version that you are working on. See TRANSLATION for details.
@end ignore
+@c \version "2.11.38"
+
@node Pitches
@section Pitches
-@lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16]
-{pitches-headword.ly}
+@lilypondfile[quote]{pitches-headword.ly}
This section discusses how to specify the pitch of notes. There
are three steps to this process: input, modification, and output.
@node Absolute octave entry
-@subsubsection Absolute octave entry
+@unnumberedsubsubsec Absolute octave entry
@cindex pitch names
@cindex pitches
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
-@subsubsection Relative octave entry
+@unnumberedsubsubsec Relative octave entry
@cindex relative
@cindex relative octave specification
@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
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
@funindex \chordmode
@funindex \relative
-@refbugs
+@knownissues
The relative conversion will not affect @code{\transpose},
@code{\chordmode} or @code{\relative} sections in its argument.
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-@c NOTE: DEPRECATED
+@c DEPRECATED
If no @var{startpitch} is specified for @code{\relative},
then@tie{}@code{c'} is assumed. However, this is a deprecated
option and may disappear in future versions, so its use is
@node Accidentals
-@subsubsection Accidentals
+@unnumberedsubsubsec Accidentals
@cindex accidental
@cindex key signature
@cindex clef
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
@cindex sharp, double
@cindex double flat
@cindex flat, double
+@cindex natural sign
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,
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,fragment,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,fragment,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,fragment,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,fragment,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,fragment,relative=2]
cis1 ~ cis ~
\break
cis
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
@seealso
-Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}, @rglos{Pitch names}.
-@c FIXME: add @rglos{quarter-tone}
+Music Glossary:
+@rglos{sharp},
+@rglos{flat},
+@rglos{double sharp},
+@rglos{double flat},
+@rglos{Pitch names},
+@rglos{quarter tone}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Notation Reference: @ref{Automatic accidentals},
-@ref{Musica ficta accidentals},
+Notation Reference:
+@ref{Automatic accidentals},
+@ref{Annotational accidentals},
@ref{Note names in other languages}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{Accidental_engraver},
+@rinternals{Accidental},
+@rinternals{AccidentalCautionary},
+@rinternals{accidental-interface}.
-@refbugs
+@knownissues
There are no generally accepted standards for denoting
quarter-tone accidentals, so LilyPond's symbol does not conform to
@node Note names in other languages
-@subsubsection Note names in other languages
+@unnumberedsubsubsec Note names in other languages
There are predefined sets of note names for various other
languages. To use them, include the language-specific init file.
@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,fragment,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
@end menu
@node Octave checks
-@subsubsection Octave checks
+@unnumberedsubsubsec Octave checks
@cindex octave correction
@cindex octave check
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
+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,fragment]
\relative c'' {
c2 d='4 d
e2 f
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
+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,fragment]
\relative c'' {
c2 d
\octave c'
@end lilypond
Compare the two bars below. The first and third @code{\octave}
-check fail, but the second one does not fail.
+checks fail, but the second one does not fail.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\relative c'' {
c4 f g f
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Internals Reference:
+@rinternals{RelativeOctaveCheck}.
@node Transpose
-@subsubsection Transpose
+@unnumberedsubsubsec Transpose
@cindex transpose
@cindex transposition
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
+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
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 }
see @ref{Instrument transpositions}.
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
@seealso
-Notation Reference: @ref{Instrument transpositions}.
+Notation Reference:
+@ref{Instrument transpositions}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{TransposedMusic}.
+Internals Reference:
+@rinternals{TransposedMusic}.
@funindex \transpose
@funindex \chordmode
@funindex \relative
-@refbugs
+@knownissues
The relative conversion will not affect @code{\transpose},
@node Clef
-@subsubsection Clef
+@unnumberedsubsubsec Clef
@funindex \clef
@cindex G clef
The clef is set with the @code{\clef} @var{clefname} command.
Middle C is shown in every example.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef treble
c2 c
\clef alto
Other clefs include:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef french
c2 c
\clef soprano
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}
+@code{^15} transpose 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]
+@lilypond[verbatim,quote,fragment,relative=1]
\clef "treble_8"
c2 c
\clef "bass^15"
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{clefs-commonly-tweaked-properties.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{tweaking-clef-properties.ly}
@seealso
-Notation Reference: @ref{Ancient clefs}.
+Notation Reference:
+@ref{Ancient clefs}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Clef}.
+Internals Reference:
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
@node Key signature
-@subsubsection Key signature
+@unnumberedsubsubsec Key signature
@cindex key signature
@funindex \key
+@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
signatures and clefs determine how this raw input is displayed.
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,fragment,relative=2]
\key g \major
fis1
f
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@seealso
-Music Glossary: @rglos{church mode}, @rglos{scordatura}.
+Music Glossary:
+@rglos{church mode},
+@rglos{scordatura}.
-Learning Manual: @rlearning{Accidentals and key signatures}.
+Learning Manual:
+@rlearning{Accidentals and key signatures}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{KeyCancellation},
-@internalsref{KeySignature}, @internalsref{Key_engraver}.
+Internals Reference:
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.
@node Ottava brackets
-@subsubsection Ottava brackets
+@unnumberedsubsubsec Ottava brackets
@cindex ottava
@cindex 15ma
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,fragment,relative=2]
a'2 b
#(set-octavation 1)
a b
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
@seealso
-Music Glossary: @rglos{ottava}.
-@c FIXME? @rglos{15ma}, @rglos{8va}, @rglos{8ve}, @rgloss{octavation}
+Music Glossary:
+@rglos{octavation}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{OttavaBracket}.
+Internals Reference:
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
@node Instrument transpositions
-@subsubsection Instrument transpositions
+@unnumberedsubsubsec Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument
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" {
\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,fragment,relative=2]
\set Staff.instrumentName = "Cl (A)"
\key a \major
\transposition a
c d e f
\textLengthOn
-r1^\markup{Switch to B\flat clarinet}
+s1*0^\markup { Switch to B\flat clarinet }
+R1
\key bes \major
\transposition bes
@seealso
-Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}.
+Music Glossary:
+@rglos{concert pitch},
+@rglos{transposing instrument}.
-Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
+Notation Reference:
+@ref{Quoting other voices}, @ref{Transpose}.
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
@node Automatic accidentals
-@subsubsection Automatic accidentals
+@unnumberedsubsubsec Automatic accidentals
-@cindex automatic accidentals
-@cindex accidentals, automatic
-@cindex accidentals
@cindex accidental style
-@cindex default accidental style
@cindex accidental style, default
+@cindex accidentals
+@cindex accidentals, automatic
+@cindex automatic accidentals
+@cindex default accidental style
@funindex set-accidental-style
There are many different conventions on how to typeset
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.
+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}.
@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}
@code{AccidentalSuggestion}.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-voice
-@cindex accidentals, multivoice
+@cindex accidental style, modern
@cindex accidentals, modern
+@cindex accidentals, multivoice
+@cindex modern accidental style
@cindex modern accidentals
@cindex multivoice accidentals
@funindex modern-voice
accidental in a different voice in the previous measure:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
}
@end lilypond
+@cindex accidental style, cautionary, modern voice
+@cindex accidental style, modern voice cautionary
+@cindex accidental style, voice, modern cautionary
@funindex modern-voice-cautionary
@item modern-voice-cautionary
@code{default} @emph{are} typeset with this rule,
some of them are typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item piano
-@funindex piano accidentals
+@cindex accidental style, piano
+@cindex accidentals, piano
+@cindex piano accidental style
+@cindex piano accidentals
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' {
@item piano-cautionary
@funindex #(set-accidental-style 'piano-cautionary)
+@cindex accidentals, piano cautionary
+@cindex cautionary accidentals, piano
+@cindex piano cautionary accidentals
+@cindex accidental style, piano cautionary
+@cindex cautionary accidental style, piano
+@cindex piano cautionary accidental style
Same as @code{#(set-accidental-style 'piano)} but with the extra
accidentals typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@item no-reset
@funindex no-reset accidental style
+@cindex accidental style, no reset
+@cindex no reset accidental style
This is the same as @code{default} but with accidentals lasting
@q{forever} and not only within the same measure:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@item forget
@funindex forget accidental style
+@cindex forget accidental style
+@cindex accidental style, forget
This is the opposite of @code{no-reset}: Accidentals are not
remembered at all -- and hence all accidentals are typeset
-relative to the key signature, regardless of what was before in
+relative to the key signature, regardless of what came before in
the music:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@end table
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @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}.
-@refbugs
+@cindex accidentals and simultaneous notes
+@cindex simultaneous notes and accidentals
+@cindex accidentals in chords
+@cindex chords, accidentals in
+
+@knownissues
Simultaneous notes are considered to be entered in sequential
mode. This means that in a chord the accidentals are typeset as
@node Ambitus
-@subsubsection Ambitus
+@unnumberedsubsubsec Ambitus
+
@cindex ambitus
+@cindex range of pitches
+@cindex pitch range
-The term @notation{ambitus} or @notation{ambit} denotes a range of
+The term @notation{ambitus} (pl. ambitus) denotes a range of
pitches for a given voice in a part of music. It may also denote
the pitch range that a musical instrument is capable of playing.
-Ambits are printed on vocal parts so that performers can easily
+Ambitus are printed on vocal parts so that performers can easily
determine if it matches their capabilities.
-Ambits are denoted at the beginning of a piece near the initial
+Ambitus are denoted at the beginning of a piece near the initial
clef. The range is graphically specified by two note heads that
represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\layout {
\context {
\Voice
- \consists Ambitus_engraver
+ \consists "Ambitus_engraver"
}
}
\relative c'' {
- aes c e2 cis,2
+ aes c e2
+ cis,1
}
@end lilypond
-@commonprop
+@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{adding-ambiti-per-voice.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{adding-ambitus-per-voice.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{ambiti-multiple-voices.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{ambitus-with-multiple-voices.ly}
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Music Glossary:
+@rglos{ambitus}.
-Internals Reference: @internalsref{Ambitus},
-@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
-@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
-@internalsref{Staff}, @internalsref{Voice}.
+Snippets:
+@rlsr{Pitches}.
+Internals Reference:
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.
-@refbugs
+
+@knownissues
There is no collision handling in the case of multiple per-voice
ambitus.
@node Note heads
@subsection Note heads
+This section suggests ways of altering note heads.
+
@menu
* Special note heads::
* Easy notation note heads::
@end menu
@node Special note heads
-@subsubsection Special note heads
+@unnumberedsubsubsec Special note heads
@cindex note heads, special
+@cindex note heads, cross
+@cindex note heads, diamond
+@cindex note heads, parlato
+@cindex note heads, harmonic
+@cindex note heads, guitar
+@cindex special note heads
+@cindex cross note heads
+@cindex diamond note heads
+@cindex parlato note heads
+@cindex harmonic note heads
+@cindex guitar note heads
Different note heads are used by various instruments for various
meanings -- crosses are used for @q{parlato} with vocalists,
diamond shapes; the other note head styles are produced by
tweaking the property:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,fragment,relative=1]
c4 d
\override NoteHead #'style = #'cross
e f
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Notation Reference: @ref{Note head styles}.
+Notation Reference:
+@ref{Note head styles}.
-Internals Reference: @internalsref{NoteHead},
-@internalsref{LedgerLineSpanner}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{Ledger_line_engraver},
+@rinternals{NoteHead},
+@rinternals{LedgerLineSpanner},
+@rinternals{note-head-interface},
+@rinternals{ledger-line-spanner-interface}.
@node Easy notation note heads
-@subsubsection Easy notation note heads
+@unnumberedsubsubsec Easy notation note heads
@cindex note heads, practice
@cindex note heads, easy notation
@cindex easy notation
@cindex Hal Leonard
+@cindex beginners' music
+@cindex music, beginners'
+@cindex easy play note heads
+@cindex note heads, easy play
The @q{easy play} note head includes a note name inside the head.
It is used in music for beginners.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
#(set-global-staff-size 26)
\relative c' {
\easyHeadsOn
in a large font size. To print with a larger font, see @ref{Setting the
staff size}.
-@refcommands
+@predefined
@funindex \easyHeadsOn
@funindex \easyHeadsOff
@seealso
-Notation Reference: @ref{Setting the staff size}.
+Notation Reference:
+@ref{Setting the staff size}.
-Snippets: @lsrdir{Pitches,Pitches},
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Shape note heads
-@subsubsection Shape note heads
+@unnumberedsubsubsec Shape note heads
@cindex note heads, shape
+@cindex note heads, Aiken
+@cindex note heads, sacred harp
+@cindex shape notes
+@cindex Aiken shape note heads
+@cindex sacred harp note heads
@funindex \key
@funindex shapeNoteStyles
@funindex \aikenHeads
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,fragment,quote,relative=1]
\aikenHeads
-c8 d4 e8 a2 g1
+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
the base of the scale is determined by the @code{\key} command.
-@commonprop
+@predefined
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-{applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+@code{\aikenHeads}, @code{\sacredHarpHeads}
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
+@noindent
+To see all note head styles, see @ref{Note head styles}.
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
+
+Notation Reference:
+@ref{Note head styles}.
+
+Internals Reference:
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Improvisation
-@subsubsection Improvisation
+@unnumberedsubsubsec Improvisation
@cindex improvisation
@cindex slashed note heads
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\new Voice \with {
- \consists Pitch_squash_engraver
+ \consists "Pitch_squash_engraver"
} \transpose c c' {
e8 e g a a16( bes) a8 g
\improvisationOn
- e8
- ~e2~e8 f4 fis8
- ~fis2
+ e8 ~
+ e2 ~ e8 f4 f8 ~
+ f2
\improvisationOff
- a16(bes) a8 g e
+ a16( bes) a8 g e
}
@end lilypond
-@refcommands
+@predefined
@funindex \improvisationOn
@funindex \improvisationOff
@seealso
-Snippets: @lsrdir{Pitches,Pitches}.
+Snippets:
+@rlsr{Pitches}.
-Internals Reference: @internalsref{Pitch_squash_engraver},
-@internalsref{Voice}.
+Internals Reference:
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.
projects / lilypond.git / blobdiff