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 octave specification, absolute
51 @cindex absolute octave entry
52 @cindex octave entry, absolute
54 A pitch name is specified using lowercase letters@tie{}@code{a}
55 through@tie{}@code{g}. The note names @code{c} to @code{b} are
56 engraved in the octave below middle C.
59 @lilypond[verbatim,quote,fragment]
66 @cindex octave changing mark
71 Other octaves may be specified with a single quote@tie{}(@code{'})
72 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
73 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
76 @lilypond[verbatim,quote,fragment]
94 @node Relative octave entry
95 @unnumberedsubsubsec Relative octave entry
98 @cindex relative octave entry
99 @cindex octave entry, relative
100 @cindex relative octave specification
101 @cindex ocatve specification, relative
106 When octaves are specified in absolute mode it is easy to
107 accidentally put a pitch in the wrong octave. Relative octave
108 mode reduces these errors since most of the time it is not
109 necessary to indicate any octaves at all. Furthermore, in
110 absolute mode a single mistake may be difficult to spot, while in
111 relative mode a single error puts the rest of the piece off by one
115 \relative @var{startpitch} @var{musicexpr}
118 In relative mode, each note is assumed to be as close to the
119 previous note as possible. This means that the octave of each
120 pitch inside @var{musicexpr} is calculated as follows:
124 If no octave changing mark is used on a pitch, its octave is
125 calculated so that the interval with the previous note is less
126 than a fifth. This interval is determined without considering
130 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
131 added to respectively raise or lower a pitch by an extra octave,
132 relative to the pitch calculated without an octave mark.
135 Multiple octave changing marks can be used. For example,
136 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
140 The pitch of the first note is relative to
141 @code{@var{startpitch}}. @var{startpitch} is specified in
142 absolute octave mode, and it is recommended that it be a octave of
147 Here is the relative mode shown in action:
149 @lilypond[verbatim,quote]
158 Octave changing marks are used for intervals greater than a
161 @lilypond[verbatim,quote]
168 A note sequence without a single octave mark can nevertheless span
171 @lilypond[verbatim,quote]
178 When @code{\relative} blocks are nested, the innermost
179 @code{\relative} block applies.
181 @lilypond[verbatim,quote]
190 @code{\relative} has no effect on @code{\chordmode} blocks.
192 @lilypond[verbatim,quote]
201 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
203 Music inside a @code{\transpose} block is absolute unless a
204 @code{\relative} is included.
206 @lilypond[verbatim,quote]
219 @cindex chords and relative octave entry
220 @cindex relative octave entry and chords
222 If the preceding item is a chord, the first note of the chord is
223 used as the reference point for the octave placement of a
224 following note or chord. Inside chords, the next note is always
225 relative to the preceding one. Examine the next example
226 carefully, paying attention to the @code{c} notes.
228 @lilypond[verbatim,quote]
237 As explained above, the octave of pitches is calculated only with
238 the note names, regardless of any alterations. Therefore, an
239 E-double-sharp following a B will be placed higher, while an
240 F-double-flat will be placed lower. In other words, a
241 double-augmented fourth is considered a smaller interval than a
242 double-diminished fifth, regardless of the number of semitones
243 that each interval contains.
245 @lilypond[verbatim,quote]
268 @rinternals{RelativeOctaveMusic}.
271 @cindex relative octave entry and transposition
272 @cindex transposition and relative octave entry
283 If no @var{startpitch} is specified for @code{\relative},
284 then@tie{}@code{c'} is assumed. However, this is a deprecated
285 option and may disappear in future versions, so its use is
291 @unnumberedsubsubsec Accidentals
294 @cindex key signature
297 @c duplicated in Key signature and Accidentals
298 @warning{New users are sometimes confused about accidentals and
299 key signatures. In LilyPond, note names are the raw input; key
300 signatures and clefs determine how this raw input is displayed.
301 An unaltered note like@tie{}@code{c} means @q{C natural},
302 regardless of the key signature or clef. For more information,
303 see @rlearning{Accidentals and key signatures}.}
305 @cindex note names, Dutch
306 @cindex note names, default
307 @cindex default note names
311 @cindex sharp, double
315 @cindex natural pitch
317 A @notation{sharp} pitch is made by adding @code{is} to the note
318 name, and a @notation{flat} pitch by adding @code{es}. As you
319 might expect, a @notation{double sharp} or @notation{double flat}
320 is made by adding @code{isis} or @code{eses}. This syntax is
321 derived from Dutch note naming conventions. To use other names
322 for accidentals, see @ref{Note names in other languages}.
324 @lilypond[verbatim,quote,relative=2]
328 A natural will cancel the effect of an accidental or key
329 signature. However, naturals are not encoded into the note name
330 syntax with a suffix; a natural pitch is shown as a simple note
333 @lilypond[verbatim,quote,relative=2]
337 @cindex quarter tones
341 Quarter tones may be added; the following is a series of Cs with
344 @lilypond[verbatim,quote,relative=2]
345 ceseh1 ces ceh c cih cis cisih
350 @cindex accidental, reminder
351 @cindex accidental, cautionary
352 @cindex accidental, parenthesized
353 @cindex reminder accidental
354 @cindex cautionary accidental
355 @cindex parenthesized accidental
361 Normally accidentals are printed automatically, but you may also
362 print them manually. A reminder accidental can be forced by
363 adding an exclamation mark@tie{}@code{!} after the pitch. A
364 cautionary accidental (i.e., an accidental within parentheses) can
365 be obtained by adding the question mark@tie{}@code{?} after the
366 pitch. These extra accidentals can also be used to produce
369 @lilypond[verbatim,quote,relative=2]
370 cis cis cis! cis? c c c! c?
373 @cindex accidental on tied note
374 @cindex tied note, accidental
376 Accidentals on tied notes are only printed at the beginning of a
379 @lilypond[verbatim,quote,relative=2]
388 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
389 {preventing-extra-naturals-from-being-automatically-added.ly}
391 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
399 @rglos{double sharp},
402 @rglos{quarter tone}.
405 @rlearning{Accidentals and key signatures}.
408 @ref{Automatic accidentals},
409 @ref{Annotational accidentals (musica ficta)},
410 @ref{Note names in other languages}.
416 @rinternals{Accidental_engraver},
417 @rinternals{Accidental},
418 @rinternals{AccidentalCautionary},
419 @rinternals{accidental-interface}.
422 @cindex accidental, quarter-tone
423 @cindex quarter-tone accidental
427 There are no generally accepted standards for denoting
428 quarter-tone accidentals, so LilyPond's symbol does not conform to
433 @node Note names in other languages
434 @unnumberedsubsubsec Note names in other languages
436 @cindex note names, other languages
437 @cindex pitch names, other languages
438 @cindex language, note names in other
439 @cindex language, pitch names in other
441 There are predefined sets of note and accidental names for various
442 other languages. To use them, include the language-specific init
443 file listed below. For example, to use English note names, add
444 @code{@w{\include "english.ly"}} to the input file.
446 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
447 use default (Nederlands) note names, the @code{@bs{}include}
448 command for the language file should be placed after all other
449 LilyPond distribution files.}
451 The available language files and the note names they define are:
454 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
455 @headitem Language File
457 @item @file{nederlands.ly}
458 @tab c d e f g a bes b
459 @item @file{arabic.ly}
460 @tab do re mi fa sol la sib si
461 @item @file{catalan.ly}
462 @tab do re mi fa sol la sib si
463 @item @file{deutsch.ly}
465 @item @file{english.ly}
466 @tab c d e f g a bf b
467 @item @file{espanol.ly}
468 @tab do re mi fa sol la sib si
469 @item @file{italiano.ly}
470 @tab do re mi fa sol la sib si
471 @item @file{norsk.ly}
473 @item @file{portugues.ly}
474 @tab do re mi fa sol la sib si
475 @item @file{suomi.ly}
477 @item @file{svenska.ly}
479 @item @file{vlaams.ly}
480 @tab do re mi fa sol la sib si
485 and the accidental suffixes they define are:
488 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
489 @headitem Language File
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @file{nederlands.ly}
492 @tab -is @tab -es @tab -isis @tab -eses
493 @item @file{arabic.ly}
494 @tab -d @tab -b @tab -dd @tab -bb
495 @item @file{catalan.ly}
496 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
497 @item @file{deutsch.ly}
498 @tab -is @tab -es @tab -isis @tab -eses
499 @item @file{english.ly}
500 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
502 @item @file{espanol.ly}
503 @tab -s @tab -b @tab -ss/-x @tab -bb
504 @item @file{italiano.ly}
505 @tab -d @tab -b @tab -dd @tab -bb
506 @item @file{norsk.ly}
507 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
509 @item @file{portugues.ly}
510 @tab -s @tab -b @tab -ss @tab -bb
511 @item @file{suomi.ly}
512 @tab -is @tab -es @tab -isis @tab -eses
513 @item @file{svenska.ly}
514 @tab -iss @tab -ess @tab -ississ @tab -essess
515 @item @file{vlaams.ly}
516 @tab -k @tab -b @tab -kk @tab -bb
520 In Dutch, @code{aes} is contracted to @code{as}, but both forms
521 are accepted in LilyPond. Similarly, both @code{es} and
522 @code{ees} are accepted. This also applies to
523 @code{aeses}@tie{}/@tie{}@code{ases} and
524 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
525 contracted names are defined in the corresponding language files.
527 @lilypond[verbatim,quote,relative=2]
528 a2 as e es a ases e eses
538 Some music uses microtones whose alterations are fractions of a
539 @q{normal} sharp or flat. The note names for quarter-tones
540 defined in the various language files are listed in the following
541 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
542 mean @q{half} and @q{one and a half}, respectively. For the other
543 languages, no special names have been defined yet.
546 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
547 @headitem Language File
548 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
550 @item @file{nederlands.ly}
551 @tab -ih @tab -eh @tab -isih @tab -eseh
552 @item @file{arabic.ly}
553 @tab -sd @tab -sb @tab -dsd @tab -bsb
554 @item @file{deutsch.ly}
555 @tab -ih @tab -eh @tab -isih @tab -eseh
556 @item @file{english.ly}
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
558 @item @file{espanol.ly}
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @file{italiano.ly}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @file{portugues.ly}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
576 @node Changing multiple pitches
577 @subsection Changing multiple pitches
579 This section discusses how to modify pitches.
587 @unnumberedsubsubsec Octave checks
589 @cindex octave correction
591 @cindex control pitch
594 @funindex \octaveCheck
595 @funindex octaveCheck
596 @funindex controlpitch
598 In relative mode, it is easy to forget an octave changing mark.
599 Octave checks make such errors easier to find by displaying a
600 warning and correcting the octave if a note is found in an
603 To check the octave of a note, specify the absolute octave after
604 the @code{=}@tie{}symbol. This example will generate a warning
605 (and change the pitch) because the second note is the absolute
606 octave @code{d''} instead of @code{d'} as indicated by the octave
609 @lilypond[verbatim,quote]
616 The octave of notes may also be checked with the
617 @code{\octaveCheck}@tie{}@var{controlpitch} command.
618 @var{controlpitch} is specified in absolute mode. This checks
619 that the interval between the previous note and the
620 @var{controlpitch} is within a fourth (i.e., the normal
621 calculation of relative mode). If this check fails, a warning is
622 printed, but the previous note is not changed. Future notes are
623 relative to the @var{controlpitch}.
625 @lilypond[verbatim,quote]
633 Compare the two bars below. The first and third @code{\octaveCheck}
634 checks fail, but the second one does not fail.
636 @lilypond[verbatim,quote]
656 @rinternals{RelativeOctaveCheck}.
660 @unnumberedsubsubsec Transpose
664 @cindex transposition
665 @cindex transposition of pitches
666 @cindex transposition of notes
667 @cindex pitches, transposition of
668 @cindex notes, transposition of
673 A music expression can be transposed with @code{\transpose}. The
677 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
681 This means that @var{musicexpr} is transposed by the interval
682 between the pitches @var{frompitch} and @var{topitch}: any note
683 with pitch @var{frompitch} is changed to @var{topitch} and any
684 other note is transposed by the same interval. Both pitches are
685 entered in absolute mode.
687 @warning{Music inside a @code{@bs{}transpose} block is absolute
688 unless a @code{@bs{}relative} is included in the block.}
690 Consider a piece written in the key of D-major. It can be
691 transposed up to E-major; note that the key signature is
692 automatically transposed as well.
694 @lilypond[verbatim,quote]
703 @cindex transposing instruments
704 @cindex instruments, transposing
706 If a part written in C (normal @notation{concert pitch}) is to be
707 played on the A clarinet (for which an A is notated as a C and
708 thus sounds a minor third lower than notated), the appropriate
709 part will be produced with:
711 @lilypond[verbatim,quote]
721 Note that we specify @w{@code{\key c \major}} explicitly. If we
722 do not specify a key signature, the notes will be transposed but
723 no key signature will be printed.
725 @code{\transpose} distinguishes between enharmonic pitches: both
726 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
727 transpose up a semitone. The first version will print sharps and
728 the notes will remain on the same scale step, the second version
729 will print flats on the scale step above.
731 @lilypond[verbatim,quote]
732 music = \relative c' { c d e f }
734 \transpose c cis { \music }
735 \transpose c des { \music }
740 @code{\transpose} may also be used in a different way, to input
741 written notes for a transposing instrument. The previous examples
742 show how to enter pitches in C (or @notation{concert pitch}) and
743 typeset them for a transposing instrument, but the opposite is
744 also possible if you for example have a set of instrumental parts
745 and want to print a conductor's score. For example, when entering
746 music for a B-flat trumpet that begins on a notated E (concert D),
750 musicInBflat = @{ e4 @dots{} @}
751 \transpose c bes, \musicInBflat
755 To print this music in F (e.g., rearranging to a French horn) you
756 could wrap the existing music with another @code{\transpose}:
759 musicInBflat = @{ e4 @dots{} @}
760 \transpose f c' @{ \transpose c bes, \musicInBflat @}
764 For more information about transposing instruments,
765 see @ref{Instrument transpositions}.
770 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
771 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
776 @ref{Relative octave entry},
777 @ref{Instrument transpositions}.
783 @rinternals{TransposedMusic}.
795 The relative conversion will not affect @code{\transpose},
796 @code{\chordmode} or @code{\relative} sections in its argument.
797 To use relative mode within transposed music, an additional
798 @code{\relative} must be placed inside @code{\transpose}.
800 @node Displaying pitches
801 @subsection Displaying pitches
803 This section discusses how to alter the output of pitches.
809 * Instrument transpositions::
810 * Automatic accidentals::
816 @unnumberedsubsubsec Clef
828 @cindex mezzosoprano clef
829 @cindex baritone clef
830 @cindex varbaritone clef
834 @cindex clef, ancient
844 @cindex clef, soprano
845 @cindex clef, mezzosoprano
846 @cindex clef, baritone
847 @cindex clef, varbaritone
848 @cindex subbass clef, subbass
853 The clef may be altered. Middle C is shown in every example.
855 @lilypond[verbatim,quote,relative=1]
868 @lilypond[verbatim,quote,relative=1]
900 Further supported clefs are described under @ref{Mensural clefs}
901 and @ref{Gregorian clefs}.
903 @cindex transposing clefs
904 @cindex clef, transposing
905 @cindex octave transposition
906 @cindex choral tenor clef
907 @cindex tenor clef, choral
909 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
910 clef is transposed one octave down or up, respectively,
911 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
912 The clef name must be enclosed in quotes when it contains
913 underscores or digits.
915 @lilypond[verbatim,quote,relative=2]
927 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
928 {tweaking-clef-properties.ly}
933 @ref{Mensural clefs}, @ref{Gregorian clefs}.
939 @rinternals{Clef_engraver},
941 @rinternals{OctavateEight},
942 @rinternals{clef-interface}.
946 @unnumberedsubsubsec Key signature
948 @cindex key signature
953 @c duplicated in Key signature and Accidentals
954 @warning{New users are sometimes confused about accidentals and
955 key signatures. In LilyPond, note names are the raw input; key
956 signatures and clefs determine how this raw input is displayed.
957 An unaltered note like@tie{}@code{c} means @q{C natural},
958 regardless of the key signature or clef. For more information,
959 see @rlearning{Accidentals and key signatures}.}
961 The key signature indicates the tonality in which a piece is
962 played. It is denoted by a set of alterations (flats or sharps)
963 at the start of the staff. The key signature may be altered:
966 \key @var{pitch} @var{mode}
979 @funindex \mixolydian
1000 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
1001 key signature of @var{pitch}-major or @var{pitch}-minor,
1002 respectively. You may also use the standard mode names, also
1003 called @notation{church modes}: @code{\ionian}, @code{\dorian},
1004 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
1005 @code{\aeolian}, and @code{\locrian}.
1007 @lilypond[verbatim,quote,relative=2]
1017 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1018 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1020 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1021 {non-traditional-key-signatures.ly}
1026 @rglos{church mode},
1030 @rlearning{Accidentals and key signatures}.
1035 Internals Reference:
1036 @rinternals{KeyChangeEvent},
1037 @rinternals{Key_engraver},
1038 @rinternals{Key_performer},
1039 @rinternals{KeyCancellation},
1040 @rinternals{KeySignature},
1041 @rinternals{key-cancellation-interface},
1042 @rinternals{key-signature-interface}.
1045 @node Ottava brackets
1046 @unnumberedsubsubsec Ottava brackets
1054 @funindex set-octavation
1058 @notation{Ottava brackets} introduce an extra transposition of an
1059 octave for the staff:
1061 @lilypond[verbatim,quote,relative=2]
1069 The @code{ottava} function also takes -1 (for 8va bassa),
1070 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1075 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1086 Internals Reference:
1087 @rinternals{Ottava_spanner_engraver},
1088 @rinternals{OttavaBracket},
1089 @rinternals{ottava-bracket-interface}.
1092 @node Instrument transpositions
1093 @unnumberedsubsubsec Instrument transpositions
1095 @cindex transposition, MIDI
1096 @cindex transposition, instrument
1097 @cindex transposing instrument
1099 @cindex MIDI transposition
1101 @funindex \transposition
1102 @funindex transposition
1104 When typesetting scores that involve transposing instruments, some
1105 parts can be typeset in a different pitch than the
1106 @notation{concert pitch}. In these cases, the key of the
1107 @notation{transposing instrument} should be specified; otherwise
1108 the MIDI output and cues in other parts will produce incorrect
1109 pitches. For more information about quotations, see
1110 @ref{Quoting other voices}.
1113 \transposition @var{pitch}
1116 The pitch to use for @code{\transposition} should correspond to
1117 the real sound heard when a@tie{}@code{c'} written on the staff is
1118 played by the transposing instrument. This pitch is entered in
1119 absolute mode, so an instrument that produces a real sound which
1120 is one tone higher than the printed music should use
1121 @w{@code{\transposition d'}}. @code{\transposition} should
1122 @emph{only} be used if the pitches are @emph{not} being entered in
1125 Here are a few notes for violin and B-flat clarinet where the
1126 parts have been entered using the notes and key as they appear in
1127 each part of the conductor's score. The two instruments are
1130 @lilypond[verbatim,quote]
1132 \new Staff = "violin" {
1134 \set Staff.instrumentName = #"Vln"
1135 \set Staff.midiInstrument = #"violin"
1136 % not strictly necessary, but a good reminder
1143 \new Staff = "clarinet" {
1145 \set Staff.instrumentName = \markup { Cl (B\flat) }
1146 \set Staff.midiInstrument = #"clarinet"
1156 The @code{\transposition} may be changed during a piece. For
1157 example, a clarinetist may switch from an A clarinet to a B-flat
1160 @lilypond[verbatim,quote,relative=2]
1161 \set Staff.instrumentName = #"Cl (A)"
1166 s1*0^\markup { Switch to B\flat clarinet }
1177 @rglos{concert pitch},
1178 @rglos{transposing instrument}.
1181 @ref{Quoting other voices}, @ref{Transpose}.
1187 @node Automatic accidentals
1188 @unnumberedsubsubsec Automatic accidentals
1190 @cindex accidental style
1191 @cindex accidental style, default
1193 @cindex accidentals, automatic
1194 @cindex automatic accidentals
1195 @cindex default accidental style
1197 @funindex set-accidental-style
1201 There are many different conventions on how to typeset
1202 accidentals. LilyPond provides a function to specify which
1203 accidental style to use. This function is called as follows:
1207 #(set-accidental-style 'voice)
1212 The accidental style applies to the current @code{Staff} by
1213 default (with the exception of the styles @code{piano} and
1214 @code{piano-cautionary}, which are explained below). Optionally,
1215 the function can take a second argument that determines in which
1216 scope the style should be changed. For example, to use the same
1217 style in all staves of the current @code{StaffGroup}, use:
1220 #(set-accidental-style 'voice 'StaffGroup)
1223 The following accidental styles are supported. To demonstrate
1224 each style, we use the following example:
1227 @lilypond[verbatim,quote]
1231 cis'8 fis, d'4 <a cis>8 f bis4 |
1245 \voiceTwo \relative c' {
1249 \change Staff = down
1253 \change Staff = down
1254 <fis, a cis>4 gis <f a d>2 |
1261 \context Staff = "up" {
1262 #(set-accidental-style 'default)
1265 \context Staff = "down" {
1266 #(set-accidental-style 'default)
1273 Note that the last lines of this example can be replaced by the
1274 following, as long as the same accidental style should be used in
1280 \context Staff = "up" @{
1281 %%% change the next line as desired:
1282 #(set-accidental-style 'default 'Score)
1285 \context Staff = "down" @{
1293 @c don't use verbatim in this table.
1297 @cindex default accidental style
1298 @cindex accidental style, default
1302 This is the default typesetting behavior. It corresponds to
1303 eighteenth-century common practice: accidentals are remembered to
1304 the end of the measure in which they occur and only in their own
1305 octave. Thus, in the example below, no natural signs are printed
1306 before the@tie{}@code{b} in the second measure or the
1313 cis'8 fis, d'4 <a cis>8 f bis4 |
1327 \voiceTwo \relative c' {
1331 \change Staff = down
1335 \change Staff = down
1336 <fis, a cis>4 gis <f a d>2 |
1343 \context Staff = "up" {
1344 #(set-accidental-style 'default)
1347 \context Staff = "down" {
1348 #(set-accidental-style 'default)
1357 @cindex accidental style, voice
1358 @cindex voice accidental style
1359 @cindex accidental style, modern
1360 @cindex modern accidental style
1361 @cindex accidental style, modern-cautionary
1362 @cindex modern-cautionary accidental style
1366 The normal behavior is to remember the accidentals at
1367 @code{Staff}-level. In this style, however, accidentals are
1368 typeset individually for each voice. Apart from that, the rule is
1369 similar to @code{default}.
1371 As a result, accidentals from one voice do not get canceled in
1372 other voices, which is often an unwanted result: in the following
1373 example, it is hard to determine whether the second@tie{}@code{a}
1374 should be played natural or sharp. The @code{voice} option should
1375 therefore be used only if the voices are to be read solely by
1376 individual musicians. If the staff is to be used by one musician
1377 (e.g., a conductor or in a piano score) then @code{modern} or
1378 @code{modern-cautionary} should be used instead.
1385 cis'8 fis, d'4 <a cis>8 f bis4 |
1399 \voiceTwo \relative c' {
1403 \change Staff = down
1407 \change Staff = down
1408 <fis, a cis>4 gis <f a d>2 |
1415 \context Staff = "up" {
1416 #(set-accidental-style 'voice)
1419 \context Staff = "down" {
1420 #(set-accidental-style 'voice)
1429 @cindex accidentals, modern style
1430 @cindex modern style accidentals
1434 This rule corresponds to the common practice in the twentieth
1435 century. It prints the same accidentals as @code{default}, with
1436 two exceptions that serve to avoid ambiguity: after temporary
1437 accidentals, cancellation marks are printed also in the following
1438 measure (for notes in the same octave) and, in the same measure,
1439 for notes in other octaves. Hence the naturals before
1440 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1447 cis'8 fis, d'4 <a cis>8 f bis4 |
1461 \voiceTwo \relative c' {
1465 \change Staff = down
1469 \change Staff = down
1470 <fis, a cis>4 gis <f a d>2 |
1477 \context Staff = "up" {
1478 #(set-accidental-style 'modern)
1481 \context Staff = "down" {
1482 #(set-accidental-style 'modern)
1489 @item modern-cautionary
1491 @cindex accidentals, modern cautionary style
1492 @cindex modern accidental style
1493 @cindex modern cautionary accidental style
1494 @cindex modern style accidentals
1495 @cindex modern style cautionary accidentals
1497 @funindex modern-cautionary
1499 This rule is similar to @code{modern}, but the @q{extra}
1500 accidentals (the ones not typeset by @code{default}) are typeset
1501 as cautionary accidentals. They are by default printed with
1502 parentheses, but they can also be printed in reduced size by
1503 defining the @code{cautionary-style} property of
1504 @code{AccidentalSuggestion}.
1510 cis'8 fis, d'4 <a cis>8 f bis4 |
1524 \voiceTwo \relative c' {
1528 \change Staff = down
1532 \change Staff = down
1533 <fis, a cis>4 gis <f a d>2 |
1540 \context Staff = "up" {
1541 #(set-accidental-style 'modern-cautionary)
1544 \context Staff = "down" {
1545 #(set-accidental-style 'modern-cautionary)
1554 @cindex accidental style, modern
1555 @cindex accidentals, modern
1556 @cindex accidentals, multivoice
1557 @cindex modern accidental style
1558 @cindex modern accidentals
1559 @cindex multivoice accidentals
1561 @funindex modern-voice
1563 This rule is used for multivoice accidentals to be read both by
1564 musicians playing one voice and musicians playing all voices.
1565 Accidentals are typeset for each voice, but they @emph{are}
1566 canceled across voices in the same @code{Staff}. Hence,
1567 the@tie{}@code{a} in the last measure is canceled because the
1568 previous cancellation was in a different voice, and
1569 the@tie{}@code{d} in the lower staff is canceled because of the
1570 accidental in a different voice in the previous measure:
1576 cis'8 fis, d'4 <a cis>8 f bis4 |
1590 \voiceTwo \relative c' {
1594 \change Staff = down
1598 \change Staff = down
1599 <fis, a cis>4 gis <f a d>2 |
1606 \context Staff = "up" {
1607 #(set-accidental-style 'modern-voice)
1610 \context Staff = "down" {
1611 #(set-accidental-style 'modern-voice)
1618 @cindex accidental style, cautionary, modern voice
1619 @cindex accidental style, modern voice cautionary
1620 @cindex accidental style, voice, modern cautionary
1622 @funindex modern-voice-cautionary
1624 @item modern-voice-cautionary
1626 This rule is the same as @code{modern-voice}, but with the extra
1627 accidentals (the ones not typeset by @code{voice}) typeset as
1628 cautionaries. Even though all accidentals typeset by
1629 @code{default} @emph{are} typeset with this rule, some of them are
1630 typeset as cautionaries.
1636 cis'8 fis, d'4 <a cis>8 f bis4 |
1650 \voiceTwo \relative c' {
1654 \change Staff = down
1658 \change Staff = down
1659 <fis, a cis>4 gis <f a d>2 |
1666 \context Staff = "up" {
1667 #(set-accidental-style 'modern-voice-cautionary)
1670 \context Staff = "down" {
1671 #(set-accidental-style 'modern-voice-cautionary)
1680 @cindex accidental style, piano
1681 @cindex accidentals, piano
1682 @cindex piano accidental style
1683 @cindex piano accidentals
1687 This rule reflects twentieth-century practice for piano notation.
1688 Its behavior is very similar to @code{modern} style, but here
1689 accidentals also get canceled across the staves in the same
1690 @code{GrandStaff} or @code{PianoStaff}, hence all the
1691 cancellations of the final notes.
1693 This accidental style applies to the current @code{GrandStaff} or
1694 @code{PianoStaff} by default.
1700 cis'8 fis, d'4 <a cis>8 f bis4 |
1714 \voiceTwo \relative c' {
1718 \change Staff = down
1722 \change Staff = down
1723 <fis, a cis>4 gis <f a d>2 |
1730 \context Staff = "up" {
1731 #(set-accidental-style 'piano)
1734 \context Staff = "down" {
1741 @item piano-cautionary
1743 @cindex accidentals, piano cautionary
1744 @cindex cautionary accidentals, piano
1745 @cindex piano cautionary accidentals
1746 @cindex accidental style, piano cautionary
1747 @cindex cautionary accidental style, piano
1748 @cindex piano cautionary accidental style
1750 @funindex piano-cautionary
1752 This is the same as @code{piano} but with the extra accidentals
1753 typeset as cautionaries.
1759 cis'8 fis, d'4 <a cis>8 f bis4 |
1773 \voiceTwo \relative c' {
1777 \change Staff = down
1781 \change Staff = down
1782 <fis, a cis>4 gis <f a d>2 |
1789 \context Staff = "up" {
1790 #(set-accidental-style 'piano-cautionary)
1793 \context Staff = "down" {
1803 @cindex neo-modern accidental style
1804 @cindex accidental style, neo-modern
1806 @funindex neo-modern
1808 This rule reproduces a common practice in contemporary music:
1809 accidentals are printed like with @code{modern}, but they are printed
1810 again if the same note appears later in the same measure -- except
1811 if the note is immediately repeated.
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 'neo-modern)
1851 \context Staff = "down" {
1852 #(set-accidental-style 'neo-modern)
1859 @item neo-modern-cautionary
1861 @cindex neo-modern-cautionary accidental style
1862 @cindex accidental style, neo-modern-cautionary
1864 @funindex neo-modern-cautionary
1866 This rule is similar to @code{neo-modern}, but the extra
1867 accidentals are printed as cautionary accidentals.
1873 cis'8 fis, d'4 <a cis>8 f bis4 |
1887 \voiceTwo \relative c' {
1891 \change Staff = down
1895 \change Staff = down
1896 <fis, a cis>4 gis <f a d>2 |
1903 \context Staff = "up" {
1904 #(set-accidental-style 'neo-modern-cautionary)
1907 \context Staff = "down" {
1908 #(set-accidental-style 'neo-modern-cautionary)
1918 @cindex dodecaphonic accidental style
1919 @cindex dodecaphonic style, neo-modern
1921 @funindex dodecaphonic
1923 This rule reflects a practice introduced by composers at
1924 the beginning of the 20th century, in an attempt to
1925 abolish the hierarchy between natural and non-natural notes.
1926 With this style, @emph{every} note gets an accidental sign,
1927 including natural signs.
1933 cis'8 fis, d'4 <a cis>8 f bis4 |
1947 \voiceTwo \relative c' {
1951 \change Staff = down
1955 \change Staff = down
1956 <fis, a cis>4 gis <f a d>2 |
1963 \context Staff = "up" {
1964 #(set-accidental-style 'dodecaphonic)
1967 \context Staff = "down" {
1968 #(set-accidental-style 'dodecaphonic)
1978 @cindex teaching accidental style
1979 @cindex accidental style, teaching
1983 This rule is intended for students, and makes it easy to create
1984 scale sheets with automagically created cautionary accidentals.
1985 Accidentals are printed like with @code{modern}, but cautionary
1986 accidentals are added for all sharp or flat tones specified by the
1987 key signature, except if the note is immediately repeated.
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" {
2025 #(set-accidental-style 'teaching)
2028 \context Staff = "down" {
2030 #(set-accidental-style 'teaching)
2041 @cindex accidental style, no reset
2042 @cindex no reset accidental style
2046 This is the same as @code{default} but with accidentals lasting
2047 @q{forever} and not only within the same measure:
2053 cis'8 fis, d'4 <a cis>8 f bis4 |
2067 \voiceTwo \relative c' {
2071 \change Staff = down
2075 \change Staff = down
2076 <fis, a cis>4 gis <f a d>2 |
2083 \context Staff = "up" {
2084 #(set-accidental-style 'no-reset)
2087 \context Staff = "down" {
2088 #(set-accidental-style 'no-reset)
2097 @cindex forget accidental style
2098 @cindex accidental style, forget
2102 This is the opposite of @code{no-reset}: Accidentals are not
2103 remembered at all -- and hence all accidentals are typeset
2104 relative to the key signature, regardless of what came before in
2105 the music. Unlike @code{dodecaphonic}, this rule never prints
2112 cis'8 fis, d'4 <a cis>8 f bis4 |
2126 \voiceTwo \relative c' {
2130 \change Staff = down
2134 \change Staff = down
2135 <fis, a cis>4 gis <f a d>2 |
2142 \context Staff = "up" {
2143 #(set-accidental-style 'forget)
2146 \context Staff = "down" {
2147 #(set-accidental-style 'forget)
2157 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2158 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2165 Internals Reference:
2166 @rinternals{Accidental},
2167 @rinternals{Accidental_engraver},
2168 @rinternals{GrandStaff} and
2169 @rinternals{PianoStaff},
2171 @rinternals{AccidentalSuggestion},
2172 @rinternals{AccidentalPlacement},
2173 @rinternals{accidental-suggestion-interface}.
2176 @cindex accidentals and simultaneous notes
2177 @cindex simultaneous notes and accidentals
2178 @cindex accidentals in chords
2179 @cindex chords, accidentals in
2183 Simultaneous notes are considered to be entered in sequential
2184 mode. This means that in a chord the accidentals are typeset as
2185 if the notes in the chord happen one at a time, in the order in
2186 which they appear in the input file. This is a problem when
2187 accidentals in a chord depend on each other, which does not happen
2188 for the default accidental style. The problem can be solved by
2189 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2194 @unnumberedsubsubsec Ambitus
2197 @cindex range of pitches
2200 The term @notation{ambitus} (pl. ambitus) denotes a range of
2201 pitches for a given voice in a part of music. It may also denote
2202 the pitch range that a musical instrument is capable of playing.
2203 Ambitus are printed on vocal parts so that performers can easily
2204 determine if it matches their capabilities.
2206 Ambitus are denoted at the beginning of a piece near the initial
2207 clef. The range is graphically specified by two note heads that
2208 represent the lowest and highest pitches. Accidentals are only
2209 printed if they are not part of the key signature.
2211 @lilypond[verbatim,quote]
2215 \consists "Ambitus_engraver"
2228 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2229 {adding-ambitus-per-voice.ly}
2231 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2232 {ambitus-with-multiple-voices.ly}
2242 Internals Reference:
2243 @rinternals{Ambitus_engraver},
2246 @rinternals{Ambitus},
2247 @rinternals{AmbitusAccidental},
2248 @rinternals{AmbitusLine},
2249 @rinternals{AmbitusNoteHead},
2250 @rinternals{ambitus-interface}.
2255 There is no collision handling in the case of multiple per-voice
2260 @subsection Note heads
2262 This section suggests ways of altering note heads.
2265 * Special note heads::
2266 * Easy notation note heads::
2267 * Shape note heads::
2271 @node Special note heads
2272 @unnumberedsubsubsec Special note heads
2274 @cindex note heads, special
2275 @cindex note heads, cross
2276 @cindex note heads, diamond
2277 @cindex note heads, parlato
2278 @cindex note heads, harmonic
2279 @cindex note heads, guitar
2280 @cindex special note heads
2281 @cindex cross note heads
2282 @cindex diamond note heads
2283 @cindex parlato note heads
2284 @cindex harmonic note heads
2285 @cindex guitar note heads
2286 @cindex note head styles
2287 @cindex styles, note heads
2291 Note heads may be altered:
2293 @lilypond[verbatim,quote,relative=2]
2295 \override NoteHead #'style = #'cross
2297 \revert NoteHead #'style
2301 There is a shorthand for diamond shapes which can only be used
2304 @lilypond[verbatim,quote,relative=2]
2305 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2309 To see all note head styles, see @ref{Note head styles}.
2317 @ref{Note head styles},
2318 @ref{Chorded notes}.
2320 Internals Reference:
2321 @rinternals{note-event},
2322 @rinternals{Note_heads_engraver},
2323 @rinternals{Ledger_line_engraver},
2324 @rinternals{NoteHead},
2325 @rinternals{LedgerLineSpanner},
2326 @rinternals{note-head-interface},
2327 @rinternals{ledger-line-spanner-interface}.
2330 @node Easy notation note heads
2331 @unnumberedsubsubsec Easy notation note heads
2333 @cindex note heads, practice
2334 @cindex practice note heads
2335 @cindex note heads, easy notation
2336 @cindex easy notation
2338 @cindex beginners' music
2339 @cindex music, beginners'
2340 @cindex easy play note heads
2341 @cindex note heads, easy play
2343 @funindex \easyHeadsOn
2344 @funindex easyHeadsOn
2345 @funindex \easyHeadsOff
2346 @funindex easyHeadsOff
2348 The @q{easy play} note head includes a note name inside the head.
2349 It is used in music for beginners. To make the letters readable,
2350 it should be printed in a large font size. To print with a larger
2351 font, see @ref{Setting the staff size}.
2353 @lilypond[verbatim,quote]
2354 #(set-global-staff-size 26)
2366 @code{\easyHeadsOn},
2367 @code{\easyHeadsOff}.
2373 @ref{Setting the staff size}.
2378 Internals Reference:
2379 @rinternals{note-event},
2380 @rinternals{Note_heads_engraver},
2381 @rinternals{NoteHead},
2382 @rinternals{note-head-interface}.
2385 @node Shape note heads
2386 @unnumberedsubsubsec Shape note heads
2388 @cindex note heads, shape
2389 @cindex note heads, Aiken
2390 @cindex note heads, sacred harp
2392 @cindex Aiken shape note heads
2393 @cindex sacred harp note heads
2397 @funindex \aikenHeads
2398 @funindex aikenHeads
2399 @funindex \sacredHarpHeads
2400 @funindex sacredHarpHeads
2402 In shape note head notation, the shape of the note head
2403 corresponds to the harmonic function of a note in the scale. This
2404 notation was popular in nineteenth-century American song books.
2405 Shape note heads can be produced:
2407 @lilypond[verbatim,quote,relative=2]
2414 Shapes are typeset according to the step in the scale, where the
2415 base of the scale is determined by the @code{\key} command.
2420 @code{\sacredHarpHeads}.
2426 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2427 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2430 To see all note head styles, see @ref{Note head styles}.
2438 @ref{Note head styles}.
2440 Internals Reference:
2441 @rinternals{note-event},
2442 @rinternals{Note_heads_engraver},
2443 @rinternals{NoteHead},
2444 @rinternals{note-head-interface}.
2448 @unnumberedsubsubsec Improvisation
2450 @cindex improvisation
2451 @cindex slashed note heads
2452 @cindex note heads, improvisation
2453 @cindex note heads, slashed
2455 @funindex \improvisationOn
2456 @funindex improvisationOn
2457 @funindex \improvisationOff
2458 @funindex improvisationOff
2460 Improvisation is sometimes denoted with slashed note heads, where
2461 the performer may choose any pitch but should play the specified
2462 rhythm. Such note heads can be created:
2464 @lilypond[verbatim,quote,relative=2]
2466 \consists "Pitch_squash_engraver"
2468 e8 e g a a16( bes) a8 g
2480 @code{\improvisationOn},
2481 @code{\improvisationOff}.
2489 Internals Reference:
2490 @rinternals{Pitch_squash_engraver},
2492 @rinternals{RhythmicStaff}.