Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.2"
+@c \version "2.19.53"
@node Pitches
@lilypond[verbatim,quote]
{
\clef treble
- c'4 c'' e' g
- d''4 d' d c
+ c'4 e' g' c''
+ c'4 g b c'
\clef bass
- c,4 c,, e, g
- d,,4 d, d c
+ c,4 e, g, c
+ c,4 g,, b,, c,
}
@end lilypond
-@funindex absolute
-@funindex \absolute
-Music can be marked explicitly as being in absolute octave
-notation by preceding it with @code{\absolute}:
+@funindex \fixed
+Common octave marks can be entered just once on a reference pitch
+after @code{\fixed} placed before the music. Pitches inside
+@code{\fixed} only need @code{'} or@tie{}@code{,} marks
+when they are above or below the octave of the reference pitch.
-@example
-\absolute @var{musicexpr}
-@end example
+@lilypond[verbatim,quote]
+{
+ \fixed c' {
+ \clef treble
+ c4 e g c'
+ c4 g, b, c
+ }
+ \clef bass
+ \fixed c, {
+ c4 e g c'
+ c4 g, b, c
+ }
+}
+@end lilypond
-will be interpreted in absolute octave entry mode regardless of
-the context it appears in.
+Pitches in the music expression following @code{\fixed} are
+unaffected by any enclosing @code{\relative}, discussed next.
@seealso
Music Glossary:
@cindex relative octave specification
@cindex octave specification, relative
-@funindex relative
@funindex \relative
Absolute octave entry requires specifying the octave for every
determine the absolute pitch of the first note inside.
@item no explicit starting pitch
-This (namely writing @code{\relative @{ gis''' @dots{} @}}) can be
-viewed as a compact version of the previous option: the first note
-inside is written in absolute pitch itself. This happens to be
-equivalent to choosing @code{f} as the reference pitch.
+The form @code{\relative @{ gis''' @dots{} @}} serves
+as a compact version of the previous option: the first note
+inside is written in absolute pitch itself. (This happens to be
+equivalent to choosing @code{f} as the reference pitch.)
@end table
-The documentation will usually employ the first option.
+The documentation will usually employ the last option.
@end itemize
Here is the relative mode shown in action:
@lilypond[verbatim,quote]
-\relative c {
+\relative {
\clef bass
c d e f
g a b c
fourth:
@lilypond[verbatim,quote]
-\relative c'' {
- c g c f,
+\relative {
+ c'' g c f,
c' a, e'' c
}
@end lilypond
large intervals:
@lilypond[verbatim,quote]
-\relative c {
+\relative {
c f b e
a d g c
}
@end lilypond
When @code{\relative} blocks are nested, the innermost
-@code{\relative} block applies.
+@code{\relative} block starts with its own reference pitch
+independently of the outer @code{\relative}.
@lilypond[verbatim,quote]
-\relative c' {
- c d e f
- \relative c'' {
- c d e f
+\relative {
+ c' d e f
+ \relative {
+ c'' d e f
}
}
@end lilypond
@code{\relative} is included.
@lilypond[verbatim,quote]
-\relative c' {
- d e
+\relative {
+ d' e
\transpose f g {
d e
- \relative c' {
- d e
+ \relative {
+ d' e
}
}
}
carefully, paying attention to the @code{c} notes.
@lilypond[verbatim,quote]
-\relative c' {
- c
+\relative {
+ c'
<c e g>
<c' e g'>
<c, e, g''>
that each interval contains.
@lilypond[verbatim,quote]
-\relative c'' {
- c2 fis
+\relative {
+ c''2 fis
c2 ges
b2 eisis
b2 feses
}
@end lilypond
-One consequence of these rules is that the first note inside
-@code{@w{\relative f}} music is interpreted just the same as
-if it was written in absolute pitch mode.
+In complex situations, it is sometimes useful to get back to a
+certain pitch regardless of what happened before. This can be
+done using @code{\resetRelativeOctave}:
+
+@lilypond[verbatim,quote]
+\relative {
+ <<
+ { c''2 d }
+ \\
+ { e,,2 f }
+ >>
+ \resetRelativeOctave c''
+ c2
+}
+@end lilypond
+
+@funindex \resetRelativeOctave
+
@seealso
Music Glossary:
@cindex transposition and relative octave entry
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@node Accidentals
@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.
+key signatures. In LilyPond, note names specify pitches; key
+signatures and clefs determine how these pitches are 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}.}
+see @rlearning{Pitches and key signatures}.}
@cindex note names, Dutch
@cindex note names, default
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
+@lilypond[verbatim,quote,fragment]
+\relative c'' { 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:
+A natural pitch is entered as a simple note name; no suffix is
+required. A natural sign will be printed when needed to cancel
+the effect of an earlier accidental or key signature.
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a4 aes a2 }
@end lilypond
@cindex quarter tones
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
+@lilypond[verbatim,quote,fragment]
+\relative c'' { ceseh1 ces ceh c cih cis cisih }
@end lilypond
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.
+pitch.
-@lilypond[verbatim,quote,relative=2]
-cis cis cis! cis? c c c! c?
+@lilypond[verbatim,quote,fragment]
+\relative c'' { cis cis cis! cis? c c c! c? }
@end lilypond
@cindex accidental on tied note
Accidentals on tied notes are only printed at the beginning of a
new system:
-@lilypond[verbatim,quote,relative=2,ragged-right]
-cis1~ 1~
-\break
-cis
+@lilypond[verbatim,quote,fragment,ragged-right]
+\relative c'' {
+ cis1~ 1~
+ \break
+ cis
+}
@end lilypond
@rglos{quarter tone}.
Learning Manual:
-@rlearning{Accidentals and key signatures}.
+@rlearning{Pitches and key signatures}.
Notation Reference:
@ref{Automatic accidentals},
@knownissues
There are no generally accepted standards for denoting
-quarter-tone accidentals, so LilyPond's symbol does not conform to
+quarter-tone accidentals, so LilyPond's symbols do not conform to
any standard.
@lilypond[quote,verbatim]
\language "italiano"
-\relative do' {
- do re mi sib
+\relative {
+ do' re mi sib
}
@end lilypond
The available languages and the note names they define are:
@quotation
-@multitable {@code{nederlands}} {do re mi fa sol la sib si}
+@multitable {@code{nederlands}} {do re/re mi fa sol la sib si}
@headitem Language
@tab Note Names
@item @code{nederlands}
@tab c d e f g a bf b
@item @code{espanol} or @code{español}
@tab do re mi fa sol la sib si
-@item @code{italiano} or @code{français}
+@item @code{français}
+ @tab do ré/re mi fa sol la sib si
+@item @code{italiano}
@tab do re mi fa sol la sib si
@item @code{norsk}
@tab c d e f g a b h
also vary depending on the language:
@quotation
-@multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
+@multitable {@code{nederlands}} {-@code{s}/-@code{-sharp}} {-@code{f}/-@code{-flat}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{ff}/-@code{-flatflat}}
@headitem Language
@tab sharp @tab flat @tab double sharp @tab double flat
@item @code{nederlands}
- @tab -is @tab -es @tab -isis @tab -eses
+ @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
@item @code{catalan}
- @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
+ @tab -@code{d}/-@code{s} @tab -@code{b} @tab -@code{dd}/-@code{ss} @tab -@code{bb}
@item @code{deutsch}
- @tab -is @tab -es @tab -isis @tab -eses
+ @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
@item @code{english}
- @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
- @tab -ff/-flatflat
+ @tab -@code{s}/-@code{-sharp} @tab -@code{f}/-@code{-flat} @tab -@code{ss}/-@code{x}/-@code{-sharpsharp}
+ @tab -@code{ff}/-@code{-flatflat}
@item @code{espanol} or @code{español}
- @tab -s @tab -b @tab -ss/-x @tab -bb
-@item @code{italiano} or @code{français}
- @tab -d @tab -b @tab -dd @tab -bb
+ @tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb}
+@item @code{français}
+ @tab -@code{d} @tab -@code{b} @tab -@code{dd}/-@code{x} @tab -@code{bb}
+@item @code{italiano}
+ @tab -@code{d} @tab -@code{b} @tab -@code{dd} @tab -@code{bb}
@item @code{norsk}
- @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
- @tab -essess/-eses
+ @tab -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis}
+ @tab -@code{essess}/-@code{eses}
@item @code{portugues}
- @tab -s @tab -b @tab -ss @tab -bb
+ @tab -@code{s} @tab -@code{b} @tab -@code{ss} @tab -@code{bb}
@item @code{suomi}
- @tab -is @tab -es @tab -isis @tab -eses
+ @tab -@code{is} @tab -@code{es} @tab -@code{isis} @tab -@code{eses}
@item @code{svenska}
- @tab -iss @tab -ess @tab -ississ @tab -essess
+ @tab -@code{iss} @tab -@code{ess} @tab -@code{ississ} @tab -@code{essess}
@item @code{vlaams}
- @tab -k @tab -b @tab -kk @tab -bb
+ @tab -@code{k} @tab -@code{b} @tab -@code{kk} @tab -@code{bb}
@end multitable
@end quotation
@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
+@lilypond[verbatim,quote,fragment]
+\relative c'' { a2 as e es a ases e eses }
@end lilypond
@tab -qs @tab -qf @tab -tqs @tab -tqf
@item @code{espanol} or @code{español}
@tab -cs @tab -cb @tab -tcs @tab -tcb
-@item @code{italiano} or @code{français}
+@item @code{français}
+ @tab -sd @tab -sb @tab -dsd @tab -bsb
+@item @code{italiano}
@tab -sd @tab -sb @tab -dsd @tab -bsb
@item @code{portugues}
@tab -sqt @tab -bqt @tab -stqt @tab -btqt
@funindex =
@funindex \octaveCheck
-@funindex octaveCheck
@funindex controlpitch
In relative mode, it is easy to forget an octave changing mark.
correction.
@lilypond[verbatim,quote]
-\relative c'' {
- c2 d='4 d
+\relative {
+ c''2 d='4 d
e2 f
}
@end lilypond
checks that the interval between the previous note and the
@code{@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 @code{@var{controlpitch}}.
+printed. While the previous note itself is not changed, future
+notes are relative to the corrected value.
@lilypond[verbatim,quote]
-\relative c'' {
- c2 d
+\relative {
+ c''2 d
\octaveCheck c'
e2 f
}
checks fail, but the second one does not fail.
@lilypond[verbatim,quote]
-\relative c'' {
- c4 f g f
+\relative {
+ c''4 f g f
c4
\octaveCheck c'
@cindex notes, transposition of
@funindex \transpose
-@funindex transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
@lilypond[verbatim,quote]
\transpose d e {
- \relative c' {
+ \relative {
\key d \major
- d4 fis a d
+ d'4 fis a d
}
}
@end lilypond
@lilypond[verbatim,quote]
\transpose a c' {
- \relative c' {
+ \relative {
\key c \major
- c4 d e g
+ c'4 d e g
}
}
@end lilypond
will print flats on the scale step above.
@lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
\new Staff {
\transpose c cis { \music }
\transpose c des { \music }
@rinternals{TransposedMusic}.
@funindex \transpose
-@funindex transpose
@funindex \chordmode
-@funindex chordmode
@funindex \relative
-@funindex relative
@knownissues
The relative conversion will not affect @code{\transpose},
must be placed inside @code{\transpose}.
Triple accidentals will not be printed if using @code{\transpose}. An
-@q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
+@q{enharmonically equivalent} pitch will be used instead (e.g., d-flat
rather than e-triple-flat).
@code{@var{around-pitch}} is mapped to @code{@var{to-pitch}}.
@lilypond[verbatim,quote]
-music = \relative c' { c d e f }
+music = \relative { c' d e f }
\new Staff {
\music
\inversion d' d' \music
@cindex transformation, retrograde
@cindex operation, retrograde
@funindex \retrograde
-@funindex retrograde
A music expression can be reversed to produce its retrograde:
@lilypond[verbatim,quote]
-music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
+music = \relative { c'8. ees16( fis8. a16 b8.) gis16 f8. d16 }
\new Staff {
\music
@end lilypond
@knownissues
-Manual ties inside @code{\retrograde} will be broken and
-generate warnings. Some ties can be generated automatically
-by enabling @ref{Automatic note splitting}.
+@code{\retrograde} is a rather simple tool. Since many events are
+@q{mirrored} rather than exchanged, tweaks and directional
+modifiers for opening spanners need to be added at the matching
+closing spanners: @code{^(} needs to be ended by @code{^)}, every
+@code{\<} or @code{\cresc} needs to be ended by @code{\!} or
+@code{\endcr}, every @code{\>} or @code{\decr} needs to be ended
+by @code{\enddecr}. Property-changing commands/overrides with a
+lasting effect will likely cause surprises.
@seealso
Notation Reference:
@cindex transposition, modal
@cindex operation, transposition
@funindex \modalTranspose
-@funindex modalTranspose
A motif can be transposed within a given scale with:
and @var{from-pitch}:
@lilypond[verbatim,quote]
-diatonicScale = \relative c' { c d e f g a b }
-motif = \relative c' { c8 d e f g a b c }
+diatonicScale = \relative { c' d e f g a b }
+motif = \relative { c'8 d e f g a b c }
\new Staff {
\motif
specified:
@lilypond[verbatim,quote]
-pentatonicScale = \relative c' { ges aes bes des ees }
-motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
+pentatonicScale = \relative { ges aes bes des ees }
+motif = \relative { ees'8 des ges,4 <ges' bes,> <ges bes,> }
\new Staff {
\motif
specify the names of the notes to be used:
@lilypond[verbatim,quote]
-chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
-motif = \relative c' { c8 d e f g a b c }
+chromaticScale = \relative { c' cis d dis e f fis g gis a ais b }
+motif = \relative { c'8 d e f g a b c }
\new Staff {
\motif
@cindex inversion, modal
@cindex operation, modal inversion
@funindex \modalInversion
-@funindex modalInversion
A motif can be inverted within a given scale around a given pivot
note and transposed in a single operation with:
@var{around-pitch} and @var{to-pitch}:
@lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
\new Staff {
\motif
specified can be interpreted as bracketing the pivot point:
@lilypond[verbatim,quote]
-scale = \relative c' { c g' }
-motive = \relative c' { c c g' c, }
+scale = \relative { c' g' }
+motive = \relative { c' c g' c, }
\new Staff {
\motive
retrograde-inversion:
@lilypond[verbatim,quote]
-octatonicScale = \relative c' { ees f fis gis a b c d }
-motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
+octatonicScale = \relative { ees' f fis gis a b c d }
+motif = \relative { c'8. ees16 fis8. a16 b8. gis16 f8. d16 }
\new Staff {
\motif
@funindex \clef
-@funindex clef
-The clef may be altered. Middle C is shown in every example. The
-following clef names can (but do not need to) be enclosed in quotes.
+Without any explicit command, the default clef for LilyPond is the
+treble (or @emph{G}) clef.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment,ragged-right]
+c'2 c'
+@end lilypond
+
+However, the clef can be changed by using the @code{\clef} command and
+an appropriate clef name. @emph{Middle C} is shown in each of the
+following examples.
+
+@lilypond[verbatim,quote,fragment]
\clef treble
-c2 c
+c'2 c'
\clef alto
-c2 c
+c'2 c'
\clef tenor
-c2 c
+c'2 c'
\clef bass
-c2 c
+c'2 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
+For the full range of possible clef names see @ref{Clef styles}.
-\break
+Specialized clefs, such as those used in @emph{Ancient} music, are
+described in @ref{Mensural clefs} and @ref{Gregorian clefs}. Music that
+requires tablature clefs is discussed in @ref{Default tablatures} and
+@ref{Custom tablatures}.
-\clef varbaritone
-c2 c
-\clef subbass
-c2 c
-\clef percussion
-c2 c
-
-\break
-
-\clef G % synonym for treble
-c2 c
-\clef F % synonym for bass
-c2 c
-\clef C % synonym for alto
-c2 c
-@end lilypond
+@cindex Cue clefs
+@cindex Clefs with cue notes
+For mixing clefs when using cue notes, see the @code{\cueClef} and
+@code{\cueDuringWithClef} commands in @ref{Formatting cue notes}.
@cindex transposing clef
@cindex clef, transposing
Other integers can be used if required. Clef names containing
non-alphabetic characters must be enclosed in quotes
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef treble
-c2 c
+c'2 c'
\clef "treble_8"
-c2 c
+c'2 c'
\clef "bass^15"
-c2 c
+c'2 c'
\clef "alto_2"
-c2 c
+c'2 c'
\clef "G_8"
-c2 c
+c'2 c'
\clef "F^5"
-c2 c
+c'2 c'
@end lilypond
Optional octavation can be obtained by enclosing the numeric
argument in parentheses or brackets:
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble_(8)"
-c2 c
+c'2 c'
\clef "bass^[15]"
-c2 c
+c'2 c'
@end lilypond
The pitches are displayed as if the numeric argument were
given without parentheses/brackets.
-Some special purpose clefs are described in @ref{Mensural clefs},
-@ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
-tablatures}. For mixing different clefs when using cue notes within a
-score, see the @code{\cueClef} and @code{\cueDuringWithClef} functions
-in @ref{Formatting cue notes}.
+By default, a clef change taking place at a line break will cause
+the new clef symbol to be printed at the end of the previous line,
+as a @emph{warning} clef, as well as the beginning of the next.
+This @emph{warning} clef can be suppressed.
-@snippets
+@lilypond[verbatim,quote,fragment]
+\clef treble { c'2 c' } \break
+\clef bass { c'2 c' } \break
+\clef alto
+ \set Staff.explicitClefVisibility = #end-of-line-invisible
+ { c'2 c' } \break
+ \unset Staff.explicitClefVisibility
+\clef bass { c'2 c' } \break
+@end lilypond
+
+By default, a clef that has previously been printed will not be
+re-printed if the same @code{\clef} command is issued again and
+will be ignored. The command
+@code{\set Staff.forceClef = ##t} changes this behaviour.
+@lilypond[verbatim,quote,fragment]
+ \clef treble
+ c'1
+ \clef treble
+ c'1
+ \set Staff.forceClef = ##t
+ c'1
+ \clef treble
+ c'1
+@end lilypond
+
+@noindent
+To be more precise, it is not the @code{\clef} command itself that
+prints a clef. Instead, it sets or changes a property of the
+@code{Clef_engraver}, which then decides by its own whether to
+display a clef or not in the current staff. The @code{forceClef}
+property overrides this decision locally to re-print a clef once.
+
+When there is a manual clef change, the glyph of the changed clef
+will be smaller than normal. This behaviour can be overridden.
+
+@lilypond[verbatim,quote,fragment]
+ \clef "treble"
+ c'1
+ \clef "bass"
+ c'1
+ \clef "treble"
+ c'1
+ \override Staff.Clef.full-size-change = ##t
+ \clef "bass"
+ c'1
+ \clef "treble"
+ c'1
+ \revert Staff.Clef.full-size-change
+ \clef "bass"
+ c'1
+ \clef "treble"
+ c'1
+@end lilypond
+
+@snippets
@lilypondfile[verbatim,quote,texidoc,doctitle]
{tweaking-clef-properties.ly}
@ref{Custom tablatures},
@ref{Formatting cue notes}.
+Installed Files:
+@file{scm/parser-clef.scm}.
+
Snippets:
@rlsr{Pitches}.
@rinternals{clef-interface}.
@knownissues
-Ottavation numbers attached to clefs are treated as separate grobs. So
-any @code{\override} done to the @var{Clef} will also need to be
-applied, as a separate @code{\override}, to the @var{ClefModifier}
-grob.
+Ottavation numbers attached to clefs are treated as separate
+grobs. So any @code{\override} done to the @var{Clef} will also
+need to be applied, as a separate @code{\override}, to the
+@var{ClefModifier} grob.
-@lilypond[fragment,quote,verbatim,relative=1]
+@lilypond[fragment,quote,verbatim]
\new Staff \with {
\override Clef.color = #blue
\override ClefModifier.color = #red
}
-\clef "treble_8" c4
+\clef "treble_8" c'4
@end lilypond
@cindex key signature
@funindex \key
-@funindex key
@c duplicated in Key signature and Accidentals
@warning{New users are sometimes confused about accidentals and
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}.}
+see @rlearning{Pitches 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)
@end example
@funindex \major
-@funindex major
@funindex \minor
-@funindex minor
@funindex \ionian
-@funindex ionian
@funindex \locrian
-@funindex locrian
@funindex \aeolian
-@funindex aeolian
@funindex \mixolydian
-@funindex mixolydian
@funindex \lydian
-@funindex lydian
@funindex \phrygian
-@funindex phrygian
@funindex \dorian
-@funindex dorian
@cindex church modes
@cindex 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
+@lilypond[verbatim,quote,fragment]
+\relative {
+ \key g \major
+ fis''1
+ f
+ fis
+}
@end lilypond
Additional modes can be defined, by listing the alterations
freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
(3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))
-\relative c' {
- \key c \freygish c4 des e f
+\relative {
+ \key c \freygish c'4 des e f
\bar "||" \key d \freygish d es fis g
}
@end lilypond
accidentals are placed within the octave ending at that staff
position.
-@lilypond[verbatim, quote,relative=0]
+@lilypond[verbatim, quote,fragment]
\override Staff.KeySignature.flat-positions = #'((-5 . 5))
\override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
-\clef bass \key es \major es g bes d
-\clef treble \bar "||" \key es \major es g bes d
+\clef bass \key es \major es g bes d'
+\clef treble \bar "||" \key es \major es' g' bes' d''
\override Staff.KeySignature.sharp-positions = #'(2)
-\bar "||" \key b \major b fis b2
+\bar "||" \key b \major b' fis' b'2
@end lilypond
@snippets
@lilypondfile[verbatim,quote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
+
@seealso
Music Glossary:
@rglos{church mode},
@rglos{scordatura}.
Learning Manual:
-@rlearning{Accidentals and key signatures}.
+@rlearning{Pitches and key signatures}.
Snippets:
@rlsr{Pitches}.
@funindex set-octavation
@funindex \ottava
-@funindex ottava
@notation{Ottava brackets} introduce an extra transposition of an
octave for the staff:
-@lilypond[verbatim,quote,relative=2]
-a2 b
-\ottava #-2
-a2 b
-\ottava #-1
-a2 b
-\ottava #0
-a2 b
-\ottava #1
-a2 b
-\ottava #2
-a2 b
+@lilypond[verbatim,quote]
+\relative a' {
+ a2 b
+ \ottava #-2
+ a2 b
+ \ottava #-1
+ a2 b
+ \ottava #0
+ a2 b
+ \ottava #1
+ a2 b
+ \ottava #2
+ a2 b
+}
@end lilypond
@snippets
@lilypondfile[verbatim,quote,texidoc,doctitle]
{adding-an-ottava-marking-to-a-single-voice.ly}
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{modifying-the-ottava-spanner-slope.ly}
+
@seealso
Music Glossary:
@rglos{octavation}.
@cindex MIDI transposition
@funindex \transposition
-@funindex transposition
When typesetting scores that involve transposing instruments, some
parts can be typeset in a different pitch than the
@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 = "violin" \with {
+ instrumentName = #"Vln"
+ midiInstrument = #"violin"
}
- \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
- }
+ \relative c'' {
+ % not strictly necessary, but a good reminder
+ \transposition c'
+ \key c \major
+ g4( c8) r c r c4
+ }
+ \new Staff = "clarinet" \with {
+ instrumentName = \markup { Cl (B\flat) }
+ midiInstrument = #"clarinet"
+ }
+ \relative c'' {
+ \transposition bes
+ \key d \major
+ a4( d8) r d r d4
}
>>
@end lilypond
@lilypond[verbatim,quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@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}.
+This rule is similar to @code{modern}, but the @q{extra} accidentals
+are printed as cautionary accidentals (with parentheses). They can also
+be printed at a different size by overriding
+@code{AccidentalCautionary}'s @code{font-size} property.
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@end lilypond
+@item choral
+
+@cindex accidental style, choral
+@cindex accidentals, choral
+@cindex choral accidental style
+@cindex choral accidentals
+
+@funindex choral
+
+This rule is a combination of the @code{modern-voice} and the @code{piano}
+style. It shows all accidentals required for singers that only follow their
+own voice, as well as additional accidentals for readers that follow all
+voices of an entire @code{ChoirStaff} simultaneously.
+
+This accidental style applies to the current @code{ChoirStaff} by default.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative {
+ cis''8 fis, bes4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
+ \change Staff = up
+ cis' cis
+ \change Staff = down
+ <fis, a> <fis a>]
+ \showStaffSwitch
+ \change Staff = up
+ dis'4 |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new ChoirStaff {
+ <<
+ \context Staff = "up" {
+ \accidentalStyle choral
+ \musicA
+ }
+ \context Staff = "down" {
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item choral-cautionary
+
+@cindex accidentals, choral cautionary
+@cindex cautionary accidentals, choral
+@cindex choral cautionary accidentals
+@cindex accidental style, choral cautionary
+@cindex cautionary accidental style, choral
+@cindex choral cautionary accidental style
+
+@funindex choral-cautionary
+
+This is the same as @code{choral} but with the extra accidentals
+typeset as cautionaries.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative {
+ cis''8 fis, bes4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
+ \change Staff = up
+ cis' cis
+ \change Staff = down
+ <fis, a> <fis a>]
+ \showStaffSwitch
+ \change Staff = up
+ dis'4 |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new ChoirStaff {
+ <<
+ \context Staff = "up" {
+ \accidentalStyle choral-cautionary
+ \musicA
+ }
+ \context Staff = "down" {
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
@item neo-modern
@cindex neo-modern accidental style
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@funindex neo-modern-cautionary
-This rule is similar to @code{neo-modern}, but the extra
-accidentals are printed as cautionary accidentals.
+This rule is similar to @code{neo-modern}, but the @q{extra} accidentals
+are printed as cautionary accidentals (with parentheses). They can also
+be printed at a different size by overriding
+@code{AccidentalCautionary}'s @code{font-size} property.
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
Like with the dodecaphonic accidental style @emph{every} note
gets an accidental sign by default, but accidentals are
-suppressed for pitches immediately repeated within one voice.
+suppressed for pitches immediately repeated within the same staff.
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@end lilypond
+@item dodecaphonic-first
+
+@cindex dodecaphonic accidental style
+@cindex dodecaphonic style, neo-modern
+
+@funindex dodecaphonic-first
+
+Similar to the dodecaphonic accidental style @emph{every} pitch
+gets an accidental sign, but only the first time it is encountered
+in a measure. Accidentals are only remembered for the actual octave
+but throughout voices.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative {
+ cis''8 fis, bes4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
+ \change Staff = up
+ cis' cis
+ \change Staff = down
+ <fis, a> <fis a>]
+ \showStaffSwitch
+ \change Staff = up
+ dis'4 |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ \accidentalStyle dodecaphonic-first
+ \musicA
+ }
+ \context Staff = "down" {
+ \accidentalStyle dodecaphonic-first
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
@item teaching
@cindex teaching accidental style
@lilypond[quote,staffsize=18]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
@lilypond[quote]
musicA = {
<<
- \relative c' {
- cis'8 fis, bes4 <a cis>8 f bis4 |
+ \relative {
+ cis'
'8 fis, bes4 <a cis>8 f bis4 |
cis2. <c, g'>4 |
}
\\
- \relative c' {
+ \relative {
ais'2 cis, |
fis8 b a4 cis2 |
}
musicB = {
\clef bass
\new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>8[ <fis a cis>
+ \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis>
\change Staff = up
cis' cis
\change Staff = down
the accidental style to @code{forget}:
@lilypond[verbatim,quote]
-forget = #(define-music-function (parser location music) (ly:music?) #{
+forget = #(define-music-function (music) (ly:music?) #{
\accidentalStyle forget
#music
\accidentalStyle modern
}
}
-\relative c'' {
- aes c e2
+\relative {
+ aes' c e2
cis,1
}
@end lilypond
The appearance of note heads may be altered:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\override NoteHead.style = #'cross
-c4 b
-\revert NoteHead.style
-a b
-\override NoteHead.style = #'harmonic
-a b
-\revert NoteHead.style
-c4 d e f
+@lilypond[verbatim,quote]
+\relative c'' {
+ c4 b
+ \override NoteHead.style = #'cross
+ c4 b
+ \revert NoteHead.style
+ a b
+ \override NoteHead.style = #'harmonic
+ a b
+ \revert NoteHead.style
+ c4 d e f
+}
@end lilypond
To see all note head styles, see @ref{Note head styles}.
note head in both staff and tablature contexts and can be used to
represent any musical meaning:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\xNotesOn
- a b c4 b
-\xNotesOff
-c4 d
+@lilypond[verbatim,quote]
+\relative {
+ c''4 b
+ \xNotesOn
+ a b c4 b
+ \xNotesOff
+ c4 d
+}
@end lilypond
The music function form of this predefined command may be used
inside and outside chords to generate crossed note heads in both
staff and tablature contexts:
-@lilypond[verbatim,quote,relative=2]
-c4 b
-\xNote { e f }
-c b < g \xNote c f > b
+@lilypond[verbatim,quote]
+\relative {
+ c''4 b
+ \xNote { e f }
+ c b < g \xNote c f > b
+}
@end lilypond
As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
There is also a similar shorthand for diamond shapes:
-@lilypond[verbatim,quote,relative=2]
-<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
+@lilypond[verbatim,quote]
+\relative c'' {
+ <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic> f\harmonic
+}
@end lilypond
@predefined
@cindex note heads, easy play
@funindex \easyHeadsOn
-@funindex easyHeadsOn
@funindex \easyHeadsOff
-@funindex easyHeadsOff
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,
@cindex note heads, Walker
@funindex \aikenHeads
-@funindex aikenHeads
@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
@funindex \southernHarmonyHeads
-@funindex southernHarmonyHeads
@funindex \funkHeads
-@funindex funkHeads
@funindex \walkerHeads
-@funindex walkerHeads
In shape note head notation, the shape of the note head
corresponds to the harmonic function of a note in the scale. This
Shape note heads can be produced in Sacred Harp, Southern Harmony,
Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
-@lilypond[verbatim,quote,relative=2]
-\aikenHeads
-c, d e f g2 a b1 c \break
-\sacredHarpHeads
-c,4 d e f g2 a b1 c \break
-\southernHarmonyHeads
-c,4 d e f g2 a b1 c \break
-\funkHeads
-c,4 d e f g2 a b1 c \break
-\walkerHeads
-c,4 d e f g2 a b1 c \break
+@lilypond[verbatim,quote]
+\relative c'' {
+ \aikenHeads
+ c, d e f g2 a b1 c \break
+ \sacredHarpHeads
+ c,4 d e f g2 a b1 c \break
+ \southernHarmonyHeads
+ c,4 d e f g2 a b1 c \break
+ \funkHeads
+ c,4 d e f g2 a b1 c \break
+ \walkerHeads
+ c,4 d e f g2 a b1 c \break
+}
@end lilypond
@funindex \key
-@funindex key
@funindex \aikenHeadsMinor
-@funindex aikenHeadsMinor
@funindex \sacredHarpHeadsMinor
-@funindex sacredHarpHeadsMinor
@funindex \southernHarmonyHeadsMinor
-@funindex southernHarmonyHeadsMinor
@funindex \funkHeadsMinor
-@funindex funkHeadsMinor
@funindex \walkerHeadsMinor
-@funindex walkerHeadsMinor
Shapes are typeset according to the step in the scale, where the base
of the scale is determined by the @code{\key} command. When writing
in a minor key, the scale step can be determined from the relative
major:
-@lilypond[verbatim,quote,relative=2]
-\key a \minor
-\aikenHeads
-a b c d e2 f g1 a \break
-\aikenHeadsMinor
-a,4 b c d e2 f g1 a \break
-\sacredHarpHeadsMinor
-a,2 b c d \break
-\southernHarmonyHeadsMinor
-a2 b c d \break
-\funkHeadsMinor
-a2 b c d \break
-\walkerHeadsMinor
-a2 b c d \break
-
+@lilypond[verbatim,quote]
+\relative c'' {
+ \key a \minor
+ \aikenHeads
+ a b c d e2 f g1 a \break
+ \aikenHeadsMinor
+ a,4 b c d e2 f g1 a \break
+ \sacredHarpHeadsMinor
+ a,2 b c d \break
+ \southernHarmonyHeadsMinor
+ a2 b c d \break
+ \funkHeadsMinor
+ a2 b c d \break
+ \walkerHeadsMinor
+ a2 b c d \break
+}
@end lilypond
@cindex note heads, slashed
@funindex \improvisationOn
-@funindex improvisationOn
@funindex \improvisationOff
-@funindex improvisationOff
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]
+@lilypond[verbatim,quote]
\new Voice \with {
\consists "Pitch_squash_engraver"
-} {
- e8 e g a a16( bes) a8 g
+} \relative {
+ e''8 e g a a16( bes) a8 g
\improvisationOn
e8 ~
2 ~ 8 f4 f8 ~
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