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. To use
817 relative mode within transposed music, an additional @code{\relative}
818 must be placed inside @code{\transpose}.
820 Triple accidentals will not be printed if using @code{\transpose}. An
821 @q{enharmonically equivalent} pitch will be used instead (e.g. d-flat
822 rather than e-triple-flat).
826 @unnumberedsubsubsec Inversion
829 @cindex operation, inversion
832 A music expression can be inverted with:
835 \inversion @var{from-pitch} @var{to-pitch} @var{musicexpr}
838 The @code{@var{musicexpr}} is inverted interval-by-interval,
839 and then transposed so that @code{@var{from-pitch}} is mapped
840 to @code{@var{to-pitch}}.
842 @lilypond[verbatim,quote]
843 music = \relative c' { c d e f }
846 \inversion d' d' \music
847 \inversion d' ees' \music
853 @ref{Modal transformations},
859 @unnumberedsubsubsec Retrograde
861 @cindex retrograde transformation
862 @cindex transformation, retrograde
863 @cindex operation, retrograde
864 @funindex \retrograde
867 A music expression can be reversed to produce its retrograde:
869 @lilypond[verbatim,quote]
870 music = \relative c' { c8. ees16( fis8. a16 b8.) gis16 f8. d16 }
879 Manual ties inside @code{\retrograde} will be broken and
880 generate warnings. Some ties can be generated automatically
881 by enabling @ref{Automatic note splitting}.
886 @ref{Modal transformations},
890 @node Modal transformations
891 @unnumberedsubsubsec Modal transformations
893 @cindex modal transformations
894 @cindex transformations, modal
895 @cindex operations, modal
897 In a musical composition that is based on a scale, a motif is
898 frequently transformed in various ways. It may be
899 @notation{transposed} to start at different places in the scale or
900 it may be @notation{inverted} around a pivot point in the scale.
901 It may also be reversed to produce its @notation{retrograde}, see
904 @warning{Any note that does not lie within the given scale will be
907 @subsubheading Modal transposition
909 @cindex modal transposition
910 @cindex transposition, modal
911 @cindex operation, transposition
912 @funindex \modalTranspose
913 @funindex modalTranspose
915 A motif can be transposed within a given scale with:
918 \modalTranspose @var{from-pitch} @var{to-pitch} @var{scale} @var{motif}
921 The notes of @var{motif} are shifted within the @var{scale} by the
922 number of scale degrees given by the interval between @var{to-pitch}
923 and @var{from-pitch}:
925 @lilypond[verbatim,quote]
926 diatonicScale = \relative c' { c d e f g a b }
927 motif = \relative c' { c8 d e f g a b c }
931 \modalTranspose c f \diatonicScale \motif
932 \modalTranspose c b, \diatonicScale \motif
936 An ascending scale of any length and with any intervals may be
939 @lilypond[verbatim,quote]
940 pentatonicScale = \relative c' { ges aes bes des ees }
941 motif = \relative c' { ees8 des ges,4 <ges' bes,> <ges bes,> }
945 \modalTranspose ges ees' \pentatonicScale \motif
949 When used with a chromatic scale @code{\modalTranspose} has a
950 similar effect to @code{\transpose}, but with the ability to
951 specify the names of the notes to be used:
953 @lilypond[verbatim,quote]
954 chromaticScale = \relative c' { c cis d dis e f fis g gis a ais b }
955 motif = \relative c' { c8 d e f g a b c }
959 \transpose c f \motif
960 \modalTranspose c f \chromaticScale \motif
964 @subsubheading Modal inversion
966 @cindex modal inversion
967 @cindex inversion, modal
968 @cindex operation, modal inversion
969 @funindex \modalInversion
970 @funindex modalInversion
972 A motif can be inverted within a given scale around a given pivot
973 note and transposed in a single operation with:
976 \modalInversion @var{around-pitch} @var{to-pitch} @var{scale} @var{motif}
979 The notes of @var{motif} are placed the same number of scale degrees
980 from the @var{around-pitch} note within the @var{scale}, but in the
981 opposite direction, and the result is then shifted within the
982 @var{scale} by the number of scale degrees given by the interval between
983 @var{to-pitch} and @var{around-pitch}.
985 So to simply invert around a note in the scale use the same value for
986 @var{around-pitch} and @var{to-pitch}:
988 @lilypond[verbatim,quote]
989 octatonicScale = \relative c' { ees f fis gis a b c d }
990 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
994 \modalInversion fis' fis' \octatonicScale \motif
998 To invert around a pivot between two notes in the scale, invert around
999 one of the notes and then transpose by one scale degree. The two notes
1000 specified can be interpreted as bracketing the pivot point:
1002 @lilypond[verbatim,quote]
1003 scale = \relative c' { c g' }
1004 motive = \relative c' { c c g' c, }
1008 \modalInversion c' g' \scale \motive
1012 The combined operation of inversion and retrograde produce the
1013 retrograde-inversion:
1015 @lilypond[verbatim,quote]
1016 octatonicScale = \relative c' { ees f fis gis a b c d }
1017 motif = \relative c' { c8. ees16 fis8. a16 b8. gis16 f8. d16 }
1021 \retrograde \modalInversion c' c' \octatonicScale \motif
1032 @node Displaying pitches
1033 @subsection Displaying pitches
1035 This section discusses how to alter the output of pitches.
1041 * Instrument transpositions::
1042 * Automatic accidentals::
1048 @unnumberedsubsubsec Clef
1059 @cindex soprano clef
1060 @cindex mezzosoprano clef
1061 @cindex baritone clef
1062 @cindex varbaritone clef
1063 @cindex subbass clef
1065 @cindex ancient clef
1066 @cindex clef, ancient
1070 @cindex clef, treble
1071 @cindex clef, violin
1075 @cindex clef, french
1076 @cindex clef, soprano
1077 @cindex clef, mezzosoprano
1078 @cindex clef, baritone
1079 @cindex clef, varbaritone
1080 @cindex clef, subbass
1086 The clef may be altered. Middle C is shown in every example. The
1087 following clef names can (but do not need to) be enclosed in quotes.
1089 @lilypond[verbatim,quote,relative=1]
1100 Other clefs include:
1102 @lilypond[verbatim,quote,relative=1]
1123 \clef G % synonym for treble
1125 \clef F % synonym for bass
1127 \clef C % synonym for alto
1131 @cindex transposing clef
1132 @cindex clef, transposing
1133 @cindex octave transposition
1134 @cindex choral tenor clef
1135 @cindex tenor clef, choral
1137 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
1138 clef is transposed one octave down or up respectively,
1139 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
1140 Other integers can be used if required. Clef names containing
1141 non-alphabetic characters must be enclosed in quotes
1143 @lilypond[verbatim,quote,relative=1]
1158 Some special purpose clefs are described in @ref{Mensural clefs},
1159 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
1164 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1165 {tweaking-clef-properties.ly}
1170 @ref{Mensural clefs},
1171 @ref{Gregorian clefs},
1172 @ref{Default tablatures},
1173 @ref{Custom tablatures}.
1178 Internals Reference:
1179 @rinternals{Clef_engraver},
1181 @rinternals{OctavateEight},
1182 @rinternals{clef-interface}.
1186 @unnumberedsubsubsec Key signature
1188 @cindex key signature
1193 @c duplicated in Key signature and Accidentals
1194 @warning{New users are sometimes confused about accidentals and
1195 key signatures. In LilyPond, note names are the raw input; key
1196 signatures and clefs determine how this raw input is displayed.
1197 An unaltered note like@tie{}@code{c} means @q{C natural},
1198 regardless of the key signature or clef. For more information,
1199 see @rlearning{Accidentals and key signatures}.}
1201 The key signature indicates the tonality in which a piece is
1202 played. It is denoted by a set of alterations (flats or sharps)
1203 at the start of the staff. The key signature may be altered:
1206 \key @var{pitch} @var{mode}
1219 @funindex \mixolydian
1220 @funindex mixolydian
1228 @cindex church modes
1241 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1242 to get a key signature of @code{@var{pitch}}-major or
1243 @code{@var{pitch}}-minor, respectively. You may also use the
1244 standard mode names, also called @notation{church modes}:
1245 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1246 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1248 @lilypond[verbatim,quote,relative=2]
1258 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1259 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1261 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1262 {non-traditional-key-signatures.ly}
1267 @rglos{church mode},
1271 @rlearning{Accidentals and key signatures}.
1276 Internals Reference:
1277 @rinternals{KeyChangeEvent},
1278 @rinternals{Key_engraver},
1279 @rinternals{Key_performer},
1280 @rinternals{KeyCancellation},
1281 @rinternals{KeySignature},
1282 @rinternals{key-cancellation-interface},
1283 @rinternals{key-signature-interface}.
1286 @node Ottava brackets
1287 @unnumberedsubsubsec Ottava brackets
1295 @funindex set-octavation
1299 @notation{Ottava brackets} introduce an extra transposition of an
1300 octave for the staff:
1302 @lilypond[verbatim,quote,relative=2]
1318 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1329 Internals Reference:
1330 @rinternals{Ottava_spanner_engraver},
1331 @rinternals{OttavaBracket},
1332 @rinternals{ottava-bracket-interface}.
1335 @node Instrument transpositions
1336 @unnumberedsubsubsec Instrument transpositions
1338 @cindex transposition, MIDI
1339 @cindex transposition, instrument
1340 @cindex transposing instrument
1342 @cindex MIDI transposition
1344 @funindex \transposition
1345 @funindex transposition
1347 When typesetting scores that involve transposing instruments, some
1348 parts can be typeset in a different pitch than the
1349 @notation{concert pitch}. In these cases, the key of the
1350 @notation{transposing instrument} should be specified; otherwise
1351 the MIDI output and cues in other parts will produce incorrect
1352 pitches. For more information about quotations, see
1353 @ref{Quoting other voices}.
1356 \transposition @var{pitch}
1359 The pitch to use for @code{\transposition} should correspond to
1360 the real sound heard when a@tie{}@code{c'} written on the staff is
1361 played by the transposing instrument. This pitch is entered in
1362 absolute mode, so an instrument that produces a real sound which
1363 is one tone higher than the printed music should use
1364 @w{@code{\transposition d'}}. @code{\transposition} should
1365 @emph{only} be used if the pitches are @emph{not} being entered in
1368 Here are a few notes for violin and B-flat clarinet where the
1369 parts have been entered using the notes and key as they appear in
1370 each part of the conductor's score. The two instruments are
1373 @lilypond[verbatim,quote]
1375 \new Staff = "violin" {
1377 \set Staff.instrumentName = #"Vln"
1378 \set Staff.midiInstrument = #"violin"
1379 % not strictly necessary, but a good reminder
1386 \new Staff = "clarinet" {
1388 \set Staff.instrumentName = \markup { Cl (B\flat) }
1389 \set Staff.midiInstrument = #"clarinet"
1399 The @code{\transposition} may be changed during a piece. For
1400 example, a clarinetist may switch from an A clarinet to a B-flat
1403 @lilypond[verbatim,quote,relative=2]
1404 \set Staff.instrumentName = #"Cl (A)"
1409 s1*0^\markup { Switch to B\flat clarinet }
1420 @rglos{concert pitch},
1421 @rglos{transposing instrument}.
1424 @ref{Quoting other voices},
1431 @node Automatic accidentals
1432 @unnumberedsubsubsec Automatic accidentals
1434 @cindex accidental style
1435 @cindex accidental style, default
1437 @cindex accidentals, automatic
1438 @cindex automatic accidentals
1439 @cindex default accidental style
1441 @funindex set-accidental-style
1445 There are many different conventions on how to typeset
1446 accidentals. LilyPond provides a function to specify which
1447 accidental style to use. This function is called as follows:
1451 #(set-accidental-style 'voice)
1456 The accidental style applies to the current @code{Staff} by
1457 default (with the exception of the styles @code{piano} and
1458 @code{piano-cautionary}, which are explained below). Optionally,
1459 the function can take a second argument that determines in which
1460 scope the style should be changed. For example, to use the same
1461 style in all staves of the current @code{StaffGroup}, use:
1464 #(set-accidental-style 'voice 'StaffGroup)
1467 The following accidental styles are supported. To demonstrate
1468 each style, we use the following example:
1471 @lilypond[verbatim,quote]
1475 cis'8 fis, bes4 <a cis>8 f bis4 |
1489 \voiceTwo \relative c' {
1490 <fis, a cis>8 <fis a cis>
1493 \change Staff = down
1498 \change Staff = down
1499 <fis, a cis>4 gis <f a d>2 |
1506 \context Staff = "up" {
1507 #(set-accidental-style 'default)
1510 \context Staff = "down" {
1511 #(set-accidental-style 'default)
1518 Note that the last lines of this example can be replaced by the
1519 following, as long as the same accidental style should be used in
1525 \context Staff = "up" @{
1526 %%% change the next line as desired:
1527 #(set-accidental-style 'default 'Score)
1530 \context Staff = "down" @{
1538 @c don't use verbatim in this table.
1542 @cindex default accidental style
1543 @cindex accidental style, default
1547 This is the default typesetting behavior. It corresponds to
1548 eighteenth-century common practice: accidentals are remembered to
1549 the end of the measure in which they occur and only in their own
1550 octave. Thus, in the example below, no natural signs are printed
1551 before the@tie{}@code{b} in the second measure or the
1558 cis'8 fis, bes4 <a cis>8 f bis4 |
1572 \voiceTwo \relative c' {
1573 <fis, a cis>8 <fis a cis>
1576 \change Staff = down
1581 \change Staff = down
1582 <fis, a cis>4 gis <f a d>2 |
1589 \context Staff = "up" {
1590 #(set-accidental-style 'default)
1593 \context Staff = "down" {
1594 #(set-accidental-style 'default)
1603 @cindex accidental style, voice
1604 @cindex voice accidental style
1605 @cindex accidental style, modern
1606 @cindex modern accidental style
1607 @cindex accidental style, modern-cautionary
1608 @cindex modern-cautionary accidental style
1612 The normal behavior is to remember the accidentals at
1613 @code{Staff}-level. In this style, however, accidentals are
1614 typeset individually for each voice. Apart from that, the rule is
1615 similar to @code{default}.
1617 As a result, accidentals from one voice do not get canceled in
1618 other voices, which is often an unwanted result: in the following
1619 example, it is hard to determine whether the second@tie{}@code{a}
1620 should be played natural or sharp. The @code{voice} option should
1621 therefore be used only if the voices are to be read solely by
1622 individual musicians. If the staff is to be used by one musician
1623 (e.g., a conductor or in a piano score) then @code{modern} or
1624 @code{modern-cautionary} should be used instead.
1631 cis'8 fis, bes4 <a cis>8 f bis4 |
1645 \voiceTwo \relative c' {
1646 <fis, a cis>8 <fis a cis>
1649 \change Staff = down
1654 \change Staff = down
1655 <fis, a cis>4 gis <f a d>2 |
1662 \context Staff = "up" {
1663 #(set-accidental-style 'voice)
1666 \context Staff = "down" {
1667 #(set-accidental-style 'voice)
1676 @cindex accidentals, modern style
1677 @cindex modern style accidentals
1681 This rule corresponds to the common practice in the twentieth
1682 century. It omits some extra natural signs, which were
1683 traditionally prefixed to a sharp following a double sharp,
1684 or a flat following a double flat. The @code{modern} rule
1685 prints the same accidentals as @code{default}, with
1686 two additions that serve to avoid ambiguity: after temporary
1687 accidentals, cancellation marks are printed also in the following
1688 measure (for notes in the same octave) and, in the same measure,
1689 for notes in other octaves. Hence the naturals before
1690 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1697 cis'8 fis, bes4 <a cis>8 f bis4 |
1711 \voiceTwo \relative c' {
1712 <fis, a cis>8 <fis a cis>
1715 \change Staff = down
1720 \change Staff = down
1721 <fis, a cis>4 gis <f a d>2 |
1728 \context Staff = "up" {
1729 #(set-accidental-style 'modern)
1732 \context Staff = "down" {
1733 #(set-accidental-style 'modern)
1740 @item modern-cautionary
1742 @cindex accidentals, modern cautionary style
1743 @cindex modern accidental style
1744 @cindex modern cautionary accidental style
1745 @cindex modern style accidentals
1746 @cindex modern style cautionary accidentals
1748 @funindex modern-cautionary
1750 This rule is similar to @code{modern}, but the @q{extra}
1751 accidentals (the ones not typeset by @code{default}) are typeset
1752 as cautionary accidentals. They are by default printed with
1753 parentheses, but they can also be printed in reduced size by
1754 defining the @code{cautionary-style} property of
1755 @code{AccidentalSuggestion}.
1761 cis'8 fis, bes4 <a cis>8 f bis4 |
1775 \voiceTwo \relative c' {
1776 <fis, a cis>8 <fis a cis>
1779 \change Staff = down
1784 \change Staff = down
1785 <fis, a cis>4 gis <f a d>2 |
1792 \context Staff = "up" {
1793 #(set-accidental-style 'modern-cautionary)
1796 \context Staff = "down" {
1797 #(set-accidental-style 'modern-cautionary)
1806 @cindex accidental style, modern
1807 @cindex accidentals, modern
1808 @cindex accidentals, multivoice
1809 @cindex modern accidental style
1810 @cindex modern accidentals
1811 @cindex multivoice accidentals
1813 @funindex modern-voice
1815 This rule is used for multivoice accidentals to be read both by
1816 musicians playing one voice and musicians playing all voices.
1817 Accidentals are typeset for each voice, but they @emph{are}
1818 canceled across voices in the same @code{Staff}. Hence,
1819 the@tie{}@code{a} in the last measure is canceled because the
1820 previous cancellation was in a different voice, and
1821 the@tie{}@code{d} in the lower staff is canceled because of the
1822 accidental in a different voice in the previous measure:
1828 cis'8 fis, bes4 <a cis>8 f bis4 |
1842 \voiceTwo \relative c' {
1843 <fis, a cis>8 <fis a cis>
1846 \change Staff = down
1851 \change Staff = down
1852 <fis, a cis>4 gis <f a d>2 |
1859 \context Staff = "up" {
1860 #(set-accidental-style 'modern-voice)
1863 \context Staff = "down" {
1864 #(set-accidental-style 'modern-voice)
1871 @cindex accidental style, cautionary, modern voice
1872 @cindex accidental style, modern voice cautionary
1873 @cindex accidental style, voice, modern cautionary
1875 @funindex modern-voice-cautionary
1877 @item modern-voice-cautionary
1879 This rule is the same as @code{modern-voice}, but with the extra
1880 accidentals (the ones not typeset by @code{voice}) typeset as
1881 cautionaries. Even though all accidentals typeset by
1882 @code{default} @emph{are} typeset with this rule, some of them are
1883 typeset as cautionaries.
1889 cis'8 fis, bes4 <a cis>8 f bis4 |
1903 \voiceTwo \relative c' {
1904 <fis, a cis>8 <fis a cis>
1907 \change Staff = down
1912 \change Staff = down
1913 <fis, a cis>4 gis <f a d>2 |
1920 \context Staff = "up" {
1921 #(set-accidental-style 'modern-voice-cautionary)
1924 \context Staff = "down" {
1925 #(set-accidental-style 'modern-voice-cautionary)
1934 @cindex accidental style, piano
1935 @cindex accidentals, piano
1936 @cindex piano accidental style
1937 @cindex piano accidentals
1941 This rule reflects twentieth-century practice for piano notation.
1942 Its behavior is very similar to @code{modern} style, but here
1943 accidentals also get canceled across the staves in the same
1944 @code{GrandStaff} or @code{PianoStaff}, hence all the
1945 cancellations of the final notes.
1947 This accidental style applies to the current @code{GrandStaff} or
1948 @code{PianoStaff} by default.
1954 cis'8 fis, bes4 <a cis>8 f bis4 |
1968 \voiceTwo \relative c' {
1969 <fis, a cis>8 <fis a cis>
1972 \change Staff = down
1977 \change Staff = down
1978 <fis, a cis>4 gis <f a d>2 |
1985 \context Staff = "up" {
1986 #(set-accidental-style 'piano)
1989 \context Staff = "down" {
1996 @item piano-cautionary
1998 @cindex accidentals, piano cautionary
1999 @cindex cautionary accidentals, piano
2000 @cindex piano cautionary accidentals
2001 @cindex accidental style, piano cautionary
2002 @cindex cautionary accidental style, piano
2003 @cindex piano cautionary accidental style
2005 @funindex piano-cautionary
2007 This is the same as @code{piano} but with the extra accidentals
2008 typeset as cautionaries.
2014 cis'8 fis, bes4 <a cis>8 f bis4 |
2028 \voiceTwo \relative c' {
2029 <fis, a cis>8 <fis a cis>
2032 \change Staff = down
2037 \change Staff = down
2038 <fis, a cis>4 gis <f a d>2 |
2045 \context Staff = "up" {
2046 #(set-accidental-style 'piano-cautionary)
2049 \context Staff = "down" {
2059 @cindex neo-modern accidental style
2060 @cindex accidental style, neo-modern
2062 @funindex neo-modern
2064 This rule reproduces a common practice in contemporary music:
2065 accidentals are printed like with @code{modern}, but they are printed
2066 again if the same note appears later in the same measure -- except
2067 if the note is immediately repeated.
2073 cis'8 fis, bes4 <a cis>8 f bis4 |
2087 \voiceTwo \relative c' {
2088 <fis, a cis>8 <fis a cis>
2091 \change Staff = down
2096 \change Staff = down
2097 <fis, a cis>4 gis <f a d>2 |
2104 \context Staff = "up" {
2105 #(set-accidental-style 'neo-modern)
2108 \context Staff = "down" {
2109 #(set-accidental-style 'neo-modern)
2116 @item neo-modern-cautionary
2118 @cindex neo-modern-cautionary accidental style
2119 @cindex accidental style, neo-modern-cautionary
2121 @funindex neo-modern-cautionary
2123 This rule is similar to @code{neo-modern}, but the extra
2124 accidentals are printed as cautionary accidentals.
2130 cis'8 fis, bes4 <a cis>8 f bis4 |
2144 \voiceTwo \relative c' {
2145 <fis, a cis>8 <fis a cis>
2148 \change Staff = down
2153 \change Staff = down
2154 <fis, a cis>4 gis <f a d>2 |
2161 \context Staff = "up" {
2162 #(set-accidental-style 'neo-modern-cautionary)
2165 \context Staff = "down" {
2166 #(set-accidental-style 'neo-modern-cautionary)
2174 @item neo-modern-voice
2176 @cindex neo-modern-voice accidental style
2177 @cindex accidental style, neo-modern-voice
2179 @funindex neo-modern-voice
2181 This rule is used for multivoice accidentals to be read both by
2182 musicians playing one voice and musicians playing all voices.
2183 Accidentals are typeset for each voice as with @code{neo-modern},
2184 but they are canceled across voices in the same @code{Staff}.
2190 cis'8 fis, bes4 <a cis>8 f bis4 |
2204 \voiceTwo \relative c' {
2205 <fis, a cis>8 <fis a cis>
2208 \change Staff = down
2213 \change Staff = down
2214 <fis, a cis>4 gis <f a d>2 |
2221 \context Staff = "up" {
2222 #(set-accidental-style 'neo-modern-voice)
2225 \context Staff = "down" {
2226 #(set-accidental-style 'neo-modern-voice)
2233 @item neo-modern-voice-cautionary
2235 @cindex neo-modern-voice-cautionary accidental style
2236 @cindex accidental style, neo-modern-voice-cautionary
2238 @funindex neo-modern-voice-cautionary
2240 This rule is similar to @code{neo-modern-voice}, but the extra
2241 accidentals are printed as cautionary accidentals.
2247 cis'8 fis, bes4 <a cis>8 f bis4 |
2261 \voiceTwo \relative c' {
2262 <fis, a cis>8 <fis a cis>
2265 \change Staff = down
2270 \change Staff = down
2271 <fis, a cis>4 gis <f a d>2 |
2278 \context Staff = "up" {
2279 #(set-accidental-style 'neo-modern-voice-cautionary)
2282 \context Staff = "down" {
2283 #(set-accidental-style 'neo-modern-voice-cautionary)
2292 @cindex dodecaphonic accidental style
2293 @cindex dodecaphonic style, neo-modern
2295 @funindex dodecaphonic
2297 This rule reflects a practice introduced by composers at
2298 the beginning of the 20th century, in an attempt to
2299 abolish the hierarchy between natural and non-natural notes.
2300 With this style, @emph{every} note gets an accidental sign,
2301 including natural signs.
2307 cis'8 fis, bes4 <a cis>8 f bis4 |
2321 \voiceTwo \relative c' {
2322 <fis, a cis>8 <fis a cis>
2325 \change Staff = down
2330 \change Staff = down
2331 <fis, a cis>4 gis <f a d>2 |
2338 \context Staff = "up" {
2339 #(set-accidental-style 'dodecaphonic)
2342 \context Staff = "down" {
2343 #(set-accidental-style 'dodecaphonic)
2353 @cindex teaching accidental style
2354 @cindex accidental style, teaching
2358 This rule is intended for students, and makes it easy to create
2359 scale sheets with automatically created cautionary accidentals.
2360 Accidentals are printed like with @code{modern}, but cautionary
2361 accidentals are added for all sharp or flat tones specified by the
2362 key signature, except if the note is immediately repeated.
2368 cis'8 fis, bes4 <a cis>8 f bis4 |
2382 \voiceTwo \relative c' {
2383 <fis, a cis>8 <fis a cis>
2386 \change Staff = down
2391 \change Staff = down
2392 <fis, a cis>4 gis <f a d>2 |
2399 \context Staff = "up" {
2401 #(set-accidental-style 'teaching)
2404 \context Staff = "down" {
2406 #(set-accidental-style 'teaching)
2417 @cindex accidental style, no reset
2418 @cindex no reset accidental style
2422 This is the same as @code{default} but with accidentals lasting
2423 @q{forever} and not only within the same measure:
2429 cis'8 fis, bes4 <a cis>8 f bis4 |
2443 \voiceTwo \relative c' {
2444 <fis, a cis>8 <fis a cis>
2447 \change Staff = down
2452 \change Staff = down
2453 <fis, a cis>4 gis <f a d>2 |
2460 \context Staff = "up" {
2461 #(set-accidental-style 'no-reset)
2464 \context Staff = "down" {
2465 #(set-accidental-style 'no-reset)
2474 @cindex forget accidental style
2475 @cindex accidental style, forget
2479 This is the opposite of @code{no-reset}: Accidentals are not
2480 remembered at all -- and hence all accidentals are typeset
2481 relative to the key signature, regardless of what came before in
2488 cis'8 fis, bes4 <a cis>8 f bis4 |
2502 \voiceTwo \relative c' {
2503 <fis, a cis>8 <fis a cis>
2506 \change Staff = down
2511 \change Staff = down
2512 <fis, a cis>4 gis <f a d>2 |
2519 \context Staff = "up" {
2520 #(set-accidental-style 'forget)
2523 \context Staff = "down" {
2524 #(set-accidental-style 'forget)
2536 Internals Reference:
2537 @rinternals{Accidental},
2538 @rinternals{Accidental_engraver},
2539 @rinternals{GrandStaff},
2540 @rinternals{PianoStaff},
2542 @rinternals{AccidentalSuggestion},
2543 @rinternals{AccidentalPlacement},
2544 @rinternals{accidental-suggestion-interface}.
2547 @cindex accidentals and simultaneous notes
2548 @cindex simultaneous notes and accidentals
2549 @cindex accidentals in chords
2550 @cindex chords, accidentals in
2554 Simultaneous notes are not considered in the automatic
2555 determination of accidentals; only previous notes and the key
2556 signature are considered. Forcing accidentals with@tie{}@code{!}
2557 or@tie{}@code{?} may be required when the same note name occurs
2558 simultaneously with different alterations, as in @samp{<f! fis!>}.
2560 Cautionary cancellation of accidentals is done by looking at previous measure.
2561 However, in the @code{\alternative} block following a @code{\repeat volta N}
2562 section, one would expect the cancellation being calculated using the previous
2563 @emph{played} measure, not previous @emph{printed} measure.
2564 In the following example, the natural @code{c} in the second alternative does
2565 not need a natural sign:
2569 #(set-accidental-style 'modern)
2581 The following work-around can be used: define a function that locally changes
2582 the accidental style to @code{forget}:
2584 @lilypond[verbatim,quote]
2585 forget = #(define-music-function (parser location music) (ly:music?) #{
2586 #(set-accidental-style 'forget)
2588 #(set-accidental-style 'modern)
2591 #(set-accidental-style 'modern)
2604 @unnumberedsubsubsec Ambitus
2607 @cindex range of pitches
2610 The term @notation{ambitus} (pl. ambitus) denotes a range of
2611 pitches for a given voice in a part of music. It may also denote
2612 the pitch range that a musical instrument is capable of playing.
2613 Ambitus are printed on vocal parts so that performers can easily
2614 determine if it matches their capabilities.
2616 Ambitus are denoted at the beginning of a piece near the initial
2617 clef. The range is graphically specified by two note heads that
2618 represent the lowest and highest pitches. Accidentals are only
2619 printed if they are not part of the key signature.
2621 @lilypond[verbatim,quote]
2625 \consists "Ambitus_engraver"
2638 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2639 {adding-ambitus-per-voice.ly}
2641 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2642 {ambitus-with-multiple-voices.ly}
2644 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2645 {changing-the-ambitus-gap.ly}
2655 Internals Reference:
2656 @rinternals{Ambitus_engraver},
2659 @rinternals{Ambitus},
2660 @rinternals{AmbitusAccidental},
2661 @rinternals{AmbitusLine},
2662 @rinternals{AmbitusNoteHead},
2663 @rinternals{ambitus-interface}.
2668 There is no collision handling in the case of multiple per-voice
2673 @subsection Note heads
2675 This section suggests ways of altering note heads.
2678 * Special note heads::
2679 * Easy notation note heads::
2680 * Shape note heads::
2684 @node Special note heads
2685 @unnumberedsubsubsec Special note heads
2687 @cindex note heads, special
2688 @cindex note heads, cross
2689 @cindex note heads, diamond
2690 @cindex note heads, parlato
2691 @cindex note heads, harmonic
2692 @cindex note heads, guitar
2693 @cindex special note heads
2694 @cindex cross note heads
2695 @cindex diamond note heads
2696 @cindex parlato note heads
2697 @cindex harmonic note heads
2698 @cindex guitar note heads
2699 @cindex note head styles
2700 @cindex styles, note heads
2704 The appearance of note heads may be altered:
2706 @lilypond[verbatim,quote,relative=2]
2708 \override NoteHead #'style = #'cross
2710 \revert NoteHead #'style
2712 \override NoteHead #'style = #'harmonic
2714 \revert NoteHead #'style
2718 To see all note head styles, see @ref{Note head styles}.
2720 The @code{cross} style is used to represent a variety of musical
2721 intentions. The following generic predefined commands modify the
2722 note head in both staff and tablature contexts and can be used to
2723 represent any musical meaning:
2725 @lilypond[verbatim,quote,relative=2]
2733 The music function form of this predefined command may be used
2734 inside and outside chords to generate crossed note heads in both
2735 staff and tablature contexts:
2737 @lilypond[verbatim,quote,relative=2]
2740 c b < g \xNote c f > b
2743 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2744 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2745 be used. The term @notation{dead note} is commonly used by guitarists.
2747 There is also a shorthand for diamond shapes which can be used
2750 @lilypond[verbatim,quote,relative=2]
2751 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2766 @ref{Note head styles},
2767 @ref{Chorded notes},
2768 @ref{Indicating harmonics and dampened notes}.
2770 Internals Reference:
2771 @rinternals{note-event},
2772 @rinternals{Note_heads_engraver},
2773 @rinternals{Ledger_line_engraver},
2774 @rinternals{NoteHead},
2775 @rinternals{LedgerLineSpanner},
2776 @rinternals{note-head-interface},
2777 @rinternals{ledger-line-spanner-interface}.
2780 @node Easy notation note heads
2781 @unnumberedsubsubsec Easy notation note heads
2783 @cindex note heads, practice
2784 @cindex practice note heads
2785 @cindex note heads, easy notation
2786 @cindex easy notation
2787 @cindex beginners' music
2788 @cindex music, beginners'
2789 @cindex easy play note heads
2790 @cindex note heads, easy play
2792 @funindex \easyHeadsOn
2793 @funindex easyHeadsOn
2794 @funindex \easyHeadsOff
2795 @funindex easyHeadsOff
2797 The @q{easy play} note head includes a note name inside the head.
2798 It is used in music for beginners. To make the letters readable,
2799 it should be printed in a large font size. To print with a larger
2800 font, see @ref{Setting the staff size}.
2802 @lilypond[verbatim,quote]
2803 #(set-global-staff-size 26)
2815 @code{\easyHeadsOn},
2816 @code{\easyHeadsOff}.
2822 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2823 {numbers-as-easy-note-heads.ly}
2828 @ref{Setting the staff size}.
2833 Internals Reference:
2834 @rinternals{note-event},
2835 @rinternals{Note_heads_engraver},
2836 @rinternals{NoteHead},
2837 @rinternals{note-head-interface}.
2840 @node Shape note heads
2841 @unnumberedsubsubsec Shape note heads
2843 @cindex note heads, shape
2844 @cindex note heads, Aiken
2845 @cindex note heads, sacred harp
2847 @cindex Aiken shape note heads
2848 @cindex sacred harp note heads
2849 @cindex note heads, Southern Harmony
2850 @cindex Southern Harmony note heads
2851 @cindex Funk shape note heads
2852 @cindex note heads, Funk
2853 @cindex note heads, Harmonica Sacra
2854 @cindex Harmonica Sacra note heads
2855 @cindex Christian Harmony note heads
2856 @cindex note heads, Christian Harmony
2857 @cindex Walker shape note heads
2858 @cindex note heads, Walker
2860 @funindex \aikenHeads
2861 @funindex aikenHeads
2862 @funindex \sacredHarpHeads
2863 @funindex sacredHarpHeads
2864 @funindex \southernHarmonyHeads
2865 @funindex southernHarmonyHeads
2866 @funindex \funkHeads
2868 @funindex \walkerHeads
2869 @funindex walkerHeads
2871 In shape note head notation, the shape of the note head
2872 corresponds to the harmonic function of a note in the scale. This
2873 notation was popular in nineteenth-century American song books.
2874 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2875 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2877 @lilypond[verbatim,quote,relative=2]
2879 c, d e f g2 a b1 c \break
2881 c,4 d e f g2 a b1 c \break
2882 \southernHarmonyHeads
2883 c,4 d e f g2 a b1 c \break
2885 c,4 d e f g2 a b1 c \break
2887 c,4 d e f g2 a b1 c \break
2892 @funindex \aikenHeadsMinor
2893 @funindex aikenHeadsMinor
2894 @funindex \sacredHarpHeadsMinor
2895 @funindex sacredHarpHeadsMinor
2896 @funindex \southernHarmonyHeadsMinor
2897 @funindex southernHarmonyHeadsMinor
2898 @funindex \funkHeadsMinor
2899 @funindex funkHeadsMinor
2900 @funindex \walkerHeadsMinor
2901 @funindex walkerHeadsMinor
2903 Shapes are typeset according to the step in the scale, where the base
2904 of the scale is determined by the @code{\key} command. When writing
2905 in a minor key, the scale step can be determined from the relative
2908 @lilypond[verbatim,quote,relative=2]
2911 a b c d e2 f g1 a \break
2913 a,4 b c d e2 f g1 a \break
2914 \sacredHarpHeadsMinor
2916 \southernHarmonyHeadsMinor
2928 @code{\aikenHeadsMinor},
2930 @code{\funkHeadsMinor},
2931 @code{\sacredHarpHeads},
2932 @code{\sacredHarpHeadsMinor},
2933 @code{\southernHarmonyHeads},
2934 @code{\southernHarmonyHeadsMinor},
2935 @code{\walkerHeads},
2936 @code{\walkerHeadsMinor}.
2942 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2943 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2945 To see all note head styles, see @ref{Note head styles}.
2953 @ref{Note head styles}.
2955 Internals Reference:
2956 @rinternals{note-event},
2957 @rinternals{Note_heads_engraver},
2958 @rinternals{NoteHead},
2959 @rinternals{note-head-interface}.
2963 @unnumberedsubsubsec Improvisation
2965 @cindex improvisation
2966 @cindex slashed note heads
2967 @cindex note heads, improvisation
2968 @cindex note heads, slashed
2970 @funindex \improvisationOn
2971 @funindex improvisationOn
2972 @funindex \improvisationOff
2973 @funindex improvisationOff
2975 Improvisation is sometimes denoted with slashed note heads, where
2976 the performer may choose any pitch but should play the specified
2977 rhythm. Such note heads can be created:
2979 @lilypond[verbatim,quote,relative=2]
2981 \consists "Pitch_squash_engraver"
2983 e8 e g a a16( bes) a8 g
2995 @code{\improvisationOn},
2996 @code{\improvisationOff}.
3004 Internals Reference:
3005 @rinternals{Pitch_squash_engraver},
3007 @rinternals{RhythmicStaff}.