@cindex pitch names
@cindex pitches
-@c don't use @samp here because that might get confused with
-@c octave marks
A pitch name is specified using lowercase letters@tie{}@code{a}
through@tie{}@code{g}. An ascending C-major scale is engraved
with
c d e f g a b c'
@end lilypond
-There are two different ways to enter these note names with regard
-to octave placement: absolute and relative. The relative mode
-will in most cases be the most convenient, but the absolute mode
-is more fundamental and will be presented first.
-
@cindex absolute
@cindex absolute octave specification
-In absolute mode, every note is placed explicitly in a specific
-octave. The note names @code{c} to @code{b} are engraved in the
-octave below middle C, as in the previous example.
+There are two different ways to enter these note names with regard
+to octave placement: absolute and relative. The relative mode
+will in most cases be the most convenient, but the absolute mode
+is more fundamental and will be presented first. In absolute
+mode, every note is placed explicitly in a specific octave. The
+note names @code{c} to @code{b} are engraved in the octave below
+middle C, as in the previous example.
@lilypond[verbatim,quote,ragged-right,fragment]
\clef treble
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{LedgerLineSpanner},
+Internals Reference: @internalsref{LedgerLineSpanner},
@internalsref{NoteHead}.
@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 notes
-that appear in @var{musicexpr} are calculated as follows:
+previous note as possible. This means that the octave of pitches
+in @var{musicexpr} is calculated as follows:
@itemize
@item
-The pitch of the first note is relative to @code{\relative
-@var{startpitch} }.
+The pitch of the first note is relative to @code{@var{startpitch}}.
@item
-If no octave changing marks are used, the basic interval between a
-note and the one that precedes it is always taken to be a fourth
-or less.
+If no octave changing mark is used on a pitch, its octave is calculated
+so that the interval with the previous note is a fourth or less. This
+interval is determined without regarding alterations or the actual
+sounding pitches, it is determined only with note names. For example,
+an augmented fourth is considered a @emph{smaller} interval than a
+diminished fifth, even though these intervals both span six semitones.
+Even @qq{worse}, a doubly-augmented fourth is considered a smaller
+interval than a diminished fifth, even though the doubly-augmented
+fourth spans seven semitones while the diminished fifth only spans six
+semitones; that is why a B-sharp following an F will be put above
+the F.
@item
-This distance is determined without regarding alterations or the
-actual sounding pitches; a @code{fisis} following a @code{ceses}
-will be put above the @code{ceses}. In other words, a
-doubly-augmented fourth is considered a smaller interval than a
-diminished fifth, even though the doubly-augmented fourth spans
-seven semitones while the diminished fifth only spans six
-semitones.
-
-@item
-The octave changing marks@tie{}@code{'} and@tie{}@code{,} can be
-added to raise or lower the pitch by an extra octave from the
-basic interval.
+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.
@item
Multiple octave changing marks can be used. @code{''}@tie{}will
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:
+following note or chord. Inside of chords the next note is always
+relative to the preceding one.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c' {
The @var{startpitch} (after @code{\relative}) is a note name in
absolute mode. In principle it can be any note name, but common
-practice is to use@tie{}@code{c} in various octave positions.
+practice is to use@tie{}@code{c} in various octave positions or the
+first note of @var{musicexpr}.
When octaves are specified as above by adding@tie{}@code{'}
and@tie{}@code{,} to pitch names, it is easy to accidentally put a
single mistake may be difficult to spot; in relative mode, a
single error puts the rest of the piece off by one octave.
-LilyPond examines pitches based on the note names -- in other
-words, an augmented fourth is @emph{not} treated the same as a
-diminished fifth. If we begin at a C, then an F-sharp will be
-placed higher than the C, while a G-flat will be placed lower than
-the C.
+As explained above, the octave of pitches is calculated only with the
+note names, regardless of any alterations. Therefore, an F-sharp
+following a C will be placed higher than the C, while a G-flat following
+a C will be placed lower than the C.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
c2 fis
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
@refbugs
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 derived
+made by adding @code{isis} or @code{eses}. This syntax is derived
from note naming conventions in Nordic and Germanic languages,
like German and Dutch. To use other names for accidentals, see
@ref{Note names in other languages}.
@end lilypond
@noindent
-These are the Dutch note names. In Dutch, @code{aes} is
-contracted to @code{as}, but both forms are accepted. Similarly,
-both @code{es} and @code{ees} are accepted:
+The above notes are the Dutch note names. 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:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a2 as e es
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\set Staff.extraNatural = ##f
-ceseh ceh cih cisih
+ceseh ces ceh c cih cis cisih
@end lilypond
-Micro tones are also exported to the MIDI file.
-
@commonprop
-In accordance with standard typesetting rules, a natural sign is
-printed before a sharp or flat if a previous accidental needs to
-be canceled. To change this behavior, use
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-ceses4 ces cis c
-\set Staff.extraNatural = ##f
-ceses4 ces cis c
-@end lilypond
-
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{preventing-extra-naturals-from-being-automatically-added.ly}
@seealso
@ref{Musica ficta accidentals},
@ref{Note names in other languages}.
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches},
+@lsr{Pitches,
+dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
+@lsr{Pitches, makam.ly}.
+
@refbugs
special names have been defined yet.
-@c What about Turkish Maquam music and similar microtonal systems?
-@c
-@c Note that the term "three-quarter-sharp/-flat" used in
-@c lilypond's source code is actually misleading since the
-@c alteration is in fact one and a half of a regular sharp/flat.
-@c Whence the naming "sesqui-sharp/-flat" used below.
-
@example
@multitable @columnfractions .2 .6 .05 .05 .05 .05
@headitem Language
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
@node Changing multiple pitches
@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 @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
+@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 that produces no visible output.
-The syntax is:
+The syntax is
@example
@var{pitch} \octave @var{controlpitch}
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
@node Transpose
@cindex transpose
@cindex transposition of pitches
+@cindex transposing instruments
@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
\transpose @var{from} @var{to} @var{musicexpr}
@end example
+@noindent
This means that @var{musicexpr} is transposed by the interval
between the pitches @var{from} and @var{to}: any note with pitch
@var{from} is changed to @var{to} and any other note is transposed
\transpose d e @dots{}
@end example
-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
-following transposition will produce the appropriate part:
+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
+produces with
@example
-\transpose a c @dots{}
+\transpose a c' @dots{}
@end example
@code{\transpose} will also transpose key signatures:
flats on the scale step above.
@lilypond[verbatim,quote,ragged-right]
-mus = { c d e f }
+mus = \relative c' { c d e f }
\new Staff {
- \transpose c cis { \relative c' \mus }
- \transpose c des { \relative c' \mus }
+ \transpose c cis { \mus }
+ \transpose c des { \mus }
}
@end lilypond
@example
musicInBflat = @{ e4 @dots{} @}
-\transpose c bes \musicInBflat
+\transpose c bes, \musicInBflat
@end example
-To print this music in F (e.g., rearranging to a french horn) you
+To print this music in F (e.g., rearranging to a French horn) you
would wrap the existing music with another @code{\transpose}
@example
musicInBflat = @{ e4 @dots{} @}
-\transpose f c @{ \transpose c bes \musicInBflat @}
+\transpose f c' @{ \transpose c bes, \musicInBflat @}
@end example
+@commonprop
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
+
+
@seealso
-Snippets: @lsrdir{pitches}, @lsr{scheme,
-transpose-pitches-with-minimum-accidentals.ly}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{TransposedMusic}.
+Internals Reference: @internalsref{TransposedMusic}.
@refbugs
@cindex varbaritone clef
@cindex subbass clef
-The clef is set with the @code{\clef} @var{clefname}
-command:
+The clef is set with the @code{\clef} @var{clefname} command:
-@lilypond[verbatim,quote,ragged-right,fragment]
-<<
- \new Staff {
- % treble clef by default
- c'1^"middle C"
- }
- \new Staff {
- \clef alto
- c'1^"middle C"
- }
- \new Staff {
- \clef bass
- c'1^"middle C"
- }
->>
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\clef treble
+c2 c
+\clef alto
+c2 c
+\clef tenor
+c2 c
+\clef bass
+c2 c
@end lilypond
The clef can also be changed inside the staff:
>>
@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 (alto, bass) clef is always positioned to show the line on
-which a@tie{}@code{g'} (@code{c'}, @code{f}) note is printed.
+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
\clef "G_8" c4
@end lilypond
-@commonprop
-
-When a clef change takes place at a line break the new clef symbol
-is printed at both the end of the previous line and the beginning
-of the new line by default. If the warning clef at the end of the
-previous line in not required it can be suppressed by setting the
-@code{explicitClefVisibility} Staff property to the value
-@var{end-of-line-invisible}: @code{\set
-Staff.explicitClefVisibility = #end-of-line-invisible} The default
-behaviour can be recovered with @code{\unset
-Staff.explicitClefVisibility}
-
-The command @code{\clef "treble_8"} is equivalent to setting
-@code{clefGlyph}, @code{clefPosition} (which controls the Y
-position of the clef), @code{middleCPosition} and
-@code{clefOctavation}. A clef is printed when either the
-@code{clefGlyph}, @code{clefPosition} or @code{clefOctavation}
-properties are changed. Note that changing the glyph, the
-position of the clef, or the octavation, does not in itself change
-the position of subsequent notes on the staff: the position of
-middle C must also be specified to do this. The positional
-parameters are relative to the staff centre line, positive numbers
-displacing upwards, counting 1 for each line and space. The
-clefOctavation value would normally be set to 7, -7, 15 or -15,
-but other values are not invalid.
-
-The following examples show the possibilities when setting these
-properties manually. First some manual changes which preserve the
-standard relative positioning of clefs and notes:
-@lilypond[verbatim,quote,ragged-right]
-{
- % The default treble clef
- c'4
- % The standard bass clef
- \set Staff.clefGlyph = #"clefs.F"
- \set Staff.clefPosition = #2
- \set Staff.middleCPosition = #6
- c'4
- % The baritone clef
- \set Staff.clefGlyph = #"clefs.C"
- \set Staff.clefPosition = #4
- \set Staff.middleCPosition = #4
- c'4
- % The standard choral tenor clef
- \set Staff.clefGlyph = #"clefs.G"
- \set Staff.clefPosition = #-2
- \set Staff.clefOctavation = #-7
- \set Staff.middleCPosition = #1
- c'4
- % A non-standard clef
- \set Staff.clefPosition = #0
- \set Staff.clefOctavation = #0
- \set Staff.middleCPosition = #-4
- c'4
-}
-@end lilypond
+@commonprop
-and some which do not:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{clefs-commonly-tweaked-properties.ly}
-@lilypond[verbatim,quote,ragged-right]
-{
- \set Staff.clefGlyph = #"clefs.F"
- \set Staff.clefPosition = #2
- c'4
- \set Staff.clefGlyph = #"clefs.G"
- c'4
- \set Staff.clefGlyph = #"clefs.C"
- c'4
- \set Staff.clefOctavation = #7
- c'4
- \set Staff.clefOctavation = #0
- \set Staff.clefPosition = #0
- c'4
- \set Staff.middleCPosition = #4
- c'4
-}
-@end lilypond
@seealso
Notation Reference: @ref{Ancient clefs}.
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{Clef}.
+Internals Reference: @internalsref{Clef}.
@node Key signature
command:
@example
-\key @var{pitch} @var{type}
+\key @var{pitch} @var{mode}
@end example
@funindex \minor
@funindex \dorian
@cindex church modes
-Here, @var{type} should be @code{\major} or @code{\minor} to get
+Here, @var{mode} should be @code{\major} or @code{\minor} to get
@var{pitch}-major or @var{pitch}-minor, respectively. You may
-also use the standard mode names (also called @q{church modes}):
+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}.
@commonprop
-A natural sign is printed to cancel any previous accidentals.
-This may be altered:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-\set Staff.printKeyCancellation = ##f
-\key d \major
-a b cis d
-\key g \minor
-a bes c d
-@end lilypond
-
-The @code{\key} command sets the context property
-@code{Staff.keySignature}. Non-standard key signatures can be
-specified by setting this property directly. The format of this
-command is a list:
-
-@example
-\set Staff.keySignature =
- #'((@var{octave} . @var{step}) . @var{alter})
-@end example
-
-@noindent
-where, for each element in the list, @var{octave} specifies the
-octave (0 being the octave from middle C to the B above),
-@var{step} specifies the note within the octave (0 means C and 6
-means B), and @var{alter} is @code{,SHARP} @code{,FLAT}
-@code{,DOUBLE-SHARP} etc. (Note the leading comma.) Here is an
-example of a possible key signature for generating a whole-tone
-scale:
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{non-traditional-key-signatures.ly}
-@lilypond[verbatim,quote,ragged-right]
-\relative c' {
- \new Staff {
- \set Staff.keySignature =
- #`(((0 . 3) . ,SHARP) ((0 . 5) . ,FLAT) ((0 . 6) . ,FLAT))
- c d e fis aes bes c
- }
-}
-@end lilypond
@seealso
Learning Manual: @rlearning{Accidentals and key signatures}.
-Snippets: @lsrdir{pitches},
-FIXME link to snippet 248,
-FIXME link to a snippet about scordatura.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{KeyCancellation},
+Internals Reference: @internalsref{KeyCancellation},
@internalsref{KeySignature}, @internalsref{Key_engraver}.
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,ragged-right,fragment]
-\relative c''' {
- a2 b
- #(set-octavation 1)
- a b
- #(set-octavation 0)
- a b
-}
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+a'2 b
+#(set-octavation 1)
+a b
+#(set-octavation 0)
+a b
@end lilypond
The @code{set-octavation} function also takes -1 (for 8va bassa),
@code{middleCPosition}. To override the text of the bracket, set
@code{ottavation} after invoking @code{set-octavation}, i.e.,
-@lilypond[verbatim,quote,ragged-right]
-{
- #(set-octavation 1)
- \set Staff.ottavation = #"8"
- c'''
-}
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+#(set-octavation 1)
+\set Staff.ottavation = #"8"
+c'
@end lilypond
@seealso
-Music Glossary: @c FIXME add link once it's in the glossary @c @rgloss{ottava}.
+Music Glossary: @rglos{ottava}.
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{OttavaBracket}.
+Internals Reference: @internalsref{OttavaBracket}.
@refbugs
@seealso
-Music Glossary: @c FIXME add link once it's in the glossary @c @rgloss{instrument transposition}.
-
Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
@node Automatic accidentals
@unnumberedsubsubsec Automatic accidentals
@cindex automatic accidentals
-Common rules for typesetting accidentals have been placed in a
-function. This function is called as follows
-
@funindex set-accidental-style
+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
+
@example
\new Staff <<
#(set-accidental-style 'voice)
>>
@end example
-@c TODO: check the context stuff below
-@c -does it *really* work?
-@c -the default contexts as specified in
-@c scm/music-function.scm seem to be different -vv
-
-If no context name is supplied, the accidental style applies to
-the @code{Staff} by default. Optionally, the function can take
-the context for which the style should be changed as a second
-argument:
+The accidental style applies to the current @code{Staff} by
+default (with the exception of the styles @code{piano} and
+@code{piano-cautionary}, see below. Optionally, the function can
+take a second argument which 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
@example
-#(set-accidental-style 'STYLE #('CONTEXT))
+#(set-accidental-style 'voice 'StaffGroup)
@end example
The following accidental styles are supported. To demonstrate
<<
\context Staff = "up" {
%%% change the next line as desired:
- %#(set-accidental-style 'default)
+ #(set-accidental-style 'default)
\musicA
}
\context Staff = "down" {
%%% change the next line as desired:
- %#(set-accidental-style 'default)
+ #(set-accidental-style 'default)
\musicB
}
>>
}
@end lilypond
+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 @{
+ <<
+ \context Staff = "up" @{
+ %%% change the next line as desired:
+ #(set-accidental-style 'default 'Score)
+ \musicA
+ @}
+ \context Staff = "down" @{
+ \musicB
+ @}
+ >>
+@}
+@end example
+
+
@c don't use verbatim in this table.
@table @code
@item default
This is the default typesetting behavior. It corresponds to
-eighteenth-century common practice: Accidentals are remembered to
+eighteenth-century common practice: accidentals are remembered to
the end of the measure in which they occur and only on their own
octave. Thus, in the example below, no natural signs are printed
before the@tie{}@code{b} in the second measure or the
\new PianoStaff {
<<
\context Staff = "up" {
- %#(set-accidental-style 'default)
+ #(set-accidental-style 'default)
\musicA
}
\context Staff = "down" {
- %#(set-accidental-style 'default)
+ #(set-accidental-style 'default)
\musicB
}
>>
@end lilypond
@item voice
-The normal behavior is to remember the accidentals on
-Staff-level. This variable, however, typesets accidentals
-individually for each voice. Apart from that, the rule is similar
-to @code{default}.
+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}.
As a result, accidentals from one voice do not get canceled in
other voices, which is often an unwanted result: in the following
This rule is used for multivoice accidentals to be read both by
musicians playing one voice and musicians playing all voices.
Accidentals are typeset for each voice, but they @emph{are}
-canceled across voices in the same @internalsref{Staff}. Hence,
+canceled across voices in the same @code{Staff}. Hence,
the@tie{}@code{a} in the last measure is canceled because the
previous cancellation was in a different voice, and
the@tie{}@code{d} in the lower staff is canceled because of the
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 by this variable,
+@code{default} @emph{are} typeset with this rule,
some of them are typeset as cautionaries.
@lilypond[quote,ragged-right]
GrandStaff or PianoStaff, hence all the cancellations of the final
notes.
-This accidental style takes place in a GrandStaff context.
-However, you have to explicitly set it for @emph{each} individual
-Staff of the GrandStaff:
-
-
-@example
-\new GrandStaff @{ <<
- \new Staff = "up" @{ <<
- #(set-accidental-style 'piano)
- @{ @dots{} @}
- >> @}
- \new Staff = "down" @{ <<
- #(set-accidental-style 'piano)
- @{ @dots{} @}
- >> @}
->> @}
-@end example
+This accidental style applies to the current @code{GrandStaff} or
+@code{PianoStaff} by default.
@lilypond[quote,ragged-right]
musicA = {
\musicA
}
\context Staff = "down" {
- #(set-accidental-style 'piano)
\musicB
}
>>
\musicA
}
\context Staff = "down" {
- #(set-accidental-style 'piano-cautionary)
\musicB
}
>>
@end lilypond
@end table
+@commonprop
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
+
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{Accidental_engraver},
+Internals Reference: @internalsref{Accidental_engraver},
@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
@internalsref{PianoStaff}, @internalsref{Staff}.
which they appear in the input file. This is a problem when
accidentals in a chord depend on each other, which does not happen
for the default accidental style. The problem can be solved by
-manually inserting@tie{}@code{!} and@tie{}@code{?} for the
+manually inserting@tie{}@code{!} and@tie{}@code{?} for the
problematic notes.
Ambits 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. To print such ambits,
-add the @code{Ambitus_engraver} to the @code{Voice} context, for
-example:
+represent the minimum and maximum pitch. Accidentals are only
+printed if they are not part of the key signature.
@lilypond[verbatim,quote,ragged-right]
\layout {
\context {
- \Staff
+ \Voice
\consists Ambitus_engraver
}
}
-\relative \new Staff {
- as'' c e2 cis,2
+\relative c'' {
+ aes c e2 cis,2
}
@end lilypond
-If you have multiple voices in a single staff and you want a
-single ambitus per staff rather than per voice, add the
-@code{Ambitus_engraver} to the @code{Staff} context rather than to
-the @code{Voice} context:
-@lilypond[verbatim,quote,ragged-right]
-\new Staff \with {
- \consists "Ambitus_engraver"
-}
-<<
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c'' {
- \override Ambitus #'X-offset = #-1.0
- \voiceOne
- c4 a d e f2
- }
- \new Voice \with {
- \remove "Ambitus_engraver"
- } \relative c' {
- \voiceTwo
- es4 f g as b2
- }
->>
-@end lilypond
+@commonprop
-@noindent
-This example uses one advanced feature,
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{adding-ambiti-per-voice.ly}
-@example
-\override Ambitus #'X-offset = #-1.0
-@end example
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{ambiti-multiple-voices.ly}
-@noindent
-This code moves the ambitus to the left. The same effect could
-have been achieved with @code{extra-offset}, but then the
-formatting system would not reserve space for the moved object.
@seealso
-Snippets: @lsrdir{pitches}.
-@c FIXME: lsr stuff.
-@c @lsr{vocal,ambitus@/.ly}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{Ambitus},
+Internals Reference: @internalsref{Ambitus},
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff} and @internalsref{Voice}.
+@internalsref{Staff}, @internalsref{Voice}.
@refbugs
Notation Reference: @ref{Setting the staff size}.
-Snippets: @lsrdir{pitches},
+Snippets: @lsrdir{Pitches},
-Internals reference: @internalsref{NoteHead}.
+Internals Reference: @internalsref{NoteHead}.
@node Shape note heads
\aikenHeads
c8 d4 e8 a2 g1
\sacredHarpHeads
-c,8 d4. e8 a2 g1
+c,8 d4 e8 a2 g1
@end lilypond
Shapes are typeset according to the step in the scale, where
@lilypond[verbatim,fragment,relative=1]
\set shapeNoteStyles =
##(cross triangle fa #f mensural xcircle diamond)
-c8 d4. e8 a2 g1
+c8 d4 e8 a2 g1
@end lilypond
+@commonprop
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+
+
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
@node Improvisation
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
-Internals reference: @internalsref{Pitch_squash_engraver} and
+Internals Reference: @internalsref{Pitch_squash_engraver},
@internalsref{Voice}.
@node Special noteheads
@seealso
-Snippets: @lsrdir{pitches}.
+Snippets: @lsrdir{Pitches}.
Notation Reference: @ref{Note head styles}.
-Internals reference: @internalsref{NoteHead}.
+Internals Reference: @internalsref{NoteHead}.
projects / lilypond.git / blobdiff