Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.22"
+@c \version "2.19.53"
@node Pitches
}
@end lilypond
-@funindex fixed
@funindex \fixed
Common octave marks can be entered just once on a reference pitch
after @code{\fixed} placed before the music. Pitches inside
@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
-The form @code{\relative @{ gis''' @dots{} @}}) serves
+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 lilypond
+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
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 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
be obtained by adding the question mark@tie{}@code{?} after the
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
@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.
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}} {-@code{s}/-@code{-sharp}} {-@code{ess}/-@code{es}} {-@code{ss}/-@code{x}/-@code{-sharpsharp}} {-@code{essess}/-@code{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 -@code{ff}/-@code{-flatflat}
@item @code{espanol} or @code{español}
@tab -@code{s} @tab -@code{b} @tab -@code{ss}/-@code{x} @tab -@code{bb}
-@item @code{italiano} or @code{français}
+@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 -@code{iss}/-@code{is} @tab -@code{ess}/-@code{es} @tab -@code{ississ}/-@code{isis}
@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.
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 {
@cindex notes, transposition of
@funindex \transpose
-@funindex transpose
A music expression can be transposed with @code{\transpose}. The
syntax is
@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).
@cindex transformation, retrograde
@cindex operation, retrograde
@funindex \retrograde
-@funindex retrograde
A music expression can be reversed to produce its retrograde:
@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:
@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:
@funindex \clef
-@funindex clef
Without any explicit command, the default clef for LilyPond is the
treble (or @emph{G}) clef.
-@lilypond[verbatim,quote,relative=1,ragged-right]
-c2 c
+@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,relative=1]
+@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
For the full range of possible clef names see @ref{Clef styles}.
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
as a @emph{warning} clef, as well as the beginning of the next.
This @emph{warning} clef can be suppressed.
-@lilypond[verbatim,quote,relative=1]
-\clef treble { c2 c } \break
-\clef bass { c2 c } \break
+@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
- { c2 c } \break
+ { c'2 c' } \break
\unset Staff.explicitClefVisibility
-\clef bass { c2 c } \break
+\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 the command
+will be ignored. The command
@code{\set Staff.forceClef = ##t} changes this behaviour.
-@lilypond[verbatim,quote,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef treble
- c1
+ c'1
\clef treble
- c1
+ c'1
\set Staff.forceClef = ##t
- c1
+ c'1
\clef treble
- c1
+ 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,relative=1]
+@lilypond[verbatim,quote,fragment]
\clef "treble"
- c1
+ c'1
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
\override Staff.Clef.full-size-change = ##t
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
\revert Staff.Clef.full-size-change
\clef "bass"
- c1
+ c'1
\clef "treble"
- c1
+ c'1
@end lilypond
@snippets
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
@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
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
@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
@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
@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 = {
@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
@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 = {
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 ~
projects / lilypond.git / blobdiff