1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex absolute octave entry
52 A pitch name is specified using lowercase letters@tie{}@code{a}
53 through@tie{}@code{g}. The note names @code{c} to @code{b} are
54 engraved in the octave below middle C.
57 @lilypond[verbatim,quote,fragment]
64 @cindex octave changing mark
68 Other octaves may be specified with a single quote@tie{}(@code{'})
69 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
70 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
73 @lilypond[verbatim,quote,fragment]
91 @node Relative octave entry
92 @unnumberedsubsubsec Relative octave entry
95 @cindex relative octave entry
96 @cindex relative octave specification
99 When octaves are specified in absolute mode it is easy to
100 accidentally put a pitch in the wrong octave. Relative octave
101 mode reduces these errors since most of the time it is not
102 necessary to indicate any octaves at all. Furthermore, in
103 absolute mode a single mistake may be difficult to spot, while in
104 relative mode a single error puts the rest of the piece off by one
108 \relative @var{startpitch} @var{musicexpr}
111 In relative mode, each note is assumed to be as close to the
112 previous note as possible. This means that the octave of each
113 pitch inside @var{musicexpr} is calculated as follows:
117 If no octave changing mark is used on a pitch, its octave is
118 calculated so that the interval with the previous note is less
119 than a fifth. This interval is determined without considering
123 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
124 added to respectively raise or lower a pitch by an extra octave,
125 relative to the pitch calculated without an octave mark.
128 Multiple octave changing marks can be used. For example,
129 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
133 The pitch of the first note is relative to
134 @code{@var{startpitch}}. @var{startpitch} is specified in
135 absolute octave mode, and it is recommended that it be a octave of
140 Here is the relative mode shown in action:
142 @lilypond[verbatim,quote]
151 Octave changing marks are used for intervals greater than a
154 @lilypond[verbatim,quote]
161 A note sequence without a single octave mark can nevertheless span
164 @lilypond[verbatim,quote]
171 If the preceding item is a chord, the first note of the chord is
172 used as the reference point for the octave placement of a
173 following note or chord. Inside chords, the next note is always
174 relative to the preceding one. Examine the next example
175 carefully, paying attention to the @code{c} notes.
177 @lilypond[verbatim,quote]
186 As explained above, the octave of pitches is calculated only with
187 the note names, regardless of any alterations. Therefore, an
188 E-double-sharp following a B will be placed higher, while an
189 F-double-flat will be placed lower. In other words, a
190 double-augmented fourth is considered a smaller interval than a
191 double-diminished fifth, regardless of the number of semitones
192 that each interval contains.
194 @lilypond[verbatim,quote]
218 @rinternals{RelativeOctaveMusic}.
221 @cindex relative octave entry and transposition
222 @cindex transposition and relative octave entry
229 The relative conversion will not affect @code{\transpose},
230 @code{\chordmode} or @code{\relative} sections in its argument.
231 To use relative mode within transposed music, an additional
232 @code{\relative} must be placed inside @code{\transpose}.
235 If no @var{startpitch} is specified for @code{\relative},
236 then@tie{}@code{c'} is assumed. However, this is a deprecated
237 option and may disappear in future versions, so its use is
243 @unnumberedsubsubsec Accidentals
246 @cindex key signature
249 @c duplicated in Key signature and Accidentals
250 @warning{New users are sometimes confused about accidentals and
251 key signatures. In LilyPond, note names are the raw input; key
252 signatures and clefs determine how this raw input is displayed.
253 An unaltered note like@tie{}@code{c} means @q{C natural},
254 regardless of the key signature or clef. For more information,
255 see @rlearning{Accidentals and key signatures}.}
257 @cindex note names, Dutch
258 @cindex note names, default
262 @cindex sharp, double
266 @cindex natural pitch
268 A @notation{sharp} pitch is made by adding @code{is} to the note
269 name, and a @notation{flat} pitch by adding @code{es}. As you
270 might expect, a @notation{double sharp} or @notation{double flat}
271 is made by adding @code{isis} or @code{eses}. This syntax is
272 derived from Dutch note naming conventions. To use other names
273 for accidentals, see @ref{Note names in other languages}.
275 @lilypond[verbatim,quote,relative=2]
279 A natural will cancel the effect of an accidental or key
280 signature. However, naturals are not encoded into the note name
281 syntax with a suffix; a natural pitch is shown as a simple note
284 @lilypond[verbatim,quote,relative=2]
288 @cindex quarter tones
289 @cindex semi-flats, semi-sharps
291 Quarter tones may be added; the following is a series of Cs with
294 @lilypond[verbatim,quote,relative=2]
295 ceseh1 ces ceh c cih cis cisih
300 @cindex accidental, reminder
301 @cindex accidental, cautionary
302 @cindex accidental, parenthesized
303 @cindex reminder accidental
305 @cindex cautionary accidental
306 @cindex parenthesized accidental
309 Normally accidentals are printed automatically, but you may also
310 print them manually. A reminder accidental can be forced by
311 adding an exclamation mark@tie{}@code{!} after the pitch. A
312 cautionary accidental (i.e., an accidental within parentheses) can
313 be obtained by adding the question mark@tie{}@code{?} after the
314 pitch. These extra accidentals can also be used to produce
317 @lilypond[verbatim,quote,relative=2]
318 cis cis cis! cis? c c c! c?
321 @cindex accidental on tied note
322 @cindex tied note, accidental
324 Accidentals on tied notes are only printed at the beginning of a
327 @lilypond[verbatim,quote,relative=2]
336 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
337 {preventing-extra-naturals-from-being-automatically-added.ly}
339 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
347 @rglos{double sharp},
350 @rglos{quarter tone}.
353 @rlearning{Accidentals and key signatures}.
356 @ref{Automatic accidentals},
357 @ref{Annotational accidentals (musica ficta)},
358 @ref{Note names in other languages}.
364 @rinternals{Accidental_engraver},
365 @rinternals{Accidental},
366 @rinternals{AccidentalCautionary},
367 @rinternals{accidental-interface}.
370 @cindex accidental, quarter-tone
371 @cindex quarter-tone accidental
375 There are no generally accepted standards for denoting
376 quarter-tone accidentals, so LilyPond's symbol does not conform to
381 @node Note names in other languages
382 @unnumberedsubsubsec Note names in other languages
384 @cindex note names, other languages
385 @cindex pitch names, other languages
386 @cindex language, note names in other
387 @cindex language, pitch names in other
389 There are predefined sets of note names for various other
390 languages. To use them, include the language-specific init file.
391 For example, to use English notes names, add
392 @w{@code{\include "english.ly"}} to the top of the input file.
393 The available language files and the note names they define are:
397 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
400 @tab sharp @tab flat @tab double sharp @tab double flat
402 @tab c d e f g a bes b
403 @tab -is @tab -es @tab -isis @tab -eses
405 @tab do re mi fa sol la sib si
406 @tab -d @tab -b @tab -dd @tab -bb
408 @tab do re mi fa sol la sib si
409 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
412 @tab -is @tab -es @tab -isis @tab -eses
414 @tab c d e f g a bf b
415 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
418 @tab do re mi fa sol la sib si
419 @tab -s @tab -b @tab -ss @tab -bb
421 @tab do re mi fa sol la sib si
422 @tab -d @tab -b @tab -dd @tab -bb
425 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
428 @tab do re mi fa sol la sib si
429 @tab -s @tab -b @tab -ss @tab -bb
432 @tab -is @tab -es @tab -isis @tab -eses
435 @tab -iss @tab -ess @tab -ississ @tab -essess
437 @tab do re mi fa sol la sib si
438 @tab -k @tab -b @tab -kk @tab -bb
442 In Dutch, @code{aes} is contracted to @code{as}, but both forms
443 are accepted in LilyPond. Similarly, both @code{es} and
444 @code{ees} are accepted. This also applies to
445 @code{aeses}@tie{}/@tie{}@code{ases} and
446 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
447 contracted names are defined in the corresponding language files.
449 @lilypond[verbatim,quote,relative=2]
450 a2 as e es a ases e eses
460 Some music uses microtones whose alterations are fractions of a
461 @q{normal} sharp or flat. The note names for quarter-tones
462 defined in the various language files are listed in the following
463 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
464 mean @q{half} and @q{one and a half}, respectively. For the other
465 languages, no special names have been defined yet.
468 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
471 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
474 @tab c d e f g a bes b
475 @tab -ih @tab -eh @tab -isih @tab -eseh
477 @tab do re mi fa sol la sib si
478 @tab -sd @tab -sb @tab -dsd @tab -bsb
481 @tab -ih @tab -eh @tab -isih @tab -eseh
483 @tab c d e f g a bf b
484 @tab -qs @tab -qf @tab -tqs @tab -tqf
486 @tab do re mi fa sol la sib si
487 @tab -sd @tab -sb @tab -dsd @tab -bsb
489 @tab do re mi fa sol la sib si
490 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
504 @node Changing multiple pitches
505 @subsection Changing multiple pitches
507 This section discusses how to modify pitches.
515 @unnumberedsubsubsec Octave checks
517 @cindex octave correction
519 @cindex control pitch
521 @funindex \octaveCheck
522 @funindex controlpitch
524 In relative mode, it is easy to forget an octave changing mark.
525 Octave checks make such errors easier to find by displaying a
526 warning and correcting the octave if a note is found in an
529 To check the octave of a note, specify the absolute octave after
530 the @code{=}@tie{}symbol. This example will generate a warning
531 (and change the pitch) because the second note is the absolute
532 octave @code{d''} instead of @code{d'} as indicated by the octave
535 @lilypond[verbatim,quote]
542 The octave of notes may also be checked with the
543 @code{\octaveCheck}@tie{}@var{controlpitch} command.
544 @var{controlpitch} is specified in absolute mode. This checks
545 that the interval between the previous note and the
546 @var{controlpitch} is within a fourth (i.e., the normal
547 calculation of relative mode). If this check fails, a warning is
548 printed, but the previous note is not changed. Future notes are
549 relative to the @var{controlpitch}.
551 @lilypond[verbatim,quote]
559 Compare the two bars below. The first and third @code{\octaveCheck}
560 checks fail, but the second one does not fail.
562 @lilypond[verbatim,quote]
583 @rinternals{RelativeOctaveCheck}.
587 @unnumberedsubsubsec Transpose
591 @cindex transposition
592 @cindex transposition of pitches
593 @cindex transposition of notes
594 @cindex pitches, transposition of
595 @cindex notes, transposition of
598 A music expression can be transposed with @code{\transpose}. The
602 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
606 This means that @var{musicexpr} is transposed by the interval
607 between the pitches @var{frompitch} and @var{topitch}: any note
608 with pitch @var{frompitch} is changed to @var{topitch} and any
609 other note is transposed by the same interval. Both pitches are
610 entered in absolute mode.
612 Consider a piece written in the key of D-major. It can be
613 transposed up to E-major; note that the key signature is
614 automatically transposed as well.
616 @lilypond[verbatim,quote]
625 @cindex transposing instruments
626 @cindex instruments, transposing
628 If a part written in C (normal @notation{concert pitch}) is to be
629 played on the A clarinet (for which an A is notated as a C and
630 thus sounds a minor third lower than notated), the appropriate
631 part will be produced with:
633 @lilypond[verbatim,quote]
643 Note that we specify @w{@code{\key c \major}} explicitly. If we
644 do not specify a key signature, the notes will be transposed but
645 no key signature will be printed.
647 @code{\transpose} distinguishes between enharmonic pitches: both
648 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
649 transpose up a semitone. The first version will print sharps and
650 the notes will remain on the same scale step, the second version
651 will print flats on the scale step above.
653 @lilypond[verbatim,quote]
654 music = \relative c' { c d e f }
656 \transpose c cis { \music }
657 \transpose c des { \music }
661 @cindex transposing instruments
662 @cindex instruments, transposing
664 @code{\transpose} may also be used in a different way, to input
665 written notes for a transposing instrument. The previous examples
666 show how to enter pitches in C (or @notation{concert pitch}) and
667 typeset them for a transposing instrument, but the opposite is
668 also possible if you for example have a set of instrumental parts
669 and want to print a conductor's score. For example, when entering
670 music for a B-flat trumpet that begins on a notated E (concert D),
674 musicInBflat = @{ e4 @dots{} @}
675 \transpose c bes, \musicInBflat
679 To print this music in F (e.g., rearranging to a French horn) you
680 could wrap the existing music with another @code{\transpose}:
683 musicInBflat = @{ e4 @dots{} @}
684 \transpose f c' @{ \transpose c bes, \musicInBflat @}
688 For more information about transposing instruments,
689 see @ref{Instrument transpositions}.
694 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
695 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
701 @ref{Instrument transpositions}.
707 @rinternals{TransposedMusic}.
715 The relative conversion will not affect @code{\transpose},
716 @code{\chordmode} or @code{\relative} sections in its argument.
717 To use relative mode within transposed music, an additional
718 @code{\relative} must be placed inside @code{\transpose}.
721 @node Displaying pitches
722 @subsection Displaying pitches
724 This section discusses how to alter the output of pitches.
730 * Instrument transpositions::
731 * Automatic accidentals::
737 @unnumberedsubsubsec Clef
750 @cindex mezzosoprano clef
751 @cindex baritone clef
752 @cindex varbaritone clef
756 @cindex clef, ancient
766 @cindex clef, soprano
767 @cindex clef, mezzosoprano
768 @cindex clef, baritone
769 @cindex clef, varbaritone
770 @cindex subbass clef, subbass
772 The clef may be altered. Middle C is shown in every example.
774 @lilypond[verbatim,quote,relative=1]
787 @lilypond[verbatim,quote,relative=1]
809 Further supported clefs are described under @ref{Mensural clefs}
810 and @ref{Gregorian clefs}.
812 @cindex transposing clefs
813 @cindex clef, transposing
814 @cindex octave transposition
815 @cindex choral tenor clef
817 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
818 clef is transposed one octave down or up, respectively,
819 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
820 The clef name must be enclosed in quotes when it contains
821 underscores or digits.
823 @lilypond[verbatim,quote,relative=2]
835 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
836 {tweaking-clef-properties.ly}
842 @ref{Mensural clefs}, @ref{Gregorian clefs}.
848 @rinternals{Clef_engraver},
850 @rinternals{OctavateEight},
851 @rinternals{clef-interface}.
855 @unnumberedsubsubsec Key signature
857 @cindex key signature
860 @c duplicated in Key signature and Accidentals
861 @warning{New users are sometimes confused about accidentals and
862 key signatures. In LilyPond, note names are the raw input; key
863 signatures and clefs determine how this raw input is displayed.
864 An unaltered note like@tie{}@code{c} means @q{C natural},
865 regardless of the key signature or clef. For more information,
866 see @rlearning{Accidentals and key signatures}.}
868 The key signature indicates the tonality in which a piece is
869 played. It is denoted by a set of alterations (flats or sharps)
870 at the start of the staff. The key signature may be altered:
873 \key @var{pitch} @var{mode}
881 @funindex \mixolydian
897 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
898 key signature of @var{pitch}-major or @var{pitch}-minor,
899 respectively. You may also use the standard mode names, also
900 called @notation{church modes}: @code{\ionian}, @code{\dorian},
901 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
902 @code{\aeolian}, and @code{\locrian}.
904 @lilypond[verbatim,quote,relative=2]
914 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
915 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
917 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
918 {non-traditional-key-signatures.ly}
928 @rlearning{Accidentals and key signatures}.
934 @rinternals{KeyChangeEvent},
935 @rinternals{Key_engraver},
936 @rinternals{Key_performer},
937 @rinternals{KeyCancellation},
938 @rinternals{KeySignature},
939 @rinternals{key-cancellation-interface},
940 @rinternals{key-signature-interface}.
943 @node Ottava brackets
944 @unnumberedsubsubsec Ottava brackets
951 @funindex set-octavation
953 @notation{Ottava brackets} introduce an extra transposition of an
954 octave for the staff:
956 @lilypond[verbatim,quote,relative=2]
964 The @code{ottava} function also takes -1 (for 8va bassa),
965 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
970 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
983 @rinternals{Ottava_spanner_engraver},
984 @rinternals{OttavaBracket},
985 @rinternals{ottava-bracket-interface}.
989 @node Instrument transpositions
990 @unnumberedsubsubsec Instrument transpositions
992 @cindex transposition, MIDI
993 @cindex transposition, instrument
994 @cindex transposing instrument
996 @cindex MIDI transposition
997 @funindex \transposition
999 When typesetting scores that involve transposing instruments, some
1000 parts can be typeset in a different pitch than the
1001 @notation{concert pitch}. In these cases, the key of the
1002 @notation{transposing instrument} should be specified; otherwise
1003 the MIDI output and cues in other parts will produce incorrect
1004 pitches. For more information about quotations, see
1005 @ref{Quoting other voices}.
1008 \transposition @var{pitch}
1011 The pitch to use for @code{\transposition} should correspond to
1012 the real sound heard when a@tie{}@code{c'} written on the staff is
1013 played by the transposing instrument. This pitch is entered in
1014 absolute mode, so an instrument that produces a real sound which
1015 is one tone higher than the printed music should use
1016 @w{@code{\transposition d'}}. @code{\transposition} should
1017 @emph{only} be used if the pitches are @emph{not} being entered in
1020 Here are a few notes for violin and B-flat clarinet where the
1021 parts have been entered using the notes and key as they appear in
1022 each part of the conductor's score. The two instruments are
1025 @lilypond[verbatim,quote]
1027 \new Staff = "violin" {
1029 \set Staff.instrumentName = "Vln"
1030 \set Staff.midiInstrument = "violin"
1031 % not strictly necessary, but a good reminder
1038 \new Staff = "clarinet" {
1040 \set Staff.instrumentName = \markup { Cl (B\flat) }
1041 \set Staff.midiInstrument = "clarinet"
1051 The @code{\transposition} may be changed during a piece. For
1052 example, a clarinetist may switch from an A clarinet to a B-flat
1055 @lilypond[verbatim,quote,relative=2]
1056 \set Staff.instrumentName = "Cl (A)"
1061 s1*0^\markup { Switch to B\flat clarinet }
1073 @rglos{concert pitch},
1074 @rglos{transposing instrument}.
1077 @ref{Quoting other voices}, @ref{Transpose}.
1083 @node Automatic accidentals
1084 @unnumberedsubsubsec Automatic accidentals
1086 @cindex accidental style
1087 @cindex accidental style, default
1089 @cindex accidentals, automatic
1090 @cindex automatic accidentals
1091 @cindex default accidental style
1092 @funindex set-accidental-style
1095 There are many different conventions on how to typeset
1096 accidentals. LilyPond provides a function to specify which
1097 accidental style to use. This function is called as follows:
1101 #(set-accidental-style 'voice)
1106 The accidental style applies to the current @code{Staff} by
1107 default (with the exception of the styles @code{piano} and
1108 @code{piano-cautionary}, which are explained below). Optionally,
1109 the function can take a second argument that determines in which
1110 scope the style should be changed. For example, to use the same
1111 style in all staves of the current @code{StaffGroup}, use:
1114 #(set-accidental-style 'voice 'StaffGroup)
1117 The following accidental styles are supported. To demonstrate
1118 each style, we use the following example:
1122 @lilypond[verbatim,quote]
1126 cis'8 fis, d'4 <a cis>8 f bis4 |
1140 \voiceTwo \relative c' {
1144 \change Staff = down
1148 \change Staff = down
1149 <fis, a cis>4 gis <f a d>2 |
1156 \context Staff = "up" {
1157 #(set-accidental-style 'default)
1160 \context Staff = "down" {
1161 #(set-accidental-style 'default)
1168 Note that the last lines of this example can be replaced by the
1169 following, as long as the same accidental style should be used in
1175 \context Staff = "up" @{
1176 %%% change the next line as desired:
1177 #(set-accidental-style 'default 'Score)
1180 \context Staff = "down" @{
1188 @c don't use verbatim in this table.
1192 @cindex default accidental style
1193 @cindex accidental style, default
1196 This is the default typesetting behavior. It corresponds to
1197 eighteenth-century common practice: accidentals are remembered to
1198 the end of the measure in which they occur and only in their own
1199 octave. Thus, in the example below, no natural signs are printed
1200 before the@tie{}@code{b} in the second measure or the
1207 cis'8 fis, d'4 <a cis>8 f bis4 |
1221 \voiceTwo \relative c' {
1225 \change Staff = down
1229 \change Staff = down
1230 <fis, a cis>4 gis <f a d>2 |
1237 \context Staff = "up" {
1238 #(set-accidental-style 'default)
1241 \context Staff = "down" {
1242 #(set-accidental-style 'default)
1251 @cindex accidental style, voice
1252 @cindex voice accidental style
1253 @cindex accidental style, modern
1254 @cindex modern accidental style
1255 @cindex accidental style, modern-cautionary
1256 @cindex modern-cautionary accidental style
1259 The normal behavior is to remember the accidentals at
1260 @code{Staff}-level. In this style, however, accidentals are
1261 typeset individually for each voice. Apart from that, the rule is
1262 similar to @code{default}.
1264 As a result, accidentals from one voice do not get canceled in
1265 other voices, which is often an unwanted result: in the following
1266 example, it is hard to determine whether the second@tie{}@code{a}
1267 should be played natural or sharp. The @code{voice} option should
1268 therefore be used only if the voices are to be read solely by
1269 individual musicians. If the staff is to be used by one musician
1270 (e.g., a conductor or in a piano score) then @code{modern} or
1271 @code{modern-cautionary} should be used instead.
1278 cis'8 fis, d'4 <a cis>8 f bis4 |
1292 \voiceTwo \relative c' {
1296 \change Staff = down
1300 \change Staff = down
1301 <fis, a cis>4 gis <f a d>2 |
1308 \context Staff = "up" {
1309 #(set-accidental-style 'voice)
1312 \context Staff = "down" {
1313 #(set-accidental-style 'voice)
1322 @cindex accidentals, modern style
1323 @cindex modern style accidentals
1326 This rule corresponds to the common practice in the twentieth
1327 century. It prints the same accidentals as @code{default}, with
1328 two exceptions that serve to avoid ambiguity: after temporary
1329 accidentals, cancellation marks are printed also in the following
1330 measure (for notes in the same octave) and, in the same measure,
1331 for notes in other octaves. Hence the naturals before
1332 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1339 cis'8 fis, d'4 <a cis>8 f bis4 |
1353 \voiceTwo \relative c' {
1357 \change Staff = down
1361 \change Staff = down
1362 <fis, a cis>4 gis <f a d>2 |
1369 \context Staff = "up" {
1370 #(set-accidental-style 'modern)
1373 \context Staff = "down" {
1374 #(set-accidental-style 'modern)
1381 @item modern-cautionary
1383 @cindex accidentals, modern cautionary style
1384 @cindex modern accidental style
1385 @cindex modern cautionary accidental style
1386 @cindex modern style accidentals
1387 @cindex modern style cautionary accidentals
1388 @funindex modern-cautionary
1390 This rule is similar to @code{modern}, but the @q{extra}
1391 accidentals (the ones not typeset by @code{default}) are typeset
1392 as cautionary accidentals. They are by default printed with
1393 parentheses, but they can also be printed in reduced size by
1394 defining the @code{cautionary-style} property of
1395 @code{AccidentalSuggestion}.
1401 cis'8 fis, d'4 <a cis>8 f bis4 |
1415 \voiceTwo \relative c' {
1419 \change Staff = down
1423 \change Staff = down
1424 <fis, a cis>4 gis <f a d>2 |
1431 \context Staff = "up" {
1432 #(set-accidental-style 'modern-cautionary)
1435 \context Staff = "down" {
1436 #(set-accidental-style 'modern-cautionary)
1445 @cindex accidental style, modern
1446 @cindex accidentals, modern
1447 @cindex accidentals, multivoice
1448 @cindex modern accidental style
1449 @cindex modern accidentals
1450 @cindex multivoice accidentals
1451 @funindex modern-voice
1453 This rule is used for multivoice accidentals to be read both by
1454 musicians playing one voice and musicians playing all voices.
1455 Accidentals are typeset for each voice, but they @emph{are}
1456 canceled across voices in the same @code{Staff}. Hence,
1457 the@tie{}@code{a} in the last measure is canceled because the
1458 previous cancellation was in a different voice, and
1459 the@tie{}@code{d} in the lower staff is canceled because of the
1460 accidental in a different voice in the previous measure:
1466 cis'8 fis, d'4 <a cis>8 f bis4 |
1480 \voiceTwo \relative c' {
1484 \change Staff = down
1488 \change Staff = down
1489 <fis, a cis>4 gis <f a d>2 |
1496 \context Staff = "up" {
1497 #(set-accidental-style 'modern-voice)
1500 \context Staff = "down" {
1501 #(set-accidental-style 'modern-voice)
1508 @cindex accidental style, cautionary, modern voice
1509 @cindex accidental style, modern voice cautionary
1510 @cindex accidental style, voice, modern cautionary
1511 @funindex modern-voice-cautionary
1513 @item modern-voice-cautionary
1515 This rule is the same as @code{modern-voice}, but with the extra
1516 accidentals (the ones not typeset by @code{voice}) typeset as
1517 cautionaries. Even though all accidentals typeset by
1518 @code{default} @emph{are} typeset with this rule, some of them are
1519 typeset as cautionaries.
1525 cis'8 fis, d'4 <a cis>8 f bis4 |
1539 \voiceTwo \relative c' {
1543 \change Staff = down
1547 \change Staff = down
1548 <fis, a cis>4 gis <f a d>2 |
1555 \context Staff = "up" {
1556 #(set-accidental-style 'modern-voice-cautionary)
1559 \context Staff = "down" {
1560 #(set-accidental-style 'modern-voice-cautionary)
1569 @cindex accidental style, piano
1570 @cindex accidentals, piano
1571 @cindex piano accidental style
1572 @cindex piano accidentals
1575 This rule reflects twentieth-century practice for piano notation.
1576 Its behavior is very similar to @code{modern} style, but here
1577 accidentals also get canceled across the staves in the same
1578 @code{GrandStaff} or @code{PianoStaff}, hence all the
1579 cancellations of the final notes.
1581 This accidental style applies to the current @code{GrandStaff} or
1582 @code{PianoStaff} by default.
1588 cis'8 fis, d'4 <a cis>8 f bis4 |
1602 \voiceTwo \relative c' {
1606 \change Staff = down
1610 \change Staff = down
1611 <fis, a cis>4 gis <f a d>2 |
1618 \context Staff = "up" {
1619 #(set-accidental-style 'piano)
1622 \context Staff = "down" {
1629 @item piano-cautionary
1631 @funindex piano-cautionary
1632 @cindex accidentals, piano cautionary
1633 @cindex cautionary accidentals, piano
1634 @cindex piano cautionary accidentals
1635 @cindex accidental style, piano cautionary
1636 @cindex cautionary accidental style, piano
1637 @cindex piano cautionary accidental style
1639 This is the same as @code{piano} but with the extra accidentals
1640 typeset as cautionaries.
1646 cis'8 fis, d'4 <a cis>8 f bis4 |
1660 \voiceTwo \relative c' {
1664 \change Staff = down
1668 \change Staff = down
1669 <fis, a cis>4 gis <f a d>2 |
1676 \context Staff = "up" {
1677 #(set-accidental-style 'piano-cautionary)
1680 \context Staff = "down" {
1690 @funindex neo-modern
1691 @cindex neo-modern accidental style
1692 @cindex accidental style, neo-modern
1694 This rule reproduces a common practice in contemporary music:
1695 accidentals are printed like with @code{modern}, but they are printed
1696 again if the same note appears later in the same measure -- except
1697 if the note is immediately repeated.
1703 cis'8 fis, d'4 <a cis>8 f bis4 |
1717 \voiceTwo \relative c' {
1721 \change Staff = down
1725 \change Staff = down
1726 <fis, a cis>4 gis <f a d>2 |
1733 \context Staff = "up" {
1734 #(set-accidental-style 'neo-modern)
1737 \context Staff = "down" {
1738 #(set-accidental-style 'neo-modern)
1745 @item neo-modern-cautionary
1747 @funindex neo-modern-cautionary
1748 @cindex neo-modern-cautionary accidental style
1749 @cindex accidental style, neo-modern-cautionary
1751 This rule is similar to @code{neo-modern}, but the extra
1752 accidentals are printed as cautionary accidentals.
1758 cis'8 fis, d'4 <a cis>8 f bis4 |
1772 \voiceTwo \relative c' {
1776 \change Staff = down
1780 \change Staff = down
1781 <fis, a cis>4 gis <f a d>2 |
1788 \context Staff = "up" {
1789 #(set-accidental-style 'neo-modern-cautionary)
1792 \context Staff = "down" {
1793 #(set-accidental-style 'neo-modern-cautionary)
1803 @funindex dodecaphonic
1804 @cindex dodecaphonic accidental style
1805 @cindex dodecaphonic style, neo-modern
1807 This rule reflects a practice introduced by composers at
1808 the beginning of the 20th century, in an attempt to
1809 abolish the hierarchy between natural and non-natural notes.
1810 With this style, @emph{every} note gets an accidental sign,
1811 including natural signs.
1817 cis'8 fis, d'4 <a cis>8 f bis4 |
1831 \voiceTwo \relative c' {
1835 \change Staff = down
1839 \change Staff = down
1840 <fis, a cis>4 gis <f a d>2 |
1847 \context Staff = "up" {
1848 #(set-accidental-style 'dodecaphonic)
1851 \context Staff = "down" {
1852 #(set-accidental-style 'dodecaphonic)
1863 @cindex teaching accidental style
1864 @cindex accidental style, teaching
1866 This rule is intended for students, and makes it easy to create
1867 scale sheets with automagically created cautionary accidentals.
1868 Accidentals are printed like with @code{modern}, but cautionary
1869 accidentals are added for all sharp or flat tones specified by the
1870 key signature, except if the note is immediately repeated.
1876 cis'8 fis, d'4 <a cis>8 f bis4 |
1890 \voiceTwo \relative c' {
1894 \change Staff = down
1898 \change Staff = down
1899 <fis, a cis>4 gis <f a d>2 |
1906 \context Staff = "up" {
1908 #(set-accidental-style 'teaching)
1911 \context Staff = "down" {
1913 #(set-accidental-style 'teaching)
1925 @cindex accidental style, no reset
1926 @cindex no reset accidental style
1928 This is the same as @code{default} but with accidentals lasting
1929 @q{forever} and not only within the same measure:
1935 cis'8 fis, d'4 <a cis>8 f bis4 |
1949 \voiceTwo \relative c' {
1953 \change Staff = down
1957 \change Staff = down
1958 <fis, a cis>4 gis <f a d>2 |
1965 \context Staff = "up" {
1966 #(set-accidental-style 'no-reset)
1969 \context Staff = "down" {
1970 #(set-accidental-style 'no-reset)
1980 @cindex forget accidental style
1981 @cindex accidental style, forget
1983 This is the opposite of @code{no-reset}: Accidentals are not
1984 remembered at all -- and hence all accidentals are typeset
1985 relative to the key signature, regardless of what came before in
1986 the music. Unlike @code{dodecaphonic}, this rule never prints
1993 cis'8 fis, d'4 <a cis>8 f bis4 |
2007 \voiceTwo \relative c' {
2011 \change Staff = down
2015 \change Staff = down
2016 <fis, a cis>4 gis <f a d>2 |
2023 \context Staff = "up" {
2024 #(set-accidental-style 'forget)
2027 \context Staff = "down" {
2028 #(set-accidental-style 'forget)
2038 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2039 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2047 Internals Reference:
2048 @rinternals{Accidental},
2049 @rinternals{Accidental_engraver},
2050 @rinternals{GrandStaff} and
2051 @rinternals{PianoStaff},
2053 @rinternals{AccidentalSuggestion},
2054 @rinternals{AccidentalPlacement},
2055 @rinternals{accidental-suggestion-interface}.
2058 @cindex accidentals and simultaneous notes
2059 @cindex simultaneous notes and accidentals
2060 @cindex accidentals in chords
2061 @cindex chords, accidentals in
2065 Simultaneous notes are considered to be entered in sequential
2066 mode. This means that in a chord the accidentals are typeset as
2067 if the notes in the chord happen one at a time, in the order in
2068 which they appear in the input file. This is a problem when
2069 accidentals in a chord depend on each other, which does not happen
2070 for the default accidental style. The problem can be solved by
2071 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2076 @unnumberedsubsubsec Ambitus
2079 @cindex range of pitches
2082 The term @notation{ambitus} (pl. ambitus) denotes a range of
2083 pitches for a given voice in a part of music. It may also denote
2084 the pitch range that a musical instrument is capable of playing.
2085 Ambitus are printed on vocal parts so that performers can easily
2086 determine if it matches their capabilities.
2088 Ambitus are denoted at the beginning of a piece near the initial
2089 clef. The range is graphically specified by two note heads that
2090 represent the lowest and highest pitches. Accidentals are only
2091 printed if they are not part of the key signature.
2093 @lilypond[verbatim,quote]
2097 \consists "Ambitus_engraver"
2110 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2111 {adding-ambitus-per-voice.ly}
2113 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2114 {ambitus-with-multiple-voices.ly}
2125 Internals Reference:
2126 @rinternals{Ambitus_engraver},
2129 @rinternals{Ambitus},
2130 @rinternals{AmbitusAccidental},
2131 @rinternals{AmbitusLine},
2132 @rinternals{AmbitusNoteHead},
2133 @rinternals{ambitus-interface}.
2138 There is no collision handling in the case of multiple per-voice
2143 @subsection Note heads
2145 This section suggests ways of altering note heads.
2148 * Special note heads::
2149 * Easy notation note heads::
2150 * Shape note heads::
2154 @node Special note heads
2155 @unnumberedsubsubsec Special note heads
2157 @cindex note heads, special
2158 @cindex note heads, cross
2159 @cindex note heads, diamond
2160 @cindex note heads, parlato
2161 @cindex note heads, harmonic
2162 @cindex note heads, guitar
2163 @cindex special note heads
2164 @cindex cross note heads
2165 @cindex diamond note heads
2166 @cindex parlato note heads
2167 @cindex harmonic note heads
2168 @cindex guitar note heads
2169 @cindex note head styles
2170 @cindex styles, note heads
2173 Note heads may be altered:
2175 @lilypond[verbatim,quote,relative=2]
2177 \override NoteHead #'style = #'cross
2179 \revert NoteHead #'style
2183 There is a shorthand for diamond shapes which can only be used
2186 @lilypond[verbatim,quote,relative=2]
2187 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2191 To see all note head styles, see @ref{Note head styles}.
2199 @ref{Note head styles},
2200 @ref{Chorded notes}.
2202 Internals Reference:
2203 @rinternals{note-event},
2204 @rinternals{Note_heads_engraver},
2205 @rinternals{Ledger_line_engraver},
2206 @rinternals{NoteHead},
2207 @rinternals{LedgerLineSpanner},
2208 @rinternals{note-head-interface},
2209 @rinternals{ledger-line-spanner-interface}.
2212 @node Easy notation note heads
2213 @unnumberedsubsubsec Easy notation note heads
2215 @cindex note heads, practice
2216 @cindex practice note heads
2217 @cindex note heads, easy notation
2218 @cindex easy notation
2220 @cindex beginners' music
2221 @cindex music, beginners'
2222 @cindex easy play note heads
2223 @cindex note heads, easy play
2225 The @q{easy play} note head includes a note name inside the head.
2226 It is used in music for beginners. To make the letters readable,
2227 it should be printed in a large font size. To print with a larger
2228 font, see @ref{Setting the staff size}.
2230 @lilypond[verbatim,quote]
2231 #(set-global-staff-size 26)
2243 @funindex \easyHeadsOn
2244 @funindex \easyHeadsOff
2245 @code{\easyHeadsOn}, @code{\easyHeadsOff}
2250 @ref{Setting the staff size}.
2255 Internals Reference:
2256 @rinternals{note-event},
2257 @rinternals{Note_heads_engraver},
2258 @rinternals{NoteHead},
2259 @rinternals{note-head-interface}.
2262 @node Shape note heads
2263 @unnumberedsubsubsec Shape note heads
2265 @cindex note heads, shape
2266 @cindex note heads, Aiken
2267 @cindex note heads, sacred harp
2269 @cindex Aiken shape note heads
2270 @cindex sacred harp note heads
2272 @funindex \aikenHeads
2273 @funindex \sacredHarpHeads
2275 In shape note head notation, the shape of the note head
2276 corresponds to the harmonic function of a note in the scale. This
2277 notation was popular in nineteenth-century American song books.
2278 Shape note heads can be produced:
2280 @lilypond[verbatim,quote,relative=2]
2287 Shapes are typeset according to the step in the scale, where the
2288 base of the scale is determined by the @code{\key} command.
2292 @funindex \aikenHeads
2293 @funindex \sacredHarpHeads
2294 @code{\aikenHeads}, @code{\sacredHarpHeads}
2298 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2299 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2302 To see all note head styles, see @ref{Note head styles}.
2310 @ref{Note head styles}.
2312 Internals Reference:
2313 @rinternals{note-event},
2314 @rinternals{Note_heads_engraver},
2315 @rinternals{NoteHead},
2316 @rinternals{note-head-interface}.
2320 @unnumberedsubsubsec Improvisation
2322 @cindex improvisation
2323 @cindex slashed note heads
2324 @cindex note heads, improvisation
2325 @cindex note heads, slashed
2327 Improvisation is sometimes denoted with slashed note heads, where
2328 the performer may choose any pitch but should play the specified
2329 rhythm. Such note heads can be created:
2331 @lilypond[verbatim,quote,relative=2]
2333 \consists "Pitch_squash_engraver"
2335 e8 e g a a16( bes) a8 g
2348 @funindex \improvisationOn
2349 @funindex \improvisationOff
2351 @code{\improvisationOn}, @code{\improvisationOff}
2358 Internals Reference:
2359 @rinternals{Pitch_squash_engraver},
2361 @rinternals{RhythmicStaff}.