@c -*- coding: utf-8; mode: texinfo; -*- @ignore Translation of GIT committish: FILL-IN-HEAD-COMMITTISH When revising a translation, copy the HEAD committish of the version that you are working on. See TRANSLATION for details. @end ignore @c \version "2.11.51" @node Pitches @section Pitches @lilypondfile[quote]{pitches-headword.ly} This section discusses how to specify the pitch of notes. There are three steps to this process: input, modification, and output. @menu * Writing pitches:: * Changing multiple pitches:: * Displaying pitches:: * Note heads:: @end menu @node Writing pitches @subsection Writing pitches This section discusses how to input pitches. There are two different ways to place notes in octaves: absolute and relative mode. In most cases, relative mode will be more convenient. @menu * Absolute octave entry:: * Relative octave entry:: * Accidentals:: * Note names in other languages:: @end menu @node Absolute octave entry @unnumberedsubsubsec Absolute octave entry @cindex pitch names @cindex pitches @cindex absolute @cindex absolute octave specification @cindex absolute octave entry A pitch name is specified using lowercase letters@tie{}@code{a} through@tie{}@code{g}. The note names @code{c} to @code{b} are engraved in the octave below middle C. @c don't use c' here. @lilypond[verbatim,quote,fragment] \clef bass c d e f g a b c d e f g @end lilypond @cindex octave changing mark @funindex ' @funindex , Other octaves may be specified with a single quote@tie{}(@code{'}) or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the pitch by one octave; each@tie{}@code{,} lowers the pitch by an octave. @lilypond[verbatim,quote,fragment] \clef treble c' c'' e' g d'' d' d c \clef bass c, c,, e, g d,, d, d c @end lilypond @seealso Music Glossary: @rglos{Pitch names}. Snippets: @rlsr{Pitches}. @node Relative octave entry @unnumberedsubsubsec Relative octave entry @cindex relative @cindex relative octave entry @cindex relative octave specification @funindex \relative When octaves are specified in absolute mode it is easy to accidentally put a pitch in the wrong octave. Relative octave mode reduces these errors since most of the time it is not necessary to indicate any octaves at all. Furthermore, in absolute mode a single mistake may be difficult to spot, while in relative mode a single error puts the rest of the piece off by one octave. @example \relative @var{startpitch} @var{musicexpr} @end example In relative mode, each note is assumed to be as close to the previous note as possible. This means that the octave of each pitch inside @var{musicexpr} is calculated as follows: @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. @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. @item 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 @code{@var{startpitch}}. @var{startpitch} is specified in absolute octave mode, and it is recommended that it be a octave of @code{c}. @end itemize Here is the relative mode shown in action: @lilypond[verbatim,quote] \relative c { \clef bass c d e f g a b c d e f g } @end lilypond Octave changing marks are used for intervals greater than a fourth: @lilypond[verbatim,quote] \relative c'' { c g c f, c' a, e'' c } @end lilypond A note sequence without a single octave mark can nevertheless span large intervals: @lilypond[verbatim,quote] \relative c { c f b e a d g c } @end lilypond If the preceding item is a chord, the first note of the chord is used as the reference point for the octave placement of a following note or chord. Inside chords, the next note is always relative to the preceding one. Examine the next example carefully, paying attention to the @code{c} notes. @lilypond[verbatim,quote] \relative c' { c } @end lilypond As explained above, the octave of pitches is calculated only with the note names, regardless of any alterations. Therefore, an E-double-sharp following a B will be placed higher, while an F-double-flat will be placed lower. In other words, a double-augmented fourth is considered a smaller interval than a double-diminished fifth, regardless of the number of semitones that each interval contains. @lilypond[verbatim,quote] \relative c'' { c2 fis c2 ges b2 eisis b2 feses } @end lilypond @seealso Music Glossary: @rglos{fifth}, @rglos{interval}, @rglos{Pitch names}. Notation Reference: @ref{Octave checks}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{RelativeOctaveMusic}. @cindex relative octave entry and transposition @cindex transposition and relative octave entry @funindex \transpose @funindex \chordmode @funindex \relative @knownissues The relative conversion will not affect @code{\transpose}, @code{\chordmode} or @code{\relative} sections in its argument. To use relative mode within transposed music, an additional @code{\relative} must be placed inside @code{\transpose}. @c DEPRECATED If no @var{startpitch} is specified for @code{\relative}, then@tie{}@code{c'} is assumed. However, this is a deprecated option and may disappear in future versions, so its use is discouraged. @node Accidentals @unnumberedsubsubsec Accidentals @cindex accidental @cindex key signature @cindex clef @c duplicated in Key signature and Accidentals @warning{New users are sometimes confused about accidentals and key signatures. In LilyPond, note names are the raw input; key signatures and clefs determine how this raw input is displayed. An unaltered note like@tie{}@code{c} means @q{C natural}, regardless of the key signature or clef. For more information, see @rlearning{Accidentals and key signatures}.} @cindex note names, Dutch @cindex note names, default @cindex sharp @cindex flat @cindex double sharp @cindex sharp, double @cindex double flat @cindex flat, double @cindex natural sign @cindex natural pitch 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 @end lilypond A natural will cancel the effect of an accidental or key signature. However, naturals are not encoded into the note name syntax with a suffix; a natural pitch is shown as a simple note name: @lilypond[verbatim,quote,relative=2] a4 aes a2 @end lilypond @cindex quarter tones @cindex semi-flats, semi-sharps Quarter tones may be added; the following is a series of Cs with increasing pitches: @lilypond[verbatim,quote,relative=2] ceseh1 ces ceh c cih cis cisih @end lilypond @cindex accidental, reminder @cindex accidental, cautionary @cindex accidental, parenthesized @cindex reminder accidental @funindex ? @cindex cautionary accidental @cindex parenthesized accidental @funindex ! Normally accidentals are printed automatically, but you may also print them manually. A reminder accidental can be forced by adding an exclamation mark@tie{}@code{!} after the pitch. A cautionary accidental (i.e., an accidental within parentheses) can be obtained by adding the question mark@tie{}@code{?} after the pitch. These extra accidentals can also be used to produce natural signs. @lilypond[verbatim,quote,relative=2] cis cis cis! cis? c c c! c? @end lilypond @cindex accidental on tied note @cindex tied note, accidental Accidentals on tied notes are only printed at the beginning of a new system: @lilypond[verbatim,quote,relative=2] cis1 ~ cis ~ \break cis @end lilypond @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {preventing-extra-naturals-from-being-automatically-added.ly} @seealso Music Glossary: @rglos{sharp}, @rglos{flat}, @rglos{double sharp}, @rglos{double flat}, @rglos{Pitch names}, @rglos{quarter tone}. Learning Manual: @rlearning{Accidentals and key signatures}. Notation Reference: @ref{Automatic accidentals}, @ref{Annotational accidentals}, @ref{Note names in other languages}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Accidental_engraver}, @rinternals{Accidental}, @rinternals{AccidentalCautionary}, @rinternals{accidental-interface}. @cindex accidental, quarter-tone @cindex quarter-tone accidental @knownissues There are no generally accepted standards for denoting quarter-tone accidentals, so LilyPond's symbol does not conform to any standard. @node Note names in other languages @unnumberedsubsubsec Note names in other languages @cindex note names, other languages @cindex pitch names, other languages @cindex language, note names in other @cindex language, pitch names in other There are predefined sets of note names for various other languages. To use them, include the language-specific init file. For example, to use English notes names, add @w{@code{\include "english.ly"}} to the top of the input file. The available language files and the note names they define are: @smallexample @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses} @headitem Language @tab Note names @tab sharp @tab flat @tab double sharp @tab double flat @item nederlands.ly @tab c d e f g a bes b @tab -is @tab -es @tab -isis @tab -eses @item arabic.ly @tab do re mi fa sol la sib si @tab -d @tab -b @tab -dd @tab -bb @item catalan.ly @tab do re mi fa sol la sib si @tab -d/-s @tab -b @tab -dd/-ss @tab -bb @item deutsch.ly @tab c d e f g a b h @tab -is @tab -es @tab -isis @tab -eses @item english.ly @tab c d e f g a bf b @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp @tab -ff/-flatflat @item espanol.ly @tab do re mi fa sol la sib si @tab -s @tab -b @tab -ss @tab -bb @item italiano.ly @tab do re mi fa sol la sib si @tab -d @tab -b @tab -dd @tab -bb @item norsk.ly @tab c d e f g a b h @tab -iss/-is @tab -ess/-es @tab -ississ/-isis @tab -essess/-eses @item portugues.ly @tab do re mi fa sol la sib si @tab -s @tab -b @tab -ss @tab -bb @item suomi.ly @tab c d e f g a b h @tab -is @tab -es @tab -isis @tab -eses @item svenska.ly @tab c d e f g a b h @tab -iss @tab -ess @tab -ississ @tab -essess @item vlaams.ly @tab do re mi fa sol la sib si @tab -k @tab -b @tab -kk @tab -bb @end multitable @end smallexample In Dutch, @code{aes} is contracted to @code{as}, but both forms are accepted in LilyPond. Similarly, both @code{es} and @code{ees} are accepted. This also applies to @code{aeses}@tie{}/@tie{}@code{ases} and @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these contracted names are defined in the corresponding language files. @lilypond[verbatim,quote,relative=2] a2 as e es a ases e eses @end lilypond @cindex microtones @cindex semi-sharp @cindex semi-flat @cindex sesqui-sharp @cindex sesqui-flat Some music uses microtones whose alterations are fractions of a @q{normal} sharp or flat. The note names for quarter-tones defined in the various language files are listed in the following table. Here the prefixes @notation{semi-} and @notation{sesqui-} mean @q{half} and @q{one and a half}, respectively. For the other languages, no special names have been defined yet. @smallexample @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis} @headitem Language @tab Note names @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat @item nederlands.ly @tab c d e f g a bes b @tab -ih @tab -eh @tab -isih @tab -eseh @item arabic.ly @tab do re mi fa sol la sib si @tab -sd @tab -sb @tab -dsd @tab -bsb @item deutsch.ly @tab c d e f g a b h @tab -ih @tab -eh @tab -isih @tab -eseh @item english.ly @tab c d e f g a bf b @tab -qs @tab -qf @tab -tqs @tab -tqf @item italiano.ly @tab do re mi fa sol la sib si @tab -sd @tab -sb @tab -dsd @tab -bsb @item portugues.ly @tab do re mi fa sol la sib si @tab -sqt @tab -bqt @tab -stqt @tab -btqt @end multitable @end smallexample @seealso Music Glossary: @rglos{Pitch names}. Snippets: @rlsr{Pitches}. @node Changing multiple pitches @subsection Changing multiple pitches This section discusses how to modify pitches. @menu * Octave checks:: * Transpose:: @end menu @node Octave checks @unnumberedsubsubsec Octave checks @cindex octave correction @cindex octave check @cindex control pitch @funindex = @funindex \octaveCheck @funindex controlpitch In relative mode, it is easy to forget an octave changing mark. Octave checks make such errors easier to find by displaying a 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. @lilypond[verbatim,quote] \relative c'' { c2 d='4 d e2 f } @end lilypond The octave of notes may also be checked with the @code{\octaveCheck}@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] \relative c'' { c2 d \octaveCheck c' e2 f } @end lilypond Compare the two bars below. The first and third @code{\octaveCheck} checks fail, but the second one does not fail. @lilypond[verbatim,quote] \relative c'' { c4 f g f c4 \octaveCheck c' f \octaveCheck c' g \octaveCheck c' f } @end lilypond @seealso Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{RelativeOctaveCheck}. @node Transpose @unnumberedsubsubsec Transpose @cindex transpose @cindex transposing @cindex transposition @cindex transposition of pitches @cindex transposition of notes @cindex pitches, transposition of @cindex notes, transposition of @funindex \transpose A music expression can be transposed with @code{\transpose}. The syntax is @example \transpose @var{frompitch} @var{topitch} @var{musicexpr} @end example @noindent This means that @var{musicexpr} is transposed by the interval between the pitches @var{frompitch} and @var{topitch}: any note with pitch @var{frompitch} is changed to @var{topitch} and any other note is transposed by the same interval. Both pitches are entered in absolute mode. Consider a piece written in the key of D-major. It can be transposed up to E-major; note that the key signature is automatically transposed as well. @lilypond[verbatim,quote] \transpose d e { \relative c' { \key d \major d4 fis a d } } @end lilypond @cindex transposing instruments @cindex instruments, transposing 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' { \relative c' { \key c \major c4 d e g } } @end lilypond @noindent Note that we specify @w{@code{\key c \major}} explicitly. If we do not specify a key signature, the notes will be transposed but no key signature will be printed. @code{\transpose} distinguishes between enharmonic pitches: both @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will transpose up a semitone. The first version will print sharps and the notes will remain on the same scale step, the second version will print flats on the scale step above. @lilypond[verbatim,quote] music = \relative c' { c d e f } \new Staff { \transpose c cis { \music } \transpose c des { \music } } @end lilypond @cindex transposing instruments @cindex instruments, transposing @code{\transpose} may also be used in a different way, to input written notes for a transposing instrument. The previous examples show how to enter pitches in C (or @notation{concert pitch}) and typeset them for a transposing instrument, but the opposite is also possible if you for example have a set of instrumental parts and want to print a conductor's score. For example, when entering music for a B-flat trumpet that begins on a notated E (concert D), one would write: @example musicInBflat = @{ e4 @dots{} @} \transpose c bes, \musicInBflat @end example @noindent To print this music in F (e.g., rearranging to a French horn) you could wrap the existing music with another @code{\transpose}: @example musicInBflat = @{ e4 @dots{} @} \transpose f c' @{ \transpose c bes, \musicInBflat @} @end example @noindent For more information about transposing instruments, see @ref{Instrument transpositions}. @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {transposing-pitches-with-minimum-accidentals-smart-transpose.ly} @seealso Notation Reference: @ref{Instrument transpositions}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{TransposedMusic}. @funindex \transpose @funindex \chordmode @funindex \relative @knownissues The relative conversion will not affect @code{\transpose}, @code{\chordmode} or @code{\relative} sections in its argument. To use relative mode within transposed music, an additional @code{\relative} must be placed inside @code{\transpose}. @node Displaying pitches @subsection Displaying pitches This section discusses how to alter the output of pitches. @menu * Clef:: * Key signature:: * Ottava brackets:: * Instrument transpositions:: * Automatic accidentals:: * Ambitus:: @end menu @node Clef @unnumberedsubsubsec Clef @funindex \clef @cindex G clef @cindex C clef @cindex F clef @cindex treble clef @cindex violin clef @cindex alto clef @cindex tenor clef @cindex bass clef @cindex french clef @cindex soprano clef @cindex mezzosoprano clef @cindex baritone clef @cindex varbaritone clef @cindex subbass clef @cindex clef @cindex ancient clef @cindex clef, ancient @cindex clef, G @cindex clef, C @cindex clef, F @cindex clef, treble @cindex clef, violin @cindex clef, alto @cindex clef, tenor @cindex clef, bass @cindex clef, french @cindex clef, soprano @cindex clef, mezzosoprano @cindex clef, baritone @cindex clef, varbaritone @cindex subbass clef, subbass The clef may be altered. Middle C is shown in every example. @lilypond[verbatim,quote,relative=1] \clef treble c2 c \clef alto c2 c \clef tenor c2 c \clef bass c2 c @end lilypond Other clefs include: @lilypond[verbatim,quote,relative=1] \clef french c2 c \clef soprano c2 c \clef mezzosoprano c2 c \clef baritone c2 c \break \clef varbaritone c2 c \clef subbass c2 c \clef percussion c2 c \clef tab c2 c @end lilypond Further supported clefs are described under @ref{Ancient clefs}. @cindex transposing clefs @cindex clef, transposing @cindex octave transposition @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 \clef "treble_8" c2 c \clef "bass^15" c2 c @end lilypond @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {tweaking-clef-properties.ly} @seealso Notation Reference: @ref{Ancient clefs}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Clef_engraver}, @rinternals{Clef}, @rinternals{OctavateEight}, @rinternals{clef-interface}. @node Key signature @unnumberedsubsubsec Key signature @cindex key signature @funindex \key @c duplicated in Key signature and Accidentals @warning{New users are sometimes confused about accidentals and key signatures. In LilyPond, note names are the raw input; key signatures and clefs determine how this raw input is displayed. An unaltered note like@tie{}@code{c} means @q{C natural}, regardless of the key signature or clef. For more information, see @rlearning{Accidentals and key signatures}.} 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. The key signature may be altered: @example \key @var{pitch} @var{mode} @end example @funindex \major @funindex \minor @funindex \ionian @funindex \locrian @funindex \aeolian @funindex \mixolydian @funindex \lydian @funindex \phrygian @funindex \dorian @cindex church modes @cindex modes @cindex major @cindex minor @cindex ionian @cindex locrian @cindex aeolian @cindex mixolydian @cindex lydian @cindex phrygian @cindex dorian Here, @var{mode} should be @code{\major} or @code{\minor} to get a key signature of @var{pitch}-major or @var{pitch}-minor, respectively. You may also use the standard mode names, also called @notation{church modes}: @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian}, @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}. @lilypond[verbatim,quote,relative=2] \key g \major fis1 f fis @end lilypond @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly} @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {non-traditional-key-signatures.ly} @seealso Music Glossary: @rglos{church mode}, @rglos{scordatura}. Learning Manual: @rlearning{Accidentals and key signatures}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{KeyChangeEvent}, @rinternals{Key_engraver}, @rinternals{Key_performer}, @rinternals{KeyCancellation}, @rinternals{KeySignature}, @rinternals{key-cancellation-interface}, @rinternals{key-signature-interface}. @node Ottava brackets @unnumberedsubsubsec Ottava brackets @cindex ottava @cindex 15ma @cindex 8va @cindex 8ve @cindex octavation @funindex set-octavation @notation{Ottava brackets} introduce an extra transposition of an octave for the staff: @lilypond[verbatim,quote,relative=2] a'2 b \ottava #1 a b \ottava #0 a b @end lilypond The @code{ottava} function also takes -1 (for 8va bassa), 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments. @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {ottava-text.ly} @seealso Music Glossary: @rglos{octavation}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Ottava_spanner_engraver}, @rinternals{OttavaBracket}, @rinternals{ottava-bracket-interface}. @node Instrument transpositions @unnumberedsubsubsec Instrument transpositions @cindex transposition, MIDI @cindex transposition, instrument @cindex transposing instrument @cindex MIDI @cindex MIDI transposition @funindex \transposition When typesetting scores that involve transposing instruments, some parts can be typeset in a different pitch than the @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}. @example \transposition @var{pitch} @end example The pitch to use for @code{\transposition} should correspond to the real sound heard when a@tie{}@code{c'} written on the staff is played by the transposing instrument. This pitch is entered in absolute mode, so an instrument that produces a real sound which is one tone higher than the printed music should use @w{@code{\transposition d'}}. @code{\transposition} should @emph{only} be used if the pitches are @emph{not} being entered in concert pitch. Here are a few notes for violin and B-flat clarinet where the parts have been entered using the notes and key as they appear in each part of the conductor's score. The two instruments are playing in unison. @lilypond[verbatim,quote] \new GrandStaff << \new Staff = "violin" { \relative c'' { \set Staff.instrumentName = "Vln" \set Staff.midiInstrument = "violin" % not strictly necessary, but a good reminder \transposition c' \key c \major g4( c8) r c r c4 } } \new Staff = "clarinet" { \relative c'' { \set Staff.instrumentName = \markup { Cl (B\flat) } \set Staff.midiInstrument = "clarinet" \transposition bes \key d \major a4( d8) r d r d4 } } >> @end lilypond The @code{\transposition} may be changed during a piece. For example, a clarinetist may switch from an A clarinet to a B-flat clarinet. @lilypond[verbatim,quote,relative=2] \set Staff.instrumentName = "Cl (A)" \key a \major \transposition a c d e f \textLengthOn s1*0^\markup { Switch to B\flat clarinet } R1 \key bes \major \transposition bes c2 g @end lilypond @seealso Music Glossary: @rglos{concert pitch}, @rglos{transposing instrument}. Notation Reference: @ref{Quoting other voices}, @ref{Transpose}. Snippets: @rlsr{Pitches}. @node Automatic accidentals @unnumberedsubsubsec Automatic accidentals @cindex accidental style @cindex accidental style, default @cindex accidentals @cindex accidentals, automatic @cindex automatic accidentals @cindex default accidental style @funindex set-accidental-style @funindex voice 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: @example \new Staff << #(set-accidental-style 'voice) @{ @dots{} @} >> @end example The accidental style applies to the current @code{Staff} by default (with the exception of the styles @code{piano} and @code{piano-cautionary}, which are explained below). Optionally, the function can take a second argument 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: @example #(set-accidental-style 'voice 'StaffGroup) @end example The following accidental styles are supported. To demonstrate each style, we use the following example: @funindex default @lilypond[verbatim,quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'default) \musicA } \context Staff = "down" { #(set-accidental-style 'default) \musicB } >> } @end lilypond Note that the last lines of this example can be replaced by the following, as long as the same accidental style should be used in both staves. @example \new PianoStaff @{ << \context Staff = "up" @{ %%% change the next line as desired: #(set-accidental-style 'default 'Score) \musicA @} \context Staff = "down" @{ \musicB @} >> @} @end example @c don't use verbatim in this table. @table @code @item default @cindex default accidental style @cindex accidental style, default @funindex default This is the default typesetting behavior. It corresponds to eighteenth-century common practice: accidentals are remembered to the end of the measure in which they occur and only in their own octave. Thus, in the example below, no natural signs are printed before the@tie{}@code{b} in the second measure or the last@tie{}@code{c}: @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'default) \musicA } \context Staff = "down" { #(set-accidental-style 'default) \musicB } >> } @end lilypond @item voice @cindex accidental style, voice @cindex voice accidental style @cindex accidental style, modern @cindex modern accidental style @cindex accidental style, modern-cautionary @cindex modern-cautionary accidental style @funindex 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}. As a result, accidentals from one voice do not get canceled in other voices, which is often an unwanted result: in the following example, it is hard to determine whether the second@tie{}@code{a} should be played natural or sharp. The @code{voice} option should therefore be used only if the voices are to be read solely by individual musicians. If the staff is to be used by one musician (e.g., a conductor or in a piano score) then @code{modern} or @code{modern-cautionary} should be used instead. @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'voice) \musicA } \context Staff = "down" { #(set-accidental-style 'voice) \musicB } >> } @end lilypond @item modern @cindex accidentals, modern style @cindex modern style accidentals @funindex modern This rule corresponds to the common practice in the twentieth century. It prints the same accidentals as @code{default}, with two exceptions that serve to avoid ambiguity: after temporary accidentals, cancellation marks are printed also in the following measure (for notes in the same octave) and, in the same measure, for notes in other octaves. Hence the naturals before the@tie{}@code{b} and the@tie{}@code{c} in the second measure of the upper staff: @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'modern) \musicA } \context Staff = "down" { #(set-accidental-style 'modern) \musicB } >> } @end lilypond @item modern-cautionary @cindex accidentals, modern cautionary style @cindex modern accidental style @cindex modern cautionary accidental style @cindex modern style accidentals @cindex modern style cautionary accidentals @funindex modern-cautionary This rule is similar to @code{modern}, but the @q{extra} accidentals (the ones not typeset by @code{default}) are typeset as cautionary accidentals. They are by default printed with parentheses, but they can also be printed in reduced size by defining the @code{cautionary-style} property of @code{AccidentalSuggestion}. @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'modern-cautionary) \musicA } \context Staff = "down" { #(set-accidental-style 'modern-cautionary) \musicB } >> } @end lilypond @item modern-voice @cindex accidental style, modern @cindex accidentals, modern @cindex accidentals, multivoice @cindex modern accidental style @cindex modern accidentals @cindex multivoice accidentals @funindex modern-voice This rule is used for multivoice accidentals to be read both by musicians playing one voice and musicians playing all voices. Accidentals are typeset for each voice, but they @emph{are} canceled across voices in the same @code{Staff}. Hence, the@tie{}@code{a} in the last measure is canceled because the previous cancellation was in a different voice, and 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 = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'modern-voice) \musicA } \context Staff = "down" { #(set-accidental-style 'modern-voice) \musicB } >> } @end lilypond @cindex accidental style, cautionary, modern voice @cindex accidental style, modern voice cautionary @cindex accidental style, voice, modern cautionary @funindex modern-voice-cautionary @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. @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'modern-voice-cautionary) \musicA } \context Staff = "down" { #(set-accidental-style 'modern-voice-cautionary) \musicB } >> } @end lilypond @item piano @cindex accidental style, piano @cindex accidentals, piano @cindex piano accidental style @cindex piano accidentals @funindex piano 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. This accidental style applies to the current @code{GrandStaff} or @code{PianoStaff} by default. @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'piano) \musicA } \context Staff = "down" { \musicB } >> } @end lilypond @item piano-cautionary @funindex piano-cautionary @cindex accidentals, piano cautionary @cindex cautionary accidentals, piano @cindex piano cautionary accidentals @cindex accidental style, piano cautionary @cindex cautionary accidental style, piano @cindex piano cautionary accidental style This is the same as @code{piano} but with the extra accidentals typeset as cautionaries. @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'piano-cautionary) \musicA } \context Staff = "down" { \musicB } >> } @end lilypond @item no-reset @funindex no-reset @cindex accidental style, no reset @cindex no reset accidental style This is the same as @code{default} but with accidentals lasting @q{forever} and not only within the same measure: @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'no-reset) \musicA } \context Staff = "down" { #(set-accidental-style 'no-reset) \musicB } >> } @end lilypond @item forget @funindex forget @cindex forget accidental style @cindex accidental style, forget This is the opposite of @code{no-reset}: Accidentals are not remembered at all -- and hence all accidentals are typeset relative to the key signature, regardless of what came before in the music: @lilypond[quote] musicA = { << \relative c' { cis'8 fis, d'4 8 f bis4 | cis2. 4 | } \\ \relative c' { ais'2 cis, | fis8 b a4 cis2 | } >> } musicB = { \clef bass \new Voice { \voiceTwo \relative c' { 4 \change Staff = up cis' \change Staff = down \change Staff = up dis' | \change Staff = down 4 gis 2 | } } } \new PianoStaff { << \context Staff = "up" { #(set-accidental-style 'forget) \musicA } \context Staff = "down" { #(set-accidental-style 'forget) \musicB } >> } @end lilypond @end table @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly} @seealso Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Accidental}, @rinternals{Accidental_engraver}, @rinternals{GrandStaff} and @rinternals{PianoStaff}, @rinternals{Staff}, @rinternals{AccidentalSuggestion}, @rinternals{AccidentalPlacement}, @rinternals{accidental-suggestion-interface}. @cindex accidentals and simultaneous notes @cindex simultaneous notes and accidentals @cindex accidentals in chords @cindex chords, accidentals in @knownissues Simultaneous notes are considered to be entered in sequential mode. This means that in a chord the accidentals are typeset as if the notes in the chord happen one at a time, in the order in which they appear in the input file. This is a problem when accidentals in a chord depend on each other, which does not happen for the default accidental style. The problem can be solved by manually inserting@tie{}@code{!} and@tie{}@code{?} for the problematic notes. @node Ambitus @unnumberedsubsubsec Ambitus @cindex ambitus @cindex range of pitches @cindex pitch range The term @notation{ambitus} (pl. ambitus) denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. Ambitus are printed on vocal parts so that performers can easily determine if it matches their capabilities. Ambitus are denoted at the beginning of a piece near the initial clef. The range is graphically specified by two note heads that represent the lowest and highest pitches. Accidentals are only printed if they are not part of the key signature. @lilypond[verbatim,quote] \layout { \context { \Voice \consists "Ambitus_engraver" } } \relative c'' { aes c e2 cis,1 } @end lilypond @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {adding-ambitus-per-voice.ly} @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {ambitus-with-multiple-voices.ly} @seealso Music Glossary: @rglos{ambitus}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Ambitus_engraver}, @rinternals{Voice}, @rinternals{Staff}, @rinternals{Ambitus}, @rinternals{AmbitusAccidental}, @rinternals{AmbitusLine}, @rinternals{AmbitusNoteHead}, @rinternals{ambitus-interface}. @knownissues There is no collision handling in the case of multiple per-voice ambitus. @node Note heads @subsection Note heads This section suggests ways of altering note heads. @menu * Special note heads:: * Easy notation note heads:: * Shape note heads:: * Improvisation:: @end menu @node Special note heads @unnumberedsubsubsec Special note heads @cindex note heads, special @cindex note heads, cross @cindex note heads, diamond @cindex note heads, parlato @cindex note heads, harmonic @cindex note heads, guitar @cindex special note heads @cindex cross note heads @cindex diamond note heads @cindex parlato note heads @cindex harmonic note heads @cindex guitar note heads @cindex note head styles @cindex styles, note heads @funindex cross Note heads may be altered: @lilypond[verbatim,quote,relative=2] c4 b a b \override NoteHead #'style = #'cross c4 b a b \revert NoteHead #'style 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] 2 4 @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{Chorded notes}. Internals Reference: @rinternals{note-event}, @rinternals{Note_heads_engraver}, @rinternals{Ledger_line_engraver}, @rinternals{NoteHead}, @rinternals{LedgerLineSpanner}, @rinternals{note-head-interface}, @rinternals{ledger-line-spanner-interface}. @node Easy notation note heads @unnumberedsubsubsec Easy notation note heads @cindex note heads, practice @cindex practice note heads @cindex note heads, easy notation @cindex easy notation @cindex Hal Leonard @cindex beginners' music @cindex music, beginners' @cindex easy play note heads @cindex note heads, easy play The @q{easy play} note head includes a note name inside the head. It is used in music for beginners. 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) \relative c' { \easyHeadsOn c2 e4 f g1 \easyHeadsOff c,1 } @end lilypond @predefined @funindex \easyHeadsOn @funindex \easyHeadsOff @code{\easyHeadsOn}, @code{\easyHeadsOff} @seealso Notation Reference: @ref{Setting the staff size}. Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{note-event}, @rinternals{Note_heads_engraver}, @rinternals{NoteHead}, @rinternals{note-head-interface}. @node Shape note heads @unnumberedsubsubsec Shape note heads @cindex note heads, shape @cindex note heads, Aiken @cindex note heads, sacred harp @cindex shape notes @cindex Aiken shape note heads @cindex sacred harp note heads @funindex \key @funindex \aikenHeads @funindex \sacredHarpHeads 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: @lilypond[verbatim,quote,relative=2] \aikenHeads c, d e f g a b c \sacredHarpHeads 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. @predefined @funindex \aikenHeads @funindex \sacredHarpHeads @code{\aikenHeads}, @code{\sacredHarpHeads} @snippets @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {applying-note-head-styles-depending-on-the-step-of-the-scale.ly} @noindent To see all note head styles, see @ref{Note head styles}. @seealso Snippets: @rlsr{Pitches}. Notation Reference: @ref{Note head styles}. Internals Reference: @rinternals{note-event}, @rinternals{Note_heads_engraver}, @rinternals{NoteHead}, @rinternals{note-head-interface}. @node Improvisation @unnumberedsubsubsec Improvisation @cindex improvisation @cindex slashed note heads @cindex note heads, improvisation @cindex note heads, slashed Improvisation is sometimes denoted with slashed note heads, where the performer may choose any pitch but should play the specified rhythm. Such note heads can be created: @lilypond[verbatim,quote,relative=2] \new Voice \with { \consists "Pitch_squash_engraver" } { e8 e g a a16( bes) a8 g \improvisationOn e8 ~ e2 ~ e8 f4 f8 ~ f2 \improvisationOff a16( bes) a8 g e } @end lilypond @predefined @funindex \improvisationOn @funindex \improvisationOff @code{\improvisationOn}, @code{\improvisationOff} @seealso Snippets: @rlsr{Pitches}. Internals Reference: @rinternals{Pitch_squash_engraver}, @rinternals{Voice}, @rinternals{RhythmicStaff}.