version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.51"
+
@node Pitches
@section Pitches
-@lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
-{pitches-headword.ly}
+@lilypondfile[quote]{pitches-headword.ly}
This section discusses how to specify the pitch of notes. There
-are three steps to this process: input, modifying, and output.
+are three steps to this process: input, modification, and output.
@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
This section discusses how to input pitches. There are two
different ways to place notes in octaves: absolute and relative
-mode. In most cases, relative mode will be more convient.
+mode. In most cases, relative mode will be more convenient.
@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@cindex pitches
@cindex absolute
@cindex absolute octave specification
+@cindex absolute octave entry
A pitch name is specified using lowercase letters@tie{}@code{a}
through@tie{}@code{g}. The note names @code{c} to @code{b} are
engraved in the octave below middle C.
-@c NOTE: don't use c' here.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@c don't use c' here.
+@lilypond[verbatim,quote,fragment]
\clef bass
-c d e f g a b c
+c d e f
+g a b c
+d e f g
@end lilypond
+@cindex octave changing mark
@funindex '
@funindex ,
pitch by one octave; each@tie{}@code{,} lowers the pitch by an
octave.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\clef treble
-c' c'' e' g d'' d' d c
+c' c'' e' g
+d'' d' d c
\clef bass
-c, c,, e, g d,, d, d c
+c, c,, e, g
+d,, d, d c
@end lilypond
@seealso
-Snippets: @lsrdir{Pitches}.
+Music Glossary:
+@rglos{Pitch names}.
+
+Snippets:
+@rlsr{Pitches}.
@node Relative octave entry
@unnumberedsubsubsec Relative octave entry
@cindex relative
+@cindex relative octave entry
@cindex relative octave specification
@funindex \relative
-The absolute mode requires a lot of octave specifications, which
-not only becomes tedious but also easily leads to errors.
-Therefore, it is usually more convenient to let notes be entered
-relative to the previous note. This is done with the relative
-mode.
+When octaves are specified in absolute mode it is easy to
+accidentally put a pitch in the wrong octave. Relative octave
+mode reduces these errors since most of the time it is not
+necessary to indicate any octaves at all. Furthermore, in
+absolute mode a single mistake may be difficult to spot, while in
+relative mode a single error puts the rest of the piece off by one
+octave.
@example
\relative @var{startpitch} @var{musicexpr}
@end example
In relative mode, each note is assumed to be as close to the
-previous note as possible. This means that the octave of pitches
-in @var{musicexpr} is calculated as follows:
+previous note as possible. This means that the octave of each
+pitch inside @var{musicexpr} is calculated as follows:
@itemize
@item
-If no octave changing mark is used on a pitch, its octave is calculated
-so that the interval with the previous note is less than a fifth. This
-interval is determined without considering accidentals.
+If no octave changing mark is used on a pitch, its octave is
+calculated so that the interval with the previous note is less
+than a fifth. This interval is determined without considering
+accidentals.
@item
-An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
-respectively raise or lower a pitch by an extra octave, relatively to
-the pitch calculated without octave mark.
+An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
+added to respectively raise or lower a pitch by an extra octave,
+relative to the pitch calculated without an octave mark.
@item
-Multiple octave changing marks can be used. For example, @code{''}@tie{}and
-@code{,,}@tie{} will alter the pitch by two octaves.
+Multiple octave changing marks can be used. For example,
+@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
+octaves.
@item
The pitch of the first note is relative to
Here is the relative mode shown in action:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c {
\clef bass
- c d e f g a b c
+ c d e f
+ g a b c
+ d e f g
}
@end lilypond
Octave changing marks are used for intervals greater than a
fourth:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
- c g c f, c' a, e'' c
+ c g c f,
+ c' a, e'' c
}
@end lilypond
A note sequence without a single octave mark can nevertheless span
large intervals:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c {
- c f b e a d g c
+ c f b e
+ a d g c
}
@end lilypond
If the preceding item is a chord, the first note of the chord is
used as the reference point for the octave placement of a
-following note or chord. Inside of chords the next note is always
-relative to the preceding one.
+following note or chord. Inside chords, the next note is always
+relative to the preceding one. Examine the next example
+carefully, paying attention to the @code{c} notes.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c' {
c
<c e g>
- % the C is now an octave higher
<c' e g'>
- % the C returns to the original pitch
<c, e, g''>
}
@end lilypond
-When octaves are specified in absolute mode it is easy to
-accidentally put a pitch in the wrong octave. Relative octave
-mode reduces these errors since most of the time it is not
-necessary to indicate any octaves at all. Furthermore, in
-absolute mode, a single mistake may be difficult to spot; in
-relative mode, a single error puts the rest of the piece off by
-one octave.
-
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
-E-double-sharp sharp following a B will be placed higher, while an
-F-double-flat would be placed lower. In other words, a
+E-double-sharp following a B will be placed higher, while an
+F-double-flat will be placed lower. In other words, a
double-augmented fourth is considered a smaller interval than a
double-diminished fifth, regardless of the number of semitones
that each interval contains.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-c2 fis
-c2 ges
-b2 eisis
-b2 feses
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2 fis
+ c2 ges
+ b2 eisis
+ b2 feses
+}
@end lilypond
@seealso
-Music Glossary: @rglos{fifth}, @rglos{interval}.
+Music Glossary:
+@rglos{fifth},
+@rglos{interval},
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches}.
+Notation Reference:
+@ref{Octave checks}.
+Snippets:
+@rlsr{Pitches}.
-@refbugs
+Internals Reference:
+@rinternals{RelativeOctaveMusic}.
+
+
+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
+@knownissues
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-@c TODO: DEPRECATED
+@c DEPRECATED
If no @var{startpitch} is specified for @code{\relative},
then@tie{}@code{c'} is assumed. However, this is a deprecated
option and may disappear in future versions, so its use is
@node Accidentals
@unnumberedsubsubsec Accidentals
+@cindex accidental
+@cindex key signature
+@cindex clef
+
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
@cindex note names, Dutch
@cindex note names, default
-
-A @notation{sharp} pitch is made by adding @code{is} to the name,
-and a @notation{flat} pitch by adding @code{es}. As you might
-expect, a @notation{double sharp} or @notation{double flat} is
-made by adding @code{isis} or @code{eses}. This syntax is derived
-from Dutch note naming conventions. To use other names for
-accidentals, see @ref{Note names in other languages}.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 ais a aes
-a2 aisis a aeses
+@cindex sharp
+@cindex flat
+@cindex double sharp
+@cindex sharp, double
+@cindex double flat
+@cindex flat, double
+@cindex natural sign
+@cindex natural pitch
+
+A @notation{sharp} pitch is made by adding @code{is} to the note
+name, and a @notation{flat} pitch by adding @code{es}. As you
+might expect, a @notation{double sharp} or @notation{double flat}
+is made by adding @code{isis} or @code{eses}. This syntax is
+derived from Dutch note naming conventions. To use other names
+for accidentals, see @ref{Note names in other languages}.
+
+@lilypond[verbatim,quote,relative=2]
+ais1 aes aisis aeses
@end lilypond
A natural will cancel the effect of an accidental or key
syntax with a suffix; a natural pitch is shown as a simple note
name:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4 aes a2
@end lilypond
+
@cindex quarter tones
@cindex semi-flats, semi-sharps
-Half-flats and half-sharps are formed by adding @code{eh} and
-@code{ih}; the following is a series of Cs with increasing
-pitches
+Quarter tones may be added; the following is a series of Cs with
+increasing pitches:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ceseh1 ces ceh c cih cis cisih
@end lilypond
adding an exclamation mark@tie{}@code{!} after the pitch. A
cautionary accidental (i.e., an accidental within parentheses) can
be obtained by adding the question mark@tie{}@code{?} after the
-pitch. These extra accidentals can be used to produce natural
-signs, too.
+pitch. These extra accidentals can also be used to produce
+natural signs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-cis cis cis! cis? c c? c! c
+@lilypond[verbatim,quote,relative=2]
+cis cis cis! cis? c c c! c?
@end lilypond
-Accidentals are only printed on tied notes which begin a new
-system:
+@cindex accidental on tied note
+@cindex tied note, accidental
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-cis1~ cis~ \break cis
+Accidentals on tied notes are only printed at the beginning of a
+new system:
+
+@lilypond[verbatim,quote,relative=2]
+cis1 ~ cis ~
+\break
+cis
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
@seealso
-Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}, @rglos{Pitch names}.
+Music Glossary:
+@rglos{sharp},
+@rglos{flat},
+@rglos{double sharp},
+@rglos{double flat},
+@rglos{Pitch names},
+@rglos{quarter tone}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Notation Reference: @ref{Automatic accidentals},
-@ref{Musica ficta accidentals},
+Notation Reference:
+@ref{Automatic accidentals},
+@ref{Annotational accidentals (musica ficta)},
@ref{Note names in other languages}.
-Snippets: @lsrdir{Pitches},
-@lsr{Pitches,
-dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
-@lsr{Pitches, makam.ly}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental_engraver},
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.
+
+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
-@refbugs
+@knownissues
There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
+quarter-tone accidentals, so LilyPond's symbol does not conform to
+any standard.
@node Note names in other languages
@unnumberedsubsubsec Note names in other languages
+@cindex note names, other languages
+@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
+
There are predefined sets of note names for various other
-languages. To use them, include the language specific init file.
-For example, add @code{\include "english.ly"} to the top of the
-input file. The available language files and the note names they
-define are:
+languages. To use them, include the language-specific init file.
+For example, to use English notes names, add
+@w{@code{\include "english.ly"}} to the top of the input file.
+The available language files and the note names they define are:
-@cindex note names, other languages
-@example
-@multitable {nederlands.ly a} {do re mi fa sol la sib si a} {-iss/-is a} {-ess/-es a} {-ississ/-isis a} {-ississ/-isis a}
+@smallexample
+@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@headitem Language
@tab Note names
@tab sharp @tab flat @tab double sharp @tab double flat
@item nederlands.ly
@tab c d e f g a bes b
@tab -is @tab -es @tab -isis @tab -eses
-@item english.ly
- @tab c d e f g a bf b
- @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
- @tab -ff/-flatflat
-@item deutsch.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
- @tab c d e f g a b h
- @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
- @tab -essess/-eses
-@item svenska.ly
- @tab c d e f g a b h
- @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item arabic.ly
@tab do re mi fa sol la sib si
@tab -d @tab -b @tab -dd @tab -bb
@item catalan.ly
@tab do re mi fa sol la sib si
@tab -d/-s @tab -b @tab -dd/-ss @tab -bb
+@item deutsch.ly
+ @tab c d e f g a b h
+ @tab -is @tab -es @tab -isis @tab -eses
+@item english.ly
+ @tab c d e f g a bf b
+ @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+ @tab -ff/-flatflat
@item espanol.ly
@tab do re mi fa sol la sib si
@tab -s @tab -b @tab -ss @tab -bb
+@item italiano.ly
+ @tab do re mi fa sol la sib si
+ @tab -d @tab -b @tab -dd @tab -bb
+@item norsk.ly
+ @tab c d e f g a b h
+ @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
+ @tab -essess/-eses
@item portugues.ly
@tab do re mi fa sol la sib si
@tab -s @tab -b @tab -ss @tab -bb
+@item suomi.ly
+ @tab c d e f g a b h
+ @tab -is @tab -es @tab -isis @tab -eses
+@item svenska.ly
+ @tab c d e f g a b h
+ @tab -iss @tab -ess @tab -ississ @tab -essess
@item vlaams.ly
@tab do re mi fa sol la sib si
@tab -k @tab -b @tab -kk @tab -bb
@end multitable
-@end example
+@end smallexample
+
+In Dutch, @code{aes} is contracted to @code{as}, but both forms
+are accepted in LilyPond. Similarly, both @code{es} and
+@code{ees} are accepted. This also applies to
+@code{aeses}@tie{}/@tie{}@code{ases} and
+@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
+contracted names are defined in the corresponding language files.
+
+@lilypond[verbatim,quote,relative=2]
+a2 as e es a ases e eses
+@end lilypond
+
+
+@cindex microtones
+@cindex semi-sharp
+@cindex semi-flat
+@cindex sesqui-sharp
+@cindex sesqui-flat
Some music uses microtones whose alterations are fractions of a
-@q{normal} sharp or flat. The note names for quartertones defined
-in the various language files are listed in the following table.
-Here the prefixes @notation{semi-} and @notation{sesqui-} mean
-@q{half} and @q{one and a half}, respectively. For the other
+@q{normal} sharp or flat. The note names for quarter-tones
+defined in the various language files are listed in the following
+table. Here the prefixes @notation{semi-} and @notation{sesqui-}
+mean @q{half} and @q{one and a half}, respectively. For the other
languages, no special names have been defined yet.
-@example
-@multitable {nederlands.ly a} {do re mi fa sol la sib si a} {-iss/-is a} {-ess/-es a} {-ississ/-isis a} {-ississ/-isis a}
+@smallexample
+@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
@headitem Language
@tab Note names
- @tab semi- @tab semi- @tab sesqui- @tab sesqui-
+ @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
@item nederlands.ly
@tab c d e f g a bes b
@tab -ih @tab -eh @tab -isih @tab -eseh
-@item english.ly
- @tab c d e f g a bf b
- @tab -qs @tab -qf @tab -tqs @tab -tqf
+@item arabic.ly
+ @tab do re mi fa sol la sib si
+ @tab -sd @tab -sb @tab -dsd @tab -bsb
@item deutsch.ly
@tab c d e f g a b h
@tab -ih @tab -eh @tab -isih @tab -eseh
+@item english.ly
+ @tab c d e f g a bf b
+ @tab -qs @tab -qf @tab -tqs @tab -tqf
@item italiano.ly
@tab do re mi fa sol la sib si
@tab -sd @tab -sb @tab -dsd @tab -bsb
@tab do re mi fa sol la sib si
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@end multitable
-@end example
-
-In Dutch, @code{aes} is contracted to @code{as}, but both forms
-are accepted in LilyPond. Similarly, both @code{es} and
-@code{ees} are accepted. This also applies to
-@code{aeses}@tie{}/@tie{}@code{ases} and
-@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
-contracted names are defined in the corresponding language files.
+@end smallexample
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-a2 as e es a ases e eses
-@end lilypond
-
-Note that in some languages such as Norwegian and Swedish, the
-usual spelling for accidentals is a double @q{s} such as in
-@code{ciss} or @code{cess}. For both historical reasons and a
-greater simplicity, LilyPond uses a single @q{s} for all these
-languages.
@seealso
-Snippets: @lsrdir{Pitches}.
+Music Glossary:
+@rglos{Pitch names}.
+
+Snippets:
+@rlsr{Pitches}.
@node Changing multiple pitches
This section discusses how to modify pitches.
@menu
-* Octave check::
-* Transpose::
+* Octave checks::
+* Transpose::
@end menu
-@node Octave check
-@unnumberedsubsubsec Octave check
+@node Octave checks
+@unnumberedsubsubsec Octave checks
+@cindex octave correction
@cindex octave check
+@cindex control pitch
+@funindex =
+@funindex \octaveCheck
+@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
-Octave checks make such errors easier to correct. A note may be
-followed by @code{=}@var{quotes} to indicate what its absolute
-octave should be. In the following example,
+Octave checks make such errors easier to find by displaying a
+warning and correcting the octave if a note is found in an
+unexpected octave.
-@example
-\relative c'' @{
- c g d=''
-@}
-@end example
+To check the octave of a note, specify the absolute octave after
+the @code{=}@tie{}symbol. This example will generate a warning
+(and change the pitch) because the second note is the absolute
+octave @code{d''} instead of @code{d'} as indicated by the octave
+correction.
-@noindent
-the@tie{}@code{d} will generate a warning, because
-a@tie{}@code{d''} is expected, as indicated by the octave check
-@code{=''}, but a@tie{}@code{d'} is found, since both
-@code{c}-@code{g} and @code{g}-@code{d} without octavation marks
-are descending fourths. In the output, the octave is corrected to
-be a@tie{}@code{d''} and the next note is calculated relative
-to@tie{}@code{d''} instead of@tie{}@code{d'}.
-
-There is also an octave check which produces no visible output.
-The syntax is:
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2 d='4 d
+ e2 f
+}
+@end lilypond
-@example
-@var{pitch} \octave @var{controlpitch}
-@end example
+The octave of notes may also be checked with the
+@code{\octaveCheck}@tie{}@var{controlpitch} command.
+@var{controlpitch} is specified in absolute mode. This checks
+that the interval between the previous note and the
+@var{controlpitch} is within a fourth (i.e., the normal
+calculation of relative mode). If this check fails, a warning is
+printed, but the previous note is not changed. Future notes are
+relative to the @var{controlpitch}.
-@noindent
-where @var{pitch} is a regular note within a music expression in
-relative mode and @var{controlpitch} is a pitch in absolute mode.
-This checks that @var{pitch} lies within the octave surrounding
-@var{controlpitch}, i.e. not more than a fourth above or below it.
-If this is not the case, a warning is printed and the octave is
-corrected. The @var{controlpitch} is not printed as a note.
-
-In the example below, the first check passes without incident,
-since the@tie{}@code{e} (in @code{relative} mode) is within the
-octave range of@tie{}@code{a'}. However, the second check
-produces a warning, since the@tie{}@code{e} is not within the
-octave range of@tie{}@code{b'}. The warning message is printed,
-and the octave is adjusted so that the following notes are in the
-correct octave once again.
+@lilypond[verbatim,quote]
+\relative c'' {
+ c2 d
+ \octaveCheck c'
+ e2 f
+}
+@end lilypond
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+Compare the two bars below. The first and third @code{\octaveCheck}
+checks fail, but the second one does not fail.
-The octave of a note following an @code{\octave} check is
-determined with respect to the note preceding it, as modified by
-the outcome of the octave check. In the next fragment, the first
-note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
-and the @code{\octave} check passes successfully. The second note
-is then calculated relative to (absolute)@tie{}@code{e'}, which
-yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
-check had no influence on the output of the piece.
-
-The second @code{\octave} check fails: @code{a'}@tie{}is not
-within the range of@tie{}@code{b}. A warning is issued, and the
-last note is calculated relative to@tie{}@code{a}, not
-to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
-@code{\octave} check, the last note would have been
-a@tie{}@code{d''}.
-
-@lilypond[verbatim,quote,ragged-right,fragment]
-\relative c' {
- e
- \octave b
- a
- \octave b
- d
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 f g f
+
+ c4
+ \octaveCheck c'
+ f
+ \octaveCheck c'
+ g
+ \octaveCheck c'
+ f
}
@end lilypond
+
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveCheck}.
@node Transpose
@unnumberedsubsubsec Transpose
@cindex transpose
+@cindex transposing
+@cindex transposition
@cindex transposition of pitches
+@cindex transposition of notes
+@cindex pitches, transposition of
+@cindex notes, transposition of
@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
This means that @var{musicexpr} is transposed by the interval
between the pitches @var{frompitch} and @var{topitch}: any note
with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.
+other note is transposed by the same interval. Both pitches are
+entered in absolute mode.
Consider a piece written in the key of D-major. It can be
-transposed up to E-major with:
-
-@example
-\transpose d e @dots{}
-@end example
+transposed up to E-major; note that the key signature is
+automatically transposed as well.
-Consider a part written for violin (a C instrument). If this part
-is to be played on the A clarinet (for which an A is notated as a
-C and thus sounds a minor third lower than notated), the
-appropriate part will be produced with:
+@lilypond[verbatim,quote]
+\transpose d e {
+ \relative c' {
+ \key d \major
+ d4 fis a d
+ }
+}
+@end lilypond
-@example
-\transpose a c' @dots{}
-@end example
+@cindex transposing instruments
+@cindex instruments, transposing
-@code{\transpose} will also transpose key signatures:
+If a part written in C (normal @notation{concert pitch}) is to be
+played on the A clarinet (for which an A is notated as a C and
+thus sounds a minor third lower than notated), the appropriate
+part will be produced with:
-@lilypond[verbatim,quote,ragged-right]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
+@lilypond[verbatim,quote]
+\transpose a c' {
+ \relative c' {
+ \key c \major
+ c4 d e g
+ }
}
@end lilypond
+@noindent
+Note that we specify @w{@code{\key c \major}} explicitly. If we
+do not specify a key signature, the notes will be transposed but
+no key signature will be printed.
+
@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose c cis} or @code{\transpose c des} will transpose
-up half a tone. The first version will print sharps and the notes
-will remain on the same scale step, the second version will print
-flats on the scale step above.
+@w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
+transpose up a semitone. The first version will print sharps and
+the notes will remain on the same scale step, the second version
+will print flats on the scale step above.
-@lilypond[verbatim,quote,ragged-right]
-mus = \relative c' { c d e f }
+@lilypond[verbatim,quote]
+music = \relative c' { c d e f }
\new Staff {
- \transpose c cis { \mus }
- \transpose c des { \mus }
+ \transpose c cis { \music }
+ \transpose c des { \music }
}
@end lilypond
@cindex transposing instruments
+@cindex instruments, transposing
@code{\transpose} may also be used in a different way, to input
written notes for a transposing instrument. The previous examples
typeset them for a transposing instrument, but the opposite is
also possible if you for example have a set of instrumental parts
and want to print a conductor's score. For example, when entering
-music for a B-flat trumpet which begins on a notated E (concert
-D), one would write:
+music for a B-flat trumpet that begins on a notated E (concert D),
+one would write:
@example
musicInBflat = @{ e4 @dots{} @}
For more information about transposing instruments,
see @ref{Instrument transpositions}.
-@commonprop
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
@seealso
-Notation Reference: @ref{Instrument transpositions}.
+Notation Reference:
+@ref{Instrument transpositions}.
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{TransposedMusic}.
+Internals Reference:
+@rinternals{TransposedMusic}.
-@refbugs
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
+@knownissues
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside
-a @code{\transpose}.
+The relative conversion will not affect @code{\transpose},
+@code{\chordmode} or @code{\relative} sections in its argument.
+To use relative mode within transposed music, an additional
+@code{\relative} must be placed inside @code{\transpose}.
@node Displaying pitches
This section discusses how to alter the output of pitches.
@menu
-* Clef::
-* Key signature::
-* Ottava brackets::
-* Instrument transpositions::
-* Automatic accidentals::
-* Ambitus::
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+* Automatic accidentals::
+* Ambitus::
@end menu
@unnumberedsubsubsec Clef
@funindex \clef
-
@cindex G clef
@cindex C clef
@cindex F clef
@cindex baritone clef
@cindex varbaritone clef
@cindex subbass clef
-
-The clef is set with the @code{\clef} @var{clefname} command:
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@cindex clef
+@cindex ancient clef
+@cindex clef, ancient
+@cindex clef, G
+@cindex clef, C
+@cindex clef, F
+@cindex clef, treble
+@cindex clef, violin
+@cindex clef, alto
+@cindex clef, tenor
+@cindex clef, bass
+@cindex clef, french
+@cindex clef, soprano
+@cindex clef, mezzosoprano
+@cindex clef, baritone
+@cindex clef, varbaritone
+@cindex subbass clef, subbass
+
+The clef may be altered. Middle C is shown in every example.
+
+@lilypond[verbatim,quote,relative=1]
\clef treble
-c1
+c2 c
\clef alto
-c
+c2 c
\clef tenor
-c
+c2 c
\clef bass
-c
+c2 c
@end lilypond
-The clef can also be changed inside the staff:
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=0]
-\new PianoStaff <<
- \new Staff {
- \time 2/4
- \clef treble
- r16
- \clef bass
- e g c e e, g c
- }
- \new Staff {
- \clef bass
- c,,8 r
- \clef treble
- g''''4
- }
->>
+Other clefs include:
+
+@lilypond[verbatim,quote,relative=1]
+\clef french
+c2 c
+\clef soprano
+c2 c
+\clef mezzosoprano
+c2 c
+\clef baritone
+c2 c
+
+\break
+
+\clef varbaritone
+c2 c
+\clef subbass
+c2 c
+\clef percussion
+c2 c
+\clef tab
+c2 c
@end lilypond
-These same clef symbols are used in different positions on the staff to
-change the range of notes shown by that staff. The treble (respectively
-alto, bass) clef is always positioned to show the line on which
-a@tie{}@code{g'} (resp. @code{c'}, @code{f}) note is printed.
-
-Supported clefs include
-
-@multitable @columnfractions .4 .6
-@headitem Clef @tab Position
-@item @code{treble, violin, G, G2} @tab
-G clef (g') on 2nd line
-@item @code{alto, C} @tab
-C clef (c') on 3rd line
-@item @code{tenor} @tab
-C clef (c') on 4th line
-@item @code{bass, F} @tab
-F clef (f) on 4th line
-@item @code{french} @tab
-G clef (g') on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef (c') on 1st line
-@item @code{mezzosoprano} @tab
-C clef (c') on 2nd line
-@item @code{baritone} @tab
-C clef (c') on 5th line
-@item @code{varbaritone} @tab
-F clef (f) on 3rd line
-@item @code{subbass} @tab
-F clef (f) on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
-
Further supported clefs are described under @ref{Ancient clefs}.
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transposes by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits.
-For example,
-
+@cindex transposing clefs
+@cindex clef, transposing
+@cindex octave transposition
@cindex choral tenor clef
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-\clef "G_8" c4
+By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
+clef is transposed one octave down or up, respectively,
+and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
+The clef name must be enclosed in quotes when it contains
+underscores or digits.
+
+@lilypond[verbatim,quote,relative=2]
+\clef treble
+c2 c
+\clef "treble_8"
+c2 c
+\clef "bass^15"
+c2 c
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-clef-properties.ly}
@seealso
-Notation Reference: @ref{Ancient clefs}.
+Notation Reference:
+@ref{Ancient clefs}.
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Clef}.
+Internals Reference:
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
@node Key signature
@cindex key signature
@funindex \key
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
The key signature indicates the tonality in which a piece is
played. It is denoted by a set of alterations (flats or sharps)
-at the start of the staff.
-
-Setting or changing the key signature is done with the @code{\key}
-command:
+at the start of the staff. The key signature may be altered:
@example
\key @var{pitch} @var{mode}
@end example
-@funindex \minor
@funindex \major
@funindex \minor
@funindex \ionian
@funindex \phrygian
@funindex \dorian
@cindex church modes
+@cindex modes
+@cindex major
+@cindex minor
+@cindex ionian
+@cindex locrian
+@cindex aeolian
+@cindex mixolydian
+@cindex lydian
+@cindex phrygian
+@cindex dorian
Here, @var{mode} should be @code{\major} or @code{\minor} to get a
key signature of @var{pitch}-major or @var{pitch}-minor,
respectively. You may also use the standard mode names, also
-called @q{church modes}: @code{\ionian}, @code{\locrian},
-@code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
+called @notation{church modes}: @code{\ionian}, @code{\dorian},
+@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
+@code{\aeolian}, and @code{\locrian}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key g \major
-f1
+fis1
+f
fis
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@seealso
-Music Glossary: @rglos{church mode}, @rglos{scordatura}.
+Music Glossary:
+@rglos{church mode},
+@rglos{scordatura}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+Internals Reference:
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.
@node Ottava brackets
@cindex 8va
@cindex 8ve
@cindex octavation
+@funindex set-octavation
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a'2 b
-#(set-octavation 1)
+\ottava #1
a b
-#(set-octavation 0)
+\ottava #0
a b
@end lilypond
-The @code{set-octavation} function also takes -1 (for 8va bassa),
+The @code{ottava} function also takes -1 (for 8va bassa),
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-@commonprop
+@snippets
-@ignore
-Internally the function sets the properties @code{ottavation}
-(e.g., to @code{"8va"} or @code{"8vb"}) and
-@code{middleCPosition}. To override the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-#(set-octavation 1)
-\set Staff.ottavation = #"8"
-c'
-@end lilypond
-@end ignore
-
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-@c {}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{ottava-text.ly}
@seealso
-Music Glossary: @rglos{ottava}.
-
-Snippets: @lsrdir{Pitches}.
+Music Glossary:
+@rglos{octavation}.
-Internals Reference: @internalsref{OttavaBracket}.
+Snippets:
+@rlsr{Pitches}.
+Internals Reference:
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
-@refbugs
-
-@c FIXME: This should have been fixed by Joe.
-@c If it hasn't, we should mention the appropriate
-@c workaround (there is a snippet in the LSR) -vv
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
@node Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument
+@cindex transposing instrument
+@cindex MIDI
+@cindex MIDI transposition
+@funindex \transposition
When typesetting scores that involve transposing instruments, some
parts can be typeset in a different pitch than the
-@notation{concert pitch}.
-
-The key of a @notation{transposing instrument} can be specified.
-This applies to many wind instruments, for example, clarinets
-(B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D,
-and@tie{}F).
-
-For such instruments, LilyPond will print a correct part, but is
-not aware whether the instrument is playing in concert pitch or
-not. This can lead to problems if you want a MIDI output, or if
-you quote other parts in a transposing staff. In such cases, an
-explicit transposition must be specified:
+@notation{concert pitch}. In these cases, the key of the
+@notation{transposing instrument} should be specified; otherwise
+the MIDI output and cues in other parts will produce incorrect
+pitches. For more information about quotations, see
+@ref{Quoting other voices}.
@example
\transposition @var{pitch}
@end example
-@noindent
-where @var{pitch} specifies the key in which the instrument plays.
-For example, a part for B-flat clarinet would include:
-
-@example
-\transposition bes
-@end example
-
-This command sets the property @code{instrumentTransposition}.
-The value of this property is used for MIDI output and quotations.
-MIDI output is transposed to play at concert pitch, and cue notes
-and quotations are automatically transposed to the key of the
-instrument in which they are quoted. For more information about
-quotations, see @ref{Quoting other voices}.
-
The pitch to use for @code{\transposition} should correspond to
the real sound heard when a@tie{}@code{c'} written on the staff is
-played by the transposing instrument. @code{\transposition}
-should be used when the music is entered from an orchestral part
-written for the instrument. For example, in classical horn parts,
-the tuning of the instrument is often changed during a piece.
-Here are a few notes for a violin and a B-flat clarinet where the
+played by the transposing instrument. This pitch is entered in
+absolute mode, so an instrument that produces a real sound which
+is one tone higher than the printed music should use
+@w{@code{\transposition d'}}. @code{\transposition} should
+@emph{only} be used if the pitches are @emph{not} being entered in
+concert pitch.
+
+Here are a few notes for violin and B-flat clarinet where the
parts have been entered using the notes and key as they appear in
-each part or the conductor's score:
+each part of the conductor's score. The two instruments are
+playing in unison.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff = "Violin I" {
- \set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
- \key c \major
- \transposition c
- g'4( c''8) r c'' r c''4
+ \new Staff = "violin" {
+ \relative c'' {
+ \set Staff.instrumentName = "Vln"
+ \set Staff.midiInstrument = "violin"
+ % not strictly necessary, but a good reminder
+ \transposition c'
+
+ \key c \major
+ g4( c8) r c r c4
+ }
}
- \new Staff = "Clarinet" {
- \set Staff.instrumentName = "Cl"
- \set Staff.midiInstrument="clarinet"
- \key d \major
- \transposition bes
- a'4( d''8) r d'' r d''4
+ \new Staff = "clarinet" {
+ \relative c'' {
+ \set Staff.instrumentName = \markup { Cl (B\flat) }
+ \set Staff.midiInstrument = "clarinet"
+ \transposition bes
+
+ \key d \major
+ a4( d8) r d r d4
+ }
}
>>
@end lilypond
-Without the @code{\transposition} command the MIDI output of this
-music would play the notes a tone apart; with it the notes are
-played correctly in unison.
-
-However, when entering the notes of a score in concert pitch, when
-all voices are entered in C, they may be prefaced by (the default)
-@code{\transposition c'}:
+The @code{\transposition} may be changed during a piece. For
+example, a clarinetist may switch from an A clarinet to a B-flat
+clarinet.
-@example
-clarinet = @{
- \transposition c'
- ...
-@}
-saxophone = @{
- \transposition c'
- ...
-@}
-@end example
+@lilypond[verbatim,quote,relative=2]
+\set Staff.instrumentName = "Cl (A)"
+\key a \major
+\transposition a
+c d e f
+\textLengthOn
+s1*0^\markup { Switch to B\flat clarinet }
+R1
-@noindent
-to serve as a reminder that these parts are written in C.
+\key bes \major
+\transposition bes
+c2 g
+@end lilypond
@seealso
-Music Glossary: @c TODO @rglos{concert pitch}
+Music Glossary:
+@rglos{concert pitch},
+@rglos{transposing instrument}.
-Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
+Notation Reference:
+@ref{Quoting other voices}, @ref{Transpose}.
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Automatic accidentals
@unnumberedsubsubsec Automatic accidentals
-@cindex automatic accidentals
+@cindex accidental style
+@cindex accidental style, default
+@cindex accidentals
+@cindex accidentals, automatic
+@cindex automatic accidentals
+@cindex default accidental style
@funindex set-accidental-style
+@funindex voice
There are many different conventions on how to typeset
-accidentals. LilyPond provides a function to specify which such
-accidental style to use. This function is called as follows
+accidentals. LilyPond provides a function to specify which
+accidental style to use. This function is called as follows:
@example
\new Staff <<
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
@code{piano-cautionary}, which are explained below). Optionally,
-the function can take a second argument which determines in which
+the function can take a second argument that determines in which
scope the style should be changed. For example, to use the same
-style in all staves of the current @code{StaffGroup}, use
+style in all staves of the current @code{StaffGroup}, use:
@example
#(set-accidental-style 'voice 'StaffGroup)
The following accidental styles are supported. To demonstrate
each style, we use the following example:
-@lilypond[verbatim,quote,ragged-right]
+@funindex default
+
+@lilypond[verbatim,quote]
musicA = {
<<
\relative c' {
\new PianoStaff {
<<
\context Staff = "up" {
- %%% change the next line as desired:
#(set-accidental-style 'default)
\musicA
}
\context Staff = "down" {
- %%% change the next line as desired:
#(set-accidental-style 'default)
\musicB
}
Note that the last lines of this example can be replaced by the
following, as long as the same accidental style should be used in
both staves.
+
@example
\new PianoStaff @{
<<
@end example
-@c NOTE: don't use verbatim in this table.
+@c don't use verbatim in this table.
@table @code
@item default
+
+@cindex default accidental style
+@cindex accidental style, default
+@funindex default
+
This is the default typesetting behavior. It corresponds to
eighteenth-century common practice: accidentals are remembered to
-the end of the measure in which they occur and only on their own
+the end of the measure in which they occur and only in their own
octave. Thus, in the example below, no natural signs are printed
before the@tie{}@code{b} in the second measure or the
last@tie{}@code{c}:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item voice
-The normal behavior is to remember the accidentals on Staff-level.
-In this style, however, accidentals are typeset individually for
-each voice. Apart from that, the rule is similar to
-@code{default}.
+
+@cindex accidental style, voice
+@cindex voice accidental style
+@cindex accidental style, modern
+@cindex modern accidental style
+@cindex accidental style, modern-cautionary
+@cindex modern-cautionary accidental style
+@funindex voice
+
+The normal behavior is to remember the accidentals at
+@code{Staff}-level. In this style, however, accidentals are
+typeset individually for each voice. Apart from that, the rule is
+similar to @code{default}.
As a result, accidentals from one voice do not get canceled in
other voices, which is often an unwanted result: in the following
@code{modern-cautionary} should be used instead.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern
-@funindex modern style accidentals
+
+@cindex accidentals, modern style
+@cindex modern style accidentals
+@funindex modern
This rule corresponds to the common practice in the twentieth
century. It prints the same accidentals as @code{default}, with
-two exceptions which serve to avoid ambiguity: after temporary
+two exceptions that serve to avoid ambiguity: after temporary
accidentals, cancellation marks are printed also in the following
measure (for notes in the same octave) and, in the same measure,
for notes in other octaves. Hence the naturals before
the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
the upper staff:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-cautionary
+
+@cindex accidentals, modern cautionary style
+@cindex modern accidental style
+@cindex modern cautionary accidental style
+@cindex modern style accidentals
+@cindex modern style cautionary accidentals
@funindex modern-cautionary
This rule is similar to @code{modern}, but the @q{extra}
defining the @code{cautionary-style} property of
@code{AccidentalSuggestion}.
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-voice
+
+@cindex accidental style, modern
+@cindex accidentals, modern
+@cindex accidentals, multivoice
+@cindex modern accidental style
+@cindex modern accidentals
+@cindex multivoice accidentals
@funindex modern-voice
This rule is used for multivoice accidentals to be read both by
the@tie{}@code{d} in the lower staff is canceled because of the
accidental in a different voice in the previous measure:
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
}
@end lilypond
+@cindex accidental style, cautionary, modern voice
+@cindex accidental style, modern voice cautionary
+@cindex accidental style, voice, modern cautionary
@funindex modern-voice-cautionary
+
@item modern-voice-cautionary
This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset with this rule,
-some of them are typeset as cautionaries.
+accidentals (the ones not typeset by @code{voice}) typeset as
+cautionaries. Even though all accidentals typeset by
+@code{default} @emph{are} typeset with this rule, some of them are
+typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item piano
-@funindex piano accidentals
+
+@cindex accidental style, piano
+@cindex accidentals, piano
+@cindex piano accidental style
+@cindex piano accidentals
+@funindex piano
This rule reflects twentieth-century practice for piano notation.
Its behavior is very similar to @code{modern} style, but here
accidentals also get canceled across the staves in the same
-GrandStaff or PianoStaff, hence all the cancellations of the final
-notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the
+cancellations of the final notes.
This accidental style applies to the current @code{GrandStaff} or
@code{PianoStaff} by default.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
+@funindex piano-cautionary
+@cindex accidentals, piano cautionary
+@cindex cautionary accidentals, piano
+@cindex piano cautionary accidentals
+@cindex accidental style, piano cautionary
+@cindex cautionary accidental style, piano
+@cindex piano cautionary accidental style
-@lilypond[quote,ragged-right]
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
+
+@lilypond[quote]
musicA = {
<<
\relative c' {
}
@end lilypond
+
+@item neo-modern
+
+@funindex neo-modern
+@cindex neo-modern accidental style
+@cindex accidental style, neo-modern
+
+This rule reproduces a common practice in contemporary music:
+accidentals are printed like with @code{modern}, but they are printed
+again if the same note appears later in the same measure -- except
+if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item neo-modern-cautionary
+
+@funindex neo-modern-cautionary
+@cindex neo-modern-cautionary accidental style
+@cindex accidental style, neo-modern-cautionary
+
+This rule is similar to @code{neo-modern}, but the extra
+accidentals are printed as cautionary accidentals.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item dodecaphonic
+
+@funindex dodecaphonic
+@cindex dodecaphonic accidental style
+@cindex dodecaphonic style, neo-modern
+
+This rule reflects a practice introduced by composers at
+the beginning of the 20th century, in an attempt to
+abolish the hierarchy between natural and non-natural notes.
+With this style, @emph{every} note gets an accidental sign,
+including natural signs.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item teaching
+
+@funindex teaching
+@cindex teaching accidental style
+@cindex accidental style, teaching
+
+This rule is intended for students, and makes it easy to create
+scale sheets with automagically created cautionary accidentals.
+Accidentals are printed like with @code{modern}, but cautionary
+accidentals are added for all sharp or flat tones specified by the
+key signature, except if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicA
+ }
+ \context Staff = "down" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+
@item no-reset
-@funindex no-reset accidental style
+
+@funindex no-reset
+@cindex accidental style, no reset
+@cindex no reset accidental style
This is the same as @code{default} but with accidentals lasting
@q{forever} and not only within the same measure:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item forget
-@funindex forget accidental style
+
+@funindex forget
+@cindex forget accidental style
+@cindex accidental style, forget
This is the opposite of @code{no-reset}: Accidentals are not
remembered at all -- and hence all accidentals are typeset
-relative to the key signature, regardless of what was before in
-the music:
+relative to the key signature, regardless of what came before in
+the music. Unlike @code{dodecaphonic}, this rule never prints
+any naturals.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@end table
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental},
+@rinternals{Accidental_engraver},
+@rinternals{GrandStaff} and
+@rinternals{PianoStaff},
+@rinternals{Staff},
+@rinternals{AccidentalSuggestion},
+@rinternals{AccidentalPlacement},
+@rinternals{accidental-suggestion-interface}.
-Internals Reference: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+@cindex accidentals and simultaneous notes
+@cindex simultaneous notes and accidentals
+@cindex accidentals in chords
+@cindex chords, accidentals in
-@refbugs
+@knownissues
Simultaneous notes are considered to be entered in sequential
mode. This means that in a chord the accidentals are typeset as
@node Ambitus
@unnumberedsubsubsec Ambitus
+
@cindex ambitus
+@cindex range of pitches
+@cindex pitch range
-The term @notation{ambitus} or @notation{ambit} denotes a range of
+The term @notation{ambitus} (pl. ambitus) denotes a range of
pitches for a given voice in a part of music. It may also denote
the pitch range that a musical instrument is capable of playing.
-Ambits are printed on vocal parts, so performers can easily
+Ambitus are printed on vocal parts so that performers can easily
determine if it matches their capabilities.
-Ambits are denoted at the beginning of a piece near the initial
+Ambitus are denoted at the beginning of a piece near the initial
clef. The range is graphically specified by two note heads that
-represent the minimum and maximum pitch. Accidentals are only
+represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\layout {
\context {
\Voice
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
}
\relative c'' {
- aes c e2 cis,2
+ aes c e2
+ cis,1
}
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{adding-ambiti-per-voice.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-ambitus-per-voice.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{ambitus-with-multiple-voices.ly}
@seealso
-Snippets: @lsrdir{Pitches}.
+Music Glossary:
+@rglos{ambitus}.
+
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff}, @internalsref{Voice}.
+Internals Reference:
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.
-@refbugs
+@knownissues
There is no collision handling in the case of multiple per-voice
ambitus.
@node Note heads
@subsection Note heads
+This section suggests ways of altering note heads.
+
@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
@end menu
@node Special note heads
@unnumberedsubsubsec Special note heads
@cindex note heads, special
-
-Different note heads are used by various instruments for various
-meanings -- crosses are used for @q{parlato} with vocalists,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc. There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by
-tweaking the property:
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
+@cindex note heads, cross
+@cindex note heads, diamond
+@cindex note heads, parlato
+@cindex note heads, harmonic
+@cindex note heads, guitar
+@cindex special note heads
+@cindex cross note heads
+@cindex diamond note heads
+@cindex parlato note heads
+@cindex harmonic note heads
+@cindex guitar note heads
+@cindex note head styles
+@cindex styles, note heads
+@funindex cross
+
+Note heads may be altered:
+
+@lilypond[verbatim,quote,relative=2]
+c4 b a b
\override NoteHead #'style = #'cross
-e f
+c4 b a b
\revert NoteHead #'style
-e d <c f\harmonic> <d a'\harmonic>
+c4 d e f
@end lilypond
-@noindent
-To see all note head styles, please see @ref{Note head styles}.
+There is a shorthand for diamond shapes which can only be used
+inside chords:
+
+@lilypond[verbatim,quote,relative=2]
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
+@end lilypond
+@noindent
+To see all note head styles, see @ref{Note head styles}.
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Notation Reference: @ref{Note head styles}.
+Notation Reference:
+@ref{Note head styles},
+@ref{Chorded notes}.
-Internals Reference: @internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{Ledger_line_engraver},
+@rinternals{NoteHead},
+@rinternals{LedgerLineSpanner},
+@rinternals{note-head-interface},
+@rinternals{ledger-line-spanner-interface}.
@node Easy notation note heads
@unnumberedsubsubsec Easy notation note heads
@cindex note heads, practice
+@cindex practice note heads
@cindex note heads, easy notation
@cindex easy notation
@cindex Hal Leonard
+@cindex beginners' music
+@cindex music, beginners'
+@cindex easy play note heads
+@cindex note heads, easy play
The @q{easy play} note head includes a note name inside the head.
-It is used in music for beginners
+It is used in music for beginners. To make the letters readable,
+it should be printed in a large font size. To print with a larger
+font, see @ref{Setting the staff size}.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
#(set-global-staff-size 26)
\relative c' {
- \setEasyHeads
+ \easyHeadsOn
c2 e4 f
g1
+ \easyHeadsOff
+ c,1
}
@end lilypond
-The command @code{\setEasyHeads} overrides settings for the
-@code{NoteHead} object. To make the letters readable, it
-has to be printed in a large font size. To print with a larger
-font, see @ref{Setting the staff size}.
-
-@refcommands
+@predefined
-@funindex \setEasyHeads
-@code{\setEasyHeads}
+@funindex \easyHeadsOn
+@funindex \easyHeadsOff
+@code{\easyHeadsOn}, @code{\easyHeadsOff}
@seealso
-Notation Reference: @ref{Setting the staff size}.
+Notation Reference:
+@ref{Setting the staff size}.
-Snippets: @lsrdir{Pitches},
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Shape note heads
@unnumberedsubsubsec Shape note heads
@cindex note heads, shape
+@cindex note heads, Aiken
+@cindex note heads, sacred harp
+@cindex shape notes
+@cindex Aiken shape note heads
+@cindex sacred harp note heads
@funindex \key
-@funindex shapeNoteStyles
@funindex \aikenHeads
@funindex \sacredHarpHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
notation was popular in nineteenth-century American song books.
+Shape note heads can be produced:
-Shape note heads can be produced by setting @code{\aikenHeads} or
-@code{\sacredHarpHeads}, depending on the style desired.
-
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[verbatim,quote,relative=2]
\aikenHeads
-c8 d4 e8 a2 g1
+c, d e f g a b c
\sacredHarpHeads
-c,8 d4 e8 a2 g1
+c, d e f g a b c
@end lilypond
-Shapes are typeset according to the step in the scale, where
-the base of the scale is determined by the @code{\key} command.
+Shapes are typeset according to the step in the scale, where the
+base of the scale is determined by the @code{\key} command.
-@commonprop
+@predefined
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+@code{\aikenHeads}, @code{\sacredHarpHeads}
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
+
+@noindent
+To see all note head styles, see @ref{Note head styles}.
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Improvisation
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote,relative=2]
\new Voice \with {
- \consists Pitch_squash_engraver
-} \transpose c c' {
+ \consists "Pitch_squash_engraver"
+} {
e8 e g a a16( bes) a8 g
\improvisationOn
- e8
- ~e2~e8 f4 fis8
- ~fis2
+ e8 ~
+ e2 ~ e8 f4 f8 ~
+ f2
\improvisationOff
- a16(bes) a8 g e
+ a16( bes) a8 g e
}
@end lilypond
+
+@predefined
+
+@funindex \improvisationOn
+@funindex \improvisationOff
+
+@code{\improvisationOn}, @code{\improvisationOff}
+
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Pitch_squash_engraver},
-@internalsref{Voice}.
+Internals Reference:
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.
projects / lilypond.git / blobdiff