version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.61"
@node Pitches
are three steps to this process: input, modification, and output.
@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
mode. In most cases, relative mode will be more convenient.
@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@cindex pitches
@cindex absolute
@cindex absolute octave specification
+@cindex absolute octave entry
A pitch name is specified using lowercase letters@tie{}@code{a}
through@tie{}@code{g}. The note names @code{c} to @code{b} are
d e f g
@end lilypond
+@cindex octave changing mark
@funindex '
@funindex ,
@unnumberedsubsubsec Relative octave entry
@cindex relative
+@cindex relative octave entry
@cindex relative octave specification
@funindex \relative
@rinternals{RelativeOctaveMusic}.
+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry
@funindex \transpose
@funindex \chordmode
@funindex \relative
@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
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:
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}
+
@seealso
Music Glossary:
Notation Reference:
@ref{Automatic accidentals},
-@ref{Annotational accidentals},
+@ref{Annotational accidentals (musica ficta)},
@ref{Note names in other languages}.
Snippets:
@rlsr{Pitches}.
Internals Reference:
-@rinternals{Accidental_engraver},
+@rinternals{Accidental_engraver},
@rinternals{Accidental},
@rinternals{AccidentalCautionary},
@rinternals{accidental-interface}.
+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
+
@knownissues
There are no generally accepted standards for denoting
@node Note names in other languages
@unnumberedsubsubsec Note names in other languages
+@cindex note names, other languages
+@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
+
There are predefined sets of note names for various other
languages. To use them, include the language-specific init file.
For example, 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
@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
This section discusses how to modify pitches.
@menu
-* Octave checks::
-* Transpose::
+* Octave checks::
+* Transpose::
@end menu
@node 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
@end lilypond
The octave of notes may also be checked with the
-@code{\octave}@tie{}@var{controlpitch} command.
+@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
@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}
+Compare the two bars below. The first and third @code{\octaveCheck}
checks fail, but the second one does not fail.
@lilypond[verbatim,quote]
c4 f g f
c4
- \octave c'
+ \octaveCheck c'
f
- \octave c'
+ \octaveCheck c'
g
- \octave c'
+ \octaveCheck c'
f
}
@end lilypond
@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
}
@end lilypond
+@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
will print flats on the scale step above.
@lilypond[verbatim,quote]
-mus = \relative c' { c d e f }
+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
This section discusses how to alter the output of pitches.
@menu
-* Clef::
-* Key signature::
-* Ottava brackets::
-* Instrument transpositions::
-* Automatic accidentals::
-* Ambitus::
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+* Automatic accidentals::
+* Ambitus::
@end menu
@cindex clef, C
@cindex clef, F
@cindex clef, treble
-@cindex clef, violin
-@cindex clef, alto
+@cindex clef, violin
+@cindex clef, alto
@cindex clef, tenor
-@cindex clef, bass
-@cindex clef, french
-@cindex clef, soprano
-@cindex clef, mezzosoprano
-@cindex clef, baritone
-@cindex clef, varbaritone
-@cindex subbass clef, subbass
+@cindex clef, bass
+@cindex clef, french
+@cindex clef, soprano
+@cindex clef, mezzosoprano
+@cindex clef, baritone
+@cindex clef, varbaritone
+@cindex subbass clef, subbass
The clef may be altered. Middle C is shown in every example.
c2 c
@end lilypond
-Further supported clefs are described under @ref{Ancient clefs}.
+Further supported clefs are described under @ref{Mensural clefs}
+and @ref{Gregorian clefs}.
@cindex transposing clefs
@cindex clef, transposing
@seealso
Notation Reference:
-@ref{Ancient clefs}.
+@ref{Mensural clefs}, @ref{Gregorian clefs}.
Snippets:
@rlsr{Pitches}.
@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,
@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,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.
@cindex transposition, instrument
@cindex transposing instrument
@cindex MIDI
+@cindex MIDI transposition
@funindex \transposition
When typesetting scores that involve transposing instruments, some
@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
The following accidental styles are supported. To demonstrate
each style, we use the following example:
+@funindex default
+
@lilypond[verbatim,quote]
musicA = {
<<
@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 in their own
@end lilypond
@item voice
+
+@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
@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
@end lilypond
@item modern-cautionary
+
@cindex accidentals, modern cautionary style
@cindex modern accidental style
@cindex modern cautionary accidental style
@end lilypond
@item modern-voice
+
@cindex accidental style, modern
@cindex accidentals, modern
@cindex accidentals, multivoice
@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
@end lilypond
@item piano
+
@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
@end lilypond
@item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
+
+@funindex piano-cautionary
@cindex accidentals, piano cautionary
@cindex cautionary accidentals, piano
@cindex piano cautionary accidentals
}
@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
@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 came before in
-the music:
+the music. Unlike @code{dodecaphonic}, this rule never prints
+any naturals.
@lilypond[quote]
musicA = {
This section suggests ways of altering note heads.
@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
@end menu
@node Special note heads
@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:
@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 Aiken shape note heads
@cindex sacred harp note heads
@funindex \key
-@funindex shapeNoteStyles
@funindex \aikenHeads
@funindex \sacredHarpHeads