version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.51"
+
@node Pitches
@section Pitches
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
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
@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}.
@funindex \transpose
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
@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 flat, double
@cindex natural sign
-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
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
@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}, @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},
@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}.
@knownissues
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
@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
@seealso
-Music Glossary: @rglos{Pitch names}.
+Music Glossary:
+@rglos{Pitch names}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Changing multiple pitches
@cindex octave correction
@cindex octave check
@funindex =
-@funindex \octave
+@funindex \octaveCheck
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
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:
+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]
+@lilypond[verbatim,quote]
mus = \relative c' { c d e f }
\new Staff {
\transpose c cis { \mus }
@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
@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
@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"
@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
@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}
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
@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
@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)
a b
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
@seealso
-Music Glossary: @rglos{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}.
@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
@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
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]
+@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
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}.
+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' {
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' {
@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
-@cindex accidental style, modern
-@cindex modern accidental style
@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, modern voice cautionary
@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
-@cindex piano accidentals
-@cindex piano accidentals
+@cindex accidental style, piano
@cindex accidentals, piano
@cindex piano accidental style
-@cindex accidental style, piano
+@cindex piano accidentals
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' {
@cindex cautionary accidental style, piano
@cindex piano cautionary accidental style
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
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' {
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
+relative to the key signature, regardless of what came before in
the music:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@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: @internalsref{Accidental_engraver},
-@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
-@internalsref{PianoStaff}, @internalsref{Staff}.
+Internals Reference:
+@rinternals{Accidental},
+@rinternals{Accidental_engraver},
+@rinternals{GrandStaff} and
+@rinternals{PianoStaff},
+@rinternals{Staff},
+@rinternals{AccidentalSuggestion},
+@rinternals{AccidentalPlacement},
+@rinternals{accidental-suggestion-interface}.
@cindex accidentals and simultaneous notes
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
@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
-Music Glossary: @rglos{ambitus}.
+Music Glossary:
+@rglos{ambitus}.
-Snippets: @lsrdir{Pitches,Pitches}.
+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}.
@knownissues
@cindex harmonic note heads
@cindex guitar note heads
-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:
+Note heads may be altered:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
+@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
@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}.
-
@predefined
@funindex \easyHeadsOn
@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
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.
+
+@predefined
+
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+@code{\aikenHeads}, @code{\sacredHarpHeads}
@snippets
-@c fixme
-@c @lil ypondfile[verbatim,lilyquote,ragged-right,texidoc]
-@c {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+@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}.
-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
@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