@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
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' {
@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
-@lsr{pitches,preventing-extra-naturals-from-being-automatically-added.ly}
+@lilypondfile[quote,ragged-right,texidoc]{pitches/preventing-extra-naturals-from-being-automatically-added.ly}
-LSR toremove:
-@quotation
-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
+@lilypondfile[quote,ragged-right,texidoc]{pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-ceses4 ces cis c
-\set Staff.extraNatural = ##f
-ceses4 ces cis c
-@end lilypond
-@end quotation
+@lilypondfile[quote,ragged-right,texidoc]{pitches/makam.ly}
@seealso
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
@cindex transpose
@cindex transposition of pitches
+@cindex transposing instruments
@funindex \transpose
A music expression can be transposed with @code{\transpose}. The
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
\transpose f c @{ \transpose c bes \musicInBflat @}
@end example
+@commonprop
+
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/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}.
@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:
\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[quote,ragged-right,texidoc]
+{pitches/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
@commonprop
-@lsr{pitches,preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-
-LSR toremove:
-@quotation
-A natural sign is printed to cancel any previous accidentals.
-This may be altered:
-
-@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
-@end quotation
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-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:
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/non-traditional-key-signatures.ly}
-@example
-\set Staff.keySignature =
- #'((@var{octave} . @var{step}) . @var{alter})
-@end example
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
-@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:
-
-@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},
@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}.
@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}.
@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 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
+followin, 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
\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
}
>>
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
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.
-
-This accidental style takes place in a GrandStaff context.
-However, you have to explicitly set it for @emph{each} individual
-Staff of the GrandStaff:
-
+notes.
-@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
}
>>
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[quote,ragged-right,texidoc]
+{pitches/adding-ambiti-per-voice.ly}
-@example
-\override Ambitus #'X-offset = #-1.0
-@end example
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/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}.
Internals reference: @internalsref{Ambitus},
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff} and @internalsref{Voice}.
+@internalsref{Staff}, @internalsref{Voice}.
@refbugs
\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[quote,ragged-right,texidoc]
+{pitches/applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+
+
@seealso
Snippets: @lsrdir{pitches}.
projects / lilypond.git / blobdiff