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, modification, and output.
@node Absolute octave entry
-@subsubsection Absolute octave entry
+@unnumberedsubsubsec Absolute octave entry
@cindex pitch names
@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
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
@seealso
-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Relative octave entry
-@subsubsection Relative octave entry
+@unnumberedsubsubsec Relative octave entry
@cindex relative
+@cindex relative octave entry
@cindex relative octave specification
@funindex \relative
@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, relative to
-the pitch calculated without an 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]
+@lilypond[verbatim,quote]
\relative c {
\clef bass
c d e f
Octave changing marks are used for intervals greater than a
fourth:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c g c f,
c' a, e'' c
A note sequence without a single octave mark can nevertheless span
large intervals:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c {
c f b e
a d g c
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 chords, the next note is always
-relative to the preceding one.
+relative to the preceding one. Examine the next example
+carefully, paying attention to the @code{c} notes.
-@lilypond[verbatim,quote,ragged-right]
+@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
double-diminished fifth, regardless of the number of semitones
that each interval contains.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 fis
c2 ges
@seealso
-Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
+Music Glossary:
+@rglos{fifth},
+@rglos{interval},
+@rglos{Pitch names}.
+
+Notation Reference:
+@ref{Octave checks}.
-Notation Reference: @ref{Octave checks}.
+Snippets:
+@rlsr{Pitches}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Internals Reference:
+@rinternals{RelativeOctaveMusic}.
+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry
@funindex \transpose
@funindex \chordmode
@funindex \relative
-@refbugs
+@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 NOTE: 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
-@subsubsection 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 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}.
+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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ais1 aes aisis aeses
@end lilypond
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 semi-flats, semi-sharps
Quarter tones may be added; the following is a series of Cs with
-increasing pitches
+increasing pitches:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ceseh1 ces ceh c cih cis cisih
@end lilypond
pitch. These extra accidentals can also be used to produce
natural signs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis cis cis! cis? c c c! c?
@end lilypond
+@cindex accidental on tied note
+@cindex tied note, accidental
+
Accidentals on tied notes are only printed at the beginning of a
new system:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@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}.
-@c FIXME: add @rglos{quarter-tone}
+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,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental_engraver},
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.
-@refbugs
+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
+
+@knownissues
There are no generally accepted standards for denoting
quarter-tone accidentals, so LilyPond's symbol does not conform to
@node Note names in other languages
-@subsubsection 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, to use English notes names, add @code{\include
-"english.ly"} to the top of the input file. The available
-language files and the note names they define are:
+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
-@cindex pitch names, other languages
@smallexample
@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@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
@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
contracted names are defined in the corresponding language files.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@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 quarter-tones
defined in the various language files are listed in the following
@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
@seealso
-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Changing multiple pitches
@end menu
@node Octave checks
-@subsubsection Octave checks
+@unnumberedsubsubsec Octave checks
@cindex octave correction
@cindex octave check
+@cindex control pitch
@funindex =
-@funindex \octave
+@funindex \octaveCheck
+@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
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.
-To check the octave of a specific 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.
+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.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d='4 d
e2 f
@end lilypond
The octave of notes may also be checked with the
-@code{\octave}@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
+@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}.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d
- \octave c'
+ \octaveCheck c'
e2 f
}
@end lilypond
-Compare the two bars below. The first and third @code{\octave}
-check fail, but the second one does not fail.
+Compare the two bars below. The first and third @code{\octaveCheck}
+checks fail, but the second one does not fail.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c4 f g f
c4
- \octave c'
+ \octaveCheck c'
f
- \octave c'
+ \octaveCheck c'
g
- \octave c'
+ \octaveCheck c'
f
}
@end lilypond
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveCheck}.
@node Transpose
-@subsubsection 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
transposed up to E-major; note that the key signature is
automatically transposed as well.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\transpose d e {
\relative c' {
\key d \major
}
@end lilypond
-If a part written in C (normal 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:
+@cindex transposing instruments
+@cindex instruments, transposing
+
+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]
+@lilypond[verbatim,quote]
\transpose a c' {
\relative c' {
\key c \major
@end lilypond
@noindent
-Note that we specify @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.
+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 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.
+@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
see @ref{Instrument transpositions}.
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@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,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{TransposedMusic}.
+Internals Reference:
+@rinternals{TransposedMusic}.
@funindex \transpose
@funindex \chordmode
@funindex \relative
-@refbugs
-
+@knownissues
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
@node Clef
-@subsubsection Clef
+@unnumberedsubsubsec Clef
@funindex \clef
@cindex G clef
@cindex clef, varbaritone
@cindex subbass clef, subbass
-The clef is set with the @code{\clef} @var{clefname} command.
-Middle C is shown in every example.
+The clef may be altered. Middle C is shown in every example.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
\clef treble
c2 c
\clef alto
Other clefs include:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
\clef french
c2 c
\clef soprano
@cindex transposing clefs
@cindex clef, transposing
@cindex octave transposition
-
-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.
-
@cindex choral tenor clef
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+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"
@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,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Clef}.
+Internals Reference:
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
@node Key signature
-@subsubsection Key signature
+@unnumberedsubsubsec 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}
@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{\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
fis1
f
@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,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
-@subsubsection Ottava brackets
+@unnumberedsubsubsec Ottava brackets
@cindex ottava
@cindex 15ma
@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
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
@seealso
-Music Glossary: @rglos{ottava}.
-@c FIXME? @rglos{15ma}, @rglos{8va}, @rglos{8ve}, @rgloss{octavation}
+Music Glossary:
+@rglos{octavation}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{OttavaBracket}.
+Internals Reference:
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
@node Instrument transpositions
-@subsubsection Instrument transpositions
+@unnumberedsubsubsec 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
@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}.
+pitches. For more information about quotations, see
+@ref{Quoting other voices}.
@example
\transposition @var{pitch}
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
-@code{\transposition d'}. @code{\transposition} should
+@w{@code{\transposition d'}}. @code{\transposition} should
@emph{only} be used if the pitches are @emph{not} being entered in
concert pitch.
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 = "Vln" {
+ \new Staff = "violin" {
\relative c'' {
\set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
- % strictly speaking not necessary, but a good reminder
+ \set Staff.midiInstrument = "violin"
+ % not strictly necessary, but a good reminder
\transposition c'
\key c \major
}
\new Staff = "clarinet" {
\relative c'' {
- \set Staff.instrumentName = \markup {Cl (B\flat)}
- \set Staff.midiInstrument="clarinet"
+ \set Staff.instrumentName = \markup { Cl (B\flat) }
+ \set Staff.midiInstrument = "clarinet"
\transposition bes
- % not concert pitch
\key d \major
a4( d8) r d r d4
}
example, a clarinetist may switch from an A clarinet to a B-flat
clarinet.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\set Staff.instrumentName = "Cl (A)"
\key a \major
\transposition a
c d e f
\textLengthOn
-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1
\key bes \major
\transposition bes
@seealso
-Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
+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,Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Automatic accidentals
-@subsubsection Automatic accidentals
+@unnumberedsubsubsec Automatic accidentals
-@cindex automatic accidentals
-@cindex accidentals, automatic
-@cindex accidentals
@cindex accidental style
-@cindex default 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
-accidental style to use. This function is called as follows
+accidental style to use. This function is called as follows:
@example
\new Staff <<
@code{piano-cautionary}, which are explained below). Optionally,
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
+
@cindex accidentals, modern style
@cindex modern style accidentals
-@funindex 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
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 style accidentals
-@cindex modern style cautionary accidentals
@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 accidentals, multivoice
+
+@cindex accidental style, modern
@cindex accidentals, modern
+@cindex accidentals, multivoice
+@cindex modern accidental style
@cindex modern accidentals
@cindex multivoice accidentals
@funindex modern-voice
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
+
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@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,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
-@subsubsection 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 that 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 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,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::
@end menu
@node Special note heads
-@subsubsection 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
+
+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,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
-@subsubsection 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' {
\easyHeadsOn
}
@end lilypond
-The command @code{\easyHeadsOn} overrides settings for the
-@code{NoteHead} object. These settings can be reverted with the command
-@code{\easyHeadsOff}. 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 \easyHeadsOn
@funindex \easyHeadsOff
@seealso
-Notation Reference: @ref{Setting the staff size}.
+Notation Reference:
+@ref{Setting the staff size}.
-Snippets: @lsrdir{Pitches,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
-@subsubsection 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,quote,ragged-right,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,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
-@subsubsection Improvisation
+@unnumberedsubsubsec Improvisation
@cindex improvisation
@cindex slashed note heads
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
-@refcommands
+@predefined
@funindex \improvisationOn
@funindex \improvisationOff
@seealso
-Snippets: @lsrdir{Pitches,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