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]{pitches-headword.ly}
15 This section discusses how to specify the pitch of notes. There
16 are three steps to this process: input, modification, and output.
20 * Changing multiple pitches::
21 * Displaying pitches::
27 @subsection Writing pitches
29 This section discusses how to input pitches. There are two
30 different ways to place notes in octaves: absolute and relative
31 mode. In most cases, relative mode will be more convenient.
34 * Absolute octave entry::
35 * Relative octave entry::
37 * Note names in other languages::
41 @node Absolute octave entry
42 @unnumberedsubsubsec Absolute octave entry
47 @cindex absolute octave specification
49 A pitch name is specified using lowercase letters@tie{}@code{a}
50 through@tie{}@code{g}. The note names @code{c} to @code{b} are
51 engraved in the octave below middle C.
54 @lilypond[verbatim,quote,ragged-right,fragment]
64 Other octaves may be specified with a single quote@tie{}(@code{'})
65 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
66 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
69 @lilypond[verbatim,quote,ragged-right,fragment]
84 @lsrdir{Pitches,Pitches}.
87 @node Relative octave entry
88 @unnumberedsubsubsec Relative octave entry
91 @cindex relative octave specification
94 When octaves are specified in absolute mode it is easy to
95 accidentally put a pitch in the wrong octave. Relative octave
96 mode reduces these errors since most of the time it is not
97 necessary to indicate any octaves at all. Furthermore, in
98 absolute mode a single mistake may be difficult to spot, while in
99 relative mode a single error puts the rest of the piece off by one
103 \relative @var{startpitch} @var{musicexpr}
106 In relative mode, each note is assumed to be as close to the
107 previous note as possible. This means that the octave of pitches
108 in @var{musicexpr} is calculated as follows:
112 If no octave changing mark is used on a pitch, its octave is calculated
113 so that the interval with the previous note is less than a fifth. This
114 interval is determined without considering accidentals.
117 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
118 respectively raise or lower a pitch by an extra octave, relative to
119 the pitch calculated without an octave mark.
122 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
123 @code{,,}@tie{} will alter the pitch by two octaves.
126 The pitch of the first note is relative to
127 @code{@var{startpitch}}. @var{startpitch} is specified in
128 absolute octave mode, and it is recommended that it be a octave of
133 Here is the relative mode shown in action:
135 @lilypond[verbatim,quote,ragged-right]
144 Octave changing marks are used for intervals greater than a
147 @lilypond[verbatim,quote,ragged-right]
154 A note sequence without a single octave mark can nevertheless span
157 @lilypond[verbatim,quote,ragged-right]
164 If the preceding item is a chord, the first note of the chord is
165 used as the reference point for the octave placement of a
166 following note or chord. Inside chords, the next note is always
167 relative to the preceding one.
169 @lilypond[verbatim,quote,ragged-right]
173 % the C is now an octave higher
175 % the C returns to the original pitch
180 As explained above, the octave of pitches is calculated only with
181 the note names, regardless of any alterations. Therefore, an
182 E-double-sharp following a B will be placed higher, while an
183 F-double-flat will be placed lower. In other words, a
184 double-augmented fourth is considered a smaller interval than a
185 double-diminished fifth, regardless of the number of semitones
186 that each interval contains.
188 @lilypond[verbatim,quote,ragged-right]
209 @lsrdir{Pitches,Pitches}.
218 The relative conversion will not affect @code{\transpose},
219 @code{\chordmode} or @code{\relative} sections in its argument.
220 To use relative mode within transposed music, an additional
221 @code{\relative} must be placed inside @code{\transpose}.
224 If no @var{startpitch} is specified for @code{\relative},
225 then@tie{}@code{c'} is assumed. However, this is a deprecated
226 option and may disappear in future versions, so its use is
232 @unnumberedsubsubsec Accidentals
235 @cindex key signature
238 @c duplicated in Key signature and Accidentals
239 @warning{New users are sometimes confused about accidentals and
240 key signatures. In LilyPond, note names are the raw input; key
241 signatures and clefs determine how this raw input is displayed.
242 An unaltered note like@tie{}@code{c} means @q{C natural},
243 regardless of the key signature or clef. For more information,
244 see @rlearning{Accidentals and key signatures}.}
246 @cindex note names, Dutch
247 @cindex note names, default
251 @cindex sharp, double
256 A @notation{sharp} pitch is made by adding @code{is} to the note name,
257 and a @notation{flat} pitch by adding @code{es}. As you might expect,
258 a @notation{double sharp} or @notation{double flat} is made by adding
259 @code{isis} or @code{eses}. This syntax is derived from Dutch note
260 naming conventions. To use other names for accidentals, see
261 @ref{Note names in other languages}.
263 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
267 A natural will cancel the effect of an accidental or key
268 signature. However, naturals are not encoded into the note name
269 syntax with a suffix; a natural pitch is shown as a simple note
272 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
276 @cindex quarter tones
277 @cindex semi-flats, semi-sharps
279 Quarter tones may be added; the following is a series of Cs with
282 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
283 ceseh1 ces ceh c cih cis cisih
288 @cindex accidental, reminder
289 @cindex accidental, cautionary
290 @cindex accidental, parenthesized
291 @cindex reminder accidental
293 @cindex cautionary accidental
294 @cindex parenthesized accidental
297 Normally accidentals are printed automatically, but you may also
298 print them manually. A reminder accidental can be forced by
299 adding an exclamation mark@tie{}@code{!} after the pitch. A
300 cautionary accidental (i.e., an accidental within parentheses) can
301 be obtained by adding the question mark@tie{}@code{?} after the
302 pitch. These extra accidentals can also be used to produce
305 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
306 cis cis cis! cis? c c c! c?
309 Accidentals on tied notes are only printed at the beginning of a
312 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
321 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
322 {preventing-extra-naturals-from-being-automatically-added.ly}
329 @rglos{double sharp},
332 @rglos{quarter-tone}.
335 @rlearning{Accidentals and key signatures}.
338 @ref{Automatic accidentals},
339 @ref{Musica ficta accidentals},
340 @ref{Note names in other languages}.
343 @lsrdir{Pitches,Pitches}.
348 There are no generally accepted standards for denoting
349 quarter-tone accidentals, so LilyPond's symbol does not conform to
354 @node Note names in other languages
355 @unnumberedsubsubsec Note names in other languages
357 There are predefined sets of note names for various other
358 languages. To use them, include the language-specific init file.
359 For example, to use English notes names, add @code{\include
360 "english.ly"} to the top of the input file. The available
361 language files and the note names they define are:
363 @cindex note names, other languages
364 @cindex pitch names, other languages
367 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
370 @tab sharp @tab flat @tab double sharp @tab double flat
372 @tab c d e f g a bes b
373 @tab -is @tab -es @tab -isis @tab -eses
375 @tab c d e f g a bf b
376 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
380 @tab -is @tab -es @tab -isis @tab -eses
383 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
387 @tab -iss @tab -ess @tab -ississ @tab -essess
390 @tab -is @tab -es @tab -isis @tab -eses
392 @tab do re mi fa sol la sib si
393 @tab -d @tab -b @tab -dd @tab -bb
395 @tab do re mi fa sol la sib si
396 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
398 @tab do re mi fa sol la sib si
399 @tab -s @tab -b @tab -ss @tab -bb
401 @tab do re mi fa sol la sib si
402 @tab -s @tab -b @tab -ss @tab -bb
404 @tab do re mi fa sol la sib si
405 @tab -k @tab -b @tab -kk @tab -bb
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
421 Some music uses microtones whose alterations are fractions of a
422 @q{normal} sharp or flat. The note names for quarter-tones
423 defined in the various language files are listed in the following
424 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
425 mean @q{half} and @q{one and a half}, respectively. For the other
426 languages, no special names have been defined yet.
429 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
432 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
435 @tab c d e f g a bes b
436 @tab -ih @tab -eh @tab -isih @tab -eseh
438 @tab c d e f g a bf b
439 @tab -qs @tab -qf @tab -tqs @tab -tqf
442 @tab -ih @tab -eh @tab -isih @tab -eseh
444 @tab do re mi fa sol la sib si
445 @tab -sd @tab -sb @tab -dsd @tab -bsb
447 @tab do re mi fa sol la sib si
448 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
459 @lsrdir{Pitches,Pitches}.
462 @node Changing multiple pitches
463 @subsection Changing multiple pitches
465 This section discusses how to modify pitches.
473 @unnumberedsubsubsec Octave checks
475 @cindex octave correction
480 In relative mode, it is easy to forget an octave changing mark.
481 Octave checks make such errors easier to find by displaying a
482 warning and correcting the octave if a note is found in an
485 To check the octave of a specific note, specify the absolute
486 octave after the @code{=}@tie{}symbol. This example will generate
487 a warning (and change the pitch) because the second note is the
488 absolute octave @code{d''} instead of @code{d'} as indicated by
489 the octave correction.
491 @lilypond[verbatim,quote,ragged-right,fragment]
498 The octave of notes may also be checked with the
499 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
500 specified in absolute mode. This checks that the interval between the
501 previous note and the @var{controlpitch} is within a fourth (i.e. the
502 normal calculation of relative mode). If this check fails, a warning
503 is printed, but the previous note is not changed. Future notes are
504 relative to the @var{controlpitch}.
506 @lilypond[verbatim,quote,ragged-right,fragment]
514 Compare the two bars below. The first and third @code{\octave}
515 check fail, but the second one does not fail.
517 @lilypond[verbatim,quote,ragged-right,fragment]
535 @lsrdir{Pitches,Pitches}.
539 @unnumberedsubsubsec Transpose
542 @cindex transposition
543 @cindex transposition of pitches
546 A music expression can be transposed with @code{\transpose}. The
550 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
554 This means that @var{musicexpr} is transposed by the interval
555 between the pitches @var{frompitch} and @var{topitch}: any note
556 with pitch @var{frompitch} is changed to @var{topitch} and any
557 other note is transposed by the same interval. Both pitches are
558 entered in absolute mode.
560 Consider a piece written in the key of D-major. It can be
561 transposed up to E-major; note that the key signature is
562 automatically transposed as well.
564 @lilypond[verbatim,quote,ragged-right]
573 If a part written in C (normal concert pitch) is to be played on
574 the A clarinet (for which an A is notated as a C and thus sounds a
575 minor third lower than notated), the appropriate part will be
578 @lilypond[verbatim,quote,ragged-right]
588 Note that we specify @code{\key c \major} explicitly. If we do
589 not specify a key signature, the notes will be transposed but no
590 key signature will be printed.
592 @code{\transpose} distinguishes between enharmonic pitches: both
593 @code{\transpose c cis} or @code{\transpose c des} will transpose
594 up a semitone. The first version will print sharps and the notes
595 will remain on the same scale step, the second version will print
596 flats on the scale step above.
598 @lilypond[verbatim,quote,ragged-right]
599 mus = \relative c' { c d e f }
601 \transpose c cis { \mus }
602 \transpose c des { \mus }
606 @cindex transposing instruments
608 @code{\transpose} may also be used in a different way, to input
609 written notes for a transposing instrument. The previous examples
610 show how to enter pitches in C (or @notation{concert pitch}) and
611 typeset them for a transposing instrument, but the opposite is
612 also possible if you for example have a set of instrumental parts
613 and want to print a conductor's score. For example, when entering
614 music for a B-flat trumpet that begins on a notated E (concert D),
618 musicInBflat = @{ e4 @dots{} @}
619 \transpose c bes, \musicInBflat
623 To print this music in F (e.g., rearranging to a French horn) you
624 could wrap the existing music with another @code{\transpose}:
627 musicInBflat = @{ e4 @dots{} @}
628 \transpose f c' @{ \transpose c bes, \musicInBflat @}
632 For more information about transposing instruments,
633 see @ref{Instrument transpositions}.
638 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
639 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
645 @ref{Instrument transpositions}.
648 @lsrdir{Pitches,Pitches}.
651 @internalsref{TransposedMusic}.
660 The relative conversion will not affect @code{\transpose},
661 @code{\chordmode} or @code{\relative} sections in its argument.
662 To use relative mode within transposed music, an additional
663 @code{\relative} must be placed inside @code{\transpose}.
666 @node Displaying pitches
667 @subsection Displaying pitches
669 This section discusses how to alter the output of pitches.
675 * Instrument transpositions::
676 * Automatic accidentals::
682 @unnumberedsubsubsec Clef
695 @cindex mezzosoprano clef
696 @cindex baritone clef
697 @cindex varbaritone clef
701 @cindex clef, ancient
711 @cindex clef, soprano
712 @cindex clef, mezzosoprano
713 @cindex clef, baritone
714 @cindex clef, varbaritone
715 @cindex subbass clef, subbass
717 The clef is set with the @code{\clef} @var{clefname} command.
718 Middle C is shown in every example.
720 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
733 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
755 Further supported clefs are described under @ref{Ancient clefs}.
757 @cindex transposing clefs
758 @cindex clef, transposing
759 @cindex octave transposition
761 By adding @code{_8} or @code{^8} to the clef name, the clef is
762 transposed one octave down or up, respectively, and @code{_15} and
763 @code{^15} transposes by two octaves. The argument @var{clefname}
764 must be enclosed in quotes when it contains underscores or digits.
766 @cindex choral tenor clef
768 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
778 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
779 {clefs-commonly-tweaked-properties.ly}
788 @lsrdir{Pitches,Pitches}.
795 @unnumberedsubsubsec Key signature
797 @cindex key signature
800 @c duplicated in Key signature and Accidentals
801 @warning{New users are sometimes confused about accidentals and
802 key signatures. In LilyPond, note names are the raw input; key
803 signatures and clefs determine how this raw input is displayed.
804 An unaltered note like@tie{}@code{c} means @q{C natural},
805 regardless of the key signature or clef. For more information,
806 see @rlearning{Accidentals and key signatures}.}
808 The key signature indicates the tonality in which a piece is
809 played. It is denoted by a set of alterations (flats or sharps)
810 at the start of the staff. Setting or changing the key signature
811 is done with the @code{\key} command:
814 \key @var{pitch} @var{mode}
822 @funindex \mixolydian
829 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
830 key signature of @var{pitch}-major or @var{pitch}-minor,
831 respectively. You may also use the standard mode names, also
832 called @notation{church modes}: @code{\ionian}, @code{\dorian},
833 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
834 @code{\aeolian}, and @code{\locrian}.
836 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
846 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
847 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
849 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
850 {non-traditional-key-signatures.ly}
860 @rlearning{Accidentals and key signatures}.
863 @lsrdir{Pitches,Pitches}.
866 @internalsref{KeyCancellation},
867 @internalsref{KeySignature}, @internalsref{Key_engraver}.
870 @node Ottava brackets
871 @unnumberedsubsubsec Ottava brackets
879 @notation{Ottava brackets} introduce an extra transposition of an
880 octave for the staff:
882 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
890 The @code{set-octavation} function also takes -1 (for 8va bassa),
891 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
896 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
906 @lsrdir{Pitches,Pitches}.
909 @internalsref{OttavaBracket}.
913 @node Instrument transpositions
914 @unnumberedsubsubsec Instrument transpositions
916 @cindex transposition, MIDI
917 @cindex transposition, instrument
918 @cindex transposing instrument
920 @funindex \transposition
922 When typesetting scores that involve transposing instruments, some
923 parts can be typeset in a different pitch than the
924 @notation{concert pitch}. In these cases, the key of the
925 @notation{transposing instrument} should be specified; otherwise
926 the MIDI output and cues in other parts will produce incorrect
927 pitches. For more information about quotations, see @ref{Quoting
931 \transposition @var{pitch}
934 The pitch to use for @code{\transposition} should correspond to
935 the real sound heard when a@tie{}@code{c'} written on the staff is
936 played by the transposing instrument. This pitch is entered in
937 absolute mode, so an instrument that produces a real sound which
938 is one tone higher than the printed music should use
939 @code{\transposition d'}. @code{\transposition} should
940 @emph{only} be used if the pitches are @emph{not} being entered in
943 Here are a few notes for violin and B-flat clarinet where the
944 parts have been entered using the notes and key as they appear in
945 each part of the conductor's score. The two instruments are
948 @lilypond[verbatim,quote,ragged-right]
952 \set Staff.instrumentName = "Vln"
953 \set Staff.midiInstrument="violin"
954 % strictly speaking not necessary, but a good reminder
961 \new Staff = "clarinet" {
963 \set Staff.instrumentName = \markup {Cl (B\flat)}
964 \set Staff.midiInstrument="clarinet"
975 The @code{\transposition} may be changed during a piece. For
976 example, a clarinetist may switch from an A clarinet to a B-flat
979 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
980 \set Staff.instrumentName = "Cl (A)"
985 r1^\markup{Switch to B\flat clarinet}
996 @rglos{concert pitch},
997 @rglos{transposing instrument}.
1000 @ref{Quoting other voices}, @ref{Transpose}.
1003 @lsrdir{Pitches,Pitches}.
1006 @node Automatic accidentals
1007 @unnumberedsubsubsec Automatic accidentals
1009 @cindex automatic accidentals
1010 @cindex accidentals, automatic
1012 @cindex accidental style
1013 @cindex default accidental style
1014 @cindex accidental style, default
1015 @funindex set-accidental-style
1017 There are many different conventions on how to typeset
1018 accidentals. LilyPond provides a function to specify which
1019 accidental style to use. This function is called as follows
1023 #(set-accidental-style 'voice)
1028 The accidental style applies to the current @code{Staff} by
1029 default (with the exception of the styles @code{piano} and
1030 @code{piano-cautionary}, which are explained below). Optionally,
1031 the function can take a second argument that determines in which
1032 scope the style should be changed. For example, to use the same
1033 style in all staves of the current @code{StaffGroup}, use
1036 #(set-accidental-style 'voice 'StaffGroup)
1039 The following accidental styles are supported. To demonstrate
1040 each style, we use the following example:
1042 @lilypond[verbatim,quote,ragged-right]
1046 cis'8 fis, d'4 <a cis>8 f bis4 |
1060 \voiceTwo \relative c' {
1064 \change Staff = down
1068 \change Staff = down
1069 <fis, a cis>4 gis <f a d>2 |
1076 \context Staff = "up" {
1077 %%% change the next line as desired:
1078 #(set-accidental-style 'default)
1081 \context Staff = "down" {
1082 %%% change the next line as desired:
1083 #(set-accidental-style 'default)
1090 Note that the last lines of this example can be replaced by the
1091 following, as long as the same accidental style should be used in
1096 \context Staff = "up" @{
1097 %%% change the next line as desired:
1098 #(set-accidental-style 'default 'Score)
1101 \context Staff = "down" @{
1109 @c don't use verbatim in this table.
1112 This is the default typesetting behavior. It corresponds to
1113 eighteenth-century common practice: accidentals are remembered to
1114 the end of the measure in which they occur and only on their own
1115 octave. Thus, in the example below, no natural signs are printed
1116 before the@tie{}@code{b} in the second measure or the
1119 @lilypond[quote,ragged-right]
1123 cis'8 fis, d'4 <a cis>8 f bis4 |
1137 \voiceTwo \relative c' {
1141 \change Staff = down
1145 \change Staff = down
1146 <fis, a cis>4 gis <f a d>2 |
1153 \context Staff = "up" {
1154 #(set-accidental-style 'default)
1157 \context Staff = "down" {
1158 #(set-accidental-style 'default)
1166 The normal behavior is to remember the accidentals on Staff-level.
1167 In this style, however, accidentals are typeset individually for
1168 each voice. Apart from that, the rule is similar to
1171 As a result, accidentals from one voice do not get canceled in
1172 other voices, which is often an unwanted result: in the following
1173 example, it is hard to determine whether the second@tie{}@code{a}
1174 should be played natural or sharp. The @code{voice} option should
1175 therefore be used only if the voices are to be read solely by
1176 individual musicians. If the staff is to be used by one musician
1177 (e.g., a conductor or in a piano score) then @code{modern} or
1178 @code{modern-cautionary} should be used instead.
1181 @lilypond[quote,ragged-right]
1185 cis'8 fis, d'4 <a cis>8 f bis4 |
1199 \voiceTwo \relative c' {
1203 \change Staff = down
1207 \change Staff = down
1208 <fis, a cis>4 gis <f a d>2 |
1215 \context Staff = "up" {
1216 #(set-accidental-style 'voice)
1219 \context Staff = "down" {
1220 #(set-accidental-style 'voice)
1228 @cindex accidentals, modern style
1229 @cindex modern style accidentals
1230 @funindex modern style accidentals
1232 This rule corresponds to the common practice in the twentieth
1233 century. It prints the same accidentals as @code{default}, with
1234 two exceptions that serve to avoid ambiguity: after temporary
1235 accidentals, cancellation marks are printed also in the following
1236 measure (for notes in the same octave) and, in the same measure,
1237 for notes in other octaves. Hence the naturals before
1238 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1241 @lilypond[quote,ragged-right]
1245 cis'8 fis, d'4 <a cis>8 f bis4 |
1259 \voiceTwo \relative c' {
1263 \change Staff = down
1267 \change Staff = down
1268 <fis, a cis>4 gis <f a d>2 |
1275 \context Staff = "up" {
1276 #(set-accidental-style 'modern)
1279 \context Staff = "down" {
1280 #(set-accidental-style 'modern)
1287 @item modern-cautionary
1288 @cindex accidentals, modern cautionary style
1289 @cindex modern style accidentals
1290 @cindex modern style cautionary accidentals
1291 @cindex modern accidental style
1292 @cindex modern cautionary accidental style
1293 @funindex modern-cautionary
1295 This rule is similar to @code{modern}, but the @q{extra}
1296 accidentals (the ones not typeset by @code{default}) are typeset
1297 as cautionary accidentals. They are by default printed with
1298 parentheses, but they can also be printed in reduced size by
1299 defining the @code{cautionary-style} property of
1300 @code{AccidentalSuggestion}.
1303 @lilypond[quote,ragged-right]
1307 cis'8 fis, d'4 <a cis>8 f bis4 |
1321 \voiceTwo \relative c' {
1325 \change Staff = down
1329 \change Staff = down
1330 <fis, a cis>4 gis <f a d>2 |
1337 \context Staff = "up" {
1338 #(set-accidental-style 'modern-cautionary)
1341 \context Staff = "down" {
1342 #(set-accidental-style 'modern-cautionary)
1350 @cindex accidentals, multivoice
1351 @cindex accidentals, modern
1352 @cindex modern accidentals
1353 @cindex multivoice accidentals
1354 @cindex accidental style, modern
1355 @cindex modern accidental style
1356 @funindex modern-voice
1358 This rule is used for multivoice accidentals to be read both by
1359 musicians playing one voice and musicians playing all voices.
1360 Accidentals are typeset for each voice, but they @emph{are}
1361 canceled across voices in the same @code{Staff}. Hence,
1362 the@tie{}@code{a} in the last measure is canceled because the
1363 previous cancellation was in a different voice, and
1364 the@tie{}@code{d} in the lower staff is canceled because of the
1365 accidental in a different voice in the previous measure:
1368 @lilypond[quote,ragged-right]
1372 cis'8 fis, d'4 <a cis>8 f bis4 |
1386 \voiceTwo \relative c' {
1390 \change Staff = down
1394 \change Staff = down
1395 <fis, a cis>4 gis <f a d>2 |
1402 \context Staff = "up" {
1403 #(set-accidental-style 'modern-voice)
1406 \context Staff = "down" {
1407 #(set-accidental-style 'modern-voice)
1414 @cindex accidental style, modern voice cautionary
1415 @cindex accidental style, cautionary, modern voice
1416 @cindex accidental style, voice, modern cautionary
1417 @funindex modern-voice-cautionary
1418 @item modern-voice-cautionary
1420 This rule is the same as @code{modern-voice}, but with the extra
1421 accidentals (the ones not typeset by @code{voice}) typeset
1422 as cautionaries. Even though all accidentals typeset by
1423 @code{default} @emph{are} typeset with this rule,
1424 some of them are typeset as cautionaries.
1426 @lilypond[quote,ragged-right]
1430 cis'8 fis, d'4 <a cis>8 f bis4 |
1444 \voiceTwo \relative c' {
1448 \change Staff = down
1452 \change Staff = down
1453 <fis, a cis>4 gis <f a d>2 |
1460 \context Staff = "up" {
1461 #(set-accidental-style 'modern-voice-cautionary)
1464 \context Staff = "down" {
1465 #(set-accidental-style 'modern-voice-cautionary)
1473 @cindex piano accidentals
1474 @cindex piano accidentals
1475 @cindex accidentals, piano
1476 @cindex piano accidental style
1477 @cindex accidental style, piano
1479 This rule reflects twentieth-century practice for piano notation.
1480 Its behavior is very similar to @code{modern} style, but here
1481 accidentals also get canceled across the staves in the same
1482 GrandStaff or PianoStaff, hence all the cancellations of the final
1485 This accidental style applies to the current @code{GrandStaff} or
1486 @code{PianoStaff} by default.
1488 @lilypond[quote,ragged-right]
1492 cis'8 fis, d'4 <a cis>8 f bis4 |
1506 \voiceTwo \relative c' {
1510 \change Staff = down
1514 \change Staff = down
1515 <fis, a cis>4 gis <f a d>2 |
1522 \context Staff = "up" {
1523 #(set-accidental-style 'piano)
1526 \context Staff = "down" {
1533 @item piano-cautionary
1534 @funindex #(set-accidental-style 'piano-cautionary)
1535 @cindex accidentals, piano cautionary
1536 @cindex cautionary accidentals, piano
1537 @cindex piano cautionary accidentals
1538 @cindex accidental style, piano cautionary
1539 @cindex cautionary accidental style, piano
1540 @cindex piano cautionary accidental style
1542 Same as @code{#(set-accidental-style 'piano)} but with the extra
1543 accidentals typeset as cautionaries.
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 'piano-cautionary)
1583 \context Staff = "down" {
1591 @funindex no-reset accidental style
1592 @cindex accidental style, no reset
1593 @cindex no reset accidental style
1595 This is the same as @code{default} but with accidentals lasting
1596 @q{forever} and not only within the same measure:
1598 @lilypond[quote,ragged-right]
1602 cis'8 fis, d'4 <a cis>8 f bis4 |
1616 \voiceTwo \relative c' {
1620 \change Staff = down
1624 \change Staff = down
1625 <fis, a cis>4 gis <f a d>2 |
1632 \context Staff = "up" {
1633 #(set-accidental-style 'no-reset)
1636 \context Staff = "down" {
1637 #(set-accidental-style 'no-reset)
1645 @funindex forget accidental style
1646 @cindex forget accidental style
1647 @cindex accidental style, forget
1649 This is the opposite of @code{no-reset}: Accidentals are not
1650 remembered at all -- and hence all accidentals are typeset
1651 relative to the key signature, regardless of what was before in
1654 @lilypond[quote,ragged-right]
1658 cis'8 fis, d'4 <a cis>8 f bis4 |
1672 \voiceTwo \relative c' {
1676 \change Staff = down
1680 \change Staff = down
1681 <fis, a cis>4 gis <f a d>2 |
1688 \context Staff = "up" {
1689 #(set-accidental-style 'forget)
1692 \context Staff = "down" {
1693 #(set-accidental-style 'forget)
1703 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1704 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1710 @lsrdir{Pitches,Pitches}.
1712 Internals Reference:
1713 @internalsref{Accidental_engraver},
1714 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1715 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1716 @internalsref{PianoStaff}, @internalsref{Staff}.
1719 @cindex accidentals and simultaneous notes
1720 @cindex simultaneous notes and accidentals
1721 @cindex accidentals in chords
1722 @cindex chords, accidentals in
1726 Simultaneous notes are considered to be entered in sequential
1727 mode. This means that in a chord the accidentals are typeset as
1728 if the notes in the chord happen one at a time, in the order in
1729 which they appear in the input file. This is a problem when
1730 accidentals in a chord depend on each other, which does not happen
1731 for the default accidental style. The problem can be solved by
1732 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1737 @unnumberedsubsubsec Ambitus
1740 @cindex range of pitches
1743 The term @notation{ambitus} (pl. ambitus) denotes a range of
1744 pitches for a given voice in a part of music. It may also denote
1745 the pitch range that a musical instrument is capable of playing.
1746 Ambitus are printed on vocal parts so that performers can easily
1747 determine if it matches their capabilities.
1749 Ambitus are denoted at the beginning of a piece near the initial
1750 clef. The range is graphically specified by two note heads that
1751 represent the lowest and highest pitches. Accidentals are only
1752 printed if they are not part of the key signature.
1754 @lilypond[verbatim,quote,ragged-right]
1758 \consists Ambitus_engraver
1770 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1771 {adding-ambiti-per-voice.ly}
1773 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1774 {ambiti-multiple-voices.ly}
1783 @lsrdir{Pitches,Pitches}.
1785 Internals Reference:
1786 @internalsref{Ambitus},
1787 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1788 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1789 @internalsref{Staff}, @internalsref{Voice}.
1794 There is no collision handling in the case of multiple per-voice
1799 @subsection Note heads
1801 This section suggests ways of altering note heads.
1804 * Special note heads::
1805 * Easy notation note heads::
1806 * Shape note heads::
1810 @node Special note heads
1811 @unnumberedsubsubsec Special note heads
1813 @cindex note heads, special
1814 @cindex note heads, cross
1815 @cindex note heads, diamond
1816 @cindex note heads, parlato
1817 @cindex note heads, harmonic
1818 @cindex note heads, guitar
1819 @cindex special note heads
1820 @cindex cross note heads
1821 @cindex diamond note heads
1822 @cindex parlato note heads
1823 @cindex harmonic note heads
1824 @cindex guitar note heads
1826 Different note heads are used by various instruments for various
1827 meanings -- crosses are used for @q{parlato} with vocalists,
1828 stopped notes on guitar; diamonds are used for harmonics on string
1829 instruments, etc. There is a shorthand (@code{\harmonic}) for
1830 diamond shapes; the other note head styles are produced by
1831 tweaking the property:
1833 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1835 \override NoteHead #'style = #'cross
1837 \revert NoteHead #'style
1838 e d <c f\harmonic> <d a'\harmonic>
1842 To see all note head styles, see @ref{Note head styles}.
1848 @lsrdir{Pitches,Pitches}.
1851 @ref{Note head styles}.
1853 Internals Reference:
1854 @internalsref{NoteHead},
1855 @internalsref{LedgerLineSpanner}.
1858 @node Easy notation note heads
1859 @unnumberedsubsubsec Easy notation note heads
1861 @cindex note heads, practice
1862 @cindex note heads, easy notation
1863 @cindex easy notation
1865 @cindex beginners' music
1866 @cindex music, beginners'
1867 @cindex easy play note heads
1868 @cindex note heads, easy play
1870 The @q{easy play} note head includes a note name inside the head.
1871 It is used in music for beginners.
1873 @lilypond[verbatim,quote,ragged-right]
1874 #(set-global-staff-size 26)
1884 The command @code{\easyHeadsOn} overrides settings for the
1885 @code{NoteHead} object. These settings can be reverted with the command
1886 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1887 in a large font size. To print with a larger font, see @ref{Setting the
1892 @funindex \easyHeadsOn
1893 @funindex \easyHeadsOff
1894 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1899 @ref{Setting the staff size}.
1902 @lsrdir{Pitches,Pitches},
1904 Internals Reference:
1905 @internalsref{NoteHead}.
1908 @node Shape note heads
1909 @unnumberedsubsubsec Shape note heads
1911 @cindex note heads, shape
1912 @cindex note heads, Aiken
1913 @cindex note heads, sacred harp
1915 @cindex Aiken shape note heads
1916 @cindex sacred harp note heads
1918 @funindex shapeNoteStyles
1919 @funindex \aikenHeads
1920 @funindex \sacredHarpHeads
1922 In shape note head notation, the shape of the note head
1923 corresponds to the harmonic function of a note in the scale. This
1924 notation was popular in nineteenth-century American song books.
1926 Shape note heads can be produced by setting @code{\aikenHeads} or
1927 @code{\sacredHarpHeads}, depending on the style desired.
1929 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1936 Shapes are typeset according to the step in the scale, where
1937 the base of the scale is determined by the @code{\key} command.
1941 @funindex \aikenHeads
1942 @funindex \sacredHarpHeads
1943 @code{\aikenHeads}, @code{\sacredHarpHeads}
1947 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1948 {applying-notehead-styles-depending-on-the-step-of-the-scale.ly}
1951 To see all note head styles, see @ref{Note head styles}.
1956 @lsrdir{Pitches,Pitches}.
1959 @ref{Note head styles}.
1963 @unnumberedsubsubsec Improvisation
1965 @cindex improvisation
1966 @cindex slashed note heads
1967 @cindex note heads, improvisation
1968 @cindex note heads, slashed
1970 Improvisation is sometimes denoted with slashed note heads, where
1971 the performer may choose any pitch but should play the specified
1972 rhythm. Such note heads can be created:
1974 @lilypond[verbatim,quote,ragged-right]
1976 \consists Pitch_squash_engraver
1978 e8 e g a a16( bes) a8 g
1991 @funindex \improvisationOn
1992 @funindex \improvisationOff
1994 @code{\improvisationOn}, @code{\improvisationOff}
1999 @lsrdir{Pitches,Pitches}.
2001 Internals Reference:
2002 @internalsref{Pitch_squash_engraver},
2003 @internalsref{Voice}.