version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.61"
@node Pitches
are three steps to this process: input, modification, and output.
@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
+* Writing pitches::
+* Changing multiple pitches::
+* Displaying pitches::
+* Note heads::
@end menu
mode. In most cases, relative mode will be more convenient.
@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
+* Absolute octave entry::
+* Relative octave entry::
+* Accidentals::
+* Note names in other languages::
@end menu
@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,ragged-right,fragment]
+@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 ,
pitch by one octave; each@tie{}@code{,} lowers the pitch by an
octave.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,fragment]
\clef treble
c' c'' e' g
d'' d' d c
@rglos{Pitch names}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Relative octave entry
@unnumberedsubsubsec Relative octave entry
@cindex relative
+@cindex relative octave entry
@cindex relative octave specification
@funindex \relative
@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.
+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.
+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
-@code{,,}@tie{} will alter the pitch by two octaves.
+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
Here is the relative mode shown in action:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c {
\clef bass
c d e f
Octave changing marks are used for intervals greater than a
fourth:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c g c f,
c' a, e'' c
A note sequence without a single octave mark can nevertheless span
large intervals:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c {
c f b e
a d g c
relative to the preceding one. Examine the next example
carefully, paying attention to the @code{c} notes.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c' {
c
<c e g>
double-diminished fifth, regardless of the number of semitones
that each interval contains.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\relative c'' {
c2 fis
c2 ges
@ref{Octave checks}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{RelativeOctaveMusic}.
+@rinternals{RelativeOctaveMusic}.
+@cindex relative octave entry and transposition
+@cindex transposition and relative octave entry
@funindex \transpose
@funindex \chordmode
@funindex \relative
@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}.
+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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ais1 aes aisis aeses
@end lilypond
syntax with a suffix; a natural pitch is shown as a simple note
name:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a4 aes a2
@end lilypond
Quarter tones may be added; the following is a series of Cs with
increasing pitches:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
ceseh1 ces ceh c cih cis cisih
@end lilypond
pitch. These extra accidentals can also be used to produce
natural signs.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
cis1 ~ cis ~
\break
cis
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-extra-naturals-from-being-automatically-added.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}
+
@seealso
Music Glossary:
Notation Reference:
@ref{Automatic accidentals},
-@ref{Annotational accidentals},
+@ref{Annotational accidentals (musica ficta)},
@ref{Note names in other languages}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Accidental_engraver},
-@internalsref{Accidental},
-@internalsref{AccidentalCautionary},
-@internalsref{accidental-interface}.
+@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
@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 @code{\include
-"english.ly"} to the top of the input file. The available
-language files and the note names they define are:
+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:
-@cindex note names, other languages
-@cindex pitch names, other languages
@smallexample
@multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
@item nederlands.ly
@tab c d e f g a bes b
@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 deutsch.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@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 svenska.ly
- @tab c d e f g a b h
- @tab -iss @tab -ess @tab -ississ @tab -essess
-@item suomi.ly
- @tab c d e f g a b h
- @tab -is @tab -es @tab -isis @tab -eses
-@item italiano.ly
+@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
@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
contracted names are defined in the corresponding language files.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@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
@item nederlands.ly
@tab c d e f g a bes b
@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 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
@rglos{Pitch names}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Changing multiple pitches
This section discusses how to modify pitches.
@menu
-* Octave checks::
-* Transpose::
+* Octave checks::
+* Transpose::
@end menu
@node Octave checks
@cindex octave correction
@cindex octave check
+@cindex control pitch
@funindex =
-@funindex \octave
+@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.
+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,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d='4 d
e2 f
@end lilypond
The octave of notes may also be checked with the
-@code{\octave}@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
+@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,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c2 d
- \octave c'
+ \octaveCheck c'
e2 f
}
@end lilypond
-Compare the two bars below. The first and third @code{\octave}
+Compare the two bars below. The first and third @code{\octaveCheck}
checks fail, but the second one does not fail.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote]
\relative c'' {
c4 f g f
c4
- \octave c'
+ \octaveCheck c'
f
- \octave c'
+ \octaveCheck c'
g
- \octave c'
+ \octaveCheck c'
f
}
@end lilypond
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{RelativeOctaveCheck}.
+@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
transposed up to E-major; note that the key signature is
automatically transposed as well.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\transpose d e {
\relative c' {
\key d \major
}
@end lilypond
-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:
+@cindex transposing instruments
+@cindex instruments, transposing
-@lilypond[verbatim,quote,ragged-right]
+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
@end lilypond
@noindent
-Note that we specify @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.
+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
-@code{\transpose c cis} or @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.
+@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,ragged-right]
-mus = \relative c' { c d e f }
+@lilypond[verbatim,quote]
+music = \relative c' { c d e f }
\new Staff {
- \transpose c cis { \mus }
- \transpose c des { \mus }
+ \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
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
@ref{Instrument transpositions}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{TransposedMusic}.
+@rinternals{TransposedMusic}.
@funindex \transpose
@funindex \chordmode
@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
This section discusses how to alter the output of pitches.
@menu
-* Clef::
-* Key signature::
-* Ottava brackets::
-* Instrument transpositions::
-* Automatic accidentals::
-* Ambitus::
+* Clef::
+* Key signature::
+* Ottava brackets::
+* Instrument transpositions::
+* Automatic accidentals::
+* Ambitus::
@end menu
@cindex clef, C
@cindex clef, F
@cindex clef, treble
-@cindex clef, violin
-@cindex clef, alto
+@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 is set with the @code{\clef} @var{clefname} command.
-Middle C is shown in every example.
-
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@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
Other clefs include:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+@lilypond[verbatim,quote,relative=1]
\clef french
c2 c
\clef soprano
c2 c
@end lilypond
-Further supported clefs are described under @ref{Ancient clefs}.
+Further supported clefs are described under @ref{Mensural clefs}
+and @ref{Gregorian clefs}.
@cindex transposing clefs
@cindex clef, transposing
@cindex octave transposition
-
-By adding @code{_8} or @code{^8} to the clef name, the clef is
-transposed one octave down or up, respectively, and @code{_15} and
-@code{^15} transpose by two octaves. The argument @var{clefname}
-must be enclosed in quotes when it contains underscores or digits.
-
@cindex choral tenor clef
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+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"
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{tweaking-clef-properties.ly}
@seealso
Notation Reference:
-@ref{Ancient clefs}.
+@ref{Mensural clefs}, @ref{Gregorian clefs}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Clef_engraver},
-@internalsref{Clef},
-@internalsref{OctavateEight},
-@internalsref{clef-interface}.
+@rinternals{Clef_engraver},
+@rinternals{Clef},
+@rinternals{OctavateEight},
+@rinternals{clef-interface}.
@node Key signature
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. Setting or changing the key signature
-is done with the @code{\key} command:
+at the start of the staff. The key signature may be altered:
@example
\key @var{pitch} @var{mode}
@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,
@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
@code{\aeolian}, and @code{\locrian}.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\key g \major
fis1
f
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@rlearning{Accidentals and key signatures}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{KeyChangeEvent},
-@internalsref{Key_engraver},
-@internalsref{Key_performer},
-@internalsref{KeyCancellation},
-@internalsref{KeySignature},
-@internalsref{key-cancellation-interface},
-@internalsref{key-signature-interface}.
+@rinternals{KeyChangeEvent},
+@rinternals{Key_engraver},
+@rinternals{Key_performer},
+@rinternals{KeyCancellation},
+@rinternals{KeySignature},
+@rinternals{key-cancellation-interface},
+@rinternals{key-signature-interface}.
@node Ottava brackets
@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,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
a'2 b
-#(set-octavation 1)
+\ottava #1
a b
-#(set-octavation 0)
+\ottava #0
a b
@end lilypond
-The @code{set-octavation} function also takes -1 (for 8va bassa),
+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,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ottava-text.ly}
@rglos{octavation}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Ottava_spanner_engraver},
-@internalsref{OttavaBracket},
-@internalsref{ottava-bracket-interface}.
+@rinternals{Ottava_spanner_engraver},
+@rinternals{OttavaBracket},
+@rinternals{ottava-bracket-interface}.
@cindex transposition, instrument
@cindex transposing instrument
@cindex MIDI
+@cindex MIDI transposition
@funindex \transposition
When typesetting scores that involve transposing instruments, some
@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}.
+pitches. For more information about quotations, see
+@ref{Quoting other voices}.
@example
\transposition @var{pitch}
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
-@code{\transposition d'}. @code{\transposition} should
+@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. Adding the @code{\transposition c'} to the
-violin part is not strictly necessary, but it is a useful
-reminder.
+playing in unison.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\new GrandStaff <<
- \new Staff = "Vln" {
+ \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
example, a clarinetist may switch from an A clarinet to a B-flat
clarinet.
-@lilypond[verbatim,quote,ragged-right,fragment,relative=2]
+@lilypond[verbatim,quote,relative=2]
\set Staff.instrumentName = "Cl (A)"
\key a \major
\transposition a
@ref{Quoting other voices}, @ref{Transpose}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
@node Automatic accidentals
@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
+accidental style to use. This function is called as follows:
@example
\new Staff <<
@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
+style in all staves of the current @code{StaffGroup}, use:
@example
#(set-accidental-style 'voice 'StaffGroup)
The following accidental styles are supported. To demonstrate
each style, we use the following example:
-@lilypond[verbatim,quote,ragged-right]
+@funindex default
+
+@lilypond[verbatim,quote]
musicA = {
<<
\relative c' {
@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
before the@tie{}@code{b} in the second measure or the
last@tie{}@code{c}:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item 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}.
+
+@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
@code{modern-cautionary} should be used instead.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern
+
@cindex accidentals, modern style
@cindex modern style accidentals
-@funindex 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
the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
the upper staff:
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-cautionary
+
@cindex accidentals, modern cautionary style
@cindex modern accidental style
@cindex modern cautionary accidental style
defining the @code{cautionary-style} property of
@code{AccidentalSuggestion}.
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item modern-voice
+
@cindex accidental style, modern
@cindex accidentals, modern
@cindex accidentals, multivoice
the@tie{}@code{d} in the lower staff is canceled because of the
accidental in a different voice in the previous measure:
-
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@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.
+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,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@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.
+@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,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item piano-cautionary
-@funindex #(set-accidental-style 'piano-cautionary)
+
+@funindex piano-cautionary
@cindex accidentals, piano cautionary
@cindex cautionary accidentals, piano
@cindex piano cautionary accidentals
@cindex cautionary accidental style, piano
@cindex piano cautionary accidental style
-Same as @code{#(set-accidental-style 'piano)} but with the extra
-accidentals typeset as cautionaries.
+This is the same as @code{piano} but with the extra accidentals
+typeset as cautionaries.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
}
@end lilypond
+
+@item neo-modern
+
+@funindex neo-modern
+@cindex neo-modern accidental style
+@cindex accidental style, neo-modern
+
+This rule reproduces a common practice in contemporary music:
+accidentals are printed like with @code{modern}, but they are printed
+again if the same note appears later in the same measure -- except
+if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item neo-modern-cautionary
+
+@funindex neo-modern-cautionary
+@cindex neo-modern-cautionary accidental style
+@cindex accidental style, neo-modern-cautionary
+
+This rule is similar to @code{neo-modern}, but the extra
+accidentals are printed as cautionary accidentals.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'neo-modern-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item dodecaphonic
+
+@funindex dodecaphonic
+@cindex dodecaphonic accidental style
+@cindex dodecaphonic style, neo-modern
+
+This rule reflects a practice introduced by composers at
+the beginning of the 20th century, in an attempt to
+abolish the hierarchy between natural and non-natural notes.
+With this style, @emph{every} note gets an accidental sign,
+including natural signs.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'dodecaphonic)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+@item teaching
+
+@funindex teaching
+@cindex teaching accidental style
+@cindex accidental style, teaching
+
+This rule is intended for students, and makes it easy to create
+scale sheets with automagically created cautionary accidentals.
+Accidentals are printed like with @code{modern}, but cautionary
+accidentals are added for all sharp or flat tones specified by the
+key signature, except if the note is immediately repeated.
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicA
+ }
+ \context Staff = "down" {
+ \key fis \minor
+ #(set-accidental-style 'teaching)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+
+
@item no-reset
-@funindex no-reset accidental style
+
+@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,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@end lilypond
@item forget
-@funindex forget accidental style
+
+@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:
+the music. Unlike @code{dodecaphonic}, this rule never prints
+any naturals.
-@lilypond[quote,ragged-right]
+@lilypond[quote]
musicA = {
<<
\relative c' {
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Accidental},
-@internalsref{Accidental_engraver},
-@internalsref{GrandStaff} and
-@internalsref{PianoStaff},
-@internalsref{Staff},
-@internalsref{AccidentalSuggestion},
-@internalsref{AccidentalPlacement},
-@internalsref{accidental-suggestion-interface}.
+@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
represent the lowest and highest pitches. Accidentals are only
printed if they are not part of the key signature.
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote]
\layout {
\context {
\Voice
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{adding-ambitus-per-voice.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{ambitus-with-multiple-voices.ly}
@rglos{ambitus}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Ambitus_engraver},
-@internalsref{Voice},
-@internalsref{Staff},
-@internalsref{Ambitus},
-@internalsref{AmbitusAccidental},
-@internalsref{AmbitusLine},
-@internalsref{AmbitusNoteHead},
-@internalsref{ambitus-interface}.
+@rinternals{Ambitus_engraver},
+@rinternals{Voice},
+@rinternals{Staff},
+@rinternals{Ambitus},
+@rinternals{AmbitusAccidental},
+@rinternals{AmbitusLine},
+@rinternals{AmbitusNoteHead},
+@rinternals{ambitus-interface}.
@knownissues
This section suggests ways of altering note heads.
@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
+* Special note heads::
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
@end menu
@node Special note heads
@cindex parlato note heads
@cindex harmonic note heads
@cindex guitar note heads
+@cindex note head styles
+@cindex styles, note heads
+@funindex cross
-Different note heads are used by various instruments for various
-meanings -- crosses are used for @q{parlato} with vocalists,
-stopped notes on guitar; diamonds are used for harmonics on string
-instruments, etc. There is a shorthand (@code{\harmonic}) for
-diamond shapes; the other note head styles are produced by
-tweaking the property:
+Note heads may be altered:
-@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
-c4 d
+@lilypond[verbatim,quote,relative=2]
+c4 b a b
\override NoteHead #'style = #'cross
-e f
+c4 b a b
\revert NoteHead #'style
-e d <c f\harmonic> <d a'\harmonic>
+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]
+<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
@end lilypond
@noindent
To see all note head styles, see @ref{Note head styles}.
-
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Notation Reference:
-@ref{Note head styles}.
+@ref{Note head styles},
+@ref{Chorded notes}.
Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{Ledger_line_engraver},
-@internalsref{NoteHead},
-@internalsref{LedgerLineSpanner},
-@internalsref{note-head-interface},
-@internalsref{ledger-line-spanner-interface}.
+@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 note heads, easy play
The @q{easy play} note head includes a note name inside the head.
-It is used in music for beginners.
+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,ragged-right]
+@lilypond[verbatim,quote]
#(set-global-staff-size 26)
\relative c' {
\easyHeadsOn
}
@end lilypond
-The command @code{\easyHeadsOn} overrides settings for the
-@code{NoteHead} object. These settings can be reverted with the command
-@code{\easyHeadsOff}. To make the letters readable, it has to be printed
-in a large font size. To print with a larger font, see @ref{Setting the
-staff size}.
-
@predefined
@funindex \easyHeadsOn
@ref{Setting the staff size}.
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Shape note heads
@cindex Aiken shape note heads
@cindex sacred harp note heads
@funindex \key
-@funindex shapeNoteStyles
@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:
-Shape note heads can be produced by setting @code{\aikenHeads} or
-@code{\sacredHarpHeads}, depending on the style desired.
-
-@lilypond[verbatim,fragment,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,relative=2]
\aikenHeads
-c8 d4 e8 a2
-g1
+c, d e f g a b c
\sacredHarpHeads
-c,8 d4 e8 a2
-g1
+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.
+Shapes are typeset according to the step in the scale, where the
+base of the scale is determined by the @code{\key} command.
@predefined
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
@noindent
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Notation Reference:
@ref{Note head styles}.
Internals Reference:
-@internalsref{note-event},
-@internalsref{Note_heads_engraver},
-@internalsref{NoteHead},
-@internalsref{note-head-interface}.
+@rinternals{note-event},
+@rinternals{Note_heads_engraver},
+@rinternals{NoteHead},
+@rinternals{note-head-interface}.
@node Improvisation
the performer may choose any pitch but should play the specified
rhythm. Such note heads can be created:
-@lilypond[verbatim,quote,ragged-right]
+@lilypond[verbatim,quote,relative=2]
\new Voice \with {
\consists "Pitch_squash_engraver"
-} \transpose c c' {
+} {
e8 e g a a16( bes) a8 g
\improvisationOn
e8 ~
@seealso
Snippets:
-@lsrdir{Pitches,Pitches}.
+@rlsr{Pitches}.
Internals Reference:
-@internalsref{Pitch_squash_engraver},
-@internalsref{Voice},
-@internalsref{RhythmicStaff}.
+@rinternals{Pitch_squash_engraver},
+@rinternals{Voice},
+@rinternals{RhythmicStaff}.
projects / lilypond.git / blobdiff