{pitches-headword.ly}
This section discusses how to specify the pitch of notes. There
-are three steps to this process: input, modifying, and output.
+are three steps to this process: input, modification, and output.
@menu
* Writing pitches::
This section discusses how to input pitches. There are two
different ways to place notes in octaves: absolute and relative
-mode. In most cases, relative mode will be more convient.
+mode. In most cases, relative mode will be more convenient.
@menu
* Absolute octave entry::
@node Absolute octave entry
-@unnumberedsubsubsec Absolute octave entry
+@subsubsection Absolute octave entry
@cindex pitch names
@cindex pitches
Music Glossary: @rglos{Pitch names}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Relative octave entry
-@unnumberedsubsubsec Relative octave entry
+@subsubsection Relative octave entry
@cindex relative
@cindex relative octave specification
@item
An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
-respectively raise or lower a pitch by an extra octave, relatively to
-the pitch calculated without octave mark.
+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
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 of chords the next note is always
+following note or chord. Inside chords, the next note is always
relative to the preceding one.
@lilypond[verbatim,quote,ragged-right]
As explained above, the octave of pitches is calculated only with
the note names, regardless of any alterations. Therefore, an
-E-double-sharp sharp following a B will be placed higher, while an
-F-double-flat would be placed lower. In other words, a
+E-double-sharp following a B will be placed higher, while an
+F-double-flat will be placed lower. In other words, a
double-augmented fourth is considered a smaller interval than a
double-diminished fifth, regardless of the number of semitones
that each interval contains.
Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
-Notation Reference: @ref{Octave corrections and checks}.
+Notation Reference: @ref{Octave checks}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
@refbugs
The relative conversion will not affect @code{\transpose},
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-@c TODO: DEPRECATED
+@c NOTE: 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
-@unnumberedsubsubsec Accidentals
+@subsubsection Accidentals
+
+@cindex accidental
+@cindex key signature
+@cindex clef
@warning{New users are sometimes confused about accidentals and
key signatures. In LilyPond, note names are the raw input; key
@cindex note names, Dutch
@cindex note names, default
-
-A @notation{sharp} pitch is made by adding @code{is} to the name,
-and a @notation{flat} pitch by adding @code{es}. As you might
-expect, a @notation{double sharp} or @notation{double flat} is
-made by adding @code{isis} or @code{eses}. This syntax is derived
-from Dutch note naming conventions. To use other names for
-accidentals, see @ref{Note names in other languages}.
+@cindex sharp
+@cindex flat
+@cindex double sharp
+@cindex sharp, double
+@cindex double flat
+@cindex flat, double
+
+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]
ais1 aes aisis aeses
@cindex quarter tones
@cindex semi-flats, semi-sharps
-Half-flats and half-sharps are formed by adding @code{eh} and
-@code{ih}; the following is a series of Cs with increasing
-pitches
+Quarter tones may be added; the following is a series of Cs with
+increasing pitches
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
ceseh1 ces ceh c cih cis cisih
cis cis cis! cis? c c c! c?
@end lilypond
-Accidentals are only printed on tied notes which begin a new
-system:
+Accidentals on tied notes are only printed at the beginning of a
+new system:
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-cis1~ cis~
+cis1 ~ cis ~
\break
cis
@end lilypond
@seealso
Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp},
-@rglos{double flat}, @rglos{Pitch names}.
+@rglos{double flat}, @rglos{Pitch names}, @rglos{quarter-tone}.
Learning Manual: @rlearning{Accidentals and key signatures}.
@ref{Musica ficta accidentals},
@ref{Note names in other languages}.
-Snippets: @lsrdir{Pitches},
-@lsr{Pitches,
-dodecaphonic-style-accidentals-for-each-note-including-naturals.ly},
-@lsr{Pitches, makam.ly}.
+Snippets: @lsrdir{Pitches,Pitches}.
@refbugs
There are no generally accepted standards for denoting
-three-quarter flats, so LilyPond's symbol does not conform to any
-standard.
+quarter-tone accidentals, so LilyPond's symbol does not conform to
+any standard.
@node Note names in other languages
-@unnumberedsubsubsec Note names in other languages
+@subsubsection 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.
-For example, add @code{\include "english.ly"} to the top of the
-input file. The available language files and the note names they
-define are:
+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:
@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}
@end multitable
@end smallexample
+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. This also applies to
+@code{aeses}@tie{}/@tie{}@code{ases} and
+@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]
+a2 as e es a ases e eses
+@end lilypond
+
+
Some music uses microtones whose alterations are fractions of a
-@q{normal} sharp or flat. The note names for quartertones defined
-in the various language files are listed in the following table.
-Here the prefixes @notation{semi-} and @notation{sesqui-} mean
-@q{half} and @q{one and a half}, respectively. For the other
+@q{normal} sharp or flat. The note names for quarter-tones
+defined in the various language files are listed in the following
+table. Here the prefixes @notation{semi-} and @notation{sesqui-}
+mean @q{half} and @q{one and a half}, respectively. For the other
languages, no special names have been defined yet.
@smallexample
@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
@headitem Language
@tab Note names
- @tab semi- @tab semi- @tab sesqui- @tab sesqui-
+ @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
@item nederlands.ly
@tab c d e f g a bes b
@end multitable
@end smallexample
-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. This also applies to
-@code{aeses}@tie{}/@tie{}@code{ases} and
-@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]
-a2 as e es a ases e eses
-@end lilypond
-
-In some languages such as Norwegian and Swedish, the usual
-spelling for accidentals is a double @q{s} such as in @code{ciss}
-or @code{cess}. For both historical reasons and a greater
-simplicity, LilyPond uses a single @q{s} for all these languages.
@seealso
-Music Glossary: @lsrdir{Pitch names}.
+Music Glossary: @rglos{Pitch names}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Changing multiple pitches
This section discusses how to modify pitches.
@menu
-* Octave corrections and checks::
+* Octave checks::
* Transpose::
@end menu
-@node Octave corrections and checks
-@unnumberedsubsubsec Octave corrections and checks
+@node Octave checks
+@subsubsection Octave checks
@cindex octave correction
@cindex octave check
@funindex \octave
In relative mode, it is easy to forget an octave changing mark.
-Octave corrections and checks make such errors easier to find
-by displaying a warning if a note is found in an unexpected
-octave. An octave correction will change the pitch, while an
-octave check does not change the pitch. Both commands will print
-a warning and change the octave for future notes.
-
-To use an octave correction, add @code{=}@var{quotes} after the
-pitch. The @var{quotes} indicate what its absolute octave should
-be. 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.
+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.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
- c2 d='
+ c2 d='4 d
e2 f
}
@end lilypond
-To use an octave check, add @code{\octave}@tie{}@var{controlpitch}
-to the note. This checks that the note lies within the octave
-surrounding @var{controlpitch}, i.e. not more than a fourth above
-or below it. If this is not the case, a warning is printed and
-the octave is corrected. The @var{controlpitch} is not printed as
-a note.
+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
+relative to the @var{controlpitch}.
@lilypond[verbatim,quote,ragged-right,fragment]
\relative c'' {
- c2 d \octave d'
+ c2 d
+ \octave c'
e2 f
}
@end lilypond
-In both cases, the following note (the@tie{}@code{e}) is adjusted
-to be relative to@tie{}@code{d'} instead of@tie{}@code{d''}.
+Compare the two bars below. The first and third @code{\octave}
+check fail, but the second one does not fail.
+
+@lilypond[verbatim,quote,ragged-right,fragment]
+\relative c'' {
+ c4 f g f
+
+ c4
+ \octave c'
+ f
+ \octave c'
+ g
+ \octave c'
+ f
+}
+@end lilypond
+
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Transpose
-@unnumberedsubsubsec Transpose
+@subsubsection Transpose
@cindex transpose
+@cindex transposition
@cindex transposition of pitches
@funindex \transpose
This means that @var{musicexpr} is transposed by the interval
between the pitches @var{frompitch} and @var{topitch}: any note
with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval.
+other note is transposed by the same interval. Both pitches are
+entered in absolute mode.
Consider a piece written in the key of D-major. It can be
transposed up to E-major; note that the key signature is
@lilypond[verbatim,quote,ragged-right]
\transpose a c' {
\relative c' {
+ \key c \major
c4 d e g
}
}
@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.
+
@code{\transpose} distinguishes between enharmonic pitches: both
@code{\transpose c cis} or @code{\transpose c des} will transpose
-up half a tone. The first version will print sharps and the notes
+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.
typeset them for a transposing instrument, but the opposite is
also possible if you for example have a set of instrumental parts
and want to print a conductor's score. For example, when entering
-music for a B-flat trumpet which begins on a notated E (concert
-D), one would write:
+music for a B-flat trumpet that begins on a notated E (concert D),
+one would write:
@example
musicInBflat = @{ e4 @dots{} @}
Notation Reference: @ref{Instrument transpositions}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{TransposedMusic}.
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
+
@refbugs
-If you want to use both @code{\transpose} and @code{\relative},
-you must put @code{\transpose} outside of @code{\relative}, since
-@code{\relative} will have no effect on music that appears inside
-a @code{\transpose}.
+
+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}.
@node Displaying pitches
@node Clef
-@unnumberedsubsubsec Clef
+@subsubsection Clef
@funindex \clef
-
@cindex G clef
@cindex C clef
@cindex F clef
@cindex baritone clef
@cindex varbaritone clef
@cindex subbass clef
-
-The clef is set with the @code{\clef} @var{clefname} command:
+@cindex clef
+@cindex ancient clef
+@cindex clef, ancient
+@cindex clef, G
+@cindex clef, C
+@cindex clef, F
+@cindex clef, treble
+@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
+
+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]
\clef treble
c2 c
@end lilypond
-Supported clefs include:
-
-@multitable @columnfractions .4 .6
-@headitem Clef @tab Position
-@item @code{treble, violin, G, G2} @tab
-G clef (g') on 2nd line
-@item @code{alto, C} @tab
-C clef (c') on 3rd line
-@item @code{tenor} @tab
-C clef (c') on 4th line
-@item @code{bass, F} @tab
-F clef (f) on 4th line
-@item @code{french} @tab
-G clef (g') on 1st line, so-called French violin clef
-@item @code{soprano} @tab
-C clef (c') on 1st line
-@item @code{mezzosoprano} @tab
-C clef (c') on 2nd line
-@item @code{baritone} @tab
-C clef (c') on 5th line
-@item @code{varbaritone} @tab
-F clef (f) on 3rd line
-@item @code{subbass} @tab
-F clef (f) on 5th line
-@item @code{percussion} @tab
-percussion clef
-@item @code{tab} @tab
-tablature clef
-@end multitable
+Other clefs include:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\clef french
+c2 c
+\clef soprano
+c2 c
+\clef mezzosoprano
+c2 c
+\clef baritone
+c2 c
+
+\break
+
+\clef varbaritone
+c2 c
+\clef subbass
+c2 c
+\clef percussion
+c2 c
+\clef tab
+c2 c
+@end lilypond
Further supported clefs are described under @ref{Ancient clefs}.
+@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.
-For example,
@cindex choral tenor clef
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-\clef "treble_8" c1
-\clef "bass^15" c1
+\clef "treble_8"
+c2 c
+\clef "bass^15"
+c2 c
@end lilypond
Notation Reference: @ref{Ancient clefs}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{Clef}.
@node Key signature
-@unnumberedsubsubsec Key signature
+@subsubsection Key signature
@cindex key signature
@funindex \key
\key @var{pitch} @var{mode}
@end example
-@funindex \minor
@funindex \major
@funindex \minor
@funindex \ionian
@funindex \phrygian
@funindex \dorian
@cindex church modes
+@cindex modes
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{\locrian},
-@code{\aeolian}, @code{\mixolydian}, @code{\lydian},
-@code{\phrygian}, and @code{\dorian}.
+called @q{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]
\key g \major
Learning Manual: @rlearning{Accidentals and key signatures}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{KeyCancellation},
@internalsref{KeySignature}, @internalsref{Key_engraver}.
@node Ottava brackets
-@unnumberedsubsubsec Ottava brackets
+@subsubsection Ottava brackets
@cindex ottava
@cindex 15ma
@commonprop
-@ignore
-Internally the function sets the properties @code{ottavation}
-(e.g., to @code{"8va"} or @code{"8vb"}) and
-@code{middleCPosition}. To override the text of the bracket, set
-@code{ottavation} after invoking @code{set-octavation}, i.e.,
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-#(set-octavation 1)
-\set Staff.ottavation = #"8"
-c'
-@end lilypond
-@end ignore
-
-@c FIXME: add this
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
-@c {}
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{ottava-text.ly}
@seealso
-Music Glossary: @rglos{ottava}.
+Music Glossary: @rglos{octavation}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{OttavaBracket}.
-@refbugs
-
-@c FIXME: This should have been fixed by Joe.
-@c If it hasn't, we should mention the appropriate
-@c workaround (there is a snippet in the LSR) -vv
-@code{set-octavation} will get confused when clef changes happen
-during an octavation bracket.
-
@node Instrument transpositions
-@unnumberedsubsubsec Instrument transpositions
+@subsubsection Instrument transpositions
@cindex transposition, MIDI
@cindex transposition, instrument
+@cindex transposing instrument
+@cindex MIDI
+@funindex \transposition
When typesetting scores that involve transposing instruments, some
parts can be typeset in a different pitch than the
The pitch to use for @code{\transposition} should correspond to
the real sound heard when a@tie{}@code{c'} written on the staff is
-played by the transposing instrument. @code{\transposition}
-should @emph{only} be used if the pitches are @emph{not} being
-entered in concert 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
+@emph{only} be used if the pitches are @emph{not} being entered in
+concert pitch.
Here are a few notes for violin and B-flat clarinet where the
parts have been entered using the notes and key as they appear in
\key a \major
\transposition a
c d e f
-\fatText
+\textLengthOn
r1^\markup{Switch to B\flat clarinet}
\key bes \major
@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}.
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Automatic accidentals
-@unnumberedsubsubsec Automatic accidentals
-@cindex automatic accidentals
+@subsubsection Automatic accidentals
+@cindex automatic accidentals
+@cindex accidentals, automatic
+@cindex accidentals
+@cindex accidental style
+@cindex default accidental style
+@cindex accidental style, default
@funindex set-accidental-style
There are many different conventions on how to typeset
-accidentals. LilyPond provides a function to specify which such
+accidentals. LilyPond provides a function to specify which
accidental style to use. This function is called as follows
@example
The accidental style applies to the current @code{Staff} by
default (with the exception of the styles @code{piano} and
@code{piano-cautionary}, which are explained below). Optionally,
-the function can take a second argument which determines in which
+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
@end lilypond
@item modern
+@cindex accidentals, modern style
+@cindex modern style accidentals
@funindex modern style accidentals
This rule corresponds to the common practice in the twentieth
century. It prints the same accidentals as @code{default}, with
-two exceptions which serve to avoid ambiguity: after temporary
+two exceptions that serve to avoid ambiguity: after temporary
accidentals, cancellation marks are printed also in the following
measure (for notes in the same octave) and, in the same measure,
for notes in other octaves. Hence the naturals before
@end lilypond
@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
@funindex modern-cautionary
This rule is similar to @code{modern}, but the @q{extra}
@end lilypond
@item modern-voice
+@cindex accidentals, multivoice
+@cindex accidentals, modern
+@cindex modern accidentals
+@cindex multivoice accidentals
@funindex modern-voice
This rule is used for multivoice accidentals to be read both by
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{Accidental_engraver},
@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
@node Ambitus
-@unnumberedsubsubsec Ambitus
+@subsubsection Ambitus
@cindex ambitus
The term @notation{ambitus} or @notation{ambit} denotes a range of
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. Accidentals are only
+represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
@lilypond[verbatim,quote,ragged-right]
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{Ambitus},
@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
@end menu
@node Special note heads
-@unnumberedsubsubsec Special note heads
+@subsubsection Special note heads
@cindex note heads, special
@end lilypond
@noindent
-To see all note head styles, please see @ref{Note head styles}.
+To see all note head styles, see @ref{Note head styles}.
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Notation Reference: @ref{Note head styles}.
@node Easy notation note heads
-@unnumberedsubsubsec Easy notation note heads
+@subsubsection Easy notation note heads
@cindex note heads, practice
@cindex note heads, easy notation
@cindex Hal Leonard
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.
@lilypond[verbatim,quote,ragged-right]
#(set-global-staff-size 26)
\relative c' {
- \setEasyHeads
+ \easyHeadsOn
c2 e4 f
g1
+ \easyHeadsOff
+ c,1
}
@end lilypond
-The command @code{\setEasyHeads} overrides settings for the
-@code{NoteHead} object. 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}.
+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}.
@refcommands
-@funindex \setEasyHeads
-@code{\setEasyHeads}
+@funindex \easyHeadsOn
+@funindex \easyHeadsOff
+@code{\easyHeadsOn}, @code{\easyHeadsOff}
@seealso
Notation Reference: @ref{Setting the staff size}.
-Snippets: @lsrdir{Pitches},
+Snippets: @lsrdir{Pitches,Pitches},
Internals Reference: @internalsref{NoteHead}.
@node Shape note heads
-@unnumberedsubsubsec Shape note heads
+@subsubsection Shape note heads
@cindex note heads, shape
@funindex \key
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Improvisation
-@unnumberedsubsubsec Improvisation
+@subsubsection Improvisation
@cindex improvisation
@cindex slashed note heads
}
@end lilypond
+
+@refcommands
+
+@funindex \improvisationOn
+@funindex \improvisationOff
+
+@code{\improvisationOn}, @code{\improvisationOff}
+
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
Internals Reference: @internalsref{Pitch_squash_engraver},
@internalsref{Voice}.
projects / lilypond.git / blobdiff