X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fpitches.itely;h=15af95d1405ba6ff626fd31ee912f7581f559274;hb=041cb33a404a829a8cdeeaebce17e45f613f10d8;hp=ffa4e33b0b30276c932f0a1c000678ea9975b45d;hpb=98ac53591234404cd70c5eebd370a598ec74095b;p=lilypond.git diff --git a/Documentation/notation/pitches.itely b/Documentation/notation/pitches.itely index ffa4e33b0b..15af95d140 100644 --- a/Documentation/notation/pitches.itely +++ b/Documentation/notation/pitches.itely @@ -7,7 +7,7 @@ Guide, node Updating translation committishes.. @end ignore -@c \version "2.19.22" +@c \version "2.19.53" @node Pitches @@ -87,7 +87,6 @@ octave. } @end lilypond -@funindex fixed @funindex \fixed Common octave marks can be entered just once on a reference pitch after @code{\fixed} placed before the music. Pitches inside @@ -129,7 +128,6 @@ Snippets: @cindex relative octave specification @cindex octave specification, relative -@funindex relative @funindex \relative Absolute octave entry requires specifying the octave for every @@ -182,7 +180,7 @@ Writing @code{\relative gis''' @{ gis @dots{} @}} makes it easy to determine the absolute pitch of the first note inside. @item no explicit starting pitch -The form @code{\relative @{ gis''' @dots{} @}}) serves +The form @code{\relative @{ gis''' @dots{} @}} serves as a compact version of the previous option: the first note inside is written in absolute pitch itself. (This happens to be equivalent to choosing @code{f} as the reference pitch.) @@ -299,6 +297,24 @@ that each interval contains. } @end lilypond +In complex situations, it is sometimes useful to get back to a +certain pitch regardless of what happened before. This can be +done using @code{\resetRelativeOctave}: + +@lilypond[verbatim,quote] +\relative { + << + { c''2 d } + \\ + { e,,2 f } + >> + \resetRelativeOctave c'' + c2 +} +@end lilypond + +@funindex \resetRelativeOctave + @seealso Music Glossary: @@ -319,11 +335,8 @@ Internals Reference: @cindex transposition and relative octave entry @funindex \transpose -@funindex transpose @funindex \chordmode -@funindex chordmode @funindex \relative -@funindex relative @node Accidentals @@ -360,16 +373,16 @@ 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,relative=2] -ais1 aes aisis aeses +@lilypond[verbatim,quote,fragment] +\relative c'' { ais1 aes aisis aeses } @end lilypond A natural pitch is entered as a simple note name; no suffix is required. A natural sign will be printed when needed to cancel the effect of an earlier accidental or key signature. -@lilypond[verbatim,quote,relative=2] -a4 aes a2 +@lilypond[verbatim,quote,fragment] +\relative c'' { a4 aes a2 } @end lilypond @cindex quarter tones @@ -379,8 +392,8 @@ a4 aes a2 Quarter tones may be added; the following is a series of Cs with increasing pitches: -@lilypond[verbatim,quote,relative=2] -ceseh1 ces ceh c cih cis cisih +@lilypond[verbatim,quote,fragment] +\relative c'' { ceseh1 ces ceh c cih cis cisih } @end lilypond @@ -403,8 +416,8 @@ cautionary accidental (i.e., an accidental within parentheses) can be obtained by adding the question mark@tie{}@code{?} after the pitch. -@lilypond[verbatim,quote,relative=2] -cis cis cis! cis? c c c! c? +@lilypond[verbatim,quote,fragment] +\relative c'' { cis cis cis! cis? c c c! c? } @end lilypond @cindex accidental on tied note @@ -413,10 +426,12 @@ cis cis cis! cis? c c c! c? Accidentals on tied notes are only printed at the beginning of a new system: -@lilypond[verbatim,quote,relative=2,ragged-right] -cis1~ 1~ -\break -cis +@lilypond[verbatim,quote,fragment,ragged-right] +\relative c'' { + cis1~ 1~ + \break + cis +} @end lilypond @@ -459,7 +474,7 @@ Internals Reference: @knownissues There are no generally accepted standards for denoting -quarter-tone accidentals, so LilyPond's symbol does not conform to +quarter-tone accidentals, so LilyPond's symbols do not conform to any standard. @@ -487,7 +502,7 @@ using Italian note names: The available languages and the note names they define are: @quotation -@multitable {@code{nederlands}} {do re mi fa sol la sib si} +@multitable {@code{nederlands}} {do re/re mi fa sol la sib si} @headitem Language @tab Note Names @item @code{nederlands} @@ -500,7 +515,9 @@ The available languages and the note names they define are: @tab c d e f g a bf b @item @code{espanol} or @code{español} @tab do re mi fa sol la sib si -@item @code{italiano} or @code{français} +@item @code{français} + @tab do ré/re mi fa sol la sib si +@item @code{italiano} @tab do re mi fa sol la sib si @item @code{norsk} @tab c d e f g a b h @@ -519,7 +536,7 @@ In addition to note names, accidental suffixes may also vary depending on the language: @quotation -@multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{ess}/-@code{es}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{essess}/-@code{eses}} +@multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{f}/-@code{-flat}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{ff}/-@code{-flatflat}} @headitem Language @tab sharp @tab flat @tab double sharp @tab double flat @item @code{nederlands} @@ -533,7 +550,9 @@ also vary depending on the language: @tab -@code{ff}/-@code{-flatflat} @item @code{espanol} or @code{español} @tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb} -@item @code{italiano} or @code{français} +@item @code{français} + @tab -@code{d} @tab -@code{b} @tab -@code{dd}/-@code{x} @tab -@code{bb} +@item @code{italiano} @tab -@code{d} @tab -@code{b} @tab -@code{dd} @tab -@code{bb} @item @code{norsk} @tab -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis} @@ -556,8 +575,8 @@ are accepted in LilyPond. Similarly, both @code{es} and @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these contracted names are defined in the corresponding language files. -@lilypond[verbatim,quote,relative=2] -a2 as e es a ases e eses +@lilypond[verbatim,quote,fragment] +\relative c'' { a2 as e es a ases e eses } @end lilypond @@ -587,7 +606,9 @@ appear in this table do not provide special note names yet. @tab -qs @tab -qf @tab -tqs @tab -tqf @item @code{espanol} or @code{español} @tab -cs @tab -cb @tab -tcs @tab -tcb -@item @code{italiano} or @code{français} +@item @code{français} + @tab -sd @tab -sb @tab -dsd @tab -bsb +@item @code{italiano} @tab -sd @tab -sb @tab -dsd @tab -bsb @item @code{portugues} @tab -sqt @tab -bqt @tab -stqt @tab -btqt @@ -637,7 +658,6 @@ This section discusses how to modify pitches. @funindex = @funindex \octaveCheck -@funindex octaveCheck @funindex controlpitch In relative mode, it is easy to forget an octave changing mark. @@ -664,8 +684,8 @@ The octave of notes may also be checked with the checks that the interval between the previous note and the @code{@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 @code{@var{controlpitch}}. +printed. While the previous note itself is not changed, future +notes are relative to the corrected value. @lilypond[verbatim,quote] \relative { @@ -712,7 +732,6 @@ Internals Reference: @cindex notes, transposition of @funindex \transpose -@funindex transpose A music expression can be transposed with @code{\transpose}. The syntax is @@ -830,11 +849,8 @@ Internals Reference: @rinternals{TransposedMusic}. @funindex \transpose -@funindex transpose @funindex \chordmode -@funindex chordmode @funindex \relative -@funindex relative @knownissues The relative conversion will not affect @code{\transpose}, @@ -843,7 +859,7 @@ relative mode within transposed music, an additional @code{\relative} must be placed inside @code{\transpose}. Triple accidentals will not be printed if using @code{\transpose}. An -@q{enharmonically equivalent} pitch will be used instead (e.g. d-flat +@q{enharmonically equivalent} pitch will be used instead (e.g., d-flat rather than e-triple-flat). @@ -892,7 +908,6 @@ Notation Reference: @cindex transformation, retrograde @cindex operation, retrograde @funindex \retrograde -@funindex retrograde A music expression can be reversed to produce its retrograde: @@ -906,9 +921,14 @@ music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 } @end lilypond @knownissues -Manual ties inside @code{\retrograde} will be broken and -generate warnings. Some ties can be generated automatically -by enabling @ref{Automatic note splitting}. +@code{\retrograde} is a rather simple tool. Since many events are +@q{mirrored} rather than exchanged, tweaks and directional +modifiers for opening spanners need to be added at the matching +closing spanners: @code{^(} needs to be ended by @code{^)}, every +@code{\<} or @code{\cresc} needs to be ended by @code{\!} or +@code{\endcr}, every @code{\>} or @code{\decr} needs to be ended +by @code{\enddecr}. Property-changing commands/overrides with a +lasting effect will likely cause surprises. @seealso Notation Reference: @@ -940,7 +960,6 @@ left untransformed.} @cindex transposition, modal @cindex operation, transposition @funindex \modalTranspose -@funindex modalTranspose A motif can be transposed within a given scale with: @@ -997,7 +1016,6 @@ motif = \relative { c'8 d e f g a b c } @cindex inversion, modal @cindex operation, modal inversion @funindex \modalInversion -@funindex modalInversion A motif can be inverted within a given scale around a given pivot note and transposed in a single operation with: @@ -1111,28 +1129,27 @@ This section discusses how to alter the output of pitches. @funindex \clef -@funindex clef Without any explicit command, the default clef for LilyPond is the treble (or @emph{G}) clef. -@lilypond[verbatim,quote,relative=1,ragged-right] -c2 c +@lilypond[verbatim,quote,fragment,ragged-right] +c'2 c' @end lilypond However, the clef can be changed by using the @code{\clef} command and an appropriate clef name. @emph{Middle C} is shown in each of the following examples. -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,fragment] \clef treble -c2 c +c'2 c' \clef alto -c2 c +c'2 c' \clef tenor -c2 c +c'2 c' \clef bass -c2 c +c'2 c' @end lilypond For the full range of possible clef names see @ref{Clef styles}. @@ -1161,29 +1178,29 @@ and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves. Other integers can be used if required. Clef names containing non-alphabetic characters must be enclosed in quotes -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,fragment] \clef treble -c2 c +c'2 c' \clef "treble_8" -c2 c +c'2 c' \clef "bass^15" -c2 c +c'2 c' \clef "alto_2" -c2 c +c'2 c' \clef "G_8" -c2 c +c'2 c' \clef "F^5" -c2 c +c'2 c' @end lilypond Optional octavation can be obtained by enclosing the numeric argument in parentheses or brackets: -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,fragment] \clef "treble_(8)" -c2 c +c'2 c' \clef "bass^[15]" -c2 c +c'2 c' @end lilypond The pitches are displayed as if the numeric argument were @@ -1194,52 +1211,59 @@ the new clef symbol to be printed at the end of the previous line, as a @emph{warning} clef, as well as the beginning of the next. This @emph{warning} clef can be suppressed. -@lilypond[verbatim,quote,relative=1] -\clef treble { c2 c } \break -\clef bass { c2 c } \break +@lilypond[verbatim,quote,fragment] +\clef treble { c'2 c' } \break +\clef bass { c'2 c' } \break \clef alto \set Staff.explicitClefVisibility = #end-of-line-invisible - { c2 c } \break + { c'2 c' } \break \unset Staff.explicitClefVisibility -\clef bass { c2 c } \break +\clef bass { c'2 c' } \break @end lilypond By default, a clef that has previously been printed will not be re-printed if the same @code{\clef} command is issued again and -will be ignored. The the command +will be ignored. The command @code{\set Staff.forceClef = ##t} changes this behaviour. -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,fragment] \clef treble - c1 + c'1 \clef treble - c1 + c'1 \set Staff.forceClef = ##t - c1 + c'1 \clef treble - c1 + c'1 @end lilypond +@noindent +To be more precise, it is not the @code{\clef} command itself that +prints a clef. Instead, it sets or changes a property of the +@code{Clef_engraver}, which then decides by its own whether to +display a clef or not in the current staff. The @code{forceClef} +property overrides this decision locally to re-print a clef once. + When there is a manual clef change, the glyph of the changed clef will be smaller than normal. This behaviour can be overridden. -@lilypond[verbatim,quote,relative=1] +@lilypond[verbatim,quote,fragment] \clef "treble" - c1 + c'1 \clef "bass" - c1 + c'1 \clef "treble" - c1 + c'1 \override Staff.Clef.full-size-change = ##t \clef "bass" - c1 + c'1 \clef "treble" - c1 + c'1 \revert Staff.Clef.full-size-change \clef "bass" - c1 + c'1 \clef "treble" - c1 + c'1 @end lilypond @snippets @@ -1272,13 +1296,13 @@ grobs. So any @code{\override} done to the @var{Clef} will also need to be applied, as a separate @code{\override}, to the @var{ClefModifier} grob. -@lilypond[fragment,quote,verbatim,relative=1] +@lilypond[fragment,quote,verbatim] \new Staff \with { \override Clef.color = #blue \override ClefModifier.color = #red } -\clef "treble_8" c4 +\clef "treble_8" c'4 @end lilypond @@ -1288,7 +1312,6 @@ need to be applied, as a separate @code{\override}, to the @cindex key signature @funindex \key -@funindex key @c duplicated in Key signature and Accidentals @warning{New users are sometimes confused about accidentals and @@ -1307,23 +1330,14 @@ at the start of the staff. The key signature may be altered: @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 @@ -1345,11 +1359,13 @@ standard mode names, also called @notation{church modes}: @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian}, @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}. -@lilypond[verbatim,quote,relative=2] -\key g \major -fis1 -f -fis +@lilypond[verbatim,quote,fragment] +\relative { + \key g \major + fis''1 + f + fis +} @end lilypond Additional modes can be defined, by listing the alterations @@ -1374,14 +1390,14 @@ printed. If a single position is specified in an entry, the accidentals are placed within the octave ending at that staff position. -@lilypond[verbatim, quote,relative=0] +@lilypond[verbatim, quote,fragment] \override Staff.KeySignature.flat-positions = #'((-5 . 5)) \override Staff.KeyCancellation.flat-positions = #'((-5 . 5)) -\clef bass \key es \major es g bes d -\clef treble \bar "||" \key es \major es g bes d +\clef bass \key es \major es g bes d' +\clef treble \bar "||" \key es \major es' g' bes' d'' \override Staff.KeySignature.sharp-positions = #'(2) -\bar "||" \key b \major b fis b2 +\bar "||" \key b \major b' fis' b'2 @end lilypond @snippets @@ -1424,23 +1440,24 @@ Internals Reference: @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] -a2 b -\ottava #-2 -a2 b -\ottava #-1 -a2 b -\ottava #0 -a2 b -\ottava #1 -a2 b -\ottava #2 -a2 b +@lilypond[verbatim,quote] +\relative a' { + a2 b + \ottava #-2 + a2 b + \ottava #-1 + a2 b + \ottava #0 + a2 b + \ottava #1 + a2 b + \ottava #2 + a2 b +} @end lilypond @snippets @@ -1477,7 +1494,6 @@ Internals Reference: @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 @@ -1507,26 +1523,24 @@ playing in unison. @lilypond[verbatim,quote] \new GrandStaff << - \new Staff = "violin" { - \relative c'' { - \set Staff.instrumentName = #"Vln" - \set Staff.midiInstrument = #"violin" - % not strictly necessary, but a good reminder - \transposition c' - - \key c \major - g4( c8) r c r c4 - } + \new Staff = "violin" \with { + instrumentName = #"Vln" + midiInstrument = #"violin" } - \new Staff = "clarinet" { - \relative c'' { - \set Staff.instrumentName = \markup { Cl (B\flat) } - \set Staff.midiInstrument = #"clarinet" - \transposition bes - - \key d \major - a4( d8) r d r d4 - } + \relative c'' { + % not strictly necessary, but a good reminder + \transposition c' + \key c \major + g4( c8) r c r c4 + } + \new Staff = "clarinet" \with { + instrumentName = \markup { Cl (B\flat) } + midiInstrument = #"clarinet" + } + \relative c'' { + \transposition bes + \key d \major + a4( d8) r d r d4 } >> @end lilypond @@ -1894,12 +1908,10 @@ musicB = { @funindex modern-cautionary -This rule is similar to @code{modern}, but the @q{extra} -accidentals (the ones not typeset by @code{default}) are typeset -as cautionary accidentals. They are by default printed with -parentheses, but they can also be printed in reduced size by -defining the @code{cautionary-style} property of -@code{AccidentalSuggestion}. +This rule is similar to @code{modern}, but the @q{extra} accidentals +are printed as cautionary accidentals (with parentheses). They can also +be printed at a different size by overriding +@code{AccidentalCautionary}'s @code{font-size} property. @lilypond[quote] musicA = { @@ -2201,6 +2213,129 @@ musicB = { @end lilypond +@item choral + +@cindex accidental style, choral +@cindex accidentals, choral +@cindex choral accidental style +@cindex choral accidentals + +@funindex choral + +This rule is a combination of the @code{modern-voice} and the @code{piano} +style. It shows all accidentals required for singers that only follow their +own voice, as well as additional accidentals for readers that follow all +voices of an entire @code{ChoirStaff} simultaneously. + +This accidental style applies to the current @code{ChoirStaff} by default. + +@lilypond[quote] +musicA = { + << + \relative { + cis''8 fis, bes4 8 f bis4 | + cis2. 4 | + } + \\ + \relative { + ais'2 cis, | + fis8 b a4 cis2 | + } + >> +} + +musicB = { + \clef bass + \new Voice { + \voiceTwo \relative { + 8[ + \change Staff = up + cis' cis + \change Staff = down + ] + \showStaffSwitch + \change Staff = up + dis'4 | + \change Staff = down + 4 gis 2 | + } + } +} + +\new ChoirStaff { + << + \context Staff = "up" { + \accidentalStyle choral + \musicA + } + \context Staff = "down" { + \musicB + } + >> +} +@end lilypond + +@item choral-cautionary + +@cindex accidentals, choral cautionary +@cindex cautionary accidentals, choral +@cindex choral cautionary accidentals +@cindex accidental style, choral cautionary +@cindex cautionary accidental style, choral +@cindex choral cautionary accidental style + +@funindex choral-cautionary + +This is the same as @code{choral} but with the extra accidentals +typeset as cautionaries. + +@lilypond[quote] +musicA = { + << + \relative { + cis''8 fis, bes4 8 f bis4 | + cis2. 4 | + } + \\ + \relative { + ais'2 cis, | + fis8 b a4 cis2 | + } + >> +} + +musicB = { + \clef bass + \new Voice { + \voiceTwo \relative { + 8[ + \change Staff = up + cis' cis + \change Staff = down + ] + \showStaffSwitch + \change Staff = up + dis'4 | + \change Staff = down + 4 gis 2 | + } + } +} + +\new ChoirStaff { + << + \context Staff = "up" { + \accidentalStyle choral-cautionary + \musicA + } + \context Staff = "down" { + \musicB + } + >> +} +@end lilypond + + @item neo-modern @cindex neo-modern accidental style @@ -2267,8 +2402,10 @@ musicB = { @funindex neo-modern-cautionary -This rule is similar to @code{neo-modern}, but the extra -accidentals are printed as cautionary accidentals. +This rule is similar to @code{neo-modern}, but the @q{extra} accidentals +are printed as cautionary accidentals (with parentheses). They can also +be printed at a different size by overriding +@code{AccidentalCautionary}'s @code{font-size} property. @lilypond[quote] musicA = { @@ -2964,16 +3101,18 @@ This section suggests ways of altering note heads. The appearance of note heads may be altered: -@lilypond[verbatim,quote,relative=2] -c4 b -\override NoteHead.style = #'cross -c4 b -\revert NoteHead.style -a b -\override NoteHead.style = #'harmonic -a b -\revert NoteHead.style -c4 d e f +@lilypond[verbatim,quote] +\relative c'' { + c4 b + \override NoteHead.style = #'cross + c4 b + \revert NoteHead.style + a b + \override NoteHead.style = #'harmonic + a b + \revert NoteHead.style + c4 d e f +} @end lilypond To see all note head styles, see @ref{Note head styles}. @@ -2983,22 +3122,26 @@ intentions. The following generic predefined commands modify the note head in both staff and tablature contexts and can be used to represent any musical meaning: -@lilypond[verbatim,quote,relative=2] -c4 b -\xNotesOn - a b c4 b -\xNotesOff -c4 d +@lilypond[verbatim,quote] +\relative { + c''4 b + \xNotesOn + a b c4 b + \xNotesOff + c4 d +} @end lilypond The music function form of this predefined command may be used inside and outside chords to generate crossed note heads in both staff and tablature contexts: -@lilypond[verbatim,quote,relative=2] -c4 b -\xNote { e f } -c b < g \xNote c f > b +@lilypond[verbatim,quote] +\relative { + c''4 b + \xNote { e f } + c b < g \xNote c f > b +} @end lilypond As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff}, @@ -3007,8 +3150,10 @@ be used. The term @notation{dead note} is commonly used by guitarists. There is also a similar shorthand for diamond shapes: -@lilypond[verbatim,quote,relative=2] -2 4 f\harmonic +@lilypond[verbatim,quote] +\relative c'' { + 2 4 f\harmonic +} @end lilypond @predefined @@ -3050,9 +3195,7 @@ Internals Reference: @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, @@ -3117,15 +3260,10 @@ Internals Reference: @cindex note heads, Walker @funindex \aikenHeads -@funindex aikenHeads @funindex \sacredHarpHeads -@funindex sacredHarpHeads @funindex \southernHarmonyHeads -@funindex southernHarmonyHeads @funindex \funkHeads -@funindex funkHeads @funindex \walkerHeads -@funindex walkerHeads In shape note head notation, the shape of the note head corresponds to the harmonic function of a note in the scale. This @@ -3133,52 +3271,49 @@ notation was popular in nineteenth-century American song books. Shape note heads can be produced in Sacred Harp, Southern Harmony, Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles: -@lilypond[verbatim,quote,relative=2] -\aikenHeads -c, d e f g2 a b1 c \break -\sacredHarpHeads -c,4 d e f g2 a b1 c \break -\southernHarmonyHeads -c,4 d e f g2 a b1 c \break -\funkHeads -c,4 d e f g2 a b1 c \break -\walkerHeads -c,4 d e f g2 a b1 c \break +@lilypond[verbatim,quote] +\relative c'' { + \aikenHeads + c, d e f g2 a b1 c \break + \sacredHarpHeads + c,4 d e f g2 a b1 c \break + \southernHarmonyHeads + c,4 d e f g2 a b1 c \break + \funkHeads + c,4 d e f g2 a b1 c \break + \walkerHeads + c,4 d e f g2 a b1 c \break +} @end lilypond @funindex \key -@funindex key @funindex \aikenHeadsMinor -@funindex aikenHeadsMinor @funindex \sacredHarpHeadsMinor -@funindex sacredHarpHeadsMinor @funindex \southernHarmonyHeadsMinor -@funindex southernHarmonyHeadsMinor @funindex \funkHeadsMinor -@funindex funkHeadsMinor @funindex \walkerHeadsMinor -@funindex walkerHeadsMinor Shapes are typeset according to the step in the scale, where the base of the scale is determined by the @code{\key} command. When writing in a minor key, the scale step can be determined from the relative major: -@lilypond[verbatim,quote,relative=2] -\key a \minor -\aikenHeads -a b c d e2 f g1 a \break -\aikenHeadsMinor -a,4 b c d e2 f g1 a \break -\sacredHarpHeadsMinor -a,2 b c d \break -\southernHarmonyHeadsMinor -a2 b c d \break -\funkHeadsMinor -a2 b c d \break -\walkerHeadsMinor -a2 b c d \break - +@lilypond[verbatim,quote] +\relative c'' { + \key a \minor + \aikenHeads + a b c d e2 f g1 a \break + \aikenHeadsMinor + a,4 b c d e2 f g1 a \break + \sacredHarpHeadsMinor + a,2 b c d \break + \southernHarmonyHeadsMinor + a2 b c d \break + \funkHeadsMinor + a2 b c d \break + \walkerHeadsMinor + a2 b c d \break +} @end lilypond @@ -3226,19 +3361,17 @@ Internals Reference: @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: -@lilypond[verbatim,quote,relative=2] +@lilypond[verbatim,quote] \new Voice \with { \consists "Pitch_squash_engraver" -} { - e8 e g a a16( bes) a8 g +} \relative { + e''8 e g a a16( bes) a8 g \improvisationOn e8 ~ 2 ~ 8 f4 f8 ~