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]
218 @rinternals{RelativeOctaveMusic}.
221 @cindex relative octave entry and transposition
222 @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
518 @node Changing multiple pitches
519 @subsection Changing multiple pitches
521 This section discusses how to modify pitches.
529 @unnumberedsubsubsec Octave checks
531 @cindex octave correction
533 @cindex control pitch
535 @funindex \octaveCheck
536 @funindex controlpitch
538 In relative mode, it is easy to forget an octave changing mark.
539 Octave checks make such errors easier to find by displaying a
540 warning and correcting the octave if a note is found in an
543 To check the octave of a note, specify the absolute octave after
544 the @code{=}@tie{}symbol. This example will generate a warning
545 (and change the pitch) because the second note is the absolute
546 octave @code{d''} instead of @code{d'} as indicated by the octave
549 @lilypond[verbatim,quote]
556 The octave of notes may also be checked with the
557 @code{\octaveCheck}@tie{}@var{controlpitch} command.
558 @var{controlpitch} is specified in absolute mode. This checks
559 that the interval between the previous note and the
560 @var{controlpitch} is within a fourth (i.e., the normal
561 calculation of relative mode). If this check fails, a warning is
562 printed, but the previous note is not changed. Future notes are
563 relative to the @var{controlpitch}.
565 @lilypond[verbatim,quote]
573 Compare the two bars below. The first and third @code{\octaveCheck}
574 checks fail, but the second one does not fail.
576 @lilypond[verbatim,quote]
597 @rinternals{RelativeOctaveCheck}.
601 @unnumberedsubsubsec Transpose
605 @cindex transposition
606 @cindex transposition of pitches
607 @cindex transposition of notes
608 @cindex pitches, transposition of
609 @cindex notes, transposition of
612 A music expression can be transposed with @code{\transpose}. The
616 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
620 This means that @var{musicexpr} is transposed by the interval
621 between the pitches @var{frompitch} and @var{topitch}: any note
622 with pitch @var{frompitch} is changed to @var{topitch} and any
623 other note is transposed by the same interval. Both pitches are
624 entered in absolute mode.
626 Consider a piece written in the key of D-major. It can be
627 transposed up to E-major; note that the key signature is
628 automatically transposed as well.
630 @lilypond[verbatim,quote]
639 @cindex transposing instruments
640 @cindex instruments, transposing
642 If a part written in C (normal @notation{concert pitch}) is to be
643 played on the A clarinet (for which an A is notated as a C and
644 thus sounds a minor third lower than notated), the appropriate
645 part will be produced with:
647 @lilypond[verbatim,quote]
657 Note that we specify @w{@code{\key c \major}} explicitly. If we
658 do not specify a key signature, the notes will be transposed but
659 no key signature will be printed.
661 @code{\transpose} distinguishes between enharmonic pitches: both
662 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
663 transpose up a semitone. The first version will print sharps and
664 the notes will remain on the same scale step, the second version
665 will print flats on the scale step above.
667 @lilypond[verbatim,quote]
668 music = \relative c' { c d e f }
670 \transpose c cis { \music }
671 \transpose c des { \music }
675 @cindex transposing instruments
676 @cindex instruments, transposing
678 @code{\transpose} may also be used in a different way, to input
679 written notes for a transposing instrument. The previous examples
680 show how to enter pitches in C (or @notation{concert pitch}) and
681 typeset them for a transposing instrument, but the opposite is
682 also possible if you for example have a set of instrumental parts
683 and want to print a conductor's score. For example, when entering
684 music for a B-flat trumpet that begins on a notated E (concert D),
688 musicInBflat = @{ e4 @dots{} @}
689 \transpose c bes, \musicInBflat
693 To print this music in F (e.g., rearranging to a French horn) you
694 could wrap the existing music with another @code{\transpose}:
697 musicInBflat = @{ e4 @dots{} @}
698 \transpose f c' @{ \transpose c bes, \musicInBflat @}
702 For more information about transposing instruments,
703 see @ref{Instrument transpositions}.
708 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
709 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
715 @ref{Instrument transpositions}.
721 @rinternals{TransposedMusic}.
729 The relative conversion will not affect @code{\transpose},
730 @code{\chordmode} or @code{\relative} sections in its argument.
731 To use relative mode within transposed music, an additional
732 @code{\relative} must be placed inside @code{\transpose}.
735 @node Displaying pitches
736 @subsection Displaying pitches
738 This section discusses how to alter the output of pitches.
744 * Instrument transpositions::
745 * Automatic accidentals::
751 @unnumberedsubsubsec Clef
764 @cindex mezzosoprano clef
765 @cindex baritone clef
766 @cindex varbaritone clef
770 @cindex clef, ancient
780 @cindex clef, soprano
781 @cindex clef, mezzosoprano
782 @cindex clef, baritone
783 @cindex clef, varbaritone
784 @cindex subbass clef, subbass
786 The clef may be altered. Middle C is shown in every example.
788 @lilypond[verbatim,quote,relative=1]
801 @lilypond[verbatim,quote,relative=1]
823 Further supported clefs are described under @ref{Mensural clefs}
824 and @ref{Gregorian clefs}.
826 @cindex transposing clefs
827 @cindex clef, transposing
828 @cindex octave transposition
829 @cindex choral tenor clef
831 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
832 clef is transposed one octave down or up, respectively,
833 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
834 The clef name must be enclosed in quotes when it contains
835 underscores or digits.
837 @lilypond[verbatim,quote,relative=2]
849 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
850 {tweaking-clef-properties.ly}
856 @ref{Mensural clefs}, @ref{Gregorian clefs}.
862 @rinternals{Clef_engraver},
864 @rinternals{OctavateEight},
865 @rinternals{clef-interface}.
869 @unnumberedsubsubsec Key signature
871 @cindex key signature
874 @c duplicated in Key signature and Accidentals
875 @warning{New users are sometimes confused about accidentals and
876 key signatures. In LilyPond, note names are the raw input; key
877 signatures and clefs determine how this raw input is displayed.
878 An unaltered note like@tie{}@code{c} means @q{C natural},
879 regardless of the key signature or clef. For more information,
880 see @rlearning{Accidentals and key signatures}.}
882 The key signature indicates the tonality in which a piece is
883 played. It is denoted by a set of alterations (flats or sharps)
884 at the start of the staff. The key signature may be altered:
887 \key @var{pitch} @var{mode}
895 @funindex \mixolydian
911 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
912 key signature of @var{pitch}-major or @var{pitch}-minor,
913 respectively. You may also use the standard mode names, also
914 called @notation{church modes}: @code{\ionian}, @code{\dorian},
915 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
916 @code{\aeolian}, and @code{\locrian}.
918 @lilypond[verbatim,quote,relative=2]
928 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
929 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
931 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
932 {non-traditional-key-signatures.ly}
942 @rlearning{Accidentals and key signatures}.
948 @rinternals{KeyChangeEvent},
949 @rinternals{Key_engraver},
950 @rinternals{Key_performer},
951 @rinternals{KeyCancellation},
952 @rinternals{KeySignature},
953 @rinternals{key-cancellation-interface},
954 @rinternals{key-signature-interface}.
957 @node Ottava brackets
958 @unnumberedsubsubsec Ottava brackets
965 @funindex set-octavation
967 @notation{Ottava brackets} introduce an extra transposition of an
968 octave for the staff:
970 @lilypond[verbatim,quote,relative=2]
978 The @code{ottava} function also takes -1 (for 8va bassa),
979 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
984 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
997 @rinternals{Ottava_spanner_engraver},
998 @rinternals{OttavaBracket},
999 @rinternals{ottava-bracket-interface}.
1003 @node Instrument transpositions
1004 @unnumberedsubsubsec Instrument transpositions
1006 @cindex transposition, MIDI
1007 @cindex transposition, instrument
1008 @cindex transposing instrument
1010 @cindex MIDI transposition
1011 @funindex \transposition
1013 When typesetting scores that involve transposing instruments, some
1014 parts can be typeset in a different pitch than the
1015 @notation{concert pitch}. In these cases, the key of the
1016 @notation{transposing instrument} should be specified; otherwise
1017 the MIDI output and cues in other parts will produce incorrect
1018 pitches. For more information about quotations, see
1019 @ref{Quoting other voices}.
1022 \transposition @var{pitch}
1025 The pitch to use for @code{\transposition} should correspond to
1026 the real sound heard when a@tie{}@code{c'} written on the staff is
1027 played by the transposing instrument. This pitch is entered in
1028 absolute mode, so an instrument that produces a real sound which
1029 is one tone higher than the printed music should use
1030 @w{@code{\transposition d'}}. @code{\transposition} should
1031 @emph{only} be used if the pitches are @emph{not} being entered in
1034 Here are a few notes for violin and B-flat clarinet where the
1035 parts have been entered using the notes and key as they appear in
1036 each part of the conductor's score. The two instruments are
1039 @lilypond[verbatim,quote]
1041 \new Staff = "violin" {
1043 \set Staff.instrumentName = "Vln"
1044 \set Staff.midiInstrument = "violin"
1045 % not strictly necessary, but a good reminder
1052 \new Staff = "clarinet" {
1054 \set Staff.instrumentName = \markup { Cl (B\flat) }
1055 \set Staff.midiInstrument = "clarinet"
1065 The @code{\transposition} may be changed during a piece. For
1066 example, a clarinetist may switch from an A clarinet to a B-flat
1069 @lilypond[verbatim,quote,relative=2]
1070 \set Staff.instrumentName = "Cl (A)"
1075 s1*0^\markup { Switch to B\flat clarinet }
1087 @rglos{concert pitch},
1088 @rglos{transposing instrument}.
1091 @ref{Quoting other voices}, @ref{Transpose}.
1097 @node Automatic accidentals
1098 @unnumberedsubsubsec Automatic accidentals
1100 @cindex accidental style
1101 @cindex accidental style, default
1103 @cindex accidentals, automatic
1104 @cindex automatic accidentals
1105 @cindex default accidental style
1106 @funindex set-accidental-style
1109 There are many different conventions on how to typeset
1110 accidentals. LilyPond provides a function to specify which
1111 accidental style to use. This function is called as follows:
1115 #(set-accidental-style 'voice)
1120 The accidental style applies to the current @code{Staff} by
1121 default (with the exception of the styles @code{piano} and
1122 @code{piano-cautionary}, which are explained below). Optionally,
1123 the function can take a second argument that determines in which
1124 scope the style should be changed. For example, to use the same
1125 style in all staves of the current @code{StaffGroup}, use:
1128 #(set-accidental-style 'voice 'StaffGroup)
1131 The following accidental styles are supported. To demonstrate
1132 each style, we use the following example:
1136 @lilypond[verbatim,quote]
1140 cis'8 fis, d'4 <a cis>8 f bis4 |
1154 \voiceTwo \relative c' {
1158 \change Staff = down
1162 \change Staff = down
1163 <fis, a cis>4 gis <f a d>2 |
1170 \context Staff = "up" {
1171 #(set-accidental-style 'default)
1174 \context Staff = "down" {
1175 #(set-accidental-style 'default)
1182 Note that the last lines of this example can be replaced by the
1183 following, as long as the same accidental style should be used in
1189 \context Staff = "up" @{
1190 %%% change the next line as desired:
1191 #(set-accidental-style 'default 'Score)
1194 \context Staff = "down" @{
1202 @c don't use verbatim in this table.
1206 @cindex default accidental style
1207 @cindex accidental style, default
1210 This is the default typesetting behavior. It corresponds to
1211 eighteenth-century common practice: accidentals are remembered to
1212 the end of the measure in which they occur and only in their own
1213 octave. Thus, in the example below, no natural signs are printed
1214 before the@tie{}@code{b} in the second measure or the
1221 cis'8 fis, d'4 <a cis>8 f bis4 |
1235 \voiceTwo \relative c' {
1239 \change Staff = down
1243 \change Staff = down
1244 <fis, a cis>4 gis <f a d>2 |
1251 \context Staff = "up" {
1252 #(set-accidental-style 'default)
1255 \context Staff = "down" {
1256 #(set-accidental-style 'default)
1265 @cindex accidental style, voice
1266 @cindex voice accidental style
1267 @cindex accidental style, modern
1268 @cindex modern accidental style
1269 @cindex accidental style, modern-cautionary
1270 @cindex modern-cautionary accidental style
1273 The normal behavior is to remember the accidentals at
1274 @code{Staff}-level. In this style, however, accidentals are
1275 typeset individually for each voice. Apart from that, the rule is
1276 similar to @code{default}.
1278 As a result, accidentals from one voice do not get canceled in
1279 other voices, which is often an unwanted result: in the following
1280 example, it is hard to determine whether the second@tie{}@code{a}
1281 should be played natural or sharp. The @code{voice} option should
1282 therefore be used only if the voices are to be read solely by
1283 individual musicians. If the staff is to be used by one musician
1284 (e.g., a conductor or in a piano score) then @code{modern} or
1285 @code{modern-cautionary} should be used instead.
1292 cis'8 fis, d'4 <a cis>8 f bis4 |
1306 \voiceTwo \relative c' {
1310 \change Staff = down
1314 \change Staff = down
1315 <fis, a cis>4 gis <f a d>2 |
1322 \context Staff = "up" {
1323 #(set-accidental-style 'voice)
1326 \context Staff = "down" {
1327 #(set-accidental-style 'voice)
1336 @cindex accidentals, modern style
1337 @cindex modern style accidentals
1340 This rule corresponds to the common practice in the twentieth
1341 century. It prints the same accidentals as @code{default}, with
1342 two exceptions that serve to avoid ambiguity: after temporary
1343 accidentals, cancellation marks are printed also in the following
1344 measure (for notes in the same octave) and, in the same measure,
1345 for notes in other octaves. Hence the naturals before
1346 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1353 cis'8 fis, d'4 <a cis>8 f bis4 |
1367 \voiceTwo \relative c' {
1371 \change Staff = down
1375 \change Staff = down
1376 <fis, a cis>4 gis <f a d>2 |
1383 \context Staff = "up" {
1384 #(set-accidental-style 'modern)
1387 \context Staff = "down" {
1388 #(set-accidental-style 'modern)
1395 @item modern-cautionary
1397 @cindex accidentals, modern cautionary style
1398 @cindex modern accidental style
1399 @cindex modern cautionary accidental style
1400 @cindex modern style accidentals
1401 @cindex modern style cautionary accidentals
1402 @funindex modern-cautionary
1404 This rule is similar to @code{modern}, but the @q{extra}
1405 accidentals (the ones not typeset by @code{default}) are typeset
1406 as cautionary accidentals. They are by default printed with
1407 parentheses, but they can also be printed in reduced size by
1408 defining the @code{cautionary-style} property of
1409 @code{AccidentalSuggestion}.
1415 cis'8 fis, d'4 <a cis>8 f bis4 |
1429 \voiceTwo \relative c' {
1433 \change Staff = down
1437 \change Staff = down
1438 <fis, a cis>4 gis <f a d>2 |
1445 \context Staff = "up" {
1446 #(set-accidental-style 'modern-cautionary)
1449 \context Staff = "down" {
1450 #(set-accidental-style 'modern-cautionary)
1459 @cindex accidental style, modern
1460 @cindex accidentals, modern
1461 @cindex accidentals, multivoice
1462 @cindex modern accidental style
1463 @cindex modern accidentals
1464 @cindex multivoice accidentals
1465 @funindex modern-voice
1467 This rule is used for multivoice accidentals to be read both by
1468 musicians playing one voice and musicians playing all voices.
1469 Accidentals are typeset for each voice, but they @emph{are}
1470 canceled across voices in the same @code{Staff}. Hence,
1471 the@tie{}@code{a} in the last measure is canceled because the
1472 previous cancellation was in a different voice, and
1473 the@tie{}@code{d} in the lower staff is canceled because of the
1474 accidental in a different voice in the previous measure:
1480 cis'8 fis, d'4 <a cis>8 f bis4 |
1494 \voiceTwo \relative c' {
1498 \change Staff = down
1502 \change Staff = down
1503 <fis, a cis>4 gis <f a d>2 |
1510 \context Staff = "up" {
1511 #(set-accidental-style 'modern-voice)
1514 \context Staff = "down" {
1515 #(set-accidental-style 'modern-voice)
1522 @cindex accidental style, cautionary, modern voice
1523 @cindex accidental style, modern voice cautionary
1524 @cindex accidental style, voice, modern cautionary
1525 @funindex modern-voice-cautionary
1527 @item modern-voice-cautionary
1529 This rule is the same as @code{modern-voice}, but with the extra
1530 accidentals (the ones not typeset by @code{voice}) typeset as
1531 cautionaries. Even though all accidentals typeset by
1532 @code{default} @emph{are} typeset with this rule, some of them are
1533 typeset as cautionaries.
1539 cis'8 fis, d'4 <a cis>8 f bis4 |
1553 \voiceTwo \relative c' {
1557 \change Staff = down
1561 \change Staff = down
1562 <fis, a cis>4 gis <f a d>2 |
1569 \context Staff = "up" {
1570 #(set-accidental-style 'modern-voice-cautionary)
1573 \context Staff = "down" {
1574 #(set-accidental-style 'modern-voice-cautionary)
1583 @cindex accidental style, piano
1584 @cindex accidentals, piano
1585 @cindex piano accidental style
1586 @cindex piano accidentals
1589 This rule reflects twentieth-century practice for piano notation.
1590 Its behavior is very similar to @code{modern} style, but here
1591 accidentals also get canceled across the staves in the same
1592 @code{GrandStaff} or @code{PianoStaff}, hence all the
1593 cancellations of the final notes.
1595 This accidental style applies to the current @code{GrandStaff} or
1596 @code{PianoStaff} by default.
1602 cis'8 fis, d'4 <a cis>8 f bis4 |
1616 \voiceTwo \relative c' {
1620 \change Staff = down
1624 \change Staff = down
1625 <fis, a cis>4 gis <f a d>2 |
1632 \context Staff = "up" {
1633 #(set-accidental-style 'piano)
1636 \context Staff = "down" {
1643 @item piano-cautionary
1645 @funindex piano-cautionary
1646 @cindex accidentals, piano cautionary
1647 @cindex cautionary accidentals, piano
1648 @cindex piano cautionary accidentals
1649 @cindex accidental style, piano cautionary
1650 @cindex cautionary accidental style, piano
1651 @cindex piano cautionary accidental style
1653 This is the same as @code{piano} but with the extra accidentals
1654 typeset as cautionaries.
1660 cis'8 fis, d'4 <a cis>8 f bis4 |
1674 \voiceTwo \relative c' {
1678 \change Staff = down
1682 \change Staff = down
1683 <fis, a cis>4 gis <f a d>2 |
1690 \context Staff = "up" {
1691 #(set-accidental-style 'piano-cautionary)
1694 \context Staff = "down" {
1704 @funindex neo-modern
1705 @cindex neo-modern accidental style
1706 @cindex accidental style, neo-modern
1708 This rule reproduces a common practice in contemporary music:
1709 accidentals are printed like with @code{modern}, but they are printed
1710 again if the same note appears later in the same measure -- except
1711 if the note is immediately repeated.
1717 cis'8 fis, d'4 <a cis>8 f bis4 |
1731 \voiceTwo \relative c' {
1735 \change Staff = down
1739 \change Staff = down
1740 <fis, a cis>4 gis <f a d>2 |
1747 \context Staff = "up" {
1748 #(set-accidental-style 'neo-modern)
1751 \context Staff = "down" {
1752 #(set-accidental-style 'neo-modern)
1759 @item neo-modern-cautionary
1761 @funindex neo-modern-cautionary
1762 @cindex neo-modern-cautionary accidental style
1763 @cindex accidental style, neo-modern-cautionary
1765 This rule is similar to @code{neo-modern}, but the extra
1766 accidentals are printed as cautionary accidentals.
1772 cis'8 fis, d'4 <a cis>8 f bis4 |
1786 \voiceTwo \relative c' {
1790 \change Staff = down
1794 \change Staff = down
1795 <fis, a cis>4 gis <f a d>2 |
1802 \context Staff = "up" {
1803 #(set-accidental-style 'neo-modern-cautionary)
1806 \context Staff = "down" {
1807 #(set-accidental-style 'neo-modern-cautionary)
1817 @funindex dodecaphonic
1818 @cindex dodecaphonic accidental style
1819 @cindex dodecaphonic style, neo-modern
1821 This rule reflects a practice introduced by composers at
1822 the beginning of the 20th century, in an attempt to
1823 abolish the hierarchy between natural and non-natural notes.
1824 With this style, @emph{every} note gets an accidental sign,
1825 including natural signs.
1831 cis'8 fis, d'4 <a cis>8 f bis4 |
1845 \voiceTwo \relative c' {
1849 \change Staff = down
1853 \change Staff = down
1854 <fis, a cis>4 gis <f a d>2 |
1861 \context Staff = "up" {
1862 #(set-accidental-style 'dodecaphonic)
1865 \context Staff = "down" {
1866 #(set-accidental-style 'dodecaphonic)
1877 @cindex teaching accidental style
1878 @cindex accidental style, teaching
1880 This rule is intended for students, and makes it easy to create
1881 scale sheets with automagically created cautionary accidentals.
1882 Accidentals are printed like with @code{modern}, but cautionary
1883 accidentals are added for all sharp or flat tones specified by the
1884 key signature, except if the note is immediately repeated.
1890 cis'8 fis, d'4 <a cis>8 f bis4 |
1904 \voiceTwo \relative c' {
1908 \change Staff = down
1912 \change Staff = down
1913 <fis, a cis>4 gis <f a d>2 |
1920 \context Staff = "up" {
1922 #(set-accidental-style 'teaching)
1925 \context Staff = "down" {
1927 #(set-accidental-style 'teaching)
1939 @cindex accidental style, no reset
1940 @cindex no reset accidental style
1942 This is the same as @code{default} but with accidentals lasting
1943 @q{forever} and not only within the same measure:
1949 cis'8 fis, d'4 <a cis>8 f bis4 |
1963 \voiceTwo \relative c' {
1967 \change Staff = down
1971 \change Staff = down
1972 <fis, a cis>4 gis <f a d>2 |
1979 \context Staff = "up" {
1980 #(set-accidental-style 'no-reset)
1983 \context Staff = "down" {
1984 #(set-accidental-style 'no-reset)
1994 @cindex forget accidental style
1995 @cindex accidental style, forget
1997 This is the opposite of @code{no-reset}: Accidentals are not
1998 remembered at all -- and hence all accidentals are typeset
1999 relative to the key signature, regardless of what came before in
2000 the music. Unlike @code{dodecaphonic}, this rule never prints
2007 cis'8 fis, d'4 <a cis>8 f bis4 |
2021 \voiceTwo \relative c' {
2025 \change Staff = down
2029 \change Staff = down
2030 <fis, a cis>4 gis <f a d>2 |
2037 \context Staff = "up" {
2038 #(set-accidental-style 'forget)
2041 \context Staff = "down" {
2042 #(set-accidental-style 'forget)
2052 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2053 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2061 Internals Reference:
2062 @rinternals{Accidental},
2063 @rinternals{Accidental_engraver},
2064 @rinternals{GrandStaff} and
2065 @rinternals{PianoStaff},
2067 @rinternals{AccidentalSuggestion},
2068 @rinternals{AccidentalPlacement},
2069 @rinternals{accidental-suggestion-interface}.
2072 @cindex accidentals and simultaneous notes
2073 @cindex simultaneous notes and accidentals
2074 @cindex accidentals in chords
2075 @cindex chords, accidentals in
2079 Simultaneous notes are considered to be entered in sequential
2080 mode. This means that in a chord the accidentals are typeset as
2081 if the notes in the chord happen one at a time, in the order in
2082 which they appear in the input file. This is a problem when
2083 accidentals in a chord depend on each other, which does not happen
2084 for the default accidental style. The problem can be solved by
2085 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2090 @unnumberedsubsubsec Ambitus
2093 @cindex range of pitches
2096 The term @notation{ambitus} (pl. ambitus) denotes a range of
2097 pitches for a given voice in a part of music. It may also denote
2098 the pitch range that a musical instrument is capable of playing.
2099 Ambitus are printed on vocal parts so that performers can easily
2100 determine if it matches their capabilities.
2102 Ambitus are denoted at the beginning of a piece near the initial
2103 clef. The range is graphically specified by two note heads that
2104 represent the lowest and highest pitches. Accidentals are only
2105 printed if they are not part of the key signature.
2107 @lilypond[verbatim,quote]
2111 \consists "Ambitus_engraver"
2124 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2125 {adding-ambitus-per-voice.ly}
2127 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2128 {ambitus-with-multiple-voices.ly}
2139 Internals Reference:
2140 @rinternals{Ambitus_engraver},
2143 @rinternals{Ambitus},
2144 @rinternals{AmbitusAccidental},
2145 @rinternals{AmbitusLine},
2146 @rinternals{AmbitusNoteHead},
2147 @rinternals{ambitus-interface}.
2152 There is no collision handling in the case of multiple per-voice
2157 @subsection Note heads
2159 This section suggests ways of altering note heads.
2162 * Special note heads::
2163 * Easy notation note heads::
2164 * Shape note heads::
2168 @node Special note heads
2169 @unnumberedsubsubsec Special note heads
2171 @cindex note heads, special
2172 @cindex note heads, cross
2173 @cindex note heads, diamond
2174 @cindex note heads, parlato
2175 @cindex note heads, harmonic
2176 @cindex note heads, guitar
2177 @cindex special note heads
2178 @cindex cross note heads
2179 @cindex diamond note heads
2180 @cindex parlato note heads
2181 @cindex harmonic note heads
2182 @cindex guitar note heads
2183 @cindex note head styles
2184 @cindex styles, note heads
2187 Note heads may be altered:
2189 @lilypond[verbatim,quote,relative=2]
2191 \override NoteHead #'style = #'cross
2193 \revert NoteHead #'style
2197 There is a shorthand for diamond shapes which can only be used
2200 @lilypond[verbatim,quote,relative=2]
2201 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2205 To see all note head styles, see @ref{Note head styles}.
2213 @ref{Note head styles},
2214 @ref{Chorded notes}.
2216 Internals Reference:
2217 @rinternals{note-event},
2218 @rinternals{Note_heads_engraver},
2219 @rinternals{Ledger_line_engraver},
2220 @rinternals{NoteHead},
2221 @rinternals{LedgerLineSpanner},
2222 @rinternals{note-head-interface},
2223 @rinternals{ledger-line-spanner-interface}.
2226 @node Easy notation note heads
2227 @unnumberedsubsubsec Easy notation note heads
2229 @cindex note heads, practice
2230 @cindex practice note heads
2231 @cindex note heads, easy notation
2232 @cindex easy notation
2234 @cindex beginners' music
2235 @cindex music, beginners'
2236 @cindex easy play note heads
2237 @cindex note heads, easy play
2239 The @q{easy play} note head includes a note name inside the head.
2240 It is used in music for beginners. To make the letters readable,
2241 it should be printed in a large font size. To print with a larger
2242 font, see @ref{Setting the staff size}.
2244 @lilypond[verbatim,quote]
2245 #(set-global-staff-size 26)
2257 @funindex \easyHeadsOn
2258 @code{\easyHeadsOn},
2259 @funindex \easyHeadsOff
2260 @code{\easyHeadsOff}.
2267 @ref{Setting the staff size}.
2272 Internals Reference:
2273 @rinternals{note-event},
2274 @rinternals{Note_heads_engraver},
2275 @rinternals{NoteHead},
2276 @rinternals{note-head-interface}.
2279 @node Shape note heads
2280 @unnumberedsubsubsec Shape note heads
2282 @cindex note heads, shape
2283 @cindex note heads, Aiken
2284 @cindex note heads, sacred harp
2286 @cindex Aiken shape note heads
2287 @cindex sacred harp note heads
2289 @funindex \aikenHeads
2290 @funindex \sacredHarpHeads
2292 In shape note head notation, the shape of the note head
2293 corresponds to the harmonic function of a note in the scale. This
2294 notation was popular in nineteenth-century American song books.
2295 Shape note heads can be produced:
2297 @lilypond[verbatim,quote,relative=2]
2304 Shapes are typeset according to the step in the scale, where the
2305 base of the scale is determined by the @code{\key} command.
2309 @funindex \aikenHeads
2311 @funindex \sacredHarpHeads
2312 @code{\sacredHarpHeads}.
2318 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2319 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2322 To see all note head styles, see @ref{Note head styles}.
2330 @ref{Note head styles}.
2332 Internals Reference:
2333 @rinternals{note-event},
2334 @rinternals{Note_heads_engraver},
2335 @rinternals{NoteHead},
2336 @rinternals{note-head-interface}.
2340 @unnumberedsubsubsec Improvisation
2342 @cindex improvisation
2343 @cindex slashed note heads
2344 @cindex note heads, improvisation
2345 @cindex note heads, slashed
2347 Improvisation is sometimes denoted with slashed note heads, where
2348 the performer may choose any pitch but should play the specified
2349 rhythm. Such note heads can be created:
2351 @lilypond[verbatim,quote,relative=2]
2353 \consists "Pitch_squash_engraver"
2355 e8 e g a a16( bes) a8 g
2367 @funindex \improvisationOn
2368 @code{\improvisationOn},
2369 @funindex \improvisationOff
2370 @code{\improvisationOff}.
2379 Internals Reference:
2380 @rinternals{Pitch_squash_engraver},
2382 @rinternals{RhythmicStaff}.