X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fpitches.itely;h=05b71b88db4a3859da8d9fa1707fa56ceb6caab0;hb=024e51d1cb0e21d211baf91ad0774bc766dff687;hp=d0e780c71dbc81bcf5b2a8162817ef8e579f4c63;hpb=c8fc0ca2f81cf9d43d6049693babdf75e0a2ce8d;p=lilypond.git diff --git a/Documentation/user/pitches.itely b/Documentation/user/pitches.itely index d0e780c71d..05b71b88db 100644 --- a/Documentation/user/pitches.itely +++ b/Documentation/user/pitches.itely @@ -14,7 +14,7 @@ {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:: @@ -40,7 +40,7 @@ mode. In most cases, relative mode will be more convenient. @node Absolute octave entry -@unnumberedsubsubsec Absolute octave entry +@subsubsection Absolute octave entry @cindex pitch names @cindex pitches @@ -84,7 +84,7 @@ Snippets: @lsrdir{Pitches,Pitches}. @node Relative octave entry -@unnumberedsubsubsec Relative octave entry +@subsubsection Relative octave entry @cindex relative @cindex relative octave specification @@ -114,8 +114,8 @@ interval is determined without considering accidentals. @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 @@ -162,7 +162,7 @@ large intervals: 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] @@ -178,8 +178,8 @@ relative to the preceding one. As explained above, the octave of pitches is calculated only with the note names, regardless of any alterations. Therefore, an -E-double-sharp sharp following a B will be placed higher, while an -F-double-flat would be placed lower. In other words, a +E-double-sharp following a B will be placed higher, while an +F-double-flat will be placed lower. In other words, a double-augmented fourth is considered a smaller interval than a double-diminished fifth, regardless of the number of semitones that each interval contains. @@ -203,7 +203,11 @@ Notation Reference: @ref{Octave checks}. Snippets: @lsrdir{Pitches,Pitches}. -@refbugs +@funindex \transpose +@funindex \chordmode +@funindex \relative + +@knownissues The relative conversion will not affect @code{\transpose}, @code{\chordmode} or @code{\relative} sections in its argument. @@ -219,7 +223,11 @@ discouraged. @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 @@ -230,13 +238,20 @@ see @rlearning{Accidentals and key signatures}.} @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 +@cindex natural sign + +A @notation{sharp} pitch is made by adding @code{is} to the note name, +and a @notation{flat} pitch by adding @code{es}. As you might expect, +a @notation{double sharp} or @notation{double flat} is made by adding +@code{isis} or @code{eses}. This syntax is derived from Dutch note +naming conventions. To use other names for accidentals, see +@ref{Note names in other languages}. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] ais1 aes aisis aeses @@ -284,8 +299,8 @@ natural signs. cis cis cis! cis? c c c! c? @end lilypond -Accidentals are only printed on tied notes which begin a new -system: +Accidentals on tied notes are only printed at the beginning of a +new system: @lilypond[verbatim,quote,ragged-right,fragment,relative=2] cis1 ~ cis ~ @@ -294,7 +309,7 @@ cis @end lilypond -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {preventing-extra-naturals-from-being-automatically-added.ly} @@ -302,7 +317,7 @@ cis @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}. @@ -313,24 +328,25 @@ Notation Reference: @ref{Automatic accidentals}, Snippets: @lsrdir{Pitches,Pitches}. -@refbugs +@knownissues There are no generally accepted standards for denoting -three-quarter flats, so LilyPond's symbol does not conform to any -standard. +quarter-tone accidentals, so LilyPond's symbol does not conform to +any standard. @node Note names in other languages -@unnumberedsubsubsec Note names in other languages +@subsubsection Note names in other languages There are predefined sets of note names for various other -languages. To use them, include the language specific init file. -For example, add @code{\include "english.ly"} to the top of the -input file. The available language files and the note names they -define are: +languages. To use them, include the language-specific init file. +For example, to use English notes names, add @code{\include +"english.ly"} to the top of the input file. The available +language files and the note names they define are: @cindex note names, other languages +@cindex pitch names, other languages @smallexample @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses} @@ -375,18 +391,30 @@ define are: @end multitable @end smallexample +In Dutch, @code{aes} is contracted to @code{as}, but both forms +are accepted in LilyPond. Similarly, both @code{es} and +@code{ees} are accepted. This also applies to +@code{aeses}@tie{}/@tie{}@code{ases} and +@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these +contracted names are defined in the corresponding language files. + +@lilypond[verbatim,quote,ragged-right,fragment,relative=2] +a2 as e es a ases e eses +@end lilypond + + Some music uses microtones whose alterations are fractions of a -@q{normal} sharp or flat. The note names for quartertones defined -in the various language files are listed in the following table. -Here the prefixes @notation{semi-} and @notation{sesqui-} mean -@q{half} and @q{one and a half}, respectively. For the other +@q{normal} sharp or flat. The note names for quarter-tones +defined in the various language files are listed in the following +table. Here the prefixes @notation{semi-} and @notation{sesqui-} +mean @q{half} and @q{one and a half}, respectively. For the other languages, no special names have been defined yet. @smallexample @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis} @headitem Language @tab Note names - @tab semi- @tab semi- @tab sesqui- @tab sesqui- + @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat @item nederlands.ly @tab c d e f g a bes b @@ -406,17 +434,6 @@ languages, no special names have been defined yet. @end multitable @end smallexample -In Dutch, @code{aes} is contracted to @code{as}, but both forms -are accepted in LilyPond. Similarly, both @code{es} and -@code{ees} are accepted. This also applies to -@code{aeses}@tie{}/@tie{}@code{ases} and -@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these -contracted names are defined in the corresponding language files. - -@lilypond[verbatim,quote,ragged-right,fragment,relative=2] -a2 as e es a ases e eses -@end lilypond - @seealso @@ -436,7 +453,7 @@ This section discusses how to modify pitches. @end menu @node Octave checks -@unnumberedsubsubsec Octave checks +@subsubsection Octave checks @cindex octave correction @cindex octave check @@ -461,14 +478,13 @@ the octave correction. } @end lilypond -The octave of pitches 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}. +The octave of notes may also be checked with the +@code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is +specified in absolute mode. This checks that the interval between the +previous note and the @var{controlpitch} is within a fourth (i.e. the +normal calculation of relative mode). If this check fails, a warning +is printed, but the previous note is not changed. Future notes are +relative to the @var{controlpitch}. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -479,7 +495,7 @@ the @var{controlpitch}. @end lilypond Compare the two bars below. The first and third @code{\octave} -check fail, but the second ones passes without fail. +check fail, but the second one does not fail. @lilypond[verbatim,quote,ragged-right,fragment] \relative c'' { @@ -502,9 +518,10 @@ Snippets: @lsrdir{Pitches,Pitches}. @node Transpose -@unnumberedsubsubsec Transpose +@subsubsection Transpose @cindex transpose +@cindex transposition @cindex transposition of pitches @funindex \transpose @@ -519,7 +536,8 @@ syntax is This means that @var{musicexpr} is transposed by the interval between the pitches @var{frompitch} and @var{topitch}: any note with pitch @var{frompitch} is changed to @var{topitch} and any -other note is transposed by the same interval. +other note is transposed by the same interval. Both pitches are +entered in absolute mode. Consider a piece written in the key of D-major. It can be transposed up to E-major; note that the key signature is @@ -555,7 +573,7 @@ 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. @@ -575,8 +593,8 @@ show how to enter pitches in C (or @notation{concert pitch}) and 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{} @} @@ -597,7 +615,7 @@ For more information about transposing instruments, see @ref{Instrument transpositions}. -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {transposing-pitches-with-minimum-accidentals-smart-transpose.ly} @@ -611,12 +629,17 @@ Snippets: @lsrdir{Pitches,Pitches}. Internals Reference: @internalsref{TransposedMusic}. -@refbugs +@funindex \transpose +@funindex \chordmode +@funindex \relative -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}. +@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}. @node Displaying pitches @@ -635,10 +658,9 @@ This section discusses how to alter the output of pitches. @node Clef -@unnumberedsubsubsec Clef +@subsubsection Clef @funindex \clef - @cindex G clef @cindex C clef @cindex F clef @@ -653,8 +675,26 @@ This section discusses how to alter the output of pitches. @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 @@ -667,53 +707,52 @@ c2 c c2 c @end lilypond -Supported clefs include: - -@multitable @columnfractions .4 .6 -@headitem Clef @tab Position -@item @code{treble, violin, G, G2} @tab -G clef, g' is on 2nd line -@item @code{alto, C} @tab -C clef, c' is on 3rd line -@item @code{tenor} @tab -C clef, c' is on 4th line -@item @code{bass, F} @tab -F clef, f is on 4th line -@item @code{french} @tab -G clef, g' is on 1st line, so-called French violin clef -@item @code{soprano} @tab -C clef, c' is on 1st line -@item @code{mezzosoprano} @tab -C clef, c' is on 2nd line -@item @code{baritone} @tab -C clef, c' is on 5th line -@item @code{varbaritone} @tab -F clef, f is on 3rd line -@item @code{subbass} @tab -F clef, f is on 5th line -@item @code{percussion} @tab -percussion clef -@item @code{tab} @tab -tablature clef -@end multitable +Other clefs include: + +@lilypond[verbatim,quote,ragged-right,fragment,relative=1] +\clef french +c2 c +\clef soprano +c2 c +\clef mezzosoprano +c2 c +\clef baritone +c2 c + +\break + +\clef varbaritone +c2 c +\clef subbass +c2 c +\clef percussion +c2 c +\clef tab +c2 c +@end lilypond Further supported clefs are described under @ref{Ancient clefs}. +@cindex transposing clefs +@cindex clef, transposing +@cindex octave transposition + By adding @code{_8} or @code{^8} to the clef name, the clef is transposed one octave down or up, respectively, and @code{_15} and @code{^15} transposes by two octaves. The argument @var{clefname} must be enclosed in quotes when it contains underscores or digits. -For example, @cindex choral tenor clef @lilypond[verbatim,quote,ragged-right,fragment,relative=1] -\clef "treble_8" c1 -\clef "bass^15" c1 +\clef "treble_8" +c2 c +\clef "bass^15" +c2 c @end lilypond -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {clefs-commonly-tweaked-properties.ly} @@ -729,7 +768,7 @@ Internals Reference: @internalsref{Clef}. @node Key signature -@unnumberedsubsubsec Key signature +@subsubsection Key signature @cindex key signature @funindex \key @@ -750,7 +789,6 @@ is done with the @code{\key} command: \key @var{pitch} @var{mode} @end example -@funindex \minor @funindex \major @funindex \minor @funindex \ionian @@ -761,13 +799,14 @@ is done with the @code{\key} command: @funindex \phrygian @funindex \dorian @cindex church modes +@cindex modes Here, @var{mode} should be @code{\major} or @code{\minor} to get a key signature of @var{pitch}-major or @var{pitch}-minor, respectively. You may also use the standard mode names, also -called @q{church modes}: @code{\ionian}, @code{\locrian}, -@code{\aeolian}, @code{\mixolydian}, @code{\lydian}, -@code{\phrygian}, and @code{\dorian}. +called @q{church modes}: @code{\ionian}, @code{\dorian}, +@code{\phrygian}, @code{\lydian}, @code{\mixolydian}, +@code{\aeolian}, and @code{\locrian}. @lilypond[verbatim,quote,ragged-right,fragment,relative=2] \key g \major @@ -777,7 +816,7 @@ fis @end lilypond -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly} @@ -799,7 +838,7 @@ Internals Reference: @internalsref{KeyCancellation}, @node Ottava brackets -@unnumberedsubsubsec Ottava brackets +@subsubsection Ottava brackets @cindex ottava @cindex 15ma @@ -822,7 +861,7 @@ The @code{set-octavation} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments. -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {ottava-text.ly} @@ -830,7 +869,7 @@ The @code{set-octavation} function also takes -1 (for 8va bassa), @seealso -Music Glossary: @rglos{ottava}. +Music Glossary: @rglos{octavation}. Snippets: @lsrdir{Pitches,Pitches}. @@ -839,10 +878,13 @@ Internals Reference: @internalsref{OttavaBracket}. @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 @@ -859,7 +901,7 @@ 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. This pitch is entered in -absolute mode, so an instrument which produces a real sound which +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 @@ -917,8 +959,7 @@ c2 g @seealso -Music Glossary: @rglos{concert pitch}, -@rglos{transposing instrument}. +Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}. Notation Reference: @ref{Quoting other voices}, @ref{Transpose}. @@ -926,13 +967,18 @@ 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 @@ -945,7 +991,7 @@ accidental style to use. This function is called as follows 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 @@ -1142,11 +1188,13 @@ musicB = { @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 @@ -1200,6 +1248,11 @@ musicB = { @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} @@ -1257,6 +1310,12 @@ musicB = { @end lilypond @item modern-voice +@cindex accidentals, multivoice +@cindex accidentals, modern +@cindex modern accidentals +@cindex multivoice accidentals +@cindex accidental style, modern +@cindex modern accidental style @funindex modern-voice This rule is used for multivoice accidentals to be read both by @@ -1315,6 +1374,9 @@ musicB = { } @end lilypond +@cindex accidental style, modern voice cautionary +@cindex accidental style, cautionary, modern voice +@cindex accidental style, voice, modern cautionary @funindex modern-voice-cautionary @item modern-voice-cautionary @@ -1371,7 +1433,11 @@ musicB = { @end lilypond @item piano -@funindex piano accidentals +@cindex piano accidentals +@cindex piano accidentals +@cindex accidentals, piano +@cindex piano accidental style +@cindex accidental style, piano This rule reflects twentieth-century practice for piano notation. Its behavior is very similar to @code{modern} style, but here @@ -1429,6 +1495,12 @@ musicB = { @item piano-cautionary @funindex #(set-accidental-style 'piano-cautionary) +@cindex accidentals, piano cautionary +@cindex cautionary accidentals, piano +@cindex piano cautionary accidentals +@cindex accidental style, piano cautionary +@cindex cautionary accidental style, piano +@cindex piano cautionary accidental style Same as @code{#(set-accidental-style 'piano)} but with the extra accidentals typeset as cautionaries. @@ -1480,6 +1552,8 @@ musicB = { @item no-reset @funindex no-reset accidental style +@cindex accidental style, no reset +@cindex no reset accidental style This is the same as @code{default} but with accidentals lasting @q{forever} and not only within the same measure: @@ -1532,6 +1606,8 @@ musicB = { @item forget @funindex forget accidental style +@cindex forget accidental style +@cindex accidental style, forget This is the opposite of @code{no-reset}: Accidentals are not remembered at all -- and hence all accidentals are typeset @@ -1585,7 +1661,7 @@ musicB = { @end lilypond @end table -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} @@ -1601,7 +1677,12 @@ Internals Reference: @internalsref{Accidental_engraver}, @internalsref{PianoStaff}, @internalsref{Staff}. -@refbugs +@cindex accidentals and simultaneous notes +@cindex simultaneous notes and accidentals +@cindex accidentals in chords +@cindex chords, accidentals in + +@knownissues Simultaneous notes are considered to be entered in sequential mode. This means that in a chord the accidentals are typeset as @@ -1614,18 +1695,21 @@ problematic notes. @node Ambitus -@unnumberedsubsubsec Ambitus +@subsubsection Ambitus + @cindex ambitus +@cindex range of pitches +@cindex pitch range -The term @notation{ambitus} or @notation{ambit} denotes a range of +The term @notation{ambitus} (pl. ambitus) 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 that performers can easily +Ambitus 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 +Ambitus 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] @@ -1642,7 +1726,7 @@ printed if they are not part of the key signature. @end lilypond -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {adding-ambiti-per-voice.ly} @@ -1653,6 +1737,8 @@ printed if they are not part of the key signature. @seealso +Music Glossary: @rglos{ambitus}. + Snippets: @lsrdir{Pitches,Pitches}. Internals Reference: @internalsref{Ambitus}, @@ -1661,7 +1747,7 @@ Internals Reference: @internalsref{Ambitus}, @internalsref{Staff}, @internalsref{Voice}. -@refbugs +@knownissues There is no collision handling in the case of multiple per-voice ambitus. @@ -1670,6 +1756,8 @@ ambitus. @node Note heads @subsection Note heads +This section suggests ways of altering note heads. + @menu * Special note heads:: * Easy notation note heads:: @@ -1678,9 +1766,20 @@ ambitus. @end menu @node Special note heads -@unnumberedsubsubsec Special note heads +@subsubsection Special note heads @cindex note heads, special +@cindex note heads, cross +@cindex note heads, diamond +@cindex note heads, parlato +@cindex note heads, harmonic +@cindex note heads, guitar +@cindex special note heads +@cindex cross note heads +@cindex diamond note heads +@cindex parlato note heads +@cindex harmonic note heads +@cindex guitar note heads Different note heads are used by various instruments for various meanings -- crosses are used for @q{parlato} with vocalists, @@ -1698,7 +1797,7 @@ e 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 @@ -1712,12 +1811,16 @@ Internals Reference: @internalsref{NoteHead}, @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 easy notation @cindex Hal Leonard +@cindex beginners' music +@cindex music, beginners' +@cindex easy play note heads +@cindex note heads, easy play The @q{easy play} note head includes a note name inside the head. It is used in music for beginners. @@ -1739,7 +1842,7 @@ The command @code{\easyHeadsOn} overrides settings for the in a large font size. To print with a larger font, see @ref{Setting the staff size}. -@refcommands +@predefined @funindex \easyHeadsOn @funindex \easyHeadsOff @@ -1755,9 +1858,14 @@ Internals Reference: @internalsref{NoteHead}. @node Shape note heads -@unnumberedsubsubsec Shape note heads +@subsubsection Shape note heads @cindex note heads, shape +@cindex note heads, Aiken +@cindex note heads, sacred harp +@cindex shape notes +@cindex Aiken shape note heads +@cindex sacred harp note heads @funindex \key @funindex shapeNoteStyles @funindex \aikenHeads @@ -1780,19 +1888,23 @@ c,8 d4 e8 a2 g1 Shapes are typeset according to the step in the scale, where the base of the scale is determined by the @code{\key} command. -@commonprop +@snippets @lilypondfile[verbatim,lilyquote,ragged-right,texidoc] {applying-noteheads-styles-depending-on-the-step-of-the-scale.ly} +@noindent +To see all note head styles, see @ref{Note head styles}. @seealso Snippets: @lsrdir{Pitches,Pitches}. +Notation Reference: @ref{Note head styles}. + @node Improvisation -@unnumberedsubsubsec Improvisation +@subsubsection Improvisation @cindex improvisation @cindex slashed note heads @@ -1817,6 +1929,14 @@ rhythm. Such note heads can be created: } @end lilypond + +@predefined + +@funindex \improvisationOn +@funindex \improvisationOff + +@code{\improvisationOn}, @code{\improvisationOff} + @seealso Snippets: @lsrdir{Pitches,Pitches}.