807 the performer may choose any pitch but should play the specified
1808 rhythm. Such note heads can be created:
1810 @lilypond[verbatim,quote,ragged-right]
1812 \consists Pitch_squash_engraver
1814 e8 e g a a16( bes) a8 g
1826 Snippets: @lsrdir{Pitches,Pitches}.
1828 Internals Reference: @internalsref{Pitch_squash_engraver},
1829 @internalsref{Voice}.