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 @warning{New users are sometimes confused about accidentals and
239 key signatures. In LilyPond, note names are the raw input; key
240 signatures and clefs determine how this raw input is displayed.
241 An unaltered note like@tie{}@code{c} means @q{C natural},
242 regardless of the key signature or clef. For more information,
243 see @rlearning{Accidentals and key signatures}.}
245 @cindex note names, Dutch
246 @cindex note names, default
250 @cindex sharp, double
255 A @notation{sharp} pitch is made by adding @code{is} to the note name,
256 and a @notation{flat} pitch by adding @code{es}. As you might expect,
257 a @notation{double sharp} or @notation{double flat} is made by adding
258 @code{isis} or @code{eses}. This syntax is derived from Dutch note
259 naming conventions. To use other names for accidentals, see
260 @ref{Note names in other languages}.
262 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
266 A natural will cancel the effect of an accidental or key
267 signature. However, naturals are not encoded into the note name
268 syntax with a suffix; a natural pitch is shown as a simple note
271 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
275 @cindex quarter tones
276 @cindex semi-flats, semi-sharps
278 Quarter tones may be added; the following is a series of Cs with
281 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
282 ceseh1 ces ceh c cih cis cisih
287 @cindex accidental, reminder
288 @cindex accidental, cautionary
289 @cindex accidental, parenthesized
290 @cindex reminder accidental
292 @cindex cautionary accidental
293 @cindex parenthesized accidental
296 Normally accidentals are printed automatically, but you may also
297 print them manually. A reminder accidental can be forced by
298 adding an exclamation mark@tie{}@code{!} after the pitch. A
299 cautionary accidental (i.e., an accidental within parentheses) can
300 be obtained by adding the question mark@tie{}@code{?} after the
301 pitch. These extra accidentals can also be used to produce
304 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
305 cis cis cis! cis? c c c! c?
308 Accidentals on tied notes are only printed at the beginning of a
311 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
320 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
321 {preventing-extra-naturals-from-being-automatically-added.ly}
328 @rglos{double sharp},
331 @rglos{quarter-tone}.
334 @rlearning{Accidentals and key signatures}.
337 @ref{Automatic accidentals},
338 @ref{Musica ficta accidentals},
339 @ref{Note names in other languages}.
342 @lsrdir{Pitches,Pitches}.
347 There are no generally accepted standards for denoting
348 quarter-tone accidentals, so LilyPond's symbol does not conform to
353 @node Note names in other languages
354 @unnumberedsubsubsec Note names in other languages
356 There are predefined sets of note names for various other
357 languages. To use them, include the language-specific init file.
358 For example, to use English notes names, add @code{\include
359 "english.ly"} to the top of the input file. The available
360 language files and the note names they define are:
362 @cindex note names, other languages
363 @cindex pitch names, other languages
366 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
369 @tab sharp @tab flat @tab double sharp @tab double flat
371 @tab c d e f g a bes b
372 @tab -is @tab -es @tab -isis @tab -eses
374 @tab c d e f g a bf b
375 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
379 @tab -is @tab -es @tab -isis @tab -eses
382 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
386 @tab -iss @tab -ess @tab -ississ @tab -essess
389 @tab -is @tab -es @tab -isis @tab -eses
391 @tab do re mi fa sol la sib si
392 @tab -d @tab -b @tab -dd @tab -bb
394 @tab do re mi fa sol la sib si
395 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
397 @tab do re mi fa sol la sib si
398 @tab -s @tab -b @tab -ss @tab -bb
400 @tab do re mi fa sol la sib si
401 @tab -s @tab -b @tab -ss @tab -bb
403 @tab do re mi fa sol la sib si
404 @tab -k @tab -b @tab -kk @tab -bb
408 In Dutch, @code{aes} is contracted to @code{as}, but both forms
409 are accepted in LilyPond. Similarly, both @code{es} and
410 @code{ees} are accepted. This also applies to
411 @code{aeses}@tie{}/@tie{}@code{ases} and
412 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
413 contracted names are defined in the corresponding language files.
415 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
416 a2 as e es a ases e eses
420 Some music uses microtones whose alterations are fractions of a
421 @q{normal} sharp or flat. The note names for quarter-tones
422 defined in the various language files are listed in the following
423 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
424 mean @q{half} and @q{one and a half}, respectively. For the other
425 languages, no special names have been defined yet.
428 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
431 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
434 @tab c d e f g a bes b
435 @tab -ih @tab -eh @tab -isih @tab -eseh
437 @tab c d e f g a bf b
438 @tab -qs @tab -qf @tab -tqs @tab -tqf
441 @tab -ih @tab -eh @tab -isih @tab -eseh
443 @tab do re mi fa sol la sib si
444 @tab -sd @tab -sb @tab -dsd @tab -bsb
446 @tab do re mi fa sol la sib si
447 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
458 @lsrdir{Pitches,Pitches}.
461 @node Changing multiple pitches
462 @subsection Changing multiple pitches
464 This section discusses how to modify pitches.
472 @unnumberedsubsubsec Octave checks
474 @cindex octave correction
479 In relative mode, it is easy to forget an octave changing mark.
480 Octave checks make such errors easier to find by displaying a
481 warning and correcting the octave if a note is found in an
484 To check the octave of a specific note, specify the absolute
485 octave after the @code{=}@tie{}symbol. This example will generate
486 a warning (and change the pitch) because the second note is the
487 absolute octave @code{d''} instead of @code{d'} as indicated by
488 the octave correction.
490 @lilypond[verbatim,quote,ragged-right,fragment]
497 The octave of notes may also be checked with the
498 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
499 specified in absolute mode. This checks that the interval between the
500 previous note and the @var{controlpitch} is within a fourth (i.e. the
501 normal calculation of relative mode). If this check fails, a warning
502 is printed, but the previous note is not changed. Future notes are
503 relative to the @var{controlpitch}.
505 @lilypond[verbatim,quote,ragged-right,fragment]
513 Compare the two bars below. The first and third @code{\octave}
514 check fail, but the second one does not fail.
516 @lilypond[verbatim,quote,ragged-right,fragment]
534 @lsrdir{Pitches,Pitches}.
538 @unnumberedsubsubsec Transpose
541 @cindex transposition
542 @cindex transposition of pitches
545 A music expression can be transposed with @code{\transpose}. The
549 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
553 This means that @var{musicexpr} is transposed by the interval
554 between the pitches @var{frompitch} and @var{topitch}: any note
555 with pitch @var{frompitch} is changed to @var{topitch} and any
556 other note is transposed by the same interval. Both pitches are
557 entered in absolute mode.
559 Consider a piece written in the key of D-major. It can be
560 transposed up to E-major; note that the key signature is
561 automatically transposed as well.
563 @lilypond[verbatim,quote,ragged-right]
572 If a part written in C (normal concert pitch) is to be played on
573 the A clarinet (for which an A is notated as a C and thus sounds a
574 minor third lower than notated), the appropriate part will be
577 @lilypond[verbatim,quote,ragged-right]
587 Note that we specify @code{\key c \major} explicitly. If we do
588 not specify a key signature, the notes will be transposed but no
589 key signature will be printed.
591 @code{\transpose} distinguishes between enharmonic pitches: both
592 @code{\transpose c cis} or @code{\transpose c des} will transpose
593 up a semitone. The first version will print sharps and the notes
594 will remain on the same scale step, the second version will print
595 flats on the scale step above.
597 @lilypond[verbatim,quote,ragged-right]
598 mus = \relative c' { c d e f }
600 \transpose c cis { \mus }
601 \transpose c des { \mus }
605 @cindex transposing instruments
607 @code{\transpose} may also be used in a different way, to input
608 written notes for a transposing instrument. The previous examples
609 show how to enter pitches in C (or @notation{concert pitch}) and
610 typeset them for a transposing instrument, but the opposite is
611 also possible if you for example have a set of instrumental parts
612 and want to print a conductor's score. For example, when entering
613 music for a B-flat trumpet that begins on a notated E (concert D),
617 musicInBflat = @{ e4 @dots{} @}
618 \transpose c bes, \musicInBflat
622 To print this music in F (e.g., rearranging to a French horn) you
623 could wrap the existing music with another @code{\transpose}:
626 musicInBflat = @{ e4 @dots{} @}
627 \transpose f c' @{ \transpose c bes, \musicInBflat @}
631 For more information about transposing instruments,
632 see @ref{Instrument transpositions}.
637 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
638 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
644 @ref{Instrument transpositions}.
647 @lsrdir{Pitches,Pitches}.
650 @internalsref{TransposedMusic}.
659 The relative conversion will not affect @code{\transpose},
660 @code{\chordmode} or @code{\relative} sections in its argument.
661 To use relative mode within transposed music, an additional
662 @code{\relative} must be placed inside @code{\transpose}.
665 @node Displaying pitches
666 @subsection Displaying pitches
668 This section discusses how to alter the output of pitches.
674 * Instrument transpositions::
675 * Automatic accidentals::
681 @unnumberedsubsubsec Clef
694 @cindex mezzosoprano clef
695 @cindex baritone clef
696 @cindex varbaritone clef
700 @cindex clef, ancient
710 @cindex clef, soprano
711 @cindex clef, mezzosoprano
712 @cindex clef, baritone
713 @cindex clef, varbaritone
714 @cindex subbass clef, subbass
716 The clef is set with the @code{\clef} @var{clefname} command.
717 Middle C is shown in every example.
719 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
732 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
754 Further supported clefs are described under @ref{Ancient clefs}.
756 @cindex transposing clefs
757 @cindex clef, transposing
758 @cindex octave transposition
760 By adding @code{_8} or @code{^8} to the clef name, the clef is
761 transposed one octave down or up, respectively, and @code{_15} and
762 @code{^15} transposes by two octaves. The argument @var{clefname}
763 must be enclosed in quotes when it contains underscores or digits.
765 @cindex choral tenor clef
767 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
777 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
778 {clefs-commonly-tweaked-properties.ly}
787 @lsrdir{Pitches,Pitches}.
794 @unnumberedsubsubsec Key signature
796 @cindex key signature
799 @warning{New users are sometimes confused about accidentals and
800 key signatures. In LilyPond, note names are the raw input; key
801 signatures and clefs determine how this raw input is displayed.
802 An unaltered note like@tie{}@code{c} means @q{C natural},
803 regardless of the key signature or clef. For more information,
804 see @rlearning{Accidentals and key signatures}.}
806 The key signature indicates the tonality in which a piece is
807 played. It is denoted by a set of alterations (flats or sharps)
808 at the start of the staff. Setting or changing the key signature
809 is done with the @code{\key} command:
812 \key @var{pitch} @var{mode}
820 @funindex \mixolydian
827 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
828 key signature of @var{pitch}-major or @var{pitch}-minor,
829 respectively. You may also use the standard mode names, also
830 called @notation{church modes}: @code{\ionian}, @code{\dorian},
831 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
832 @code{\aeolian}, and @code{\locrian}.
834 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
844 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
845 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
847 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
848 {non-traditional-key-signatures.ly}
858 @rlearning{Accidentals and key signatures}.
861 @lsrdir{Pitches,Pitches}.
864 @internalsref{KeyCancellation},
865 @internalsref{KeySignature}, @internalsref{Key_engraver}.
868 @node Ottava brackets
869 @unnumberedsubsubsec Ottava brackets
877 @notation{Ottava brackets} introduce an extra transposition of an
878 octave for the staff:
880 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
888 The @code{set-octavation} function also takes -1 (for 8va bassa),
889 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
894 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
904 @lsrdir{Pitches,Pitches}.
907 @internalsref{OttavaBracket}.
911 @node Instrument transpositions
912 @unnumberedsubsubsec Instrument transpositions
914 @cindex transposition, MIDI
915 @cindex transposition, instrument
916 @cindex transposing instrument
918 @funindex \transposition
920 When typesetting scores that involve transposing instruments, some
921 parts can be typeset in a different pitch than the
922 @notation{concert pitch}. In these cases, the key of the
923 @notation{transposing instrument} should be specified; otherwise
924 the MIDI output and cues in other parts will produce incorrect
925 pitches. For more information about quotations, see @ref{Quoting
929 \transposition @var{pitch}
932 The pitch to use for @code{\transposition} should correspond to
933 the real sound heard when a@tie{}@code{c'} written on the staff is
934 played by the transposing instrument. This pitch is entered in
935 absolute mode, so an instrument that produces a real sound which
936 is one tone higher than the printed music should use
937 @code{\transposition d'}. @code{\transposition} should
938 @emph{only} be used if the pitches are @emph{not} being entered in
941 Here are a few notes for violin and B-flat clarinet where the
942 parts have been entered using the notes and key as they appear in
943 each part of the conductor's score. The two instruments are
946 @lilypond[verbatim,quote,ragged-right]
950 \set Staff.instrumentName = "Vln"
951 \set Staff.midiInstrument="violin"
952 % strictly speaking not necessary, but a good reminder
959 \new Staff = "clarinet" {
961 \set Staff.instrumentName = \markup {Cl (B\flat)}
962 \set Staff.midiInstrument="clarinet"
973 The @code{\transposition} may be changed during a piece. For
974 example, a clarinetist may switch from an A clarinet to a B-flat
977 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
978 \set Staff.instrumentName = "Cl (A)"
983 r1^\markup{Switch to B\flat clarinet}
994 @rglos{concert pitch},
995 @rglos{transposing instrument}.
998 @ref{Quoting other voices}, @ref{Transpose}.
1001 @lsrdir{Pitches,Pitches}.
1004 @node Automatic accidentals
1005 @unnumberedsubsubsec Automatic accidentals
1007 @cindex automatic accidentals
1008 @cindex accidentals, automatic
1010 @cindex accidental style
1011 @cindex default accidental style
1012 @cindex accidental style, default
1013 @funindex set-accidental-style
1015 There are many different conventions on how to typeset
1016 accidentals. LilyPond provides a function to specify which
1017 accidental style to use. This function is called as follows
1021 #(set-accidental-style 'voice)
1026 The accidental style applies to the current @code{Staff} by
1027 default (with the exception of the styles @code{piano} and
1028 @code{piano-cautionary}, which are explained below). Optionally,
1029 the function can take a second argument that determines in which
1030 scope the style should be changed. For example, to use the same
1031 style in all staves of the current @code{StaffGroup}, use
1034 #(set-accidental-style 'voice 'StaffGroup)
1037 The following accidental styles are supported. To demonstrate
1038 each style, we use the following example:
1040 @lilypond[verbatim,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 %%% change the next line as desired:
1076 #(set-accidental-style 'default)
1079 \context Staff = "down" {
1080 %%% change the next line as desired:
1081 #(set-accidental-style 'default)
1088 Note that the last lines of this example can be replaced by the
1089 following, as long as the same accidental style should be used in
1094 \context Staff = "up" @{
1095 %%% change the next line as desired:
1096 #(set-accidental-style 'default 'Score)
1099 \context Staff = "down" @{
1107 @c don't use verbatim in this table.
1110 This is the default typesetting behavior. It corresponds to
1111 eighteenth-century common practice: accidentals are remembered to
1112 the end of the measure in which they occur and only on their own
1113 octave. Thus, in the example below, no natural signs are printed
1114 before the@tie{}@code{b} in the second measure or the
1117 @lilypond[quote,ragged-right]
1121 cis'8 fis, d'4 <a cis>8 f bis4 |
1135 \voiceTwo \relative c' {
1139 \change Staff = down
1143 \change Staff = down
1144 <fis, a cis>4 gis <f a d>2 |
1151 \context Staff = "up" {
1152 #(set-accidental-style 'default)
1155 \context Staff = "down" {
1156 #(set-accidental-style 'default)
1164 The normal behavior is to remember the accidentals on Staff-level.
1165 In this style, however, accidentals are typeset individually for
1166 each voice. Apart from that, the rule is similar to
1169 As a result, accidentals from one voice do not get canceled in
1170 other voices, which is often an unwanted result: in the following
1171 example, it is hard to determine whether the second@tie{}@code{a}
1172 should be played natural or sharp. The @code{voice} option should
1173 therefore be used only if the voices are to be read solely by
1174 individual musicians. If the staff is to be used by one musician
1175 (e.g., a conductor or in a piano score) then @code{modern} or
1176 @code{modern-cautionary} should be used instead.
1179 @lilypond[quote,ragged-right]
1183 cis'8 fis, d'4 <a cis>8 f bis4 |
1197 \voiceTwo \relative c' {
1201 \change Staff = down
1205 \change Staff = down
1206 <fis, a cis>4 gis <f a d>2 |
1213 \context Staff = "up" {
1214 #(set-accidental-style 'voice)
1217 \context Staff = "down" {
1218 #(set-accidental-style 'voice)
1226 @cindex accidentals, modern style
1227 @cindex modern style accidentals
1228 @funindex modern style accidentals
1230 This rule corresponds to the common practice in the twentieth
1231 century. It prints the same accidentals as @code{default}, with
1232 two exceptions that serve to avoid ambiguity: after temporary
1233 accidentals, cancellation marks are printed also in the following
1234 measure (for notes in the same octave) and, in the same measure,
1235 for notes in other octaves. Hence the naturals before
1236 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1239 @lilypond[quote,ragged-right]
1243 cis'8 fis, d'4 <a cis>8 f bis4 |
1257 \voiceTwo \relative c' {
1261 \change Staff = down
1265 \change Staff = down
1266 <fis, a cis>4 gis <f a d>2 |
1273 \context Staff = "up" {
1274 #(set-accidental-style 'modern)
1277 \context Staff = "down" {
1278 #(set-accidental-style 'modern)
1285 @item modern-cautionary
1286 @cindex accidentals, modern cautionary style
1287 @cindex modern style accidentals
1288 @cindex modern style cautionary accidentals
1289 @cindex modern accidental style
1290 @cindex modern cautionary accidental style
1291 @funindex modern-cautionary
1293 This rule is similar to @code{modern}, but the @q{extra}
1294 accidentals (the ones not typeset by @code{default}) are typeset
1295 as cautionary accidentals. They are by default printed with
1296 parentheses, but they can also be printed in reduced size by
1297 defining the @code{cautionary-style} property of
1298 @code{AccidentalSuggestion}.
1301 @lilypond[quote,ragged-right]
1305 cis'8 fis, d'4 <a cis>8 f bis4 |
1319 \voiceTwo \relative c' {
1323 \change Staff = down
1327 \change Staff = down
1328 <fis, a cis>4 gis <f a d>2 |
1335 \context Staff = "up" {
1336 #(set-accidental-style 'modern-cautionary)
1339 \context Staff = "down" {
1340 #(set-accidental-style 'modern-cautionary)
1348 @cindex accidentals, multivoice
1349 @cindex accidentals, modern
1350 @cindex modern accidentals
1351 @cindex multivoice accidentals
1352 @cindex accidental style, modern
1353 @cindex modern accidental style
1354 @funindex modern-voice
1356 This rule is used for multivoice accidentals to be read both by
1357 musicians playing one voice and musicians playing all voices.
1358 Accidentals are typeset for each voice, but they @emph{are}
1359 canceled across voices in the same @code{Staff}. Hence,
1360 the@tie{}@code{a} in the last measure is canceled because the
1361 previous cancellation was in a different voice, and
1362 the@tie{}@code{d} in the lower staff is canceled because of the
1363 accidental in a different voice in the previous measure:
1366 @lilypond[quote,ragged-right]
1370 cis'8 fis, d'4 <a cis>8 f bis4 |
1384 \voiceTwo \relative c' {
1388 \change Staff = down
1392 \change Staff = down
1393 <fis, a cis>4 gis <f a d>2 |
1400 \context Staff = "up" {
1401 #(set-accidental-style 'modern-voice)
1404 \context Staff = "down" {
1405 #(set-accidental-style 'modern-voice)
1412 @cindex accidental style, modern voice cautionary
1413 @cindex accidental style, cautionary, modern voice
1414 @cindex accidental style, voice, modern cautionary
1415 @funindex modern-voice-cautionary
1416 @item modern-voice-cautionary
1418 This rule is the same as @code{modern-voice}, but with the extra
1419 accidentals (the ones not typeset by @code{voice}) typeset
1420 as cautionaries. Even though all accidentals typeset by
1421 @code{default} @emph{are} typeset with this rule,
1422 some of them are typeset as cautionaries.
1424 @lilypond[quote,ragged-right]
1428 cis'8 fis, d'4 <a cis>8 f bis4 |
1442 \voiceTwo \relative c' {
1446 \change Staff = down
1450 \change Staff = down
1451 <fis, a cis>4 gis <f a d>2 |
1458 \context Staff = "up" {
1459 #(set-accidental-style 'modern-voice-cautionary)
1462 \context Staff = "down" {
1463 #(set-accidental-style 'modern-voice-cautionary)
1471 @cindex piano accidentals
1472 @cindex piano accidentals
1473 @cindex accidentals, piano
1474 @cindex piano accidental style
1475 @cindex accidental style, piano
1477 This rule reflects twentieth-century practice for piano notation.
1478 Its behavior is very similar to @code{modern} style, but here
1479 accidentals also get canceled across the staves in the same
1480 GrandStaff or PianoStaff, hence all the cancellations of the final
1483 This accidental style applies to the current @code{GrandStaff} or
1484 @code{PianoStaff} by default.
1486 @lilypond[quote,ragged-right]
1490 cis'8 fis, d'4 <a cis>8 f bis4 |
1504 \voiceTwo \relative c' {
1508 \change Staff = down
1512 \change Staff = down
1513 <fis, a cis>4 gis <f a d>2 |
1520 \context Staff = "up" {
1521 #(set-accidental-style 'piano)
1524 \context Staff = "down" {
1531 @item piano-cautionary
1532 @funindex #(set-accidental-style 'piano-cautionary)
1533 @cindex accidentals, piano cautionary
1534 @cindex cautionary accidentals, piano
1535 @cindex piano cautionary accidentals
1536 @cindex accidental style, piano cautionary
1537 @cindex cautionary accidental style, piano
1538 @cindex piano cautionary accidental style
1540 Same as @code{#(set-accidental-style 'piano)} but with the extra
1541 accidentals typeset as cautionaries.
1543 @lilypond[quote,ragged-right]
1547 cis'8 fis, d'4 <a cis>8 f bis4 |
1561 \voiceTwo \relative c' {
1565 \change Staff = down
1569 \change Staff = down
1570 <fis, a cis>4 gis <f a d>2 |
1577 \context Staff = "up" {
1578 #(set-accidental-style 'piano-cautionary)
1581 \context Staff = "down" {
1589 @funindex no-reset accidental style
1590 @cindex accidental style, no reset
1591 @cindex no reset accidental style
1593 This is the same as @code{default} but with accidentals lasting
1594 @q{forever} and not only within the same measure:
1596 @lilypond[quote,ragged-right]
1600 cis'8 fis, d'4 <a cis>8 f bis4 |
1614 \voiceTwo \relative c' {
1618 \change Staff = down
1622 \change Staff = down
1623 <fis, a cis>4 gis <f a d>2 |
1630 \context Staff = "up" {
1631 #(set-accidental-style 'no-reset)
1634 \context Staff = "down" {
1635 #(set-accidental-style 'no-reset)
1643 @funindex forget accidental style
1644 @cindex forget accidental style
1645 @cindex accidental style, forget
1647 This is the opposite of @code{no-reset}: Accidentals are not
1648 remembered at all -- and hence all accidentals are typeset
1649 relative to the key signature, regardless of what was before in
1652 @lilypond[quote,ragged-right]
1656 cis'8 fis, d'4 <a cis>8 f bis4 |
1670 \voiceTwo \relative c' {
1674 \change Staff = down
1678 \change Staff = down
1679 <fis, a cis>4 gis <f a d>2 |
1686 \context Staff = "up" {
1687 #(set-accidental-style 'forget)
1690 \context Staff = "down" {
1691 #(set-accidental-style 'forget)
1701 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1702 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1708 @lsrdir{Pitches,Pitches}.
1710 Internals Reference:
1711 @internalsref{Accidental_engraver},
1712 @internalsref{Accidental}, @internalsref{AccidentalSuggestion},
1713 @internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
1714 @internalsref{PianoStaff}, @internalsref{Staff}.
1717 @cindex accidentals and simultaneous notes
1718 @cindex simultaneous notes and accidentals
1719 @cindex accidentals in chords
1720 @cindex chords, accidentals in
1724 Simultaneous notes are considered to be entered in sequential
1725 mode. This means that in a chord the accidentals are typeset as
1726 if the notes in the chord happen one at a time, in the order in
1727 which they appear in the input file. This is a problem when
1728 accidentals in a chord depend on each other, which does not happen
1729 for the default accidental style. The problem can be solved by
1730 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1735 @unnumberedsubsubsec Ambitus
1738 @cindex range of pitches
1741 The term @notation{ambitus} (pl. ambitus) denotes a range of
1742 pitches for a given voice in a part of music. It may also denote
1743 the pitch range that a musical instrument is capable of playing.
1744 Ambitus are printed on vocal parts so that performers can easily
1745 determine if it matches their capabilities.
1747 Ambitus are denoted at the beginning of a piece near the initial
1748 clef. The range is graphically specified by two note heads that
1749 represent the lowest and highest pitches. Accidentals are only
1750 printed if they are not part of the key signature.
1752 @lilypond[verbatim,quote,ragged-right]
1756 \consists Ambitus_engraver
1768 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1769 {adding-ambiti-per-voice.ly}
1771 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1772 {ambiti-multiple-voices.ly}
1781 @lsrdir{Pitches,Pitches}.
1783 Internals Reference:
1784 @internalsref{Ambitus},
1785 @internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
1786 @internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
1787 @internalsref{Staff}, @internalsref{Voice}.
1792 There is no collision handling in the case of multiple per-voice
1797 @subsection Note heads
1799 This section suggests ways of altering note heads.
1802 * Special note heads::
1803 * Easy notation note heads::
1804 * Shape note heads::
1808 @node Special note heads
1809 @unnumberedsubsubsec Special note heads
1811 @cindex note heads, special
1812 @cindex note heads, cross
1813 @cindex note heads, diamond
1814 @cindex note heads, parlato
1815 @cindex note heads, harmonic
1816 @cindex note heads, guitar
1817 @cindex special note heads
1818 @cindex cross note heads
1819 @cindex diamond note heads
1820 @cindex parlato note heads
1821 @cindex harmonic note heads
1822 @cindex guitar note heads
1824 Different note heads are used by various instruments for various
1825 meanings -- crosses are used for @q{parlato} with vocalists,
1826 stopped notes on guitar; diamonds are used for harmonics on string
1827 instruments, etc. There is a shorthand (@code{\harmonic}) for
1828 diamond shapes; the other note head styles are produced by
1829 tweaking the property:
1831 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1833 \override NoteHead #'style = #'cross
1835 \revert NoteHead #'style
1836 e d <c f\harmonic> <d a'\harmonic>
1840 To see all note head styles, see @ref{Note head styles}.
1846 @lsrdir{Pitches,Pitches}.
1849 @ref{Note head styles}.
1851 Internals Reference:
1852 @internalsref{NoteHead},
1853 @internalsref{LedgerLineSpanner}.
1856 @node Easy notation note heads
1857 @unnumberedsubsubsec Easy notation note heads
1859 @cindex note heads, practice
1860 @cindex note heads, easy notation
1861 @cindex easy notation
1863 @cindex beginners' music
1864 @cindex music, beginners'
1865 @cindex easy play note heads
1866 @cindex note heads, easy play
1868 The @q{easy play} note head includes a note name inside the head.
1869 It is used in music for beginners.
1871 @lilypond[verbatim,quote,ragged-right]
1872 #(set-global-staff-size 26)
1882 The command @code{\easyHeadsOn} overrides settings for the
1883 @code{NoteHead} object. These settings can be reverted with the command
1884 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1885 in a large font size. To print with a larger font, see @ref{Setting the
1890 @funindex \easyHeadsOn
1891 @funindex \easyHeadsOff
1892 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1897 @ref{Setting the staff size}.
1900 @lsrdir{Pitches,Pitches},
1902 Internals Reference:
1903 @internalsref{NoteHead}.
1906 @node Shape note heads
1907 @unnumberedsubsubsec Shape note heads
1909 @cindex note heads, shape
1910 @cindex note heads, Aiken
1911 @cindex note heads, sacred harp
1913 @cindex Aiken shape note heads
1914 @cindex sacred harp note heads
1916 @funindex shapeNoteStyles
1917 @funindex \aikenHeads
1918 @funindex \sacredHarpHeads
1920 In shape note head notation, the shape of the note head
1921 corresponds to the harmonic function of a note in the scale. This
1922 notation was popular in nineteenth-century American song books.
1924 Shape note heads can be produced by setting @code{\aikenHeads} or
1925 @code{\sacredHarpHeads}, depending on the style desired.
1927 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1934 Shapes are typeset according to the step in the scale, where
1935 the base of the scale is determined by the @code{\key} command.
1939 @funindex \aikenHeads
1940 @funindex \sacredHarpHeads
1941 @code{\aikenHeads}, @code{\sacredHarpHeads}
1945 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1946 {applying-notehead-styles-depending-on-the-step-of-the-scale.ly}
1949 To see all note head styles, see @ref{Note head styles}.
1954 @lsrdir{Pitches,Pitches}.
1957 @ref{Note head styles}.
1961 @unnumberedsubsubsec Improvisation
1963 @cindex improvisation
1964 @cindex slashed note heads
1965 @cindex note heads, improvisation
1966 @cindex note heads, slashed
1968 Improvisation is sometimes denoted with slashed note heads, where
1969 the performer may choose any pitch but should play the specified
1970 rhythm. Such note heads can be created:
1972 @lilypond[verbatim,quote,ragged-right]
1974 \consists Pitch_squash_engraver
1976 e8 e g a a16( bes) a8 g
1989 @funindex \improvisationOn
1990 @funindex \improvisationOff
1992 @code{\improvisationOn}, @code{\improvisationOff}
1997 @lsrdir{Pitches,Pitches}.
1999 Internals Reference:
2000 @internalsref{Pitch_squash_engraver},
2001 @internalsref{Voice}.