version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.12.0"
@node Pitches
are three steps to this process: input, modification, and output.
@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
mode. In most cases, relative mode will be more convenient.
@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@cindex pitches
@cindex absolute
@cindex absolute octave specification
+@cindex 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
d e f g
@end lilypond
+@cindex octave changing mark
+
@funindex '
@funindex ,
d,, d, d c
@end lilypond
-@seealso
+@seealso
Music Glossary:
@rglos{Pitch names}.
@unnumberedsubsubsec Relative octave entry
@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
@seealso
-
Music Glossary:
@rglos{fifth},
@rglos{interval},
@rinternals{RelativeOctaveMusic}.
+@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},
@cindex note names, Dutch
@cindex note names, default
+@cindex default note names
@cindex sharp
@cindex flat
@cindex double sharp
@cindex double flat
@cindex flat, double
@cindex natural sign
+@cindex natural pitch
A @notation{sharp} pitch is made by adding @code{is} to the note
name, and a @notation{flat} pitch by adding @code{es}. As you
@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
cis cis cis! cis? c c c! c?
@end lilypond
+@cindex accidental on tied note
+@cindex tied note, accidental
+
Accidentals on tied notes are only printed at the beginning of a
new system:
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
-@seealso
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}
+
+@seealso
Music Glossary:
@rglos{sharp},
@rglos{flat},
Notation Reference:
@ref{Automatic accidentals},
-@ref{Annotational accidentals},
+@ref{Annotational accidentals (musica ficta)},
@ref{Note names in other languages}.
Snippets:
@rlsr{Pitches}.
Internals Reference:
-@rinternals{Accidental_engraver},
+@rinternals{Accidental_engraver},
@rinternals{Accidental},
@rinternals{AccidentalCautionary},
@rinternals{accidental-interface}.
+@cindex accidental, quarter-tone
+@cindex quarter-tone accidental
+
@knownissues
There are no generally accepted standards for denoting
@node Note names in other languages
@unnumberedsubsubsec Note names in other languages
-There are predefined sets of note names for various other
-languages. To use them, include the language-specific init file.
-For example, to use English notes names, add
-@w{@code{\include "english.ly"}} to the top of the input file.
-The available language files and the note names they define are:
-
@cindex note names, other languages
@cindex pitch names, other languages
+@cindex language, note names in other
+@cindex language, pitch names in other
-@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
-@item nederlands.ly
+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 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:
+
+@quotation
+@multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
+@headitem Language File
+ @tab Note Names
+@item @file{nederlands.ly}
@tab c d e f g a bes b
- @tab -is @tab -es @tab -isis @tab -eses
-@item english.ly
- @tab c d e f g a bf b
- @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
- @tab -ff/-flatflat
-@item deutsch.ly
+@item @file{arabic.ly}
+ @tab do re mi fa sol la sib si
+@item @file{catalan.ly}
+ @tab do re mi fa sol la sib si
+@item @file{deutsch.ly}
@tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item norsk.ly
+@item @file{english.ly}
+ @tab c d e f g a bf b
+@item @file{espanol.ly}
+ @tab do re mi fa sol la sib si
+@item @file{italiano.ly}
+ @tab do re mi fa sol la sib si
+@item @file{norsk.ly}
@tab c d e f g a b h
- @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
- @tab -essess/-eses
-@item svenska.ly
+@item @file{portugues.ly}
+ @tab do re mi fa sol la sib si
+@item @file{suomi.ly}
@tab c d e f g a b h
- @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
+@item @file{svenska.ly}
@tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@item @file{vlaams.ly}
@tab do re mi fa sol la sib si
+@end multitable
+@end quotation
+
+@noindent
+and the accidental suffixes they define are:
+
+@quotation
+@multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
+@headitem Language File
+ @tab sharp @tab flat @tab double sharp @tab double flat
+@item @file{nederlands.ly}
+ @tab -is @tab -es @tab -isis @tab -eses
+@item @file{arabic.ly}
@tab -d @tab -b @tab -dd @tab -bb
-@item catalan.ly
- @tab do re mi fa sol la sib si
+@item @file{catalan.ly}
@tab -d/-s @tab -b @tab -dd/-ss @tab -bb
-@item espanol.ly
- @tab do re mi fa sol la sib si
- @tab -s @tab -b @tab -ss @tab -bb
-@item portugues.ly
- @tab do re mi fa sol la sib si
+@item @file{deutsch.ly}
+ @tab -is @tab -es @tab -isis @tab -eses
+@item @file{english.ly}
+ @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
+ @tab -ff/-flatflat
+@item @file{espanol.ly}
+ @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 -iss/-is @tab -ess/-es @tab -ississ/-isis
+ @tab -essess/-eses
+@item @file{portugues.ly}
@tab -s @tab -b @tab -ss @tab -bb
-@item vlaams.ly
- @tab do re mi fa sol la sib si
+@item @file{suomi.ly}
+ @tab -is @tab -es @tab -isis @tab -eses
+@item @file{svenska.ly}
+ @tab -iss @tab -ess @tab -ississ @tab -essess
+@item @file{vlaams.ly}
@tab -k @tab -b @tab -kk @tab -bb
@end multitable
-@end smallexample
+@end quotation
In Dutch, @code{aes} is contracted to @code{as}, but both forms
are accepted in LilyPond. Similarly, both @code{es} and
@end lilypond
+@cindex microtones
+@cindex semi-sharp
+@cindex semi-flat
+@cindex sesqui-sharp
+@cindex sesqui-flat
+
Some music uses microtones whose alterations are fractions of a
@q{normal} sharp or flat. The note names for quarter-tones
defined in the various language files are listed in the following
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
+@quotation
+@multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
+@headitem Language File
@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 @file{nederlands.ly}
@tab -ih @tab -eh @tab -isih @tab -eseh
-@item english.ly
- @tab c d e f g a bf b
- @tab -qs @tab -qf @tab -tqs @tab -tqf
-@item deutsch.ly
- @tab c d e f g a b h
+@item @file{arabic.ly}
+ @tab -sd @tab -sb @tab -dsd @tab -bsb
+@item @file{deutsch.ly}
@tab -ih @tab -eh @tab -isih @tab -eseh
-@item italiano.ly
- @tab do re mi fa sol la sib si
+@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 portugues.ly
- @tab do re mi fa sol la sib si
+@item @file{portugues.ly}
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@end multitable
-@end smallexample
+@end quotation
@seealso
-
Music Glossary:
@rglos{Pitch names}.
This section discusses how to modify pitches.
@menu
-* Octave checks::
-* Transpose::
+* Octave checks::
+* Transpose::
@end menu
@node Octave checks
@cindex octave correction
@cindex octave check
+@cindex control pitch
+
@funindex =
-@funindex \octave
+@funindex \octaveCheck
+@funindex octaveCheck
+@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
Octave checks make such errors easier to find by displaying a
octave @code{d''} instead of @code{d'} as indicated by the octave
correction.
-@lilypond[verbatim,quote,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d='4 d
e2 f
@end lilypond
The octave of notes may also be checked with the
-@code{\octave}@tie{}@var{controlpitch} command.
+@code{\octaveCheck}@tie{}@var{controlpitch} command.
@var{controlpitch} is specified in absolute mode. This checks
that the interval between the previous note and the
@var{controlpitch} is within a fourth (i.e., the normal
printed, but the previous note is not changed. Future notes are
relative to the @var{controlpitch}.
-@lilypond[verbatim,quote,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d
- \octave c'
+ \octaveCheck c'
e2 f
}
@end lilypond
-Compare the two bars below. The first and third @code{\octave}
+Compare the two bars below. The first and third @code{\octaveCheck}
checks fail, but the second one does not fail.
-@lilypond[verbatim,quote,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c4 f g f
c4
- \octave c'
+ \octaveCheck c'
f
- \octave c'
+ \octaveCheck c'
g
- \octave c'
+ \octaveCheck c'
f
}
@end lilypond
@seealso
-
Snippets:
@rlsr{Pitches}.
@unnumberedsubsubsec Transpose
@cindex transpose
+@cindex transposing
@cindex transposition
@cindex transposition of pitches
+@cindex transposition of notes
+@cindex pitches, transposition of
+@cindex notes, transposition of
+
@funindex \transpose
+@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
+
If a part written in C (normal @notation{concert pitch}) is to be
played on the A clarinet (for which an A is notated as a C and
thus sounds a minor third lower than notated), the appropriate
will print flats on the scale step above.
@lilypond[verbatim,quote]
-mus = \relative c' { c d e f }
+music = \relative c' { c d e f }
\new Staff {
- \transpose c cis { \mus }
- \transpose c des { \mus }
+ \transpose c cis { \music }
+ \transpose c des { \music }
}
@end lilypond
-@cindex transposing instruments
@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:
Internals Reference:
@rinternals{TransposedMusic}.
+
@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
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
-@funindex \clef
@cindex G clef
@cindex C clef
@cindex F clef
@cindex clef, C
@cindex clef, F
@cindex clef, treble
-@cindex clef, violin
-@cindex clef, alto
+@cindex clef, violin
+@cindex clef, alto
@cindex clef, tenor
-@cindex clef, bass
-@cindex clef, french
-@cindex clef, soprano
-@cindex clef, mezzosoprano
-@cindex clef, baritone
-@cindex clef, varbaritone
-@cindex subbass clef, subbass
+@cindex clef, bass
+@cindex clef, french
+@cindex clef, soprano
+@cindex clef, mezzosoprano
+@cindex clef, baritone
+@cindex clef, varbaritone
+@cindex subbass clef, subbass
+
+@funindex \clef
+@funindex clef
The clef may be altered. Middle C is shown in every example.
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{Ancient clefs}.
+Further supported clefs are described under @ref{Mensural clefs}
+and @ref{Gregorian clefs}.
@cindex transposing 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,
@seealso
-
Notation Reference:
-@ref{Ancient clefs}.
+@ref{Mensural clefs}, @ref{Gregorian clefs}.
Snippets:
@rlsr{Pitches}.
@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 minor
+@cindex ionian
+@cindex locrian
+@cindex aeolian
+@cindex mixolydian
+@cindex lydian
+@cindex phrygian
+@cindex dorian
Here, @var{mode} should be @code{\major} or @code{\minor} to get a
key signature of @var{pitch}-major or @var{pitch}-minor,
@seealso
-
Music Glossary:
@rglos{church mode},
@rglos{scordatura}.
@cindex 8ve
@cindex octavation
+@funindex set-octavation
+@funindex \ottava
+@funindex ottava
+
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
@lilypond[verbatim,quote,relative=2]
a'2 b
-#(set-octavation 1)
+\ottava #1
a b
-#(set-octavation 0)
+\ottava #0
a b
@end lilypond
-The @code{set-octavation} function also takes -1 (for 8va bassa),
+The @code{ottava} function also takes -1 (for 8va bassa),
2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
@seealso
-
Music Glossary:
@rglos{octavation}.
@rinternals{ottava-bracket-interface}.
-
@node Instrument transpositions
@unnumberedsubsubsec Instrument transpositions
@cindex transposition, instrument
@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
@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff = "Vln" {
+ \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
@seealso
-
Music Glossary:
@rglos{concert pitch},
@rglos{transposing instrument}.
@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:
+
@lilypond[verbatim,quote]
musicA = {
<<
@c don't use verbatim in this table.
@table @code
@item default
+
+@cindex default accidental style
+@cindex accidental style, default
+
+@funindex default
+
This is the default typesetting behavior. It corresponds to
eighteenth-century common practice: accidentals are remembered to
the end of the measure in which they occur and only in their own
@end lilypond
@item voice
+
+@cindex accidental style, voice
+@cindex voice accidental style
+@cindex accidental style, modern
+@cindex modern accidental style
+@cindex accidental style, modern-cautionary
+@cindex modern-cautionary accidental style
+
+@funindex voice
+
The normal behavior is to remember the accidentals at
@code{Staff}-level. In this style, however, accidentals are
typeset individually for each voice. Apart from that, the rule is
@end lilypond
@item modern
+
@cindex accidentals, modern style
@cindex modern style accidentals
-@funindex modern style accidentals
+
+@funindex modern
This rule corresponds to the common practice in the twentieth
century. It prints the same accidentals as @code{default}, with
@end lilypond
@item modern-cautionary
+
@cindex accidentals, modern cautionary style
@cindex modern accidental style
@cindex modern cautionary accidental style
@cindex modern style accidentals
@cindex modern style cautionary accidentals
+
@funindex modern-cautionary
This rule is similar to @code{modern}, but the @q{extra}
@end lilypond
@item modern-voice
+
@cindex accidental style, modern
@cindex accidentals, modern
@cindex accidentals, multivoice
@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
This rule is the same as @code{modern-voice}, but with the extra
@end lilypond
@item piano
+
@cindex accidental style, piano
@cindex accidentals, piano
@cindex piano accidental style
@cindex piano accidentals
+@funindex piano
+
This rule reflects twentieth-century practice for piano notation.
Its behavior is very similar to @code{modern} style, but here
accidentals also get canceled across the staves in the same
@end lilypond
@item piano-cautionary
-@funindex #(set-accidental-style '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.
}
@end lilypond
+
+@item 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
+if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item neo-modern-cautionary
+
+@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.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item dodecaphonic
+
+@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.
+With this style, @emph{every} note gets an accidental sign,
+including natural signs.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item teaching
+
+@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
+accidentals are added for all sharp or flat tones specified by the
+key signature, except if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicA
+ }
+ \context Staff = "down" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+
@item no-reset
-@funindex no-reset accidental style
+
@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:
@end lilypond
@item forget
-@funindex forget accidental style
+
@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
-the music:
+the music. Unlike @code{dodecaphonic}, this rule never prints
+any naturals.
@lilypond[quote]
musicA = {
@seealso
-
Snippets:
@rlsr{Pitches}.
@seealso
-
Music Glossary:
@rglos{ambitus}.
This section suggests ways of altering note heads.
@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
@end menu
@node Special note heads
@cindex parlato note heads
@cindex harmonic note heads
@cindex guitar note heads
+@cindex note head styles
+@cindex styles, note heads
+
+@funindex cross
Note heads may be altered:
@noindent
To see all note head styles, see @ref{Note head styles}.
-@seealso
+@seealso
Snippets:
@rlsr{Pitches}.
@unnumberedsubsubsec Easy notation note heads
@cindex note heads, practice
+@cindex practice note heads
@cindex note heads, easy notation
@cindex easy notation
@cindex Hal Leonard
@cindex 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
}
@end lilypond
+
@predefined
+@code{\easyHeadsOn},
+@code{\easyHeadsOff}.
+@endpredefined
-@funindex \easyHeadsOn
-@funindex \easyHeadsOff
-@code{\easyHeadsOn}, @code{\easyHeadsOff}
@seealso
-
Notation Reference:
@ref{Setting the staff size}.
@cindex shape notes
@cindex Aiken shape note heads
@cindex sacred harp note heads
+
@funindex \key
-@funindex shapeNoteStyles
+@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
Shapes are typeset according to the step in the scale, where the
base of the scale is determined by the @code{\key} command.
+
@predefined
+@code{\aikenHeads},
+@code{\sacredHarpHeads}.
+@endpredefined
-@funindex \aikenHeads
-@funindex \sacredHarpHeads
-@code{\aikenHeads}, @code{\sacredHarpHeads}
@snippets
@noindent
To see all note head styles, see @ref{Note head styles}.
-@seealso
+@seealso
Snippets:
@rlsr{Pitches}.
@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
+@code{\improvisationOn},
+@code{\improvisationOff}.
+@endpredefined
-@funindex \improvisationOn
-@funindex \improvisationOff
-
-@code{\improvisationOn}, @code{\improvisationOff}
@seealso
-
Snippets:
@rlsr{Pitches}.
projects / lilypond.git / blobdiff