@itemize
@item
-If no octave changing mark is used on a pitch, its octave is calculated
-so that the interval with the previous note is less than a fifth. This
-interval is determined without considering accidentals.
+If no octave changing mark is used on a pitch, its octave is
+calculated so that the interval with the previous note is less
+than a fifth. This 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, relative to
-the pitch calculated without an octave mark.
+An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
+added to 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
-@code{,,}@tie{} will alter the pitch by two octaves.
+Multiple octave changing marks can be used. For example,
+@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
+octaves.
@item
The pitch of the first note is relative to
@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}.
+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,relative=2]
ais1 aes aisis aeses
warning and correcting the octave if a note is found in an
unexpected octave.
-To check the octave of a note, specify the absolute
-octave after the @code{=}@tie{}symbol. This example will generate
-a warning (and change the pitch) because the second note is the
-absolute octave @code{d''} instead of @code{d'} as indicated by
-the octave correction.
+To check the octave of a note, specify the absolute octave after
+the @code{=}@tie{}symbol. This example will generate a warning
+(and change the pitch) because the second note is the absolute
+octave @code{d''} instead of @code{d'} as indicated by the octave
+correction.
@lilypond[verbatim,quote,fragment]
\relative c'' {
@end lilypond
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
+@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,fragment]
}
@end lilypond
-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 part will be
-produced with:
+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
+part will be produced with:
@lilypond[verbatim,quote]
\transpose a c' {
@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
@cindex clef, varbaritone
@cindex subbass clef, subbass
-The clef is set with the @w{@code{\clef @var{clefname}}} command.
-Middle C is shown in every example.
+The clef may be altered. Middle C is shown in every example.
@lilypond[verbatim,quote,relative=1]
\clef treble
@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} transpose by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits.
-
@cindex choral tenor clef
+By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
+clef is transposed one octave down or up, respectively,
+and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
+The clef name must be enclosed in quotes when it contains
+underscores or digits.
+
@lilypond[verbatim,quote,relative=2]
\clef treble
c2 c
The key signature indicates the tonality in which a piece is
played. It is denoted by a set of alterations (flats or sharps)
-at the start of the staff. Setting or changing the key signature
-is done with the @code{\key} command:
+at the start of the staff. The key signature may be altered:
@example
\key @var{pitch} @var{mode}
@notation{concert pitch}. In these cases, the key of the
@notation{transposing instrument} should be specified; otherwise
the MIDI output and cues in other parts will produce incorrect
-pitches. For more information about quotations, see @ref{Quoting
-other voices}.
+pitches. For more information about quotations, see
+@ref{Quoting other voices}.
@example
\transposition @var{pitch}
played by the transposing instrument. This pitch is entered in
absolute mode, so an instrument that produces a real sound which
is one tone higher than the printed music should use
-@code{\transposition d'}. @code{\transposition} should
+@w{@code{\transposition d'}}. @code{\transposition} should
@emph{only} be used if the pitches are @emph{not} being entered in
concert pitch.
There are many different conventions on how to typeset
accidentals. LilyPond provides a function to specify which
-accidental style to use. This function is called as follows
+accidental style to use. This function is called as follows:
@example
\new Staff <<
@code{piano-cautionary}, which are explained below). Optionally,
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
+style in all staves of the current @code{StaffGroup}, use:
@example
#(set-accidental-style 'voice 'StaffGroup)
@end lilypond
@item 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 similar to
-@code{default}.
+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
+similar to @code{default}.
As a result, accidentals from one voice do not get canceled in
other voices, which is often an unwanted result: in the following
defining the @code{cautionary-style} property of
@code{AccidentalSuggestion}.
-
@lilypond[quote]
musicA = {
<<
the@tie{}@code{d} in the lower staff is canceled because of the
accidental in a different voice in the previous measure:
-
@lilypond[quote]
musicA = {
<<
@item modern-voice-cautionary
This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset
-as cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset with this rule,
-some of them are typeset as cautionaries.
+accidentals (the ones not typeset by @code{voice}) typeset as
+cautionaries. Even though all accidentals typeset by
+@code{default} @emph{are} typeset with this rule, some of them are
+typeset as cautionaries.
@lilypond[quote]
musicA = {
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
-@code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
-of the final notes.
+@code{GrandStaff} or @code{PianoStaff}, hence all the
+cancellations of the final notes.
This accidental style applies to the current @code{GrandStaff} or
@code{PianoStaff} by default.
@cindex cautionary accidental style, piano
@cindex piano cautionary accidental style
-Same as @w{@code{#(set-accidental-style 'piano)}} but with the
-extra accidentals typeset as cautionaries.
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
@lilypond[quote]
musicA = {
@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,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc. There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by
-tweaking the property:
+Note heads may be altered:
@lilypond[verbatim,quote,relative=2]
-c4 d
+c4 b a b
\override NoteHead #'style = #'cross
-e f
+c4 b a b
\revert NoteHead #'style
-e d <c f\harmonic> <d a'\harmonic>
+c4 d e f
+@end lilypond
+
+There is a shorthand for diamond shapes which can only be used
+inside chords:
+
+@lilypond[verbatim,quote,relative=2]
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
@end lilypond
@noindent
To see all note head styles, see @ref{Note head styles}.
-
@seealso
Snippets:
@rlsr{Pitches}.
Notation Reference:
-@ref{Note head styles}.
+@ref{Note head styles},
+@ref{Chorded notes}.
Internals Reference:
@rinternals{note-event},
@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.
+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
+font, see @ref{Setting the staff size}.
@lilypond[verbatim,quote]
#(set-global-staff-size 26)
}
@end lilypond
-The command @code{\easyHeadsOn} overrides settings for the
-@code{NoteHead} object. These settings can be reverted with the command
-@code{\easyHeadsOff}. To make the letters readable, it has to be printed
-in a large font size. To print with a larger font, see @ref{Setting the
-staff size}.
-
@predefined
@funindex \easyHeadsOn
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
notation was popular in nineteenth-century American song books.
-
-Shape note heads can be produced by setting @code{\aikenHeads} or
-@code{\sacredHarpHeads}, depending on the style desired.
+Shape note heads can be produced:
@lilypond[verbatim,quote,relative=2]
\aikenHeads
c, d e f g a b c
@end lilypond
-Shapes are typeset according to the step in the scale, where
-the base of the scale is determined by the @code{\key} command.
+Shapes are typeset according to the step in the scale, where the
+base of the scale is determined by the @code{\key} command.
@predefined
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