{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::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
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::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@node Absolute octave entry
-@unnumberedsubsubsec Absolute octave entry
+@subsubsection Absolute octave entry
@cindex pitch names
@cindex pitches
@c NOTE: don't use c' here.
@lilypond[verbatim,quote,ragged-right,fragment]
\clef bass
-c d e f g a b c
+c d e f
+g a b c
+d e f g
@end lilypond
@funindex '
@lilypond[verbatim,quote,ragged-right,fragment]
\clef treble
-c' c'' e' g d'' d' d c
+c' c'' e' g
+d'' d' d c
\clef bass
-c, c,, e, g d,, d, d c
+c, c,, e, g
+d,, d, d c
@end lilypond
@seealso
-Snippets: @lsrdir{Pitches}.
+Music Glossary: @rglos{Pitch names}.
+
+Snippets: @lsrdir{Pitches,Pitches}.
@node Relative octave entry
-@unnumberedsubsubsec Relative octave entry
+@subsubsection Relative octave entry
@cindex relative
@cindex relative octave specification
@funindex \relative
-The absolute mode requires a lot of octave specifications, which
-not only becomes tedious but also easily leads to errors.
-Therefore, it is usually more convenient to let notes be entered
-relative to the previous note. This is done with the relative
-mode.
+When octaves are specified in absolute mode it is easy to
+accidentally put a pitch in the wrong octave. Relative octave
+mode reduces these errors since most of the time it is not
+necessary to indicate any octaves at all. Furthermore, in
+absolute mode a single mistake may be difficult to spot, while in
+relative mode a single error puts the rest of the piece off by one
+octave.
@example
\relative @var{startpitch} @var{musicexpr}
@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
Here is the relative mode shown in action:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\relative c {
\clef bass
- c d e f g a b c
+ c d e f
+ g a b c
+ d e f g
}
@end lilypond
Octave changing marks are used for intervals greater than a
fourth:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\relative c'' {
- c g c f, c' a, e'' c
+ c g c f,
+ c' a, e'' c
}
@end lilypond
A note sequence without a single octave mark can nevertheless span
large intervals:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\relative c {
- c f b e a d g c
+ c f b e
+ a d g c
}
@end lilypond
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,fragment]
+@lilypond[verbatim,quote,ragged-right]
\relative c' {
c
<c e g>
}
@end lilypond
-When octaves are specified in absolute mode it is easy to
-accidentally put a pitch in the wrong octave. Relative octave
-mode reduces these errors since most of the time it is not
-necessary to indicate any octaves at all. Furthermore, in
-absolute mode, a single mistake may be difficult to spot; in
-relative mode, a single error puts the rest of the piece off by
-one octave.
+As explained above, the octave of pitches is calculated only with
+the note names, regardless of any alterations. Therefore, an
+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.
-As explained above, the octave of pitches is calculated only with the
-note names, regardless of any alterations. Therefore, an F-sharp
-following a C will be placed higher than the C, while a G-flat following
-a C will be placed lower than the C.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
-c2 fis
-c2 ges
+@lilypond[verbatim,quote,ragged-right]
+\relative c'' {
+ c2 fis
+ c2 ges
+ b2 eisis
+ b2 feses
+}
@end lilypond
-In addition, an augmented fourth is considered a smaller interval
-than a diminished fifth, even though these intervals both span six
-semitones. Even @qq{worse}, a doubly-augmented fourth is
-considered a smaller interval than a diminished fifth, even though
-the doubly-augmented fourth spans seven semitones while the
-diminished fifth only spans six semitones; that is why a B-sharp
-following an F will be put above the F.
-
@seealso
-Music Glossary: @rglos{fifth}, @rglos{interval}.
+Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}.
+
+Notation Reference: @ref{Octave checks}.
+
+Snippets: @lsrdir{Pitches,Pitches}.
-Snippets: @lsrdir{Pitches}.
+@funindex \transpose
+@funindex \chordmode
+@funindex \relative
@refbugs
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]
-a2 ais a aes
-a2 aisis a aeses
+ais1 aes aisis aeses
@end lilypond
A natural will cancel the effect of an accidental or key
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
a4 aes a2
@end lilypond
+
@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
adding an exclamation mark@tie{}@code{!} after the pitch. A
cautionary accidental (i.e., an accidental within parentheses) can
be obtained by adding the question mark@tie{}@code{?} after the
-pitch. These extra accidentals can be used to produce natural
-signs, too.
+pitch. These extra accidentals can also be used to produce
+natural signs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-cis cis cis! cis? c c? c! c
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+cis cis cis! cis? c c c! c?
@end lilypond
-Accidentals are not printed on tied notes, except when the tie
-crosses a line break, where a reminder accidental is automatically added:
+Accidentals on tied notes are only printed at the beginning of a
+new system:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-cis1~ cis~ \break cis
+@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+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
-@example
-@multitable @columnfractions .2 .6 .05 .05 .05 .05
+@smallexample
+@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@headitem Language
@tab Note names
@tab sharp @tab flat @tab double sharp @tab double flat
@tab do re mi fa sol la sib si
@tab -k @tab -b @tab -kk @tab -bb
@end multitable
-@end example
+@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:
+@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
+a2 as e es a ases e eses
@end lilypond
-Note that 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.
-
-Similarly, in Germanic and Nordic languages, alterations
-of@tie{}@code{a}, like for example @code{aes} and @code{aeses},
-are usually contracted to @code{as} and @code{ases} (or more
-commonly @code{asas}). This also applies to @code{eeses} being
-accepted as @code{eses}. Sometimes only these contracted names
-are defined in the corresponding language files (this also applies
-to the suffixes for quartertones below).
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 @q{semi-} and @q{sesqui-} mean @q{half} and
-@q{one and a half}, respectively. For the other languages, no
-special names have been defined yet.
-
-@example
-@multitable @columnfractions .2 .6 .05 .05 .05 .05
+@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
@item deutsch.ly
@tab c d e f g a b h
@tab -ih @tab -eh @tab -isih @tab -eseh
-@c TODO:
-@c @item norsk.ly
-@c @tab c d e f g a b h
-@c @item svenska.ly
-@c @tab c d e f g a b h
@item italiano.ly
@tab do re mi fa sol la sib si
@tab -sd @tab -sb @tab -dsd @tab -bsb
-@c @item catalan.ly
-@c @tab do re mi fa sol la sib si
-@c @item espanol.ly
-@c @tab do re mi fa sol la sib si
@item portugues.ly
@tab do re mi fa sol la sib si
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@end multitable
-@end example
+@end smallexample
+
@seealso
-Snippets: @lsrdir{Pitches}.
+Music Glossary: @rglos{Pitch names}.
+
+Snippets: @lsrdir{Pitches,Pitches}.
@node Changing multiple pitches
This section discusses how to modify pitches.
@menu
-* Octave check::
-* Transpose::
+* Octave checks::
+* Transpose::
@end menu
-@node Octave check
-@unnumberedsubsubsec Octave check
+@node Octave checks
+@subsubsection Octave checks
+@cindex octave correction
@cindex octave check
+@funindex =
+@funindex \octave
In relative mode, it is easy to forget an octave changing mark.
-Octave checks make such errors easier to correct. A note may be
-followed by @code{=}@var{quotes} to indicate what its absolute
-octave should be. In the following example,
+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.
-@example
-\relative c'' @{ c g d='' @}
-@end example
-
-@noindent
-the@tie{}@code{d} will generate a warning, because
-a@tie{}@code{d''} is expected, as indicated by the octave check
-@code{=''}, but a@tie{}@code{d'} is found, since both
-@code{c}-@code{g} and @code{g}-@code{d} without octavation marks
-are descending fourths. In the output, the octave is corrected to
-be a@tie{}@code{d''} and the next note is calculated relative
-to@tie{}@code{d''} instead of@tie{}@code{d'}.
+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.
-There is also an octave check that produces no visible output.
-The syntax is:
-
-@example
-@var{pitch} \octave @var{controlpitch}
-@end example
+@lilypond[verbatim,quote,ragged-right,fragment]
+\relative c'' {
+ c2 d='4 d
+ e2 f
+}
+@end lilypond
-@noindent
-where @var{pitch} is a regular note within a music expression in
-relative mode and @var{controlpitch} is a pitch in absolute mode.
-This checks that @var{pitch} 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.
-
-In the example below, the first check passes without incident,
-since the@tie{}@code{e} (in @code{relative} mode) is within the
-octave range of@tie{}@code{a'}. However, the second check
-produces a warning, since the@tie{}@code{e} is not within the
-octave range of@tie{}@code{b'}. The warning message is printed,
-and the octave is adjusted so that the following notes are in the
-correct octave once again.
+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}.
-@example
-\relative c' @{
- e
- \octave a'
- \octave b'
-@}
-@end example
+@lilypond[verbatim,quote,ragged-right,fragment]
+\relative c'' {
+ c2 d
+ \octave c'
+ e2 f
+}
+@end lilypond
-The octave of a note following an @code{\octave} check is
-determined with respect to the note preceding it, as modified by
-the outcome of the octave check. In the next fragment, the first
-note, an@tie{}@code{e'}, lies within the octave of@tie{}@code{b},
-and the @code{\octave} check passes successfully. The second note
-is then calculated relative to (absolute)@tie{}@code{e'}, which
-yields an@tie{}@code{a'}, above middle@tie{}C. In this case, the
-check had no influence on the output of the piece.
-
-The second @code{\octave} check fails: @code{a'}@tie{}is not
-within the range of@tie{}@code{b}. A warning is issued, and the
-last note is calculated relative to@tie{}@code{a}, not
-to@tie{}@code{a'}, and we get a@tie{}@code{d'}. Without the last
-@code{\octave} check, the last note would have been
-a@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' {
- e
- \octave b
- a
- \octave b
- d
+\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
syntax is
@example
-\transpose @var{from} @var{to} @var{musicexpr}
+\transpose @var{frompitch} @var{topitch} @var{musicexpr}
@end example
@noindent
This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{from} and @var{to}: any note with pitch
-@var{from} is changed to @var{to} and any other note is transposed
-by the same 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. Both pitches are
+entered in absolute mode.
-Consider a piece written in the key of D-major. If this piece is
-a little too low for its performer, it can be transposed up to
-E-major with:
+Consider a piece written in the key of D-major. It can be
+transposed up to E-major; note that the key signature is
+automatically transposed as well.
-@example
-\transpose d e @dots{}
-@end example
-
-Consider a part written for violin (a C instrument). If this part 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
-produces with:
-
-@example
-\transpose a c' @dots{}
-@end example
+@lilypond[verbatim,quote,ragged-right]
+\transpose d e {
+ \relative c' {
+ \key d \major
+ d4 fis a d
+ }
+}
+@end lilypond
-@code{\transpose} will also transpose key signatures:
+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:
@lilypond[verbatim,quote,ragged-right]
-mus = { \key d \major cis d fis g }
-\new Staff {
- \clef "F" \mus
- \clef "G"
- \transpose c g' \mus
- \transpose c f' \mus
+\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{} @}
For more information about transposing instruments,
see @ref{Instrument transpositions}.
+
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
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}. See the previous example.
+
+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
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
+
@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
-The clef can also be changed inside the staff:
+Other clefs include:
-@lilypond[verbatim,quote,ragged-right,fragment]
-\new PianoStaff <<
- \new Staff {
- \time 2/4
- \clef treble
- r16
- \clef bass
- e g c' e' e g c'
- }
- \new Staff {
- \clef bass
- c,8 r
- \clef treble
- g''4
- }
->>
-@end lilypond
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+\clef french
+c2 c
+\clef soprano
+c2 c
+\clef mezzosoprano
+c2 c
+\clef baritone
+c2 c
-These same clef symbols are used in different positions on the staff to
-change the range of notes shown by that staff. The treble (respectively
-alto, bass) clef is always positioned to show the line on which
-a@tie{}@code{g'} (resp. @code{c'}, @code{f}) note is printed.
-
-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
+\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 "G_8" c4
+\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
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. Setting or changing the key signature
+is done with the @code{\key} command:
@example
\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
-@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}.
+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},
+@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
+@code{\aeolian}, and @code{\locrian}.
@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
\key g \major
-f1
+fis1
+f
fis
@end lilypond
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
The @code{set-octavation} function also takes -1 (for 8va bassa),
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-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
+@commonprop
-@seealso
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+{ottava-text.ly}
-Music Glossary: @rglos{ottava}.
-Snippets: @lsrdir{Pitches}.
+@seealso
-Internals Reference: @internalsref{OttavaBracket}.
+Music Glossary: @rglos{octavation}.
+Snippets: @lsrdir{Pitches,Pitches}.
-@refbugs
+Internals Reference: @internalsref{OttavaBracket}.
-@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
-@notation{concert pitch}.
-
-The key of a @notation{transposing instrument} can be specified.
-This applies to many wind instruments, for example, clarinets
-(B-flat, A, and E-flat), horn (F) and trumpet (B-flat, C, D, and
-E-flat).
-
-For such instruments, LilyPond will print a correct part, but is
-not aware whether the instrument is playing in concert pitch or
-not. This can lead to problems if you want a MIDI output, or if
-you quote other parts in a transposing staff. In such cases, an
-explicit transposition must be specified:
+@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}.
@example
\transposition @var{pitch}
@end example
-@noindent
-where @var{pitch} specifies the key in which the instrument plays.
-For example, a part for B-flat clarinet would include:
-
-@example
-\transposition bes
-@end example
-
-This command sets the property @code{instrumentTransposition}.
-The value of this property is used for MIDI output and quotations.
-MIDI output is transposed to play at concert pitch, and cue notes
-and quotations are automatically transposed to the key of the
-instrument in which they are quoted. For more information about
-quotations, see @ref{Quoting other voices}.
-
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 be used when the music is entered from an orchestral part
-written for the instrument. For example, in classical horn parts,
-the tuning of the instrument is often changed during a piece.
-Here are a few notes for a violin and a B-flat clarinet where the
+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
-each part or the conductor's score:
+each part of the conductor's score. The two instruments are
+playing in unison.
@lilypond[verbatim,quote,ragged-right]
\new GrandStaff <<
- \new Staff = "Violin I" {
- \set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument="violin"
- \key c \major
- \transposition c
- g'4( c''8) r c'' r c''4
+ \new Staff = "Vln" {
+ \relative c'' {
+ \set Staff.instrumentName = "Vln"
+ \set Staff.midiInstrument="violin"
+ % strictly speaking not necessary, but a good reminder
+ \transposition c'
+
+ \key c \major
+ g4( c8) r c r c4
+ }
}
- \new Staff = "Clarinet" {
- \set Staff.instrumentName = "Cl"
- \set Staff.midiInstrument="clarinet"
- \key d \major
- \transposition bes
- a'4( d''8) r d'' r d''4
+ \new Staff = "clarinet" {
+ \relative c'' {
+ \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
+ }
}
>>
@end lilypond
-Without the @code{\transposition} command the MIDI output of this
-music would play the notes a tone apart; with it the notes are
-played correctly in unison.
-
-However, when entering the notes of a score in concert pitch, when
-all voices are entered in C, they may be prefaced by (the default)
-@code{\transposition c'}:
-
-@example
-clarinet = @{
- \transposition c'
- ...
-@}
-saxophone = @{
- \transposition c'
- ...
-@}
-@end example
+The @code{\transposition} may be changed during a piece. For
+example, a clarinetist may switch from an A clarinet to a B-flat
+clarinet.
-@noindent
-to serve as a reminder that these parts are written in C.
+@lilypond[verbatim,quote,ragged-right,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}
+
+\key bes \major
+\transposition bes
+c2 g
+@end lilypond
@seealso
-Music Glossary: @c TODO @rglos{concert pitch}
+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
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 performers can easily
+Ambits 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
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},
@subsection 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
-@unnumberedsubsubsec Special note heads
+@subsubsection Special note heads
@cindex note heads, special
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:
+diamond shapes; the other note head styles are produced by
+tweaking the property:
@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
c4 d
@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}.
-Internals Reference: @internalsref{NoteHead}.
+Internals Reference: @internalsref{NoteHead},
+@internalsref{LedgerLineSpanner}.
@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,fragment,staffsize=26]
-\setEasyHeads
-c'2 e'4 f' |
-g'1
+@lilypond[verbatim,quote,ragged-right]
+#(set-global-staff-size 26)
+\relative c' {
+ \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
+@funindex shapeNoteStyles
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
Shape note heads can be produced by setting @code{\aikenHeads} or
@code{\sacredHarpHeads}, depending on the style desired.
-@lilypond[verbatim,fragment,relative=1]
+@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
\aikenHeads
c8 d4 e8 a2 g1
\sacredHarpHeads
Shapes are typeset according to the step in the scale, where
the base of the scale is determined by the @code{\key} command.
-@funindex \key
-@funindex shapeNoteStyles
-@funindex \aikenHeads
-@funindex \sacredHarpHeads
-
-Shape note heads are implemented through the
-@code{shapeNoteStyles} property. Its value is a vector of
-symbols. The k-th element indicates the style to use for the k-th
-step of the scale. Arbitrary combinations are possible, e.g.:
-
-@lilypond[verbatim,fragment,relative=1]
-\set shapeNoteStyles =
- ##(cross triangle fa #f mensural xcircle diamond)
-c8 d4 e8 a2 g1
-@end lilypond
-
@commonprop
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
@seealso
-Snippets: @lsrdir{Pitches}.
+Snippets: @lsrdir{Pitches,Pitches}.
@node Improvisation
-@unnumberedsubsubsec Improvisation
+@subsubsection Improvisation
@cindex improvisation
@cindex slashed note heads
@cindex note heads, improvisation
@cindex note heads, slashed
-Improvisation is sometimes denoted with slashed note heads. Such
-note heads can be created by adding a @code{Pitch_squash_engraver}
-to the @code{Voice} context. Then, the following command
-
-@example
-\set squashedPosition = #0
-\override NoteHead #'style = #'slash
-@end example
-
-@noindent
-switches on the slashes.
-
-There are shortcuts @code{\improvisationOn} (and an accompanying
-@code{\improvisationOff}) for this command sequence. They are
-used in the following example:
+Improvisation is sometimes denoted with slashed note heads, where
+the performer may choose any pitch but should play the specified
+rhythm. Such note heads can be created:
@lilypond[verbatim,quote,ragged-right]
\new Voice \with {
\consists Pitch_squash_engraver
} \transpose c c' {
- e8 e g a a16(bes)(a8) g
+ e8 e g a a16( bes) a8 g
\improvisationOn
e8
~e2~e8 f4 fis8
}
@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