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. See TRANSLATION for details.
15 @lilypondfile[quote]{pitches-headword.ly}
17 This section discusses how to specify the pitch of notes. There
18 are three steps to this process: input, modification, and output.
22 * Changing multiple pitches::
23 * Displaying pitches::
29 @subsection Writing pitches
31 This section discusses how to input pitches. There are two
32 different ways to place notes in octaves: absolute and relative
33 mode. In most cases, relative mode will be more convenient.
36 * Absolute octave entry::
37 * Relative octave entry::
39 * Note names in other languages::
43 @node Absolute octave entry
44 @unnumberedsubsubsec Absolute octave entry
49 @cindex absolute octave specification
50 @cindex absolute octave entry
52 A pitch name is specified using lowercase letters@tie{}@code{a}
53 through@tie{}@code{g}. The note names @code{c} to @code{b} are
54 engraved in the octave below middle C.
57 @lilypond[verbatim,quote,fragment]
64 @cindex octave changing mark
68 Other octaves may be specified with a single quote@tie{}(@code{'})
69 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
70 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
73 @lilypond[verbatim,quote,fragment]
91 @node Relative octave entry
92 @unnumberedsubsubsec Relative octave entry
95 @cindex relative octave entry
96 @cindex relative octave specification
99 When octaves are specified in absolute mode it is easy to
100 accidentally put a pitch in the wrong octave. Relative octave
101 mode reduces these errors since most of the time it is not
102 necessary to indicate any octaves at all. Furthermore, in
103 absolute mode a single mistake may be difficult to spot, while in
104 relative mode a single error puts the rest of the piece off by one
108 \relative @var{startpitch} @var{musicexpr}
111 In relative mode, each note is assumed to be as close to the
112 previous note as possible. This means that the octave of each
113 pitch inside @var{musicexpr} is calculated as follows:
117 If no octave changing mark is used on a pitch, its octave is
118 calculated so that the interval with the previous note is less
119 than a fifth. This interval is determined without considering
123 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
124 added to respectively raise or lower a pitch by an extra octave,
125 relative to the pitch calculated without an octave mark.
128 Multiple octave changing marks can be used. For example,
129 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
133 The pitch of the first note is relative to
134 @code{@var{startpitch}}. @var{startpitch} is specified in
135 absolute octave mode, and it is recommended that it be a octave of
140 Here is the relative mode shown in action:
142 @lilypond[verbatim,quote]
151 Octave changing marks are used for intervals greater than a
154 @lilypond[verbatim,quote]
161 A note sequence without a single octave mark can nevertheless span
164 @lilypond[verbatim,quote]
171 If the preceding item is a chord, the first note of the chord is
172 used as the reference point for the octave placement of a
173 following note or chord. Inside chords, the next note is always
174 relative to the preceding one. Examine the next example
175 carefully, paying attention to the @code{c} notes.
177 @lilypond[verbatim,quote]
186 As explained above, the octave of pitches is calculated only with
187 the note names, regardless of any alterations. Therefore, an
188 E-double-sharp following a B will be placed higher, while an
189 F-double-flat will be placed lower. In other words, a
190 double-augmented fourth is considered a smaller interval than a
191 double-diminished fifth, regardless of the number of semitones
192 that each interval contains.
194 @lilypond[verbatim,quote]
217 @rinternals{RelativeOctaveMusic}.
220 @cindex relative octave entry and transposition
221 @cindex transposition and relative octave entry
229 The relative conversion will not affect @code{\transpose},
230 @code{\chordmode} or @code{\relative} sections in its argument.
231 To use relative mode within transposed music, an additional
232 @code{\relative} must be placed inside @code{\transpose}.
235 If no @var{startpitch} is specified for @code{\relative},
236 then@tie{}@code{c'} is assumed. However, this is a deprecated
237 option and may disappear in future versions, so its use is
243 @unnumberedsubsubsec Accidentals
246 @cindex key signature
249 @c duplicated in Key signature and Accidentals
250 @warning{New users are sometimes confused about accidentals and
251 key signatures. In LilyPond, note names are the raw input; key
252 signatures and clefs determine how this raw input is displayed.
253 An unaltered note like@tie{}@code{c} means @q{C natural},
254 regardless of the key signature or clef. For more information,
255 see @rlearning{Accidentals and key signatures}.}
257 @cindex note names, Dutch
258 @cindex note names, default
262 @cindex sharp, double
266 @cindex natural pitch
268 A @notation{sharp} pitch is made by adding @code{is} to the note
269 name, and a @notation{flat} pitch by adding @code{es}. As you
270 might expect, a @notation{double sharp} or @notation{double flat}
271 is made by adding @code{isis} or @code{eses}. This syntax is
272 derived from Dutch note naming conventions. To use other names
273 for accidentals, see @ref{Note names in other languages}.
275 @lilypond[verbatim,quote,relative=2]
279 A natural will cancel the effect of an accidental or key
280 signature. However, naturals are not encoded into the note name
281 syntax with a suffix; a natural pitch is shown as a simple note
284 @lilypond[verbatim,quote,relative=2]
288 @cindex quarter tones
289 @cindex semi-flats, semi-sharps
291 Quarter tones may be added; the following is a series of Cs with
294 @lilypond[verbatim,quote,relative=2]
295 ceseh1 ces ceh c cih cis cisih
300 @cindex accidental, reminder
301 @cindex accidental, cautionary
302 @cindex accidental, parenthesized
303 @cindex reminder accidental
305 @cindex cautionary accidental
306 @cindex parenthesized accidental
309 Normally accidentals are printed automatically, but you may also
310 print them manually. A reminder accidental can be forced by
311 adding an exclamation mark@tie{}@code{!} after the pitch. A
312 cautionary accidental (i.e., an accidental within parentheses) can
313 be obtained by adding the question mark@tie{}@code{?} after the
314 pitch. These extra accidentals can also be used to produce
317 @lilypond[verbatim,quote,relative=2]
318 cis cis cis! cis? c c c! c?
321 @cindex accidental on tied note
322 @cindex tied note, accidental
324 Accidentals on tied notes are only printed at the beginning of a
327 @lilypond[verbatim,quote,relative=2]
336 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
337 {preventing-extra-naturals-from-being-automatically-added.ly}
339 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
347 @rglos{double sharp},
350 @rglos{quarter tone}.
353 @rlearning{Accidentals and key signatures}.
356 @ref{Automatic accidentals},
357 @ref{Annotational accidentals (musica ficta)},
358 @ref{Note names in other languages}.
364 @rinternals{Accidental_engraver},
365 @rinternals{Accidental},
366 @rinternals{AccidentalCautionary},
367 @rinternals{accidental-interface}.
370 @cindex accidental, quarter-tone
371 @cindex quarter-tone accidental
375 There are no generally accepted standards for denoting
376 quarter-tone accidentals, so LilyPond's symbol does not conform to
381 @node Note names in other languages
382 @unnumberedsubsubsec Note names in other languages
384 @cindex note names, other languages
385 @cindex pitch names, other languages
386 @cindex language, note names in other
387 @cindex language, pitch names in other
389 There are predefined sets of note and accidental names for various
390 other languages. To use them, include the language-specific init
391 file listed below. For example, to use English notes names, add
392 @code{@w{\include "english.ly"}} to the top of the input file.
394 The available language files and the note names they define are:
397 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
398 @headitem Language File
400 @item @file{nederlands.ly}
401 @tab c d e f g a bes b
402 @item @file{arabic.ly}
403 @tab do re mi fa sol la sib si
404 @item @file{catalan.ly}
405 @tab do re mi fa sol la sib si
406 @item @file{deutsch.ly}
408 @item @file{english.ly}
409 @tab c d e f g a bf b
410 @item @file{espanol.ly}
411 @tab do re mi fa sol la sib si
412 @item @file{italiano.ly}
413 @tab do re mi fa sol la sib si
414 @item @file{norsk.ly}
416 @item @file{portugues.ly}
417 @tab do re mi fa sol la sib si
418 @item @file{suomi.ly}
420 @item @file{svenska.ly}
422 @item @file{vlaams.ly}
423 @tab do re mi fa sol la sib si
428 and the accidental suffixes they define are:
431 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
432 @headitem Language File
433 @tab sharp @tab flat @tab double sharp @tab double flat
434 @item @file{nederlands.ly}
435 @tab -is @tab -es @tab -isis @tab -eses
436 @item @file{arabic.ly}
437 @tab -d @tab -b @tab -dd @tab -bb
438 @item @file{catalan.ly}
439 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
440 @item @file{deutsch.ly}
441 @tab -is @tab -es @tab -isis @tab -eses
442 @item @file{english.ly}
443 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
445 @item @file{espanol.ly}
446 @tab -s @tab -b @tab -ss @tab -bb
447 @item @file{italiano.ly}
448 @tab -d @tab -b @tab -dd @tab -bb
449 @item @file{norsk.ly}
450 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
452 @item @file{portugues.ly}
453 @tab -s @tab -b @tab -ss @tab -bb
454 @item @file{suomi.ly}
455 @tab -is @tab -es @tab -isis @tab -eses
456 @item @file{svenska.ly}
457 @tab -iss @tab -ess @tab -ississ @tab -essess
458 @item @file{vlaams.ly}
459 @tab -k @tab -b @tab -kk @tab -bb
463 In Dutch, @code{aes} is contracted to @code{as}, but both forms
464 are accepted in LilyPond. Similarly, both @code{es} and
465 @code{ees} are accepted. This also applies to
466 @code{aeses}@tie{}/@tie{}@code{ases} and
467 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
468 contracted names are defined in the corresponding language files.
470 @lilypond[verbatim,quote,relative=2]
471 a2 as e es a ases e eses
481 Some music uses microtones whose alterations are fractions of a
482 @q{normal} sharp or flat. The note names for quarter-tones
483 defined in the various language files are listed in the following
484 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
485 mean @q{half} and @q{one and a half}, respectively. For the other
486 languages, no special names have been defined yet.
489 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
490 @headitem Language File
491 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
493 @item @file{nederlands.ly}
494 @tab -ih @tab -eh @tab -isih @tab -eseh
495 @item @file{arabic.ly}
496 @tab -sd @tab -sb @tab -dsd @tab -bsb
497 @item @file{deutsch.ly}
498 @tab -ih @tab -eh @tab -isih @tab -eseh
499 @item @file{english.ly}
500 @tab -qs @tab -qf @tab -tqs @tab -tqf
501 @item @file{italiano.ly}
502 @tab -sd @tab -sb @tab -dsd @tab -bsb
503 @item @file{portugues.ly}
504 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
517 @node Changing multiple pitches
518 @subsection Changing multiple pitches
520 This section discusses how to modify pitches.
528 @unnumberedsubsubsec Octave checks
530 @cindex octave correction
532 @cindex control pitch
534 @funindex \octaveCheck
535 @funindex controlpitch
537 In relative mode, it is easy to forget an octave changing mark.
538 Octave checks make such errors easier to find by displaying a
539 warning and correcting the octave if a note is found in an
542 To check the octave of a note, specify the absolute octave after
543 the @code{=}@tie{}symbol. This example will generate a warning
544 (and change the pitch) because the second note is the absolute
545 octave @code{d''} instead of @code{d'} as indicated by the octave
548 @lilypond[verbatim,quote]
555 The octave of notes may also be checked with the
556 @code{\octaveCheck}@tie{}@var{controlpitch} command.
557 @var{controlpitch} is specified in absolute mode. This checks
558 that the interval between the previous note and the
559 @var{controlpitch} is within a fourth (i.e., the normal
560 calculation of relative mode). If this check fails, a warning is
561 printed, but the previous note is not changed. Future notes are
562 relative to the @var{controlpitch}.
564 @lilypond[verbatim,quote]
572 Compare the two bars below. The first and third @code{\octaveCheck}
573 checks fail, but the second one does not fail.
575 @lilypond[verbatim,quote]
595 @rinternals{RelativeOctaveCheck}.
599 @unnumberedsubsubsec Transpose
603 @cindex transposition
604 @cindex transposition of pitches
605 @cindex transposition of notes
606 @cindex pitches, transposition of
607 @cindex notes, transposition of
610 A music expression can be transposed with @code{\transpose}. The
614 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
618 This means that @var{musicexpr} is transposed by the interval
619 between the pitches @var{frompitch} and @var{topitch}: any note
620 with pitch @var{frompitch} is changed to @var{topitch} and any
621 other note is transposed by the same interval. Both pitches are
622 entered in absolute mode.
624 Consider a piece written in the key of D-major. It can be
625 transposed up to E-major; note that the key signature is
626 automatically transposed as well.
628 @lilypond[verbatim,quote]
637 @cindex transposing instruments
638 @cindex instruments, transposing
640 If a part written in C (normal @notation{concert pitch}) is to be
641 played on the A clarinet (for which an A is notated as a C and
642 thus sounds a minor third lower than notated), the appropriate
643 part will be produced with:
645 @lilypond[verbatim,quote]
655 Note that we specify @w{@code{\key c \major}} explicitly. If we
656 do not specify a key signature, the notes will be transposed but
657 no key signature will be printed.
659 @code{\transpose} distinguishes between enharmonic pitches: both
660 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
661 transpose up a semitone. The first version will print sharps and
662 the notes will remain on the same scale step, the second version
663 will print flats on the scale step above.
665 @lilypond[verbatim,quote]
666 music = \relative c' { c d e f }
668 \transpose c cis { \music }
669 \transpose c des { \music }
673 @cindex transposing instruments
674 @cindex instruments, transposing
676 @code{\transpose} may also be used in a different way, to input
677 written notes for a transposing instrument. The previous examples
678 show how to enter pitches in C (or @notation{concert pitch}) and
679 typeset them for a transposing instrument, but the opposite is
680 also possible if you for example have a set of instrumental parts
681 and want to print a conductor's score. For example, when entering
682 music for a B-flat trumpet that begins on a notated E (concert D),
686 musicInBflat = @{ e4 @dots{} @}
687 \transpose c bes, \musicInBflat
691 To print this music in F (e.g., rearranging to a French horn) you
692 could wrap the existing music with another @code{\transpose}:
695 musicInBflat = @{ e4 @dots{} @}
696 \transpose f c' @{ \transpose c bes, \musicInBflat @}
700 For more information about transposing instruments,
701 see @ref{Instrument transpositions}.
706 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
707 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
712 @ref{Instrument transpositions}.
718 @rinternals{TransposedMusic}.
727 The relative conversion will not affect @code{\transpose},
728 @code{\chordmode} or @code{\relative} sections in its argument.
729 To use relative mode within transposed music, an additional
730 @code{\relative} must be placed inside @code{\transpose}.
733 @node Displaying pitches
734 @subsection Displaying pitches
736 This section discusses how to alter the output of pitches.
742 * Instrument transpositions::
743 * Automatic accidentals::
749 @unnumberedsubsubsec Clef
762 @cindex mezzosoprano clef
763 @cindex baritone clef
764 @cindex varbaritone clef
768 @cindex clef, ancient
778 @cindex clef, soprano
779 @cindex clef, mezzosoprano
780 @cindex clef, baritone
781 @cindex clef, varbaritone
782 @cindex subbass clef, subbass
784 The clef may be altered. Middle C is shown in every example.
786 @lilypond[verbatim,quote,relative=1]
799 @lilypond[verbatim,quote,relative=1]
821 Further supported clefs are described under @ref{Mensural clefs}
822 and @ref{Gregorian clefs}.
824 @cindex transposing clefs
825 @cindex clef, transposing
826 @cindex octave transposition
827 @cindex choral tenor clef
829 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
830 clef is transposed one octave down or up, respectively,
831 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
832 The clef name must be enclosed in quotes when it contains
833 underscores or digits.
835 @lilypond[verbatim,quote,relative=2]
847 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
848 {tweaking-clef-properties.ly}
853 @ref{Mensural clefs}, @ref{Gregorian clefs}.
859 @rinternals{Clef_engraver},
861 @rinternals{OctavateEight},
862 @rinternals{clef-interface}.
866 @unnumberedsubsubsec Key signature
868 @cindex key signature
871 @c duplicated in Key signature and Accidentals
872 @warning{New users are sometimes confused about accidentals and
873 key signatures. In LilyPond, note names are the raw input; key
874 signatures and clefs determine how this raw input is displayed.
875 An unaltered note like@tie{}@code{c} means @q{C natural},
876 regardless of the key signature or clef. For more information,
877 see @rlearning{Accidentals and key signatures}.}
879 The key signature indicates the tonality in which a piece is
880 played. It is denoted by a set of alterations (flats or sharps)
881 at the start of the staff. The key signature may be altered:
884 \key @var{pitch} @var{mode}
892 @funindex \mixolydian
908 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
909 key signature of @var{pitch}-major or @var{pitch}-minor,
910 respectively. You may also use the standard mode names, also
911 called @notation{church modes}: @code{\ionian}, @code{\dorian},
912 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
913 @code{\aeolian}, and @code{\locrian}.
915 @lilypond[verbatim,quote,relative=2]
925 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
926 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
928 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
929 {non-traditional-key-signatures.ly}
938 @rlearning{Accidentals and key signatures}.
944 @rinternals{KeyChangeEvent},
945 @rinternals{Key_engraver},
946 @rinternals{Key_performer},
947 @rinternals{KeyCancellation},
948 @rinternals{KeySignature},
949 @rinternals{key-cancellation-interface},
950 @rinternals{key-signature-interface}.
953 @node Ottava brackets
954 @unnumberedsubsubsec Ottava brackets
961 @funindex set-octavation
963 @notation{Ottava brackets} introduce an extra transposition of an
964 octave for the staff:
966 @lilypond[verbatim,quote,relative=2]
974 The @code{ottava} function also takes -1 (for 8va bassa),
975 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
980 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
992 @rinternals{Ottava_spanner_engraver},
993 @rinternals{OttavaBracket},
994 @rinternals{ottava-bracket-interface}.
997 @node Instrument transpositions
998 @unnumberedsubsubsec Instrument transpositions
1000 @cindex transposition, MIDI
1001 @cindex transposition, instrument
1002 @cindex transposing instrument
1004 @cindex MIDI transposition
1005 @funindex \transposition
1007 When typesetting scores that involve transposing instruments, some
1008 parts can be typeset in a different pitch than the
1009 @notation{concert pitch}. In these cases, the key of the
1010 @notation{transposing instrument} should be specified; otherwise
1011 the MIDI output and cues in other parts will produce incorrect
1012 pitches. For more information about quotations, see
1013 @ref{Quoting other voices}.
1016 \transposition @var{pitch}
1019 The pitch to use for @code{\transposition} should correspond to
1020 the real sound heard when a@tie{}@code{c'} written on the staff is
1021 played by the transposing instrument. This pitch is entered in
1022 absolute mode, so an instrument that produces a real sound which
1023 is one tone higher than the printed music should use
1024 @w{@code{\transposition d'}}. @code{\transposition} should
1025 @emph{only} be used if the pitches are @emph{not} being entered in
1028 Here are a few notes for violin and B-flat clarinet where the
1029 parts have been entered using the notes and key as they appear in
1030 each part of the conductor's score. The two instruments are
1033 @lilypond[verbatim,quote]
1035 \new Staff = "violin" {
1037 \set Staff.instrumentName = "Vln"
1038 \set Staff.midiInstrument = "violin"
1039 % not strictly necessary, but a good reminder
1046 \new Staff = "clarinet" {
1048 \set Staff.instrumentName = \markup { Cl (B\flat) }
1049 \set Staff.midiInstrument = "clarinet"
1059 The @code{\transposition} may be changed during a piece. For
1060 example, a clarinetist may switch from an A clarinet to a B-flat
1063 @lilypond[verbatim,quote,relative=2]
1064 \set Staff.instrumentName = "Cl (A)"
1069 s1*0^\markup { Switch to B\flat clarinet }
1080 @rglos{concert pitch},
1081 @rglos{transposing instrument}.
1084 @ref{Quoting other voices}, @ref{Transpose}.
1090 @node Automatic accidentals
1091 @unnumberedsubsubsec Automatic accidentals
1093 @cindex accidental style
1094 @cindex accidental style, default
1096 @cindex accidentals, automatic
1097 @cindex automatic accidentals
1098 @cindex default accidental style
1099 @funindex set-accidental-style
1102 There are many different conventions on how to typeset
1103 accidentals. LilyPond provides a function to specify which
1104 accidental style to use. This function is called as follows:
1108 #(set-accidental-style 'voice)
1113 The accidental style applies to the current @code{Staff} by
1114 default (with the exception of the styles @code{piano} and
1115 @code{piano-cautionary}, which are explained below). Optionally,
1116 the function can take a second argument that determines in which
1117 scope the style should be changed. For example, to use the same
1118 style in all staves of the current @code{StaffGroup}, use:
1121 #(set-accidental-style 'voice 'StaffGroup)
1124 The following accidental styles are supported. To demonstrate
1125 each style, we use the following example:
1129 @lilypond[verbatim,quote]
1133 cis'8 fis, d'4 <a cis>8 f bis4 |
1147 \voiceTwo \relative c' {
1151 \change Staff = down
1155 \change Staff = down
1156 <fis, a cis>4 gis <f a d>2 |
1163 \context Staff = "up" {
1164 #(set-accidental-style 'default)
1167 \context Staff = "down" {
1168 #(set-accidental-style 'default)
1175 Note that the last lines of this example can be replaced by the
1176 following, as long as the same accidental style should be used in
1182 \context Staff = "up" @{
1183 %%% change the next line as desired:
1184 #(set-accidental-style 'default 'Score)
1187 \context Staff = "down" @{
1195 @c don't use verbatim in this table.
1199 @cindex default accidental style
1200 @cindex accidental style, default
1203 This is the default typesetting behavior. It corresponds to
1204 eighteenth-century common practice: accidentals are remembered to
1205 the end of the measure in which they occur and only in their own
1206 octave. Thus, in the example below, no natural signs are printed
1207 before the@tie{}@code{b} in the second measure or the
1214 cis'8 fis, d'4 <a cis>8 f bis4 |
1228 \voiceTwo \relative c' {
1232 \change Staff = down
1236 \change Staff = down
1237 <fis, a cis>4 gis <f a d>2 |
1244 \context Staff = "up" {
1245 #(set-accidental-style 'default)
1248 \context Staff = "down" {
1249 #(set-accidental-style 'default)
1258 @cindex accidental style, voice
1259 @cindex voice accidental style
1260 @cindex accidental style, modern
1261 @cindex modern accidental style
1262 @cindex accidental style, modern-cautionary
1263 @cindex modern-cautionary accidental style
1266 The normal behavior is to remember the accidentals at
1267 @code{Staff}-level. In this style, however, accidentals are
1268 typeset individually for each voice. Apart from that, the rule is
1269 similar to @code{default}.
1271 As a result, accidentals from one voice do not get canceled in
1272 other voices, which is often an unwanted result: in the following
1273 example, it is hard to determine whether the second@tie{}@code{a}
1274 should be played natural or sharp. The @code{voice} option should
1275 therefore be used only if the voices are to be read solely by
1276 individual musicians. If the staff is to be used by one musician
1277 (e.g., a conductor or in a piano score) then @code{modern} or
1278 @code{modern-cautionary} should be used instead.
1285 cis'8 fis, d'4 <a cis>8 f bis4 |
1299 \voiceTwo \relative c' {
1303 \change Staff = down
1307 \change Staff = down
1308 <fis, a cis>4 gis <f a d>2 |
1315 \context Staff = "up" {
1316 #(set-accidental-style 'voice)
1319 \context Staff = "down" {
1320 #(set-accidental-style 'voice)
1329 @cindex accidentals, modern style
1330 @cindex modern style accidentals
1333 This rule corresponds to the common practice in the twentieth
1334 century. It prints the same accidentals as @code{default}, with
1335 two exceptions that serve to avoid ambiguity: after temporary
1336 accidentals, cancellation marks are printed also in the following
1337 measure (for notes in the same octave) and, in the same measure,
1338 for notes in other octaves. Hence the naturals before
1339 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1346 cis'8 fis, d'4 <a cis>8 f bis4 |
1360 \voiceTwo \relative c' {
1364 \change Staff = down
1368 \change Staff = down
1369 <fis, a cis>4 gis <f a d>2 |
1376 \context Staff = "up" {
1377 #(set-accidental-style 'modern)
1380 \context Staff = "down" {
1381 #(set-accidental-style 'modern)
1388 @item modern-cautionary
1390 @cindex accidentals, modern cautionary style
1391 @cindex modern accidental style
1392 @cindex modern cautionary accidental style
1393 @cindex modern style accidentals
1394 @cindex modern style cautionary accidentals
1395 @funindex modern-cautionary
1397 This rule is similar to @code{modern}, but the @q{extra}
1398 accidentals (the ones not typeset by @code{default}) are typeset
1399 as cautionary accidentals. They are by default printed with
1400 parentheses, but they can also be printed in reduced size by
1401 defining the @code{cautionary-style} property of
1402 @code{AccidentalSuggestion}.
1408 cis'8 fis, d'4 <a cis>8 f bis4 |
1422 \voiceTwo \relative c' {
1426 \change Staff = down
1430 \change Staff = down
1431 <fis, a cis>4 gis <f a d>2 |
1438 \context Staff = "up" {
1439 #(set-accidental-style 'modern-cautionary)
1442 \context Staff = "down" {
1443 #(set-accidental-style 'modern-cautionary)
1452 @cindex accidental style, modern
1453 @cindex accidentals, modern
1454 @cindex accidentals, multivoice
1455 @cindex modern accidental style
1456 @cindex modern accidentals
1457 @cindex multivoice accidentals
1458 @funindex modern-voice
1460 This rule is used for multivoice accidentals to be read both by
1461 musicians playing one voice and musicians playing all voices.
1462 Accidentals are typeset for each voice, but they @emph{are}
1463 canceled across voices in the same @code{Staff}. Hence,
1464 the@tie{}@code{a} in the last measure is canceled because the
1465 previous cancellation was in a different voice, and
1466 the@tie{}@code{d} in the lower staff is canceled because of the
1467 accidental in a different voice in the previous measure:
1473 cis'8 fis, d'4 <a cis>8 f bis4 |
1487 \voiceTwo \relative c' {
1491 \change Staff = down
1495 \change Staff = down
1496 <fis, a cis>4 gis <f a d>2 |
1503 \context Staff = "up" {
1504 #(set-accidental-style 'modern-voice)
1507 \context Staff = "down" {
1508 #(set-accidental-style 'modern-voice)
1515 @cindex accidental style, cautionary, modern voice
1516 @cindex accidental style, modern voice cautionary
1517 @cindex accidental style, voice, modern cautionary
1518 @funindex modern-voice-cautionary
1520 @item modern-voice-cautionary
1522 This rule is the same as @code{modern-voice}, but with the extra
1523 accidentals (the ones not typeset by @code{voice}) typeset as
1524 cautionaries. Even though all accidentals typeset by
1525 @code{default} @emph{are} typeset with this rule, some of them are
1526 typeset as cautionaries.
1532 cis'8 fis, d'4 <a cis>8 f bis4 |
1546 \voiceTwo \relative c' {
1550 \change Staff = down
1554 \change Staff = down
1555 <fis, a cis>4 gis <f a d>2 |
1562 \context Staff = "up" {
1563 #(set-accidental-style 'modern-voice-cautionary)
1566 \context Staff = "down" {
1567 #(set-accidental-style 'modern-voice-cautionary)
1576 @cindex accidental style, piano
1577 @cindex accidentals, piano
1578 @cindex piano accidental style
1579 @cindex piano accidentals
1582 This rule reflects twentieth-century practice for piano notation.
1583 Its behavior is very similar to @code{modern} style, but here
1584 accidentals also get canceled across the staves in the same
1585 @code{GrandStaff} or @code{PianoStaff}, hence all the
1586 cancellations of the final notes.
1588 This accidental style applies to the current @code{GrandStaff} or
1589 @code{PianoStaff} by default.
1595 cis'8 fis, d'4 <a cis>8 f bis4 |
1609 \voiceTwo \relative c' {
1613 \change Staff = down
1617 \change Staff = down
1618 <fis, a cis>4 gis <f a d>2 |
1625 \context Staff = "up" {
1626 #(set-accidental-style 'piano)
1629 \context Staff = "down" {
1636 @item piano-cautionary
1638 @funindex piano-cautionary
1639 @cindex accidentals, piano cautionary
1640 @cindex cautionary accidentals, piano
1641 @cindex piano cautionary accidentals
1642 @cindex accidental style, piano cautionary
1643 @cindex cautionary accidental style, piano
1644 @cindex piano cautionary accidental style
1646 This is the same as @code{piano} but with the extra accidentals
1647 typeset as cautionaries.
1653 cis'8 fis, d'4 <a cis>8 f bis4 |
1667 \voiceTwo \relative c' {
1671 \change Staff = down
1675 \change Staff = down
1676 <fis, a cis>4 gis <f a d>2 |
1683 \context Staff = "up" {
1684 #(set-accidental-style 'piano-cautionary)
1687 \context Staff = "down" {
1697 @funindex neo-modern
1698 @cindex neo-modern accidental style
1699 @cindex accidental style, neo-modern
1701 This rule reproduces a common practice in contemporary music:
1702 accidentals are printed like with @code{modern}, but they are printed
1703 again if the same note appears later in the same measure -- except
1704 if the note is immediately repeated.
1710 cis'8 fis, d'4 <a cis>8 f bis4 |
1724 \voiceTwo \relative c' {
1728 \change Staff = down
1732 \change Staff = down
1733 <fis, a cis>4 gis <f a d>2 |
1740 \context Staff = "up" {
1741 #(set-accidental-style 'neo-modern)
1744 \context Staff = "down" {
1745 #(set-accidental-style 'neo-modern)
1752 @item neo-modern-cautionary
1754 @funindex neo-modern-cautionary
1755 @cindex neo-modern-cautionary accidental style
1756 @cindex accidental style, neo-modern-cautionary
1758 This rule is similar to @code{neo-modern}, but the extra
1759 accidentals are printed as cautionary accidentals.
1765 cis'8 fis, d'4 <a cis>8 f bis4 |
1779 \voiceTwo \relative c' {
1783 \change Staff = down
1787 \change Staff = down
1788 <fis, a cis>4 gis <f a d>2 |
1795 \context Staff = "up" {
1796 #(set-accidental-style 'neo-modern-cautionary)
1799 \context Staff = "down" {
1800 #(set-accidental-style 'neo-modern-cautionary)
1810 @funindex dodecaphonic
1811 @cindex dodecaphonic accidental style
1812 @cindex dodecaphonic style, neo-modern
1814 This rule reflects a practice introduced by composers at
1815 the beginning of the 20th century, in an attempt to
1816 abolish the hierarchy between natural and non-natural notes.
1817 With this style, @emph{every} note gets an accidental sign,
1818 including natural signs.
1824 cis'8 fis, d'4 <a cis>8 f bis4 |
1838 \voiceTwo \relative c' {
1842 \change Staff = down
1846 \change Staff = down
1847 <fis, a cis>4 gis <f a d>2 |
1854 \context Staff = "up" {
1855 #(set-accidental-style 'dodecaphonic)
1858 \context Staff = "down" {
1859 #(set-accidental-style 'dodecaphonic)
1870 @cindex teaching accidental style
1871 @cindex accidental style, teaching
1873 This rule is intended for students, and makes it easy to create
1874 scale sheets with automagically created cautionary accidentals.
1875 Accidentals are printed like with @code{modern}, but cautionary
1876 accidentals are added for all sharp or flat tones specified by the
1877 key signature, except if the note is immediately repeated.
1883 cis'8 fis, d'4 <a cis>8 f bis4 |
1897 \voiceTwo \relative c' {
1901 \change Staff = down
1905 \change Staff = down
1906 <fis, a cis>4 gis <f a d>2 |
1913 \context Staff = "up" {
1915 #(set-accidental-style 'teaching)
1918 \context Staff = "down" {
1920 #(set-accidental-style 'teaching)
1932 @cindex accidental style, no reset
1933 @cindex no reset accidental style
1935 This is the same as @code{default} but with accidentals lasting
1936 @q{forever} and not only within the same measure:
1942 cis'8 fis, d'4 <a cis>8 f bis4 |
1956 \voiceTwo \relative c' {
1960 \change Staff = down
1964 \change Staff = down
1965 <fis, a cis>4 gis <f a d>2 |
1972 \context Staff = "up" {
1973 #(set-accidental-style 'no-reset)
1976 \context Staff = "down" {
1977 #(set-accidental-style 'no-reset)
1987 @cindex forget accidental style
1988 @cindex accidental style, forget
1990 This is the opposite of @code{no-reset}: Accidentals are not
1991 remembered at all -- and hence all accidentals are typeset
1992 relative to the key signature, regardless of what came before in
1993 the music. Unlike @code{dodecaphonic}, this rule never prints
2000 cis'8 fis, d'4 <a cis>8 f bis4 |
2014 \voiceTwo \relative c' {
2018 \change Staff = down
2022 \change Staff = down
2023 <fis, a cis>4 gis <f a d>2 |
2030 \context Staff = "up" {
2031 #(set-accidental-style 'forget)
2034 \context Staff = "down" {
2035 #(set-accidental-style 'forget)
2045 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2046 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2053 Internals Reference:
2054 @rinternals{Accidental},
2055 @rinternals{Accidental_engraver},
2056 @rinternals{GrandStaff} and
2057 @rinternals{PianoStaff},
2059 @rinternals{AccidentalSuggestion},
2060 @rinternals{AccidentalPlacement},
2061 @rinternals{accidental-suggestion-interface}.
2064 @cindex accidentals and simultaneous notes
2065 @cindex simultaneous notes and accidentals
2066 @cindex accidentals in chords
2067 @cindex chords, accidentals in
2071 Simultaneous notes are considered to be entered in sequential
2072 mode. This means that in a chord the accidentals are typeset as
2073 if the notes in the chord happen one at a time, in the order in
2074 which they appear in the input file. This is a problem when
2075 accidentals in a chord depend on each other, which does not happen
2076 for the default accidental style. The problem can be solved by
2077 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2082 @unnumberedsubsubsec Ambitus
2085 @cindex range of pitches
2088 The term @notation{ambitus} (pl. ambitus) denotes a range of
2089 pitches for a given voice in a part of music. It may also denote
2090 the pitch range that a musical instrument is capable of playing.
2091 Ambitus are printed on vocal parts so that performers can easily
2092 determine if it matches their capabilities.
2094 Ambitus are denoted at the beginning of a piece near the initial
2095 clef. The range is graphically specified by two note heads that
2096 represent the lowest and highest pitches. Accidentals are only
2097 printed if they are not part of the key signature.
2099 @lilypond[verbatim,quote]
2103 \consists "Ambitus_engraver"
2116 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2117 {adding-ambitus-per-voice.ly}
2119 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2120 {ambitus-with-multiple-voices.ly}
2130 Internals Reference:
2131 @rinternals{Ambitus_engraver},
2134 @rinternals{Ambitus},
2135 @rinternals{AmbitusAccidental},
2136 @rinternals{AmbitusLine},
2137 @rinternals{AmbitusNoteHead},
2138 @rinternals{ambitus-interface}.
2143 There is no collision handling in the case of multiple per-voice
2148 @subsection Note heads
2150 This section suggests ways of altering note heads.
2153 * Special note heads::
2154 * Easy notation note heads::
2155 * Shape note heads::
2159 @node Special note heads
2160 @unnumberedsubsubsec Special note heads
2162 @cindex note heads, special
2163 @cindex note heads, cross
2164 @cindex note heads, diamond
2165 @cindex note heads, parlato
2166 @cindex note heads, harmonic
2167 @cindex note heads, guitar
2168 @cindex special note heads
2169 @cindex cross note heads
2170 @cindex diamond note heads
2171 @cindex parlato note heads
2172 @cindex harmonic note heads
2173 @cindex guitar note heads
2174 @cindex note head styles
2175 @cindex styles, note heads
2178 Note heads may be altered:
2180 @lilypond[verbatim,quote,relative=2]
2182 \override NoteHead #'style = #'cross
2184 \revert NoteHead #'style
2188 There is a shorthand for diamond shapes which can only be used
2191 @lilypond[verbatim,quote,relative=2]
2192 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2196 To see all note head styles, see @ref{Note head styles}.
2204 @ref{Note head styles},
2205 @ref{Chorded notes}.
2207 Internals Reference:
2208 @rinternals{note-event},
2209 @rinternals{Note_heads_engraver},
2210 @rinternals{Ledger_line_engraver},
2211 @rinternals{NoteHead},
2212 @rinternals{LedgerLineSpanner},
2213 @rinternals{note-head-interface},
2214 @rinternals{ledger-line-spanner-interface}.
2217 @node Easy notation note heads
2218 @unnumberedsubsubsec Easy notation note heads
2220 @cindex note heads, practice
2221 @cindex practice note heads
2222 @cindex note heads, easy notation
2223 @cindex easy notation
2225 @cindex beginners' music
2226 @cindex music, beginners'
2227 @cindex easy play note heads
2228 @cindex note heads, easy play
2230 The @q{easy play} note head includes a note name inside the head.
2231 It is used in music for beginners. To make the letters readable,
2232 it should be printed in a large font size. To print with a larger
2233 font, see @ref{Setting the staff size}.
2235 @lilypond[verbatim,quote]
2236 #(set-global-staff-size 26)
2248 @funindex \easyHeadsOn
2249 @code{\easyHeadsOn},
2250 @funindex \easyHeadsOff
2251 @code{\easyHeadsOff}.
2257 @ref{Setting the staff size}.
2262 Internals Reference:
2263 @rinternals{note-event},
2264 @rinternals{Note_heads_engraver},
2265 @rinternals{NoteHead},
2266 @rinternals{note-head-interface}.
2269 @node Shape note heads
2270 @unnumberedsubsubsec Shape note heads
2272 @cindex note heads, shape
2273 @cindex note heads, Aiken
2274 @cindex note heads, sacred harp
2276 @cindex Aiken shape note heads
2277 @cindex sacred harp note heads
2279 @funindex \aikenHeads
2280 @funindex \sacredHarpHeads
2282 In shape note head notation, the shape of the note head
2283 corresponds to the harmonic function of a note in the scale. This
2284 notation was popular in nineteenth-century American song books.
2285 Shape note heads can be produced:
2287 @lilypond[verbatim,quote,relative=2]
2294 Shapes are typeset according to the step in the scale, where the
2295 base of the scale is determined by the @code{\key} command.
2299 @funindex \aikenHeads
2301 @funindex \sacredHarpHeads
2302 @code{\sacredHarpHeads}.
2308 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2309 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2312 To see all note head styles, see @ref{Note head styles}.
2320 @ref{Note head styles}.
2322 Internals Reference:
2323 @rinternals{note-event},
2324 @rinternals{Note_heads_engraver},
2325 @rinternals{NoteHead},
2326 @rinternals{note-head-interface}.
2330 @unnumberedsubsubsec Improvisation
2332 @cindex improvisation
2333 @cindex slashed note heads
2334 @cindex note heads, improvisation
2335 @cindex note heads, slashed
2337 Improvisation is sometimes denoted with slashed note heads, where
2338 the performer may choose any pitch but should play the specified
2339 rhythm. Such note heads can be created:
2341 @lilypond[verbatim,quote,relative=2]
2343 \consists "Pitch_squash_engraver"
2345 e8 e g a a16( bes) a8 g
2357 @funindex \improvisationOn
2358 @code{\improvisationOn},
2359 @funindex \improvisationOff
2360 @code{\improvisationOff}.
2368 Internals Reference:
2369 @rinternals{Pitch_squash_engraver},
2371 @rinternals{RhythmicStaff}.