naming conventions. To use other names for accidentals, see
@ref{Note names in other languages}.
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ais1 aes aisis aeses
@end lilypond
syntax with a suffix; a natural pitch is shown as a simple note
name:
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4 aes a2
@end lilypond
Quarter tones may be added; the following is a series of Cs with
increasing pitches:
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ceseh1 ces ceh c cih cis cisih
@end lilypond
pitch. These extra accidentals can also be used to produce
natural signs.
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis cis cis! cis? c c c! c?
@end lilypond
Accidentals on tied notes are only printed at the beginning of a
new system:
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ~ cis ~
\break
cis
@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
contracted names are defined in the corresponding language files.
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a2 as e es a ases e eses
@end lilypond
The clef is set with the @w{@code{\clef @var{clefname}}} command.
Middle C is shown in every example.
-@lilypond[verbatim,quote,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
\clef treble
c2 c
\clef alto
Other clefs include:
-@lilypond[verbatim,quote,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
\clef french
c2 c
\clef soprano
@cindex choral tenor clef
-@lilypond[verbatim,quote,fragment,relative=1]
+@lilypond[verbatim,quote,relative=2]
+\clef treble
+c2 c
\clef "treble_8"
c2 c
\clef "bass^15"
@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
@code{\aeolian}, and @code{\locrian}.
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key g \major
fis1
f
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a'2 b
#(set-octavation 1)
a b
example, a clarinetist may switch from an A clarinet to a B-flat
clarinet.
-@lilypond[verbatim,quote,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\set Staff.instrumentName = "Cl (A)"
\key a \major
\transposition a
diamond shapes; the other note head styles are produced by
tweaking the property:
-@lilypond[verbatim,quote,fragment,relative=1]
+@lilypond[verbatim,quote,relative=2]
c4 d
\override NoteHead #'style = #'cross
e f
Shape note heads can be produced by setting @code{\aikenHeads} or
@code{\sacredHarpHeads}, depending on the style desired.
-@lilypond[verbatim,fragment,quote,relative=2]
+@lilypond[verbatim,quote,relative=2]
\aikenHeads
c, d e f g a b c
\sacredHarpHeads
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote]
+@lilypond[verbatim,quote,relative=2]
\new Voice \with {
\consists "Pitch_squash_engraver"
-} \transpose c c' {
+} {
e8 e g a a16( bes) a8 g
\improvisationOn
e8 ~