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 convenient.
35 * Absolute octave entry::
36 * Relative octave entry::
38 * Note names in other languages::
42 @node Absolute octave entry
43 @subsubsection 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 @subsubsection 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 @subsubsection 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 @subsubsection 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
423 Music Glossary: @rglos{Pitch names}.
425 Snippets: @lsrdir{Pitches,Pitches}.
428 @node Changing multiple pitches
429 @subsection Changing multiple pitches
431 This section discusses how to modify pitches.
439 @subsubsection Octave checks
441 @cindex octave correction
446 In relative mode, it is easy to forget an octave changing mark.
447 Octave checks make such errors easier to find by displaying a
448 warning and correcting the octave if a note is found in an
451 To check the octave of a specific note, specify the absolute
452 octave after the @code{=}@tie{}symbol. This example will generate
453 a warning (and change the pitch) because the second note is the
454 absolute octave @code{d''} instead of @code{d'} as indicated by
455 the octave correction.
457 @lilypond[verbatim,quote,ragged-right,fragment]
464 The octave of pitches may also be checked with the
465 @code{\octave}@tie{}@var{controlpitch} command.
466 @var{controlpitch} is specified in absolute mode. This checks
467 that the interval between the previous note and the
468 @var{controlpitch} is within a fourth (i.e. the normal calculation
469 of relative mode). If this check fails, a warning is printed, but
470 the previous note is not changed. Future notes are relative to
471 the @var{controlpitch}.
473 @lilypond[verbatim,quote,ragged-right,fragment]
481 Compare the two bars below. The first and third @code{\octave}
482 check fail, but the second ones passes without fail.
484 @lilypond[verbatim,quote,ragged-right,fragment]
501 Snippets: @lsrdir{Pitches,Pitches}.
505 @subsubsection Transpose
508 @cindex transposition of pitches
511 A music expression can be transposed with @code{\transpose}. The
515 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
519 This means that @var{musicexpr} is transposed by the interval
520 between the pitches @var{frompitch} and @var{topitch}: any note
521 with pitch @var{frompitch} is changed to @var{topitch} and any
522 other note is transposed by the same interval.
524 Consider a piece written in the key of D-major. It can be
525 transposed up to E-major; note that the key signature is
526 automatically transposed as well.
528 @lilypond[verbatim,quote,ragged-right]
537 If a part written in C (normal concert pitch) is to be played on
538 the A clarinet (for which an A is notated as a C and thus sounds a
539 minor third lower than notated), the appropriate part will be
542 @lilypond[verbatim,quote,ragged-right]
552 Note that we specify @code{\key c \major} explicitly. If we do
553 not specify a key signature, the notes will be transposed but no
554 key signature will be printed.
556 @code{\transpose} distinguishes between enharmonic pitches: both
557 @code{\transpose c cis} or @code{\transpose c des} will transpose
558 up half a tone. The first version will print sharps and the notes
559 will remain on the same scale step, the second version will print
560 flats on the scale step above.
562 @lilypond[verbatim,quote,ragged-right]
563 mus = \relative c' { c d e f }
565 \transpose c cis { \mus }
566 \transpose c des { \mus }
570 @cindex transposing instruments
572 @code{\transpose} may also be used in a different way, to input
573 written notes for a transposing instrument. The previous examples
574 show how to enter pitches in C (or @notation{concert pitch}) and
575 typeset them for a transposing instrument, but the opposite is
576 also possible if you for example have a set of instrumental parts
577 and want to print a conductor's score. For example, when entering
578 music for a B-flat trumpet which begins on a notated E (concert
582 musicInBflat = @{ e4 @dots{} @}
583 \transpose c bes, \musicInBflat
587 To print this music in F (e.g., rearranging to a French horn) you
588 could wrap the existing music with another @code{\transpose}:
591 musicInBflat = @{ e4 @dots{} @}
592 \transpose f c' @{ \transpose c bes, \musicInBflat @}
596 For more information about transposing instruments,
597 see @ref{Instrument transpositions}.
602 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
603 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
608 Notation Reference: @ref{Instrument transpositions}.
610 Snippets: @lsrdir{Pitches,Pitches}.
612 Internals Reference: @internalsref{TransposedMusic}.
616 If you want to use both @code{\transpose} and @code{\relative},
617 you must put @code{\transpose} outside of @code{\relative}, since
618 @code{\relative} will have no effect on music that appears inside
622 @node Displaying pitches
623 @subsection Displaying pitches
625 This section discusses how to alter the output of pitches.
631 * Instrument transpositions::
632 * Automatic accidentals::
652 @cindex mezzosoprano clef
653 @cindex baritone clef
654 @cindex varbaritone clef
657 The clef is set with the @code{\clef} @var{clefname} command:
659 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
670 Supported clefs include:
672 @multitable @columnfractions .4 .6
673 @headitem Clef @tab Position
674 @item @code{treble, violin, G, G2} @tab
675 G clef, g' is on 2nd line
676 @item @code{alto, C} @tab
677 C clef, c' is on 3rd line
678 @item @code{tenor} @tab
679 C clef, c' is on 4th line
680 @item @code{bass, F} @tab
681 F clef, f is on 4th line
682 @item @code{french} @tab
683 G clef, g' is on 1st line, so-called French violin clef
684 @item @code{soprano} @tab
685 C clef, c' is on 1st line
686 @item @code{mezzosoprano} @tab
687 C clef, c' is on 2nd line
688 @item @code{baritone} @tab
689 C clef, c' is on 5th line
690 @item @code{varbaritone} @tab
691 F clef, f is on 3rd line
692 @item @code{subbass} @tab
693 F clef, f is on 5th line
694 @item @code{percussion} @tab
696 @item @code{tab} @tab
700 Further supported clefs are described under @ref{Ancient clefs}.
702 By adding @code{_8} or @code{^8} to the clef name, the clef is
703 transposed one octave down or up, respectively, and @code{_15} and
704 @code{^15} transposes by two octaves. The argument @var{clefname}
705 must be enclosed in quotes when it contains underscores or digits.
708 @cindex choral tenor clef
710 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
718 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
719 {clefs-commonly-tweaked-properties.ly}
724 Notation Reference: @ref{Ancient clefs}.
726 Snippets: @lsrdir{Pitches,Pitches}.
728 Internals Reference: @internalsref{Clef}.
732 @subsubsection Key signature
734 @cindex key signature
737 @warning{New users are sometimes confused about accidentals and
738 key signatures. In LilyPond, note names are the raw input; key
739 signatures and clefs determine how this raw input is displayed.
740 An unaltered note like@tie{}@code{c} means @q{C natural},
741 regardless of the key signature or clef. For more information,
742 see @rlearning{Accidentals and key signatures}.}
744 The key signature indicates the tonality in which a piece is
745 played. It is denoted by a set of alterations (flats or sharps)
746 at the start of the staff. Setting or changing the key signature
747 is done with the @code{\key} command:
750 \key @var{pitch} @var{mode}
759 @funindex \mixolydian
765 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
766 key signature of @var{pitch}-major or @var{pitch}-minor,
767 respectively. You may also use the standard mode names, also
768 called @q{church modes}: @code{\ionian}, @code{\locrian},
769 @code{\aeolian}, @code{\mixolydian}, @code{\lydian},
770 @code{\phrygian}, and @code{\dorian}.
772 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
782 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
783 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
785 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
786 {non-traditional-key-signatures.ly}
791 Music Glossary: @rglos{church mode}, @rglos{scordatura}.
793 Learning Manual: @rlearning{Accidentals and key signatures}.
795 Snippets: @lsrdir{Pitches,Pitches}.
797 Internals Reference: @internalsref{KeyCancellation},
798 @internalsref{KeySignature}, @internalsref{Key_engraver}.
801 @node Ottava brackets
802 @subsubsection Ottava brackets
810 @notation{Ottava brackets} introduce an extra transposition of an
811 octave for the staff:
813 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
821 The @code{set-octavation} function also takes -1 (for 8va bassa),
822 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
827 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
833 Music Glossary: @rglos{ottava}.
835 Snippets: @lsrdir{Pitches,Pitches}.
837 Internals Reference: @internalsref{OttavaBracket}.
841 @node Instrument transpositions
842 @subsubsection Instrument transpositions
844 @cindex transposition, MIDI
845 @cindex transposition, instrument
847 When typesetting scores that involve transposing instruments, some
848 parts can be typeset in a different pitch than the
849 @notation{concert pitch}. In these cases, the key of the
850 @notation{transposing instrument} should be specified; otherwise
851 the MIDI output and cues in other parts will produce incorrect
852 pitches. For more information about quotations, see @ref{Quoting
856 \transposition @var{pitch}
859 The pitch to use for @code{\transposition} should correspond to
860 the real sound heard when a@tie{}@code{c'} written on the staff is
861 played by the transposing instrument. This pitch is entered in
862 absolute mode, so an instrument which produces a real sound which
863 is one tone higher than the printed music should use
864 @code{\transposition d'}. @code{\transposition} should
865 @emph{only} be used if the pitches are @emph{not} being entered in
868 Here are a few notes for violin and B-flat clarinet where the
869 parts have been entered using the notes and key as they appear in
870 each part of the conductor's score. The two instruments are
873 @lilypond[verbatim,quote,ragged-right]
877 \set Staff.instrumentName = "Vln"
878 \set Staff.midiInstrument="violin"
879 % strictly speaking not necessary, but a good reminder
886 \new Staff = "clarinet" {
888 \set Staff.instrumentName = \markup {Cl (B\flat)}
889 \set Staff.midiInstrument="clarinet"
900 The @code{\transposition} may be changed during a piece. For
901 example, a clarinetist may switch from an A clarinet to a B-flat
904 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
905 \set Staff.instrumentName = "Cl (A)"
910 r1^\markup{Switch to B\flat clarinet}
920 Music Glossary: @rglos{concert pitch},
921 @rglos{transposing instrument}.
923 Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
925 Snippets: @lsrdir{Pitches,Pitches}.
928 @node Automatic accidentals
929 @subsubsection Automatic accidentals
930 @cindex automatic accidentals
932 @funindex set-accidental-style
934 There are many different conventions on how to typeset
935 accidentals. LilyPond provides a function to specify which such
936 accidental style to use. This function is called as follows
940 #(set-accidental-style 'voice)
945 The accidental style applies to the current @code{Staff} by
946 default (with the exception of the styles @code{piano} and
947 @code{piano-cautionary}, which are explained below). Optionally,
948 the function can take a second argument which determines in which
949 scope the style should be changed. For example, to use the same
950 style in all staves of the current @code{StaffGroup}, use
953 #(set-accidental-style 'voice 'StaffGroup)
956 The following accidental styles are supported. To demonstrate
957 each style, we use the following example:
959 @lilypond[verbatim,quote,ragged-right]
963 cis'8 fis, d'4 <a cis>8 f bis4 |
977 \voiceTwo \relative c' {
986 <fis, a cis>4 gis <f a d>2 |
993 \context Staff = "up" {
994 %%% change the next line as desired:
995 #(set-accidental-style 'default)
998 \context Staff = "down" {
999 %%% change the next line as desired:
1000 #(set-accidental-style 'default)
1007 Note that the last lines of this example can be replaced by the
1008 following, as long as the same accidental style should be used in
1013 \context Staff = "up" @{
1014 %%% change the next line as desired:
1015 #(set-accidental-style 'default 'Score)
1018 \context Staff = "down" @{
1026 @c NOTE: don't use verbatim in this table.
1029 This is the default typesetting behavior. It corresponds to
1030 eighteenth-century common practice: accidentals are remembered to
1031 the end of the measure in which they occur and only on their own
1032 octave. Thus, in the example below, no natural signs are printed
1033 before the@tie{}@code{b} in the second measure or the
1036 @lilypond[quote,ragged-right]
1040 cis'8 fis, d'4 <a cis>8 f bis4 |
1054 \voiceTwo \relative c' {
1058 \change Staff = down
1062 \change Staff = down
1063 <fis, a cis>4 gis <f a d>2 |
1070 \context Staff = "up" {
1071 #(set-accidental-style 'default)
1074 \context Staff = "down" {
1075 #(set-accidental-style 'default)
1083 The normal behavior is to remember the accidentals on Staff-level.
1084 In this style, however, accidentals are typeset individually for
1085 each voice. Apart from that, the rule is similar to
1088 As a result, accidentals from one voice do not get canceled in
1089 other voices, which is often an unwanted result: in the following
1090 example, it is hard to determine whether the second@tie{}@code{a}
1091 should be played natural or sharp. The @code{voice} option should
1092 therefore be used only if the voices are to be read solely by
1093 individual musicians. If the staff is to be used by one musician
1094 (e.g., a conductor or in a piano score) then @code{modern} or
1095 @code{modern-cautionary} should be used instead.
1098 @lilypond[quote,ragged-right]
1102 cis'8 fis, d'4 <a cis>8 f bis4 |
1116 \voiceTwo \relative c' {
1120 \change Staff = down
1124 \change Staff = down
1125 <fis, a cis>4 gis <f a d>2 |
1132 \context Staff = "up" {
1133 #(set-accidental-style 'voice)
1136 \context Staff = "down" {
1137 #(set-accidental-style 'voice)
1145 @funindex modern style accidentals
1147 This rule corresponds to the common practice in the twentieth
1148 century. It prints the same accidentals as @code{default}, with
1149 two exceptions which serve to avoid ambiguity: after temporary
1150 accidentals, cancellation marks are printed also in the following
1151 measure (for notes in the same octave) and, in the same measure,
1152 for notes in other octaves. Hence the naturals before
1153 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1156 @lilypond[quote,ragged-right]
1160 cis'8 fis, d'4 <a cis>8 f bis4 |
1174 \voiceTwo \relative c' {
1178 \change Staff = down
1182 \change Staff = down
1183 <fis, a cis>4 gis <f a d>2 |
1190 \context Staff = "up" {
1191 #(set-accidental-style 'modern)
1194 \context Staff = "down" {
1195 #(set-accidental-style 'modern)
1202 @item modern-cautionary
1203 @funindex modern-cautionary
1205 This rule is similar to @code{modern}, but the @q{extra}
1206 accidentals (the ones not typeset by @code{default}) are typeset
1207 as cautionary accidentals. They are by default printed with
1208 parentheses, but they can also be printed in reduced size by
1209 defining the @code{cautionary-style} property of
1210 @code{AccidentalSuggestion}.
1213 @lilypond[quote,ragged-right]
1217 cis'8 fis, d'4 <a cis>8 f bis4 |
1231 \voiceTwo \relative c' {
1235 \change Staff = down
1239 \change Staff = down
1240 <fis, a cis>4 gis <f a d>2 |
1247 \context Staff = "up" {
1248 #(set-accidental-style 'modern-cautionary)
1251 \context Staff = "down" {
1252 #(set-accidental-style 'modern-cautionary)
1260 @funindex modern-voice
1262 This rule is used for multivoice accidentals to be read both by
1263 musicians playing one voice and musicians playing all voices.
1264 Accidentals are typeset for each voice, but they @emph{are}
1265 canceled across voices in the same @code{Staff}. Hence,
1266 the@tie{}@code{a} in the last measure is canceled because the
1267 previous cancellation was in a different voice, and
1268 the@tie{}@code{d} in the lower staff is canceled because of the
1269 accidental in a different voice in the previous measure:
1272 @lilypond[quote,ragged-right]
1276 cis'8 fis, d'4 <a cis>8 f bis4 |
1290 \voiceTwo \relative c' {
1294 \change Staff = down
1298 \change Staff = down
1299 <fis, a cis>4 gis <f a d>2 |
1306 \context Staff = "up" {
1307 #(set-accidental-style 'modern-voice)
1310 \context Staff = "down" {
1311 #(set-accidental-style 'modern-voice)
1318 @funindex modern-voice-cautionary
1319 @item modern-voice-cautionary
1321 This rule is the same as @code{modern-voice}, but with the extra
1322 accidentals (the ones not typeset by @code{voice}) typeset
1323 as cautionaries. Even though all accidentals typeset by
1324 @code{default} @emph{are} typeset with this rule,
1325 some of them are typeset as cautionaries.
1327 @lilypond[quote,ragged-right]
1331 cis'8 fis, d'4 <a cis>8 f bis4 |
1345 \voiceTwo \relative c' {
1349 \change Staff = down
1353 \change Staff = down
1354 <fis, a cis>4 gis <f a d>2 |
1361 \context Staff = "up" {
1362 #(set-accidental-style 'modern-voice-cautionary)
1365 \context Staff = "down" {
1366 #(set-accidental-style 'modern-voice-cautionary)
1374 @funindex piano accidentals
1376 This rule reflects twentieth-century practice for piano notation.
1377 Its behavior is very similar to @code{modern} style, but here
1378 accidentals also get canceled across the staves in the same
1379 GrandStaff or PianoStaff, hence all the cancellations of the final
1382 This accidental style applies to the current @code{GrandStaff} or
1383 @code{PianoStaff} by default.
1385 @lilypond[quote,ragged-right]
1389 cis'8 fis, d'4 <a cis>8 f bis4 |
1403 \voiceTwo \relative c' {
1407 \change Staff = down
1411 \change Staff = down
1412 <fis, a cis>4 gis <f a d>2 |
1419 \context Staff = "up" {
1420 #(set-accidental-style 'piano)
1423 \context Staff = "down" {
1430 @item piano-cautionary
1431 @funindex #(set-accidental-style 'piano-cautionary)
1433 Same as @code{#(set-accidental-style 'piano)} but with the extra
1434 accidentals typeset as cautionaries.
1436 @lilypond[quote,ragged-right]
1440 cis'8 fis, d'4 <a cis>8 f bis4 |
1454 \voiceTwo \relative c' {
1458 \change Staff = down
1462 \change Staff = down
1463 <fis, a cis>4 gis <f a d>2 |
1470 \context Staff = "up" {
1471 #(set-accidental-style 'piano-cautionary)
1474 \context Staff = "down" {
1482 @funindex no-reset accidental style
1484 This is the same as @code{default} but with accidentals lasting
1485 @q{forever} and not only within the same measure:
1487 @lilypond[quote,ragged-right]
1491 cis'8 fis, d'4 <a cis>8 f bis4 |
1505 \voiceTwo \relative c' {
1509 \change Staff = down
1513 \change Staff = down
1514 <fis, a cis>4 gis <f a d>2 |
1521 \context Staff = "up" {
1522 #(set-accidental-style 'no-reset)
1525 \context Staff = "down" {
1526 #(set-accidental-style 'no-reset)
1534 @funindex forget accidental style
1536 This is the opposite of @code{no-reset}: Accidentals are not
1537 remembered at all -- and hence all accidentals are typeset
1538 relative to the key signature, regardless of what was before in
1541 @lilypond[quote,ragged-right]
1545 cis'8 fis, d'4 <a cis>8 f bis4 |
1559 \voiceTwo \relative c' {
1563 \change Staff = down
1567 \change Staff = down
1568 <fis, a cis>4 gis <f a d>2 |
1575 \context Staff = "up" {
1576 #(set-accidental-style 'forget)
1579 \context Staff = "down" {
1580 #(set-accidental-style 'forget)
1590 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1591 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1596 Snippets: @lsrdir{Pitches,Pitches}.
1598 Internals Reference: @internalsref{Accidental_engraver},
1599 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1600 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1601 @internalsref{PianoStaff}, @internalsref{Staff}.
1606 Simultaneous notes are considered to be entered in sequential
1607 mode. This means that in a chord the accidentals are typeset as
1608 if the notes in the chord happen one at a time, in the order in
1609 which they appear in the input file. This is a problem when
1610 accidentals in a chord depend on each other, which does not happen
1611 for the default accidental style. The problem can be solved by
1612 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1617 @subsubsection Ambitus
1620 The term @notation{ambitus} or @notation{ambit} denotes a range of
1621 pitches for a given voice in a part of music. It may also denote
1622 the pitch range that a musical instrument is capable of playing.
1623 Ambits are printed on vocal parts so that performers can easily
1624 determine if it matches their capabilities.
1626 Ambits are denoted at the beginning of a piece near the initial
1627 clef. The range is graphically specified by two note heads that
1628 represent the minimum and maximum pitch. Accidentals are only
1629 printed if they are not part of the key signature.
1631 @lilypond[verbatim,quote,ragged-right]
1635 \consists Ambitus_engraver
1647 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1648 {adding-ambiti-per-voice.ly}
1650 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1651 {ambiti-multiple-voices.ly}
1656 Snippets: @lsrdir{Pitches,Pitches}.
1658 Internals Reference: @internalsref{Ambitus},
1659 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1660 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1661 @internalsref{Staff}, @internalsref{Voice}.
1666 There is no collision handling in the case of multiple per-voice
1671 @subsection Note heads
1674 * Special note heads::
1675 * Easy notation note heads::
1676 * Shape note heads::
1680 @node Special note heads
1681 @subsubsection Special note heads
1683 @cindex note heads, special
1685 Different note heads are used by various instruments for various
1686 meanings -- crosses are used for @q{parlato} with vocalists,
1687 stopped notes on guitar; diamonds are used for harmonics on string
1688 instruments, etc. There is a shorthand (@code{\harmonic}) for
1689 diamond shapes; the other note head styles are produced by
1690 tweaking the property:
1692 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1694 \override NoteHead #'style = #'cross
1696 \revert NoteHead #'style
1697 e d <c f\harmonic> <d a'\harmonic>
1701 To see all note head styles, please see @ref{Note head styles}.
1706 Snippets: @lsrdir{Pitches,Pitches}.
1708 Notation Reference: @ref{Note head styles}.
1710 Internals Reference: @internalsref{NoteHead},
1711 @internalsref{LedgerLineSpanner}.
1714 @node Easy notation note heads
1715 @subsubsection Easy notation note heads
1717 @cindex note heads, practice
1718 @cindex note heads, easy notation
1719 @cindex easy notation
1722 The @q{easy play} note head includes a note name inside the head.
1723 It is used in music for beginners.
1725 @lilypond[verbatim,quote,ragged-right]
1726 #(set-global-staff-size 26)
1736 The command @code{\easyHeadsOn} overrides settings for the
1737 @code{NoteHead} object. These settings can be reverted with the command
1738 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1739 in a large font size. To print with a larger font, see @ref{Setting the
1744 @funindex \easyHeadsOn
1745 @funindex \easyHeadsOff
1746 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1750 Notation Reference: @ref{Setting the staff size}.
1752 Snippets: @lsrdir{Pitches,Pitches},
1754 Internals Reference: @internalsref{NoteHead}.
1757 @node Shape note heads
1758 @subsubsection Shape note heads
1760 @cindex note heads, shape
1762 @funindex shapeNoteStyles
1763 @funindex \aikenHeads
1764 @funindex \sacredHarpHeads
1766 In shape note head notation, the shape of the note head
1767 corresponds to the harmonic function of a note in the scale. This
1768 notation was popular in nineteenth-century American song books.
1770 Shape note heads can be produced by setting @code{\aikenHeads} or
1771 @code{\sacredHarpHeads}, depending on the style desired.
1773 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1780 Shapes are typeset according to the step in the scale, where
1781 the base of the scale is determined by the @code{\key} command.
1785 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1786 {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
1791 Snippets: @lsrdir{Pitches,Pitches}.
1795 @subsubsection Improvisation
1797 @cindex improvisation
1798 @cindex slashed note heads
1799 @cindex note heads, improvisation
1800 @cindex note heads, slashed
1802 Improvisation is sometimes denoted with slashed note heads, where
1803 the performer may choose any pitch but should play the specified
1804 rhythm. Such note heads can be created:
1806 @lilypond[verbatim,quote,ragged-right]
1808 \consists Pitch_squash_engraver
1810 e8 e g a a16( bes) a8 g
1822 Snippets: @lsrdir{Pitches,Pitches}.
1824 Internals Reference: @internalsref{Pitch_squash_engraver},
1825 @internalsref{Voice}.