1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
99 @node Relative octave entry
100 @unnumberedsubsubsec Relative octave entry
103 @cindex relative octave entry
104 @cindex octave entry, relative
105 @cindex relative octave specification
106 @cindex octave specification, relative
111 When octaves are specified in absolute mode it is easy to
112 accidentally put a pitch in the wrong octave. Relative octave
113 mode reduces these errors since most of the time it is not
114 necessary to indicate any octaves at all. Furthermore, in
115 absolute mode a single mistake may be difficult to spot, while in
116 relative mode a single error puts the rest of the piece off by one
120 \relative @var{startpitch} @var{musicexpr}
123 In relative mode, each note is assumed to be as close to the
124 previous note as possible. This means that the octave of each
125 pitch inside @code{@var{musicexpr}} is calculated as follows:
129 If no octave changing mark is used on a pitch, its octave is
130 calculated so that the interval with the previous note is less
131 than a fifth. This interval is determined without considering
135 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
136 added to respectively raise or lower a pitch by an extra octave,
137 relative to the pitch calculated without an octave mark.
140 Multiple octave changing marks can be used. For example,
141 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
145 The pitch of the first note is relative to
146 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
147 absolute octave mode, and it is recommended that it be a octave of
151 Here is the relative mode shown in action:
153 @lilypond[verbatim,quote]
162 Octave changing marks are used for intervals greater than a
165 @lilypond[verbatim,quote]
172 A note sequence without a single octave mark can nevertheless span
175 @lilypond[verbatim,quote]
182 When @code{\relative} blocks are nested, the innermost
183 @code{\relative} block applies.
185 @lilypond[verbatim,quote]
194 @code{\relative} has no effect on @code{\chordmode} blocks.
196 @lilypond[verbatim,quote]
205 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
207 Music inside a @code{\transpose} block is absolute unless a
208 @code{\relative} is included.
210 @lilypond[verbatim,quote]
223 @cindex chords and relative octave entry
224 @cindex relative octave entry and chords
226 If the preceding item is a chord, the first note of the chord is
227 used as the reference point for the octave placement of a
228 following note or chord. Inside chords, the next note is always
229 relative to the preceding one. Examine the next example
230 carefully, paying attention to the @code{c} notes.
232 @lilypond[verbatim,quote]
241 As explained above, the octave of pitches is calculated only with
242 the note names, regardless of any alterations. Therefore, an
243 E-double-sharp following a B will be placed higher, while an
244 F-double-flat will be placed lower. In other words, a
245 double-augmented fourth is considered a smaller interval than a
246 double-diminished fifth, regardless of the number of semitones
247 that each interval contains.
249 @lilypond[verbatim,quote]
272 @rinternals{RelativeOctaveMusic}.
275 @cindex relative octave entry and transposition
276 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
295 @unnumberedsubsubsec Accidentals
298 @cindex key signature
301 @c duplicated in Key signature and Accidentals
302 @warning{New users are sometimes confused about accidentals and
303 key signatures. In LilyPond, note names are the raw input; key
304 signatures and clefs determine how this raw input is displayed.
305 An unaltered note like@tie{}@code{c} means @q{C natural},
306 regardless of the key signature or clef. For more information,
307 see @rlearning{Accidentals and key signatures}.}
309 @cindex note names, Dutch
310 @cindex note names, default
311 @cindex default note names
315 @cindex sharp, double
319 @cindex natural pitch
321 A @notation{sharp} pitch is made by adding @code{is} to the note
322 name, and a @notation{flat} pitch by adding @code{es}. As you
323 might expect, a @notation{double sharp} or @notation{double flat}
324 is made by adding @code{isis} or @code{eses}. This syntax is
325 derived from Dutch note naming conventions. To use other names
326 for accidentals, see @ref{Note names in other languages}.
328 @lilypond[verbatim,quote,relative=2]
332 A natural will cancel the effect of an accidental or key
333 signature. However, naturals are not encoded into the note name
334 syntax with a suffix; a natural pitch is shown as a simple note
337 @lilypond[verbatim,quote,relative=2]
341 @cindex quarter tones
345 Quarter tones may be added; the following is a series of Cs with
348 @lilypond[verbatim,quote,relative=2]
349 ceseh1 ces ceh c cih cis cisih
354 @cindex accidental, reminder
355 @cindex accidental, cautionary
356 @cindex accidental, parenthesized
357 @cindex reminder accidental
358 @cindex cautionary accidental
359 @cindex parenthesized accidental
365 Normally accidentals are printed automatically, but you may also
366 print them manually. A reminder accidental can be forced by
367 adding an exclamation mark@tie{}@code{!} after the pitch. A
368 cautionary accidental (i.e., an accidental within parentheses) can
369 be obtained by adding the question mark@tie{}@code{?} after the
370 pitch. These extra accidentals can also be used to produce
373 @lilypond[verbatim,quote,relative=2]
374 cis cis cis! cis? c c c! c?
377 @cindex accidental on tied note
378 @cindex tied note, accidental
380 Accidentals on tied notes are only printed at the beginning of a
383 @lilypond[verbatim,quote,relative=2]
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
393 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
395 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
396 {preventing-extra-naturals-from-being-automatically-added.ly}
402 @rglos{double sharp},
405 @rglos{quarter tone}.
408 @rlearning{Accidentals and key signatures}.
411 @ref{Automatic accidentals},
412 @ref{Annotational accidentals (musica ficta)},
413 @ref{Note names in other languages}.
419 @rinternals{Accidental_engraver},
420 @rinternals{Accidental},
421 @rinternals{AccidentalCautionary},
422 @rinternals{accidental-interface}.
425 @cindex accidental, quarter-tone
426 @cindex quarter-tone accidental
430 There are no generally accepted standards for denoting
431 quarter-tone accidentals, so LilyPond's symbol does not conform to
436 @node Note names in other languages
437 @unnumberedsubsubsec Note names in other languages
439 @cindex note names, other languages
440 @cindex pitch names, other languages
441 @cindex language, note names in other
442 @cindex language, pitch names in other
444 There are predefined sets of note and accidental names for various
445 other languages. Selecting the note name language is usually done
446 at the beginning of the file; the following example is written
447 using Italian note names:
449 @lilypond[quote,verbatim]
457 The available languages and the note names they define are:
460 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
463 @item @code{nederlands}
464 @tab c d e f g a bes b
466 @tab do re mi fa sol la sib si
470 @tab c d e f g a bf b
472 @tab do re mi fa sol la sib si
473 @item @code{italiano}
474 @tab do re mi fa sol la sib si
477 @item @code{portugues}
478 @tab do re mi fa sol la sib si
484 @tab do re mi fa sol la sib si
488 In addition to note names, accidental suffixes may
489 also vary depending on the language:
492 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
494 @tab sharp @tab flat @tab double sharp @tab double flat
495 @item @code{nederlands}
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
500 @tab -is @tab -es @tab -isis @tab -eses
502 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
505 @tab -s @tab -b @tab -ss/-x @tab -bb
506 @item @code{italiano}
507 @tab -d @tab -b @tab -dd @tab -bb
509 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
511 @item @code{portugues}
512 @tab -s @tab -b @tab -ss @tab -bb
514 @tab -is @tab -es @tab -isis @tab -eses
516 @tab -iss @tab -ess @tab -ississ @tab -essess
518 @tab -k @tab -b @tab -kk @tab -bb
522 In Dutch, @code{aes} is contracted to @code{as}, but both forms
523 are accepted in LilyPond. Similarly, both @code{es} and
524 @code{ees} are accepted. This also applies to
525 @code{aeses}@tie{}/@tie{}@code{ases} and
526 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
527 contracted names are defined in the corresponding language files.
529 @lilypond[verbatim,quote,relative=2]
530 a2 as e es a ases e eses
540 Some music uses microtones whose alterations are fractions of a
541 @q{normal} sharp or flat. The following table lists note names
542 for quarter-tone accidentals in various languages; here the prefixes
543 @notation{semi-} and @notation{sesqui-} respectively
544 mean @q{half} and @q{one and a half}. Languages that do not
545 appear in this table do not provide special note names yet.
548 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
550 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
552 @item @code{nederlands}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
555 @tab -ih @tab -eh @tab -isih @tab -eseh
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @code{italiano}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @code{portugues}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
567 Most languages presented here are commonly associated with
568 Western classical music, also referred to as
569 @notation{Common Practice Period}. However, alternate
570 pitches and tuning systems are also supported: see
571 @ref{Common notation for non-Western music}.
577 @rglos{Common Practice Period}.
580 @ref{Common notation for non-Western music}.
583 @file{scm/define-note-names.scm}.
589 @node Changing multiple pitches
590 @subsection Changing multiple pitches
592 This section discusses how to modify pitches.
599 * Modal transformations::
603 @unnumberedsubsubsec Octave checks
605 @cindex octave correction
607 @cindex control pitch
610 @funindex \octaveCheck
611 @funindex octaveCheck
612 @funindex controlpitch
614 In relative mode, it is easy to forget an octave changing mark.
615 Octave checks make such errors easier to find by displaying a
616 warning and correcting the octave if a note is found in an
619 To check the octave of a note, specify the absolute octave after
620 the @code{=}@tie{}symbol. This example will generate a warning
621 (and change the pitch) because the second note is the absolute
622 octave @code{d''} instead of @code{d'} as indicated by the octave
625 @lilypond[verbatim,quote]
632 The octave of notes may also be checked with the
633 @code{\octaveCheck@tie{}@var{controlpitch}} command.
634 @code{@var{controlpitch}} is specified in absolute mode. This
635 checks that the interval between the previous note and the
636 @code{@var{controlpitch}} is within a fourth (i.e., the normal
637 calculation of relative mode). If this check fails, a warning is
638 printed, but the previous note is not changed. Future notes are
639 relative to the @code{@var{controlpitch}}.
641 @lilypond[verbatim,quote]
649 Compare the two bars below. The first and third @code{\octaveCheck}
650 checks fail, but the second one does not fail.
652 @lilypond[verbatim,quote]
672 @rinternals{RelativeOctaveCheck}.
676 @unnumberedsubsubsec Transpose
680 @cindex transposition
681 @cindex transposition of pitches
682 @cindex transposition of notes
683 @cindex pitches, transposition of
684 @cindex notes, transposition of
689 A music expression can be transposed with @code{\transpose}. The
693 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
697 This means that @code{@var{musicexpr}} is transposed by the
698 interval between the pitches @code{@var{frompitch}} and
699 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
700 is changed to @code{@var{topitch}} and any other note is
701 transposed by the same interval. Both pitches are entered in
704 @warning{Music inside a @code{@bs{}transpose} block is absolute
705 unless a @code{@bs{}relative} is included in the block.}
707 Consider a piece written in the key of D-major. It can be
708 transposed up to E-major; note that the key signature is
709 automatically transposed as well.
711 @lilypond[verbatim,quote]
720 @cindex transposing instruments
721 @cindex instruments, transposing
723 If a part written in C (normal @notation{concert pitch}) is to be
724 played on the A clarinet (for which an A is notated as a C and
725 thus sounds a minor third lower than notated), the appropriate
726 part will be produced with:
728 @lilypond[verbatim,quote]
738 Note that we specify @w{@code{\key c \major}} explicitly. If we
739 do not specify a key signature, the notes will be transposed but
740 no key signature will be printed.
742 @code{\transpose} distinguishes between enharmonic pitches: both
743 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
744 transpose up a semitone. The first version will print sharps and
745 the notes will remain on the same scale step, the second version
746 will print flats on the scale step above.
748 @lilypond[verbatim,quote]
749 music = \relative c' { c d e f }
751 \transpose c cis { \music }
752 \transpose c des { \music }
757 @code{\transpose} may also be used in a different way, to input
758 written notes for a transposing instrument. The previous examples
759 show how to enter pitches in C (or @notation{concert pitch}) and
760 typeset them for a transposing instrument, but the opposite is
761 also possible if you for example have a set of instrumental parts
762 and want to print a conductor's score. For example, when entering
763 music for a B-flat trumpet that begins on a notated E (concert D),
767 musicInBflat = @{ e4 @dots{} @}
768 \transpose c bes, \musicInBflat
772 To print this music in F (e.g., rearranging to a French horn) you
773 could wrap the existing music with another @code{\transpose}:
776 musicInBflat = @{ e4 @dots{} @}
777 \transpose f c' @{ \transpose c bes, \musicInBflat @}
781 For more information about transposing instruments,
782 see @ref{Instrument transpositions}.
787 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
788 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
793 @ref{Instrument transpositions},
795 @ref{Modal transformations},
796 @ref{Relative octave entry},
803 @rinternals{TransposedMusic}.
815 The relative conversion will not affect @code{\transpose},
816 @code{\chordmode} or @code{\relative} sections in its argument.
817 To use relative mode within transposed music, an additional
818 @code{\relative} must be placed inside @code{\transpose}.
821 @unnumberedsubsubsec Inversion
824 @cindex operation, inversion
827 A music expression can be inverted with:
830 \inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
833 The @code{@var{musicexpr}} is inverted interval-by-interval,
834 and then transposed so that @code{@var{from-pitch}} is mapped
835 to @code{@var{to-pitch}}.
837 @lilypond[verbatim,quote]
838 music = \relative c' { c d e f }
841 \inversion d' d' \music
842 \inversion d' ees' \music
848 @ref{Modal transformations},
854 @unnumberedsubsubsec Retrograde
856 @cindex retrograde transformation
857 @cindex transformation, retrograde
858 @cindex operation, retrograde
859 @funindex \retrograde
862 A music expression can be reversed to produce its retrograde:
864 @lilypond[verbatim,quote]
865 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
874 Manual ties inside @code{\retrograde} will be broken and
875 generate warnings. Some ties can be generated automatically
876 by enabling @ref{Automatic note splitting}.
881 @ref{Modal transformations},
885 @node Modal transformations
886 @unnumberedsubsubsec Modal transformations
888 @cindex modal transformations
889 @cindex transformations, modal
890 @cindex operations, modal
892 In a musical composition that is based on a scale, a motif is
893 frequently transformed in various ways. It may be
894 @notation{transposed} to start at different places in the scale or
895 it may be @notation{inverted} around a pivot point in the scale.
896 It may also be reversed to produce its @notation{retrograde}, see
899 @warning{Any note that does not lie within the given scale will be
902 @subsubheading Modal transposition
904 @cindex modal transposition
905 @cindex transposition, modal
906 @cindex operation, transposition
907 @funindex \modalTranspose
908 @funindex modalTranspose
910 A motif can be transposed within a given scale with:
913 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
916 The notes of @var{motif} are shifted within the @var{scale} by the
917 number of scale degrees given by the interval between @var{to-pitch}
918 and @var{from-pitch}:
920 @lilypond[verbatim,quote]
921 diatonicScale = \relative c' { c d e f g a b }
922 motif = \relative c' { c8 d e f g a b c }
926 \modalTranspose c f \diatonicScale \motif
927 \modalTranspose c b, \diatonicScale \motif
931 An ascending scale of any length and with any intervals may be
934 @lilypond[verbatim,quote]
935 pentatonicScale = \relative c' { ges aes bes des ees }
936 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
940 \modalTranspose ges ees' \pentatonicScale \motif
944 When used with a chromatic scale @code{\modalTranspose} has a
945 similar effect to @code{\transpose}, but with the ability to
946 specify the names of the notes to be used:
948 @lilypond[verbatim,quote]
949 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
950 motif = \relative c' { c8 d e f g a b c }
954 \transpose c f \motif
955 \modalTranspose c f \chromaticScale \motif
959 @subsubheading Modal inversion
961 @cindex modal inversion
962 @cindex inversion, modal
963 @cindex operation, modal inversion
964 @funindex \modalInversion
965 @funindex modalInversion
967 A motif can be inverted within a given scale around a given pivot
968 note and transposed in a single operation with:
971 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
974 The notes of @var{motif} are placed the same number of scale degrees
975 from the @var{around-pitch} note within the @var{scale}, but in the
976 opposite direction, and the result is then shifted within the
977 @var{scale} by the number of scale degrees given by the interval between
978 @var{to-pitch} and @var{around-pitch}.
980 So to simply invert around a note in the scale use the same value for
981 @var{around-pitch} and @var{to-pitch}:
983 @lilypond[verbatim,quote]
984 octatonicScale = \relative c' { ees f fis gis a b c d }
985 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
989 \modalInversion fis' fis' \octatonicScale \motif
993 To invert around a pivot between two notes in the scale, invert around
994 one of the notes and then transpose by one scale degree. The two notes
995 specified can be interpreted as bracketing the pivot point:
997 @lilypond[verbatim,quote]
998 scale = \relative c' { c g' }
999 motive = \relative c' { c c g' c, }
1003 \modalInversion c' g' \scale \motive
1007 The combined operation of inversion and retrograde produce the
1008 retrograde-inversion:
1010 @lilypond[verbatim,quote]
1011 octatonicScale = \relative c' { ees f fis gis a b c d }
1012 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1016 \retrograde \modalInversion c' c' \octatonicScale \motif
1027 @node Displaying pitches
1028 @subsection Displaying pitches
1030 This section discusses how to alter the output of pitches.
1036 * Instrument transpositions::
1037 * Automatic accidentals::
1043 @unnumberedsubsubsec Clef
1054 @cindex soprano clef
1055 @cindex mezzosoprano clef
1056 @cindex baritone clef
1057 @cindex varbaritone clef
1058 @cindex subbass clef
1060 @cindex ancient clef
1061 @cindex clef, ancient
1065 @cindex clef, treble
1066 @cindex clef, violin
1070 @cindex clef, french
1071 @cindex clef, soprano
1072 @cindex clef, mezzosoprano
1073 @cindex clef, baritone
1074 @cindex clef, varbaritone
1075 @cindex clef, subbass
1081 The clef may be altered. Middle C is shown in every example. The
1082 following clef names can (but do not need to) be enclosed in quotes.
1084 @lilypond[verbatim,quote,relative=1]
1095 Other clefs include:
1097 @lilypond[verbatim,quote,relative=1]
1118 \clef G % synonym for treble
1120 \clef F % synonym for bass
1122 \clef C % synonym for alto
1126 @cindex transposing clef
1127 @cindex clef, transposing
1128 @cindex octave transposition
1129 @cindex choral tenor clef
1130 @cindex tenor clef, choral
1132 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1133 clef is transposed one octave down or up respectively,
1134 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1135 Other integers can be used if required. Clef names containing
1136 non-alphabetic characters must be enclosed in quotes
1138 @lilypond[verbatim,quote,relative=1]
1153 Some special purpose clefs are described in @ref{Mensural clefs},
1154 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1159 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1160 {tweaking-clef-properties.ly}
1165 @ref{Mensural clefs},
1166 @ref{Gregorian clefs},
1167 @ref{Default tablatures},
1168 @ref{Custom tablatures}.
1173 Internals Reference:
1174 @rinternals{Clef_engraver},
1176 @rinternals{OctavateEight},
1177 @rinternals{clef-interface}.
1181 @unnumberedsubsubsec Key signature
1183 @cindex key signature
1188 @c duplicated in Key signature and Accidentals
1189 @warning{New users are sometimes confused about accidentals and
1190 key signatures. In LilyPond, note names are the raw input; key
1191 signatures and clefs determine how this raw input is displayed.
1192 An unaltered note like@tie{}@code{c} means @q{C natural},
1193 regardless of the key signature or clef. For more information,
1194 see @rlearning{Accidentals and key signatures}.}
1196 The key signature indicates the tonality in which a piece is
1197 played. It is denoted by a set of alterations (flats or sharps)
1198 at the start of the staff. The key signature may be altered:
1201 \key @var{pitch} @var{mode}
1214 @funindex \mixolydian
1215 @funindex mixolydian
1223 @cindex church modes
1236 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1237 to get a key signature of @code{@var{pitch}}-major or
1238 @code{@var{pitch}}-minor, respectively. You may also use the
1239 standard mode names, also called @notation{church modes}:
1240 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1241 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1243 @lilypond[verbatim,quote,relative=2]
1253 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1254 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1256 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1257 {non-traditional-key-signatures.ly}
1262 @rglos{church mode},
1266 @rlearning{Accidentals and key signatures}.
1271 Internals Reference:
1272 @rinternals{KeyChangeEvent},
1273 @rinternals{Key_engraver},
1274 @rinternals{Key_performer},
1275 @rinternals{KeyCancellation},
1276 @rinternals{KeySignature},
1277 @rinternals{key-cancellation-interface},
1278 @rinternals{key-signature-interface}.
1281 @node Ottava brackets
1282 @unnumberedsubsubsec Ottava brackets
1290 @funindex set-octavation
1294 @notation{Ottava brackets} introduce an extra transposition of an
1295 octave for the staff:
1297 @lilypond[verbatim,quote,relative=2]
1313 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1324 Internals Reference:
1325 @rinternals{Ottava_spanner_engraver},
1326 @rinternals{OttavaBracket},
1327 @rinternals{ottava-bracket-interface}.
1330 @node Instrument transpositions
1331 @unnumberedsubsubsec Instrument transpositions
1333 @cindex transposition, MIDI
1334 @cindex transposition, instrument
1335 @cindex transposing instrument
1337 @cindex MIDI transposition
1339 @funindex \transposition
1340 @funindex transposition
1342 When typesetting scores that involve transposing instruments, some
1343 parts can be typeset in a different pitch than the
1344 @notation{concert pitch}. In these cases, the key of the
1345 @notation{transposing instrument} should be specified; otherwise
1346 the MIDI output and cues in other parts will produce incorrect
1347 pitches. For more information about quotations, see
1348 @ref{Quoting other voices}.
1351 \transposition @var{pitch}
1354 The pitch to use for @code{\transposition} should correspond to
1355 the real sound heard when a@tie{}@code{c'} written on the staff is
1356 played by the transposing instrument. This pitch is entered in
1357 absolute mode, so an instrument that produces a real sound which
1358 is one tone higher than the printed music should use
1359 @w{@code{\transposition d'}}. @code{\transposition} should
1360 @emph{only} be used if the pitches are @emph{not} being entered in
1363 Here are a few notes for violin and B-flat clarinet where the
1364 parts have been entered using the notes and key as they appear in
1365 each part of the conductor's score. The two instruments are
1368 @lilypond[verbatim,quote]
1370 \new Staff = "violin" {
1372 \set Staff.instrumentName = #"Vln"
1373 \set Staff.midiInstrument = #"violin"
1374 % not strictly necessary, but a good reminder
1381 \new Staff = "clarinet" {
1383 \set Staff.instrumentName = \markup { Cl (B\flat) }
1384 \set Staff.midiInstrument = #"clarinet"
1394 The @code{\transposition} may be changed during a piece. For
1395 example, a clarinetist may switch from an A clarinet to a B-flat
1398 @lilypond[verbatim,quote,relative=2]
1399 \set Staff.instrumentName = #"Cl (A)"
1404 s1*0^\markup { Switch to B\flat clarinet }
1415 @rglos{concert pitch},
1416 @rglos{transposing instrument}.
1419 @ref{Quoting other voices},
1426 @node Automatic accidentals
1427 @unnumberedsubsubsec Automatic accidentals
1429 @cindex accidental style
1430 @cindex accidental style, default
1432 @cindex accidentals, automatic
1433 @cindex automatic accidentals
1434 @cindex default accidental style
1436 @funindex set-accidental-style
1440 There are many different conventions on how to typeset
1441 accidentals. LilyPond provides a function to specify which
1442 accidental style to use. This function is called as follows:
1446 #(set-accidental-style 'voice)
1451 The accidental style applies to the current @code{Staff} by
1452 default (with the exception of the styles @code{piano} and
1453 @code{piano-cautionary}, which are explained below). Optionally,
1454 the function can take a second argument that determines in which
1455 scope the style should be changed. For example, to use the same
1456 style in all staves of the current @code{StaffGroup}, use:
1459 #(set-accidental-style 'voice 'StaffGroup)
1462 The following accidental styles are supported. To demonstrate
1463 each style, we use the following example:
1466 @lilypond[verbatim,quote]
1470 cis'8 fis, d'4 <a cis>8 f bis4 |
1484 \voiceTwo \relative c' {
1485 <fis, a cis>8 <fis a cis>
1488 \change Staff = down
1493 \change Staff = down
1494 <fis, a cis>4 gis <f a d>2 |
1501 \context Staff = "up" {
1502 #(set-accidental-style 'default)
1505 \context Staff = "down" {
1506 #(set-accidental-style 'default)
1513 Note that the last lines of this example can be replaced by the
1514 following, as long as the same accidental style should be used in
1520 \context Staff = "up" @{
1521 %%% change the next line as desired:
1522 #(set-accidental-style 'default 'Score)
1525 \context Staff = "down" @{
1533 @c don't use verbatim in this table.
1537 @cindex default accidental style
1538 @cindex accidental style, default
1542 This is the default typesetting behavior. It corresponds to
1543 eighteenth-century common practice: accidentals are remembered to
1544 the end of the measure in which they occur and only in their own
1545 octave. Thus, in the example below, no natural signs are printed
1546 before the@tie{}@code{b} in the second measure or the
1553 cis'8 fis, d'4 <a cis>8 f bis4 |
1567 \voiceTwo \relative c' {
1568 <fis, a cis>8 <fis a cis>
1571 \change Staff = down
1576 \change Staff = down
1577 <fis, a cis>4 gis <f a d>2 |
1584 \context Staff = "up" {
1585 #(set-accidental-style 'default)
1588 \context Staff = "down" {
1589 #(set-accidental-style 'default)
1598 @cindex accidental style, voice
1599 @cindex voice accidental style
1600 @cindex accidental style, modern
1601 @cindex modern accidental style
1602 @cindex accidental style, modern-cautionary
1603 @cindex modern-cautionary accidental style
1607 The normal behavior is to remember the accidentals at
1608 @code{Staff}-level. In this style, however, accidentals are
1609 typeset individually for each voice. Apart from that, the rule is
1610 similar to @code{default}.
1612 As a result, accidentals from one voice do not get canceled in
1613 other voices, which is often an unwanted result: in the following
1614 example, it is hard to determine whether the second@tie{}@code{a}
1615 should be played natural or sharp. The @code{voice} option should
1616 therefore be used only if the voices are to be read solely by
1617 individual musicians. If the staff is to be used by one musician
1618 (e.g., a conductor or in a piano score) then @code{modern} or
1619 @code{modern-cautionary} should be used instead.
1626 cis'8 fis, d'4 <a cis>8 f bis4 |
1640 \voiceTwo \relative c' {
1641 <fis, a cis>8 <fis a cis>
1644 \change Staff = down
1649 \change Staff = down
1650 <fis, a cis>4 gis <f a d>2 |
1657 \context Staff = "up" {
1658 #(set-accidental-style 'voice)
1661 \context Staff = "down" {
1662 #(set-accidental-style 'voice)
1671 @cindex accidentals, modern style
1672 @cindex modern style accidentals
1676 This rule corresponds to the common practice in the twentieth
1677 century. It prints the same accidentals as @code{default}, with
1678 two exceptions that serve to avoid ambiguity: after temporary
1679 accidentals, cancellation marks are printed also in the following
1680 measure (for notes in the same octave) and, in the same measure,
1681 for notes in other octaves. Hence the naturals before
1682 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1689 cis'8 fis, d'4 <a cis>8 f bis4 |
1703 \voiceTwo \relative c' {
1704 <fis, a cis>8 <fis a cis>
1707 \change Staff = down
1712 \change Staff = down
1713 <fis, a cis>4 gis <f a d>2 |
1720 \context Staff = "up" {
1721 #(set-accidental-style 'modern)
1724 \context Staff = "down" {
1725 #(set-accidental-style 'modern)
1732 @item modern-cautionary
1734 @cindex accidentals, modern cautionary style
1735 @cindex modern accidental style
1736 @cindex modern cautionary accidental style
1737 @cindex modern style accidentals
1738 @cindex modern style cautionary accidentals
1740 @funindex modern-cautionary
1742 This rule is similar to @code{modern}, but the @q{extra}
1743 accidentals (the ones not typeset by @code{default}) are typeset
1744 as cautionary accidentals. They are by default printed with
1745 parentheses, but they can also be printed in reduced size by
1746 defining the @code{cautionary-style} property of
1747 @code{AccidentalSuggestion}.
1753 cis'8 fis, d'4 <a cis>8 f bis4 |
1767 \voiceTwo \relative c' {
1768 <fis, a cis>8 <fis a cis>
1771 \change Staff = down
1776 \change Staff = down
1777 <fis, a cis>4 gis <f a d>2 |
1784 \context Staff = "up" {
1785 #(set-accidental-style 'modern-cautionary)
1788 \context Staff = "down" {
1789 #(set-accidental-style 'modern-cautionary)
1798 @cindex accidental style, modern
1799 @cindex accidentals, modern
1800 @cindex accidentals, multivoice
1801 @cindex modern accidental style
1802 @cindex modern accidentals
1803 @cindex multivoice accidentals
1805 @funindex modern-voice
1807 This rule is used for multivoice accidentals to be read both by
1808 musicians playing one voice and musicians playing all voices.
1809 Accidentals are typeset for each voice, but they @emph{are}
1810 canceled across voices in the same @code{Staff}. Hence,
1811 the@tie{}@code{a} in the last measure is canceled because the
1812 previous cancellation was in a different voice, and
1813 the@tie{}@code{d} in the lower staff is canceled because of the
1814 accidental in a different voice in the previous measure:
1820 cis'8 fis, d'4 <a cis>8 f bis4 |
1834 \voiceTwo \relative c' {
1835 <fis, a cis>8 <fis a cis>
1838 \change Staff = down
1843 \change Staff = down
1844 <fis, a cis>4 gis <f a d>2 |
1851 \context Staff = "up" {
1852 #(set-accidental-style 'modern-voice)
1855 \context Staff = "down" {
1856 #(set-accidental-style 'modern-voice)
1863 @cindex accidental style, cautionary, modern voice
1864 @cindex accidental style, modern voice cautionary
1865 @cindex accidental style, voice, modern cautionary
1867 @funindex modern-voice-cautionary
1869 @item modern-voice-cautionary
1871 This rule is the same as @code{modern-voice}, but with the extra
1872 accidentals (the ones not typeset by @code{voice}) typeset as
1873 cautionaries. Even though all accidentals typeset by
1874 @code{default} @emph{are} typeset with this rule, some of them are
1875 typeset as cautionaries.
1881 cis'8 fis, d'4 <a cis>8 f bis4 |
1895 \voiceTwo \relative c' {
1896 <fis, a cis>8 <fis a cis>
1899 \change Staff = down
1904 \change Staff = down
1905 <fis, a cis>4 gis <f a d>2 |
1912 \context Staff = "up" {
1913 #(set-accidental-style 'modern-voice-cautionary)
1916 \context Staff = "down" {
1917 #(set-accidental-style 'modern-voice-cautionary)
1926 @cindex accidental style, piano
1927 @cindex accidentals, piano
1928 @cindex piano accidental style
1929 @cindex piano accidentals
1933 This rule reflects twentieth-century practice for piano notation.
1934 Its behavior is very similar to @code{modern} style, but here
1935 accidentals also get canceled across the staves in the same
1936 @code{GrandStaff} or @code{PianoStaff}, hence all the
1937 cancellations of the final notes.
1939 This accidental style applies to the current @code{GrandStaff} or
1940 @code{PianoStaff} by default.
1946 cis'8 fis, d'4 <a cis>8 f bis4 |
1960 \voiceTwo \relative c' {
1961 <fis, a cis>8 <fis a cis>
1964 \change Staff = down
1969 \change Staff = down
1970 <fis, a cis>4 gis <f a d>2 |
1977 \context Staff = "up" {
1978 #(set-accidental-style 'piano)
1981 \context Staff = "down" {
1988 @item piano-cautionary
1990 @cindex accidentals, piano cautionary
1991 @cindex cautionary accidentals, piano
1992 @cindex piano cautionary accidentals
1993 @cindex accidental style, piano cautionary
1994 @cindex cautionary accidental style, piano
1995 @cindex piano cautionary accidental style
1997 @funindex piano-cautionary
1999 This is the same as @code{piano} but with the extra accidentals
2000 typeset as cautionaries.
2006 cis'8 fis, d'4 <a cis>8 f bis4 |
2020 \voiceTwo \relative c' {
2021 <fis, a cis>8 <fis a cis>
2024 \change Staff = down
2029 \change Staff = down
2030 <fis, a cis>4 gis <f a d>2 |
2037 \context Staff = "up" {
2038 #(set-accidental-style 'piano-cautionary)
2041 \context Staff = "down" {
2051 @cindex neo-modern accidental style
2052 @cindex accidental style, neo-modern
2054 @funindex neo-modern
2056 This rule reproduces a common practice in contemporary music:
2057 accidentals are printed like with @code{modern}, but they are printed
2058 again if the same note appears later in the same measure -- except
2059 if the note is immediately repeated.
2065 cis'8 fis, d'4 <a cis>8 f bis4 |
2079 \voiceTwo \relative c' {
2080 <fis, a cis>8 <fis a cis>
2083 \change Staff = down
2088 \change Staff = down
2089 <fis, a cis>4 gis <f a d>2 |
2096 \context Staff = "up" {
2097 #(set-accidental-style 'neo-modern)
2100 \context Staff = "down" {
2101 #(set-accidental-style 'neo-modern)
2108 @item neo-modern-cautionary
2110 @cindex neo-modern-cautionary accidental style
2111 @cindex accidental style, neo-modern-cautionary
2113 @funindex neo-modern-cautionary
2115 This rule is similar to @code{neo-modern}, but the extra
2116 accidentals are printed as cautionary accidentals.
2122 cis'8 fis, d'4 <a cis>8 f bis4 |
2136 \voiceTwo \relative c' {
2137 <fis, a cis>8 <fis a cis>
2140 \change Staff = down
2145 \change Staff = down
2146 <fis, a cis>4 gis <f a d>2 |
2153 \context Staff = "up" {
2154 #(set-accidental-style 'neo-modern-cautionary)
2157 \context Staff = "down" {
2158 #(set-accidental-style 'neo-modern-cautionary)
2166 @item neo-modern-voice
2168 @cindex neo-modern-voice accidental style
2169 @cindex accidental style, neo-modern-voice
2171 @funindex neo-modern-voice
2173 This rule is used for multivoice accidentals to be read both by
2174 musicians playing one voice and musicians playing all voices.
2175 Accidentals are typeset for each voice as with @code{neo-modern},
2176 but they are canceled across voices in the same @code{Staff}.
2182 cis'8 fis, d'4 <a cis>8 f bis4 |
2196 \voiceTwo \relative c' {
2197 <fis, a cis>8 <fis a cis>
2200 \change Staff = down
2205 \change Staff = down
2206 <fis, a cis>4 gis <f a d>2 |
2213 \context Staff = "up" {
2214 #(set-accidental-style 'neo-modern-voice)
2217 \context Staff = "down" {
2218 #(set-accidental-style 'neo-modern-voice)
2225 @item neo-modern-voice-cautionary
2227 @cindex neo-modern-voice-cautionary accidental style
2228 @cindex accidental style, neo-modern-voice-cautionary
2230 @funindex neo-modern-voice-cautionary
2232 This rule is similar to @code{neo-modern-voice}, but the extra
2233 accidentals are printed as cautionary accidentals.
2239 cis'8 fis, d'4 <a cis>8 f bis4 |
2253 \voiceTwo \relative c' {
2254 <fis, a cis>8 <fis a cis>
2257 \change Staff = down
2262 \change Staff = down
2263 <fis, a cis>4 gis <f a d>2 |
2270 \context Staff = "up" {
2271 #(set-accidental-style 'neo-modern-voice-cautionary)
2274 \context Staff = "down" {
2275 #(set-accidental-style 'neo-modern-voice-cautionary)
2284 @cindex dodecaphonic accidental style
2285 @cindex dodecaphonic style, neo-modern
2287 @funindex dodecaphonic
2289 This rule reflects a practice introduced by composers at
2290 the beginning of the 20th century, in an attempt to
2291 abolish the hierarchy between natural and non-natural notes.
2292 With this style, @emph{every} note gets an accidental sign,
2293 including natural signs.
2299 cis'8 fis, d'4 <a cis>8 f bis4 |
2313 \voiceTwo \relative c' {
2314 <fis, a cis>8 <fis a cis>
2317 \change Staff = down
2322 \change Staff = down
2323 <fis, a cis>4 gis <f a d>2 |
2330 \context Staff = "up" {
2331 #(set-accidental-style 'dodecaphonic)
2334 \context Staff = "down" {
2335 #(set-accidental-style 'dodecaphonic)
2345 @cindex teaching accidental style
2346 @cindex accidental style, teaching
2350 This rule is intended for students, and makes it easy to create
2351 scale sheets with automatically created cautionary accidentals.
2352 Accidentals are printed like with @code{modern}, but cautionary
2353 accidentals are added for all sharp or flat tones specified by the
2354 key signature, except if the note is immediately repeated.
2360 cis'8 fis, d'4 <a cis>8 f bis4 |
2374 \voiceTwo \relative c' {
2375 <fis, a cis>8 <fis a cis>
2378 \change Staff = down
2383 \change Staff = down
2384 <fis, a cis>4 gis <f a d>2 |
2391 \context Staff = "up" {
2393 #(set-accidental-style 'teaching)
2396 \context Staff = "down" {
2398 #(set-accidental-style 'teaching)
2409 @cindex accidental style, no reset
2410 @cindex no reset accidental style
2414 This is the same as @code{default} but with accidentals lasting
2415 @q{forever} and not only within the same measure:
2421 cis'8 fis, d'4 <a cis>8 f bis4 |
2435 \voiceTwo \relative c' {
2436 <fis, a cis>8 <fis a cis>
2439 \change Staff = down
2444 \change Staff = down
2445 <fis, a cis>4 gis <f a d>2 |
2452 \context Staff = "up" {
2453 #(set-accidental-style 'no-reset)
2456 \context Staff = "down" {
2457 #(set-accidental-style 'no-reset)
2466 @cindex forget accidental style
2467 @cindex accidental style, forget
2471 This is the opposite of @code{no-reset}: Accidentals are not
2472 remembered at all -- and hence all accidentals are typeset
2473 relative to the key signature, regardless of what came before in
2474 the music. Unlike @code{dodecaphonic}, this rule never prints
2481 cis'8 fis, d'4 <a cis>8 f bis4 |
2495 \voiceTwo \relative c' {
2496 <fis, a cis>8 <fis a cis>
2499 \change Staff = down
2504 \change Staff = down
2505 <fis, a cis>4 gis <f a d>2 |
2512 \context Staff = "up" {
2513 #(set-accidental-style 'forget)
2516 \context Staff = "down" {
2517 #(set-accidental-style 'forget)
2527 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2528 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2535 Internals Reference:
2536 @rinternals{Accidental},
2537 @rinternals{Accidental_engraver},
2538 @rinternals{GrandStaff},
2539 @rinternals{PianoStaff},
2541 @rinternals{AccidentalSuggestion},
2542 @rinternals{AccidentalPlacement},
2543 @rinternals{accidental-suggestion-interface}.
2546 @cindex accidentals and simultaneous notes
2547 @cindex simultaneous notes and accidentals
2548 @cindex accidentals in chords
2549 @cindex chords, accidentals in
2553 Simultaneous notes are not considered in the automatic
2554 determination of accidentals; only previous notes and the key
2555 signature are considered. Forcing accidentals with@tie{}@code{!}
2556 or@tie{}@code{?} may be required when the same note name occurs
2557 simultaneously with different alterations, as in @samp{<f! fis!>}.
2559 Cautionary cancellation of accidentals is done by looking at previous measure.
2560 However, in the @code{\alternative} block following a @code{\repeat volta N}
2561 section, one would expect the cancellation being calculated using the previous
2562 @emph{played} measure, not previous @emph{printed} measure.
2563 In the following example, the natural @code{c} in the second alternative does
2564 not need a natural sign:
2568 #(set-accidental-style 'modern)
2580 The following work-around can be used: define a function that locally changes
2581 the accidental style to @code{forget}:
2583 @lilypond[verbatim,quote]
2584 forget = #(define-music-function (parser location music) (ly:music?) #{
2585 #(set-accidental-style 'forget)
2587 #(set-accidental-style 'modern)
2590 #(set-accidental-style 'modern)
2603 @unnumberedsubsubsec Ambitus
2606 @cindex range of pitches
2609 The term @notation{ambitus} (pl. ambitus) denotes a range of
2610 pitches for a given voice in a part of music. It may also denote
2611 the pitch range that a musical instrument is capable of playing.
2612 Ambitus are printed on vocal parts so that performers can easily
2613 determine if it matches their capabilities.
2615 Ambitus are denoted at the beginning of a piece near the initial
2616 clef. The range is graphically specified by two note heads that
2617 represent the lowest and highest pitches. Accidentals are only
2618 printed if they are not part of the key signature.
2620 @lilypond[verbatim,quote]
2624 \consists "Ambitus_engraver"
2637 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2638 {adding-ambitus-per-voice.ly}
2640 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2641 {ambitus-with-multiple-voices.ly}
2643 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2644 {changing-the-ambitus-gap.ly}
2654 Internals Reference:
2655 @rinternals{Ambitus_engraver},
2658 @rinternals{Ambitus},
2659 @rinternals{AmbitusAccidental},
2660 @rinternals{AmbitusLine},
2661 @rinternals{AmbitusNoteHead},
2662 @rinternals{ambitus-interface}.
2667 There is no collision handling in the case of multiple per-voice
2672 @subsection Note heads
2674 This section suggests ways of altering note heads.
2677 * Special note heads::
2678 * Easy notation note heads::
2679 * Shape note heads::
2683 @node Special note heads
2684 @unnumberedsubsubsec Special note heads
2686 @cindex note heads, special
2687 @cindex note heads, cross
2688 @cindex note heads, diamond
2689 @cindex note heads, parlato
2690 @cindex note heads, harmonic
2691 @cindex note heads, guitar
2692 @cindex special note heads
2693 @cindex cross note heads
2694 @cindex diamond note heads
2695 @cindex parlato note heads
2696 @cindex harmonic note heads
2697 @cindex guitar note heads
2698 @cindex note head styles
2699 @cindex styles, note heads
2703 The appearance of note heads may be altered:
2705 @lilypond[verbatim,quote,relative=2]
2707 \override NoteHead #'style = #'cross
2709 \revert NoteHead #'style
2711 \override NoteHead #'style = #'harmonic
2713 \revert NoteHead #'style
2717 To see all note head styles, see @ref{Note head styles}.
2719 The @code{cross} style is used to represent a variety of musical
2720 intentions. The following generic predefined commands modify the
2721 note head in both staff and tablature contexts and can be used to
2722 represent any musical meaning:
2724 @lilypond[verbatim,quote,relative=2]
2732 The music function form of this predefined command may be used
2733 inside and outside chords to generate crossed note heads in both
2734 staff and tablature contexts:
2736 @lilypond[verbatim,quote,relative=2]
2739 c b < g \xNote c f > b
2742 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2743 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2744 be used. The term @notation{dead note} is commonly used by guitarists.
2746 There is also a shorthand for diamond shapes which can be used
2749 @lilypond[verbatim,quote,relative=2]
2750 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2765 @ref{Note head styles},
2766 @ref{Chorded notes},
2767 @ref{Indicating harmonics and dampened notes}.
2769 Internals Reference:
2770 @rinternals{note-event},
2771 @rinternals{Note_heads_engraver},
2772 @rinternals{Ledger_line_engraver},
2773 @rinternals{NoteHead},
2774 @rinternals{LedgerLineSpanner},
2775 @rinternals{note-head-interface},
2776 @rinternals{ledger-line-spanner-interface}.
2779 @node Easy notation note heads
2780 @unnumberedsubsubsec Easy notation note heads
2782 @cindex note heads, practice
2783 @cindex practice note heads
2784 @cindex note heads, easy notation
2785 @cindex easy notation
2786 @cindex beginners' music
2787 @cindex music, beginners'
2788 @cindex easy play note heads
2789 @cindex note heads, easy play
2791 @funindex \easyHeadsOn
2792 @funindex easyHeadsOn
2793 @funindex \easyHeadsOff
2794 @funindex easyHeadsOff
2796 The @q{easy play} note head includes a note name inside the head.
2797 It is used in music for beginners. To make the letters readable,
2798 it should be printed in a large font size. To print with a larger
2799 font, see @ref{Setting the staff size}.
2801 @lilypond[verbatim,quote]
2802 #(set-global-staff-size 26)
2814 @code{\easyHeadsOn},
2815 @code{\easyHeadsOff}.
2821 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2822 {numbers-as-easy-note-heads.ly}
2827 @ref{Setting the staff size}.
2832 Internals Reference:
2833 @rinternals{note-event},
2834 @rinternals{Note_heads_engraver},
2835 @rinternals{NoteHead},
2836 @rinternals{note-head-interface}.
2839 @node Shape note heads
2840 @unnumberedsubsubsec Shape note heads
2842 @cindex note heads, shape
2843 @cindex note heads, Aiken
2844 @cindex note heads, sacred harp
2846 @cindex Aiken shape note heads
2847 @cindex sacred harp note heads
2848 @cindex note heads, Southern Harmony
2849 @cindex Southern Harmony note heads
2850 @cindex Funk shape note heads
2851 @cindex note heads, Funk
2852 @cindex note heads, Harmonica Sacra
2853 @cindex Harmonica Sacra note heads
2854 @cindex Christian Harmony note heads
2855 @cindex note heads, Christian Harmony
2856 @cindex Walker shape note heads
2857 @cindex note heads, Walker
2859 @funindex \aikenHeads
2860 @funindex aikenHeads
2861 @funindex \sacredHarpHeads
2862 @funindex sacredHarpHeads
2863 @funindex \southernHarmonyHeads
2864 @funindex southernHarmonyHeads
2865 @funindex \funkHeads
2867 @funindex \walkerHeads
2868 @funindex walkerHeads
2870 In shape note head notation, the shape of the note head
2871 corresponds to the harmonic function of a note in the scale. This
2872 notation was popular in nineteenth-century American song books.
2873 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2874 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2876 @lilypond[verbatim,quote,relative=2]
2878 c, d e f g2 a b1 c \break
2880 c,4 d e f g2 a b1 c \break
2881 \southernHarmonyHeads
2882 c,4 d e f g2 a b1 c \break
2884 c,4 d e f g2 a b1 c \break
2886 c,4 d e f g2 a b1 c \break
2891 @funindex \aikenHeadsMinor
2892 @funindex aikenHeadsMinor
2893 @funindex \sacredHarpHeadsMinor
2894 @funindex sacredHarpHeadsMinor
2895 @funindex \southernHarmonyHeadsMinor
2896 @funindex southernHarmonyHeadsMinor
2897 @funindex \funkHeadsMinor
2898 @funindex funkHeadsMinor
2899 @funindex \walkerHeadsMinor
2900 @funindex walkerHeadsMinor
2902 Shapes are typeset according to the step in the scale, where the base
2903 of the scale is determined by the @code{\key} command. When writing
2904 in a minor key, the scale step can be determined from the relative
2907 @lilypond[verbatim,quote,relative=2]
2910 a b c d e2 f g1 a \break
2912 a,4 b c d e2 f g1 a \break
2913 \sacredHarpHeadsMinor
2915 \southernHarmonyHeadsMinor
2927 @code{\aikenHeadsMinor},
2929 @code{\funkHeadsMinor},
2930 @code{\sacredHarpHeads},
2931 @code{\sacredHarpHeadsMinor},
2932 @code{\southernHarmonyHeads},
2933 @code{\southernHarmonyHeadsMinor},
2934 @code{\walkerHeads},
2935 @code{\walkerHeadsMinor}.
2941 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2942 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2944 To see all note head styles, see @ref{Note head styles}.
2952 @ref{Note head styles}.
2954 Internals Reference:
2955 @rinternals{note-event},
2956 @rinternals{Note_heads_engraver},
2957 @rinternals{NoteHead},
2958 @rinternals{note-head-interface}.
2962 @unnumberedsubsubsec Improvisation
2964 @cindex improvisation
2965 @cindex slashed note heads
2966 @cindex note heads, improvisation
2967 @cindex note heads, slashed
2969 @funindex \improvisationOn
2970 @funindex improvisationOn
2971 @funindex \improvisationOff
2972 @funindex improvisationOff
2974 Improvisation is sometimes denoted with slashed note heads, where
2975 the performer may choose any pitch but should play the specified
2976 rhythm. Such note heads can be created:
2978 @lilypond[verbatim,quote,relative=2]
2980 \consists "Pitch_squash_engraver"
2982 e8 e g a a16( bes) a8 g
2994 @code{\improvisationOn},
2995 @code{\improvisationOff}.
3003 Internals Reference:
3004 @rinternals{Pitch_squash_engraver},
3006 @rinternals{RhythmicStaff}.