version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.61"
+@c \version "2.12.0"
@node Pitches
@cindex pitches
@cindex absolute
@cindex absolute octave specification
+@cindex octave specification, absolute
@cindex absolute octave entry
+@cindex octave entry, absolute
A pitch name is specified using lowercase letters@tie{}@code{a}
through@tie{}@code{g}. The note names @code{c} to @code{b} are
@end lilypond
@cindex octave changing mark
+
@funindex '
@funindex ,
@cindex relative
@cindex relative octave entry
+@cindex octave entry, relative
@cindex relative octave specification
+@cindex ocatve specification, relative
+
+@funindex relative
@funindex \relative
When octaves are specified in absolute mode it is easy to
}
@end lilypond
+When @code{\relative} blocks are nested, the innermost
+@code{\relative} block applies.
+
+@lilypond[verbatim,quote]
+\relative c' {
+ c d e f
+ \relative c'' {
+ c d e f
+ }
+}
+@end lilypond
+
+@code{\relative} has no effect on @code{\chordmode} blocks.
+
+@lilypond[verbatim,quote]
+\new Staff {
+ \relative c''' {
+ \chordmode { c1 }
+ }
+ \chordmode { c1 }
+}
+@end lilypond
+
+@code{\relative} is not allowed inside of @code{\chordmode} blocks.
+
+Music inside a @code{\transpose} block is absolute unless a
+@code{\relative} is included.
+
+@lilypond[verbatim,quote]
+\relative c' {
+ d e
+ \transpose f g {
+ d e
+ \relative c' {
+ d e
+ }
+ }
+}
+@end lilypond
+
+
+@cindex chords and relative octave entry
+@cindex relative octave entry and chords
+
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
@cindex relative octave entry and transposition
@cindex transposition and relative octave entry
+
@funindex \transpose
+@funindex transpose
@funindex \chordmode
+@funindex chordmode
@funindex \relative
+@funindex relative
-@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 DEPRECATED
If no @var{startpitch} is specified for @code{\relative},
then@tie{}@code{c'} is assumed. However, this is a deprecated
@cindex note names, Dutch
@cindex note names, default
+@cindex default note names
@cindex sharp
@cindex flat
@cindex double sharp
@end lilypond
@cindex quarter tones
-@cindex semi-flats, semi-sharps
+@cindex semi-flats
+@cindex semi-sharps
Quarter tones may be added; the following is a series of Cs with
increasing pitches:
@cindex accidental, cautionary
@cindex accidental, parenthesized
@cindex reminder accidental
-@funindex ?
@cindex cautionary accidental
@cindex parenthesized accidental
+
+@funindex ?
@funindex !
+
Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental can be forced by
adding an exclamation mark@tie{}@code{!} after the pitch. A
There are predefined sets of note and accidental names for various
other languages. To use them, include the language-specific init
-file listed below. For example, to use English notes names, add
-@code{@w{\include "english.ly"}} to the top of the input file.
+file listed below. For example, to use English note names, add
+@code{@w{\include "english.ly"}} to the input file.
+
+@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
+use default (Nederlands) note names, the @code{@bs{}include}
+command for the language file should be placed after all other
+LilyPond distribution files.}
The available language files and the note names they define are:
@tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
@tab -ff/-flatflat
@item @file{espanol.ly}
- @tab -s @tab -b @tab -ss @tab -bb
+ @tab -s @tab -b @tab -ss/-x @tab -bb
@item @file{italiano.ly}
@tab -d @tab -b @tab -dd @tab -bb
@item @file{norsk.ly}
@tab -ih @tab -eh @tab -isih @tab -eseh
@item @file{english.ly}
@tab -qs @tab -qf @tab -tqs @tab -tqf
+@item @file{espanol.ly}
+ @tab -cs @tab -cb @tab -tcs @tab -tcb
@item @file{italiano.ly}
@tab -sd @tab -sb @tab -dsd @tab -bsb
@item @file{portugues.ly}
@cindex octave correction
@cindex octave check
@cindex control pitch
+
@funindex =
@funindex \octaveCheck
+@funindex octaveCheck
@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
@cindex transposition of notes
@cindex pitches, transposition of
@cindex notes, transposition of
+
@funindex \transpose
+@funindex transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
other note is transposed by the same interval. Both pitches are
entered in absolute mode.
+@warning{Music inside a @code{@bs{}transpose} block is absolute
+unless a @code{@bs{}relative} is included in the block.}
+
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.
}
@end lilypond
-@cindex transposing instruments
-@cindex instruments, transposing
@code{\transpose} may also be used in a different way, to input
written notes for a transposing instrument. The previous examples
@seealso
Notation Reference:
+@ref{Relative octave entry},
@ref{Instrument transpositions}.
Snippets:
@funindex \transpose
+@funindex transpose
@funindex \chordmode
+@funindex chordmode
@funindex \relative
+@funindex relative
@knownissues
To use relative mode within transposed music, an additional
@code{\relative} must be placed inside @code{\transpose}.
-
@node Displaying pitches
@subsection Displaying pitches
@node Clef
@unnumberedsubsubsec Clef
-@funindex \clef
@cindex G clef
@cindex C clef
@cindex F clef
@cindex clef, varbaritone
@cindex subbass clef, subbass
+@funindex \clef
+@funindex clef
+
The clef may be altered. Middle C is shown in every example.
@lilypond[verbatim,quote,relative=1]
c2 c
\clef tab
c2 c
+
+\break
+
+\clef G
+c2 c
+\clef F
+c2 c
+\clef C
+c2 c
+
@end lilypond
Further supported clefs are described under @ref{Mensural clefs}
@cindex clef, transposing
@cindex octave transposition
@cindex choral tenor clef
+@cindex tenor clef, choral
By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
clef is transposed one octave down or up, respectively,
@unnumberedsubsubsec Key signature
@cindex key signature
+
@funindex \key
+@funindex key
@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
@end example
@funindex \major
+@funindex major
@funindex \minor
+@funindex minor
@funindex \ionian
+@funindex ionian
@funindex \locrian
+@funindex locrian
@funindex \aeolian
+@funindex aeolian
@funindex \mixolydian
+@funindex mixolydian
@funindex \lydian
+@funindex lydian
@funindex \phrygian
+@funindex phrygian
@funindex \dorian
+@funindex dorian
+
@cindex church modes
@cindex modes
@cindex major
@cindex 8va
@cindex 8ve
@cindex octavation
+
@funindex set-octavation
+@funindex \ottava
+@funindex ottava
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
@cindex transposing instrument
@cindex MIDI
@cindex MIDI transposition
+
@funindex \transposition
+@funindex transposition
When typesetting scores that involve transposing instruments, some
parts can be typeset in a different pitch than the
\new GrandStaff <<
\new Staff = "violin" {
\relative c'' {
- \set Staff.instrumentName = "Vln"
- \set Staff.midiInstrument = "violin"
+ \set Staff.instrumentName = #"Vln"
+ \set Staff.midiInstrument = #"violin"
% not strictly necessary, but a good reminder
\transposition c'
\new Staff = "clarinet" {
\relative c'' {
\set Staff.instrumentName = \markup { Cl (B\flat) }
- \set Staff.midiInstrument = "clarinet"
+ \set Staff.midiInstrument = #"clarinet"
\transposition bes
\key d \major
clarinet.
@lilypond[verbatim,quote,relative=2]
-\set Staff.instrumentName = "Cl (A)"
+\set Staff.instrumentName = #"Cl (A)"
\key a \major
\transposition a
c d e f
@cindex accidentals, automatic
@cindex automatic accidentals
@cindex default accidental style
+
@funindex set-accidental-style
@funindex voice
+@funindex default
There are many different conventions on how to typeset
accidentals. LilyPond provides a function to specify which
The following accidental styles are supported. To demonstrate
each style, we use the following example:
-@funindex default
@lilypond[verbatim,quote]
musicA = {
@cindex default accidental style
@cindex accidental style, default
+
@funindex default
This is the default typesetting behavior. It corresponds to
@cindex modern accidental style
@cindex accidental style, modern-cautionary
@cindex modern-cautionary accidental style
+
@funindex voice
The normal behavior is to remember the accidentals at
@cindex accidentals, modern style
@cindex modern style accidentals
+
@funindex modern
This rule corresponds to the common practice in the twentieth
@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}
@cindex modern accidental style
@cindex modern accidentals
@cindex multivoice accidentals
+
@funindex modern-voice
This rule is used for multivoice accidentals to be read both by
@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
@cindex accidentals, piano
@cindex piano accidental style
@cindex piano accidentals
+
@funindex piano
This rule reflects twentieth-century practice for piano notation.
@item piano-cautionary
-@funindex piano-cautionary
@cindex accidentals, piano cautionary
@cindex cautionary accidentals, piano
@cindex piano cautionary accidentals
@cindex cautionary accidental style, piano
@cindex piano cautionary accidental style
+@funindex piano-cautionary
+
This is the same as @code{piano} but with the extra accidentals
typeset as cautionaries.
@item neo-modern
-@funindex neo-modern
@cindex neo-modern accidental style
@cindex accidental style, neo-modern
+@funindex neo-modern
+
This rule reproduces a common practice in contemporary music:
accidentals are printed like with @code{modern}, but they are printed
again if the same note appears later in the same measure -- except
@item neo-modern-cautionary
-@funindex neo-modern-cautionary
@cindex neo-modern-cautionary accidental style
@cindex accidental style, neo-modern-cautionary
+@funindex neo-modern-cautionary
+
This rule is similar to @code{neo-modern}, but the extra
accidentals are printed as cautionary accidentals.
@item dodecaphonic
-@funindex dodecaphonic
@cindex dodecaphonic accidental style
@cindex dodecaphonic style, neo-modern
+@funindex dodecaphonic
+
This rule reflects a practice introduced by composers at
the beginning of the 20th century, in an attempt to
abolish the hierarchy between natural and non-natural notes.
@item teaching
-@funindex teaching
@cindex teaching accidental style
@cindex accidental style, teaching
+@funindex teaching
+
This rule is intended for students, and makes it easy to create
scale sheets with automagically created cautionary accidentals.
Accidentals are printed like with @code{modern}, but cautionary
@item no-reset
-@funindex no-reset
@cindex accidental style, no reset
@cindex no reset accidental style
+@funindex no-reset
+
This is the same as @code{default} but with accidentals lasting
@q{forever} and not only within the same measure:
@item forget
-@funindex forget
@cindex forget accidental style
@cindex accidental style, forget
+@funindex forget
+
This is the opposite of @code{no-reset}: Accidentals are not
remembered at all -- and hence all accidentals are typeset
relative to the key signature, regardless of what came before in
@cindex guitar note heads
@cindex note head styles
@cindex styles, note heads
+
@funindex cross
Note heads may be altered:
@cindex easy play note heads
@cindex note heads, easy play
+@funindex \easyHeadsOn
+@funindex easyHeadsOn
+@funindex \easyHeadsOff
+@funindex easyHeadsOff
+
The @q{easy play} note head includes a note name inside the head.
It is used in music for beginners. To make the letters readable,
it should be printed in a large font size. To print with a larger
@predefined
-@funindex \easyHeadsOn
@code{\easyHeadsOn},
-@funindex \easyHeadsOff
@code{\easyHeadsOff}.
@endpredefined
@cindex shape notes
@cindex Aiken shape note heads
@cindex sacred harp note heads
+
@funindex \key
+@funindex key
@funindex \aikenHeads
+@funindex aikenHeads
@funindex \sacredHarpHeads
+@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
@predefined
-@funindex \aikenHeads
@code{\aikenHeads},
-@funindex \sacredHarpHeads
@code{\sacredHarpHeads}.
@endpredefined
@cindex note heads, improvisation
@cindex note heads, slashed
+@funindex \improvisationOn
+@funindex improvisationOn
+@funindex \improvisationOff
+@funindex improvisationOff
+
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:
@predefined
-@funindex \improvisationOn
@code{\improvisationOn},
-@funindex \improvisationOff
@code{\improvisationOff}.
@endpredefined
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