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 octave specification, absolute
51 @cindex absolute octave entry
52 @cindex octave entry, absolute
54 A pitch name is specified using lowercase letters@tie{}@code{a}
55 through@tie{}@code{g}. The note names @code{c} to @code{b} are
56 engraved in the octave below middle C.
59 @lilypond[verbatim,quote,fragment]
66 @cindex octave changing mark
71 Other octaves may be specified with a single quote@tie{}(@code{'})
72 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
73 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
76 @lilypond[verbatim,quote,fragment]
94 @node Relative octave entry
95 @unnumberedsubsubsec Relative octave entry
98 @cindex relative octave entry
99 @cindex octave entry, relative
100 @cindex relative octave specification
101 @cindex ocatve specification, relative
106 When octaves are specified in absolute mode it is easy to
107 accidentally put a pitch in the wrong octave. Relative octave
108 mode reduces these errors since most of the time it is not
109 necessary to indicate any octaves at all. Furthermore, in
110 absolute mode a single mistake may be difficult to spot, while in
111 relative mode a single error puts the rest of the piece off by one
115 \relative @var{startpitch} @var{musicexpr}
118 In relative mode, each note is assumed to be as close to the
119 previous note as possible. This means that the octave of each
120 pitch inside @var{musicexpr} is calculated as follows:
124 If no octave changing mark is used on a pitch, its octave is
125 calculated so that the interval with the previous note is less
126 than a fifth. This interval is determined without considering
130 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
131 added to respectively raise or lower a pitch by an extra octave,
132 relative to the pitch calculated without an octave mark.
135 Multiple octave changing marks can be used. For example,
136 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
140 The pitch of the first note is relative to
141 @code{@var{startpitch}}. @var{startpitch} is specified in
142 absolute octave mode, and it is recommended that it be a octave of
147 Here is the relative mode shown in action:
149 @lilypond[verbatim,quote]
158 Octave changing marks are used for intervals greater than a
161 @lilypond[verbatim,quote]
168 A note sequence without a single octave mark can nevertheless span
171 @lilypond[verbatim,quote]
178 @cindex chords and relative octave entry
179 @cindex relative octave entry and chords
181 If the preceding item is a chord, the first note of the chord is
182 used as the reference point for the octave placement of a
183 following note or chord. Inside chords, the next note is always
184 relative to the preceding one. Examine the next example
185 carefully, paying attention to the @code{c} notes.
187 @lilypond[verbatim,quote]
196 As explained above, the octave of pitches is calculated only with
197 the note names, regardless of any alterations. Therefore, an
198 E-double-sharp following a B will be placed higher, while an
199 F-double-flat will be placed lower. In other words, a
200 double-augmented fourth is considered a smaller interval than a
201 double-diminished fifth, regardless of the number of semitones
202 that each interval contains.
204 @lilypond[verbatim,quote]
227 @rinternals{RelativeOctaveMusic}.
230 @cindex relative octave entry and transposition
231 @cindex transposition and relative octave entry
243 The relative conversion will not affect @code{\transpose},
244 @code{\chordmode} or @code{\relative} sections in its argument.
245 To use relative mode within transposed music, an additional
246 @code{\relative} must be placed inside @code{\transpose}.
249 If no @var{startpitch} is specified for @code{\relative},
250 then@tie{}@code{c'} is assumed. However, this is a deprecated
251 option and may disappear in future versions, so its use is
257 @unnumberedsubsubsec Accidentals
260 @cindex key signature
263 @c duplicated in Key signature and Accidentals
264 @warning{New users are sometimes confused about accidentals and
265 key signatures. In LilyPond, note names are the raw input; key
266 signatures and clefs determine how this raw input is displayed.
267 An unaltered note like@tie{}@code{c} means @q{C natural},
268 regardless of the key signature or clef. For more information,
269 see @rlearning{Accidentals and key signatures}.}
271 @cindex note names, Dutch
272 @cindex note names, default
273 @cindex default note names
277 @cindex sharp, double
281 @cindex natural pitch
283 A @notation{sharp} pitch is made by adding @code{is} to the note
284 name, and a @notation{flat} pitch by adding @code{es}. As you
285 might expect, a @notation{double sharp} or @notation{double flat}
286 is made by adding @code{isis} or @code{eses}. This syntax is
287 derived from Dutch note naming conventions. To use other names
288 for accidentals, see @ref{Note names in other languages}.
290 @lilypond[verbatim,quote,relative=2]
294 A natural will cancel the effect of an accidental or key
295 signature. However, naturals are not encoded into the note name
296 syntax with a suffix; a natural pitch is shown as a simple note
299 @lilypond[verbatim,quote,relative=2]
303 @cindex quarter tones
307 Quarter tones may be added; the following is a series of Cs with
310 @lilypond[verbatim,quote,relative=2]
311 ceseh1 ces ceh c cih cis cisih
316 @cindex accidental, reminder
317 @cindex accidental, cautionary
318 @cindex accidental, parenthesized
319 @cindex reminder accidental
320 @cindex cautionary accidental
321 @cindex parenthesized accidental
327 Normally accidentals are printed automatically, but you may also
328 print them manually. A reminder accidental can be forced by
329 adding an exclamation mark@tie{}@code{!} after the pitch. A
330 cautionary accidental (i.e., an accidental within parentheses) can
331 be obtained by adding the question mark@tie{}@code{?} after the
332 pitch. These extra accidentals can also be used to produce
335 @lilypond[verbatim,quote,relative=2]
336 cis cis cis! cis? c c c! c?
339 @cindex accidental on tied note
340 @cindex tied note, accidental
342 Accidentals on tied notes are only printed at the beginning of a
345 @lilypond[verbatim,quote,relative=2]
354 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
355 {preventing-extra-naturals-from-being-automatically-added.ly}
357 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
365 @rglos{double sharp},
368 @rglos{quarter tone}.
371 @rlearning{Accidentals and key signatures}.
374 @ref{Automatic accidentals},
375 @ref{Annotational accidentals (musica ficta)},
376 @ref{Note names in other languages}.
382 @rinternals{Accidental_engraver},
383 @rinternals{Accidental},
384 @rinternals{AccidentalCautionary},
385 @rinternals{accidental-interface}.
388 @cindex accidental, quarter-tone
389 @cindex quarter-tone accidental
393 There are no generally accepted standards for denoting
394 quarter-tone accidentals, so LilyPond's symbol does not conform to
399 @node Note names in other languages
400 @unnumberedsubsubsec Note names in other languages
402 @cindex note names, other languages
403 @cindex pitch names, other languages
404 @cindex language, note names in other
405 @cindex language, pitch names in other
407 There are predefined sets of note and accidental names for various
408 other languages. To use them, include the language-specific init
409 file listed below. For example, to use English notes names, add
410 @code{@w{\include "english.ly"}} to the top of the input file.
412 The available language files and the note names they define are:
415 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
416 @headitem Language File
418 @item @file{nederlands.ly}
419 @tab c d e f g a bes b
420 @item @file{arabic.ly}
421 @tab do re mi fa sol la sib si
422 @item @file{catalan.ly}
423 @tab do re mi fa sol la sib si
424 @item @file{deutsch.ly}
426 @item @file{english.ly}
427 @tab c d e f g a bf b
428 @item @file{espanol.ly}
429 @tab do re mi fa sol la sib si
430 @item @file{italiano.ly}
431 @tab do re mi fa sol la sib si
432 @item @file{norsk.ly}
434 @item @file{portugues.ly}
435 @tab do re mi fa sol la sib si
436 @item @file{suomi.ly}
438 @item @file{svenska.ly}
440 @item @file{vlaams.ly}
441 @tab do re mi fa sol la sib si
446 and the accidental suffixes they define are:
449 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
450 @headitem Language File
451 @tab sharp @tab flat @tab double sharp @tab double flat
452 @item @file{nederlands.ly}
453 @tab -is @tab -es @tab -isis @tab -eses
454 @item @file{arabic.ly}
455 @tab -d @tab -b @tab -dd @tab -bb
456 @item @file{catalan.ly}
457 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
458 @item @file{deutsch.ly}
459 @tab -is @tab -es @tab -isis @tab -eses
460 @item @file{english.ly}
461 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
463 @item @file{espanol.ly}
464 @tab -s @tab -b @tab -ss @tab -bb
465 @item @file{italiano.ly}
466 @tab -d @tab -b @tab -dd @tab -bb
467 @item @file{norsk.ly}
468 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
470 @item @file{portugues.ly}
471 @tab -s @tab -b @tab -ss @tab -bb
472 @item @file{suomi.ly}
473 @tab -is @tab -es @tab -isis @tab -eses
474 @item @file{svenska.ly}
475 @tab -iss @tab -ess @tab -ississ @tab -essess
476 @item @file{vlaams.ly}
477 @tab -k @tab -b @tab -kk @tab -bb
481 In Dutch, @code{aes} is contracted to @code{as}, but both forms
482 are accepted in LilyPond. Similarly, both @code{es} and
483 @code{ees} are accepted. This also applies to
484 @code{aeses}@tie{}/@tie{}@code{ases} and
485 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
486 contracted names are defined in the corresponding language files.
488 @lilypond[verbatim,quote,relative=2]
489 a2 as e es a ases e eses
499 Some music uses microtones whose alterations are fractions of a
500 @q{normal} sharp or flat. The note names for quarter-tones
501 defined in the various language files are listed in the following
502 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
503 mean @q{half} and @q{one and a half}, respectively. For the other
504 languages, no special names have been defined yet.
507 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
508 @headitem Language File
509 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
511 @item @file{nederlands.ly}
512 @tab -ih @tab -eh @tab -isih @tab -eseh
513 @item @file{arabic.ly}
514 @tab -sd @tab -sb @tab -dsd @tab -bsb
515 @item @file{deutsch.ly}
516 @tab -ih @tab -eh @tab -isih @tab -eseh
517 @item @file{english.ly}
518 @tab -qs @tab -qf @tab -tqs @tab -tqf
519 @item @file{italiano.ly}
520 @tab -sd @tab -sb @tab -dsd @tab -bsb
521 @item @file{portugues.ly}
522 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
535 @node Changing multiple pitches
536 @subsection Changing multiple pitches
538 This section discusses how to modify pitches.
546 @unnumberedsubsubsec Octave checks
548 @cindex octave correction
550 @cindex control pitch
553 @funindex \octaveCheck
554 @funindex octaveCheck
555 @funindex controlpitch
557 In relative mode, it is easy to forget an octave changing mark.
558 Octave checks make such errors easier to find by displaying a
559 warning and correcting the octave if a note is found in an
562 To check the octave of a note, specify the absolute octave after
563 the @code{=}@tie{}symbol. This example will generate a warning
564 (and change the pitch) because the second note is the absolute
565 octave @code{d''} instead of @code{d'} as indicated by the octave
568 @lilypond[verbatim,quote]
575 The octave of notes may also be checked with the
576 @code{\octaveCheck}@tie{}@var{controlpitch} command.
577 @var{controlpitch} is specified in absolute mode. This checks
578 that the interval between the previous note and the
579 @var{controlpitch} is within a fourth (i.e., the normal
580 calculation of relative mode). If this check fails, a warning is
581 printed, but the previous note is not changed. Future notes are
582 relative to the @var{controlpitch}.
584 @lilypond[verbatim,quote]
592 Compare the two bars below. The first and third @code{\octaveCheck}
593 checks fail, but the second one does not fail.
595 @lilypond[verbatim,quote]
615 @rinternals{RelativeOctaveCheck}.
619 @unnumberedsubsubsec Transpose
623 @cindex transposition
624 @cindex transposition of pitches
625 @cindex transposition of notes
626 @cindex pitches, transposition of
627 @cindex notes, transposition of
632 A music expression can be transposed with @code{\transpose}. The
636 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
640 This means that @var{musicexpr} is transposed by the interval
641 between the pitches @var{frompitch} and @var{topitch}: any note
642 with pitch @var{frompitch} is changed to @var{topitch} and any
643 other note is transposed by the same interval. Both pitches are
644 entered in absolute mode.
646 Consider a piece written in the key of D-major. It can be
647 transposed up to E-major; note that the key signature is
648 automatically transposed as well.
650 @lilypond[verbatim,quote]
659 @cindex transposing instruments
660 @cindex instruments, transposing
662 If a part written in C (normal @notation{concert pitch}) is to be
663 played on the A clarinet (for which an A is notated as a C and
664 thus sounds a minor third lower than notated), the appropriate
665 part will be produced with:
667 @lilypond[verbatim,quote]
677 Note that we specify @w{@code{\key c \major}} explicitly. If we
678 do not specify a key signature, the notes will be transposed but
679 no key signature will be printed.
681 @code{\transpose} distinguishes between enharmonic pitches: both
682 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
683 transpose up a semitone. The first version will print sharps and
684 the notes will remain on the same scale step, the second version
685 will print flats on the scale step above.
687 @lilypond[verbatim,quote]
688 music = \relative c' { c d e f }
690 \transpose c cis { \music }
691 \transpose c des { \music }
696 @code{\transpose} may also be used in a different way, to input
697 written notes for a transposing instrument. The previous examples
698 show how to enter pitches in C (or @notation{concert pitch}) and
699 typeset them for a transposing instrument, but the opposite is
700 also possible if you for example have a set of instrumental parts
701 and want to print a conductor's score. For example, when entering
702 music for a B-flat trumpet that begins on a notated E (concert D),
706 musicInBflat = @{ e4 @dots{} @}
707 \transpose c bes, \musicInBflat
711 To print this music in F (e.g., rearranging to a French horn) you
712 could wrap the existing music with another @code{\transpose}:
715 musicInBflat = @{ e4 @dots{} @}
716 \transpose f c' @{ \transpose c bes, \musicInBflat @}
720 For more information about transposing instruments,
721 see @ref{Instrument transpositions}.
726 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
727 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
732 @ref{Instrument transpositions}.
738 @rinternals{TransposedMusic}.
750 The relative conversion will not affect @code{\transpose},
751 @code{\chordmode} or @code{\relative} sections in its argument.
752 To use relative mode within transposed music, an additional
753 @code{\relative} must be placed inside @code{\transpose}.
756 @node Displaying pitches
757 @subsection Displaying pitches
759 This section discusses how to alter the output of pitches.
765 * Instrument transpositions::
766 * Automatic accidentals::
772 @unnumberedsubsubsec Clef
784 @cindex mezzosoprano clef
785 @cindex baritone clef
786 @cindex varbaritone clef
790 @cindex clef, ancient
800 @cindex clef, soprano
801 @cindex clef, mezzosoprano
802 @cindex clef, baritone
803 @cindex clef, varbaritone
804 @cindex subbass clef, subbass
809 The clef may be altered. Middle C is shown in every example.
811 @lilypond[verbatim,quote,relative=1]
824 @lilypond[verbatim,quote,relative=1]
846 Further supported clefs are described under @ref{Mensural clefs}
847 and @ref{Gregorian clefs}.
849 @cindex transposing clefs
850 @cindex clef, transposing
851 @cindex octave transposition
852 @cindex choral tenor clef
853 @cindex tenor clef, choral
855 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
856 clef is transposed one octave down or up, respectively,
857 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
858 The clef name must be enclosed in quotes when it contains
859 underscores or digits.
861 @lilypond[verbatim,quote,relative=2]
873 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
874 {tweaking-clef-properties.ly}
879 @ref{Mensural clefs}, @ref{Gregorian clefs}.
885 @rinternals{Clef_engraver},
887 @rinternals{OctavateEight},
888 @rinternals{clef-interface}.
892 @unnumberedsubsubsec Key signature
894 @cindex key signature
899 @c duplicated in Key signature and Accidentals
900 @warning{New users are sometimes confused about accidentals and
901 key signatures. In LilyPond, note names are the raw input; key
902 signatures and clefs determine how this raw input is displayed.
903 An unaltered note like@tie{}@code{c} means @q{C natural},
904 regardless of the key signature or clef. For more information,
905 see @rlearning{Accidentals and key signatures}.}
907 The key signature indicates the tonality in which a piece is
908 played. It is denoted by a set of alterations (flats or sharps)
909 at the start of the staff. The key signature may be altered:
912 \key @var{pitch} @var{mode}
925 @funindex \mixolydian
946 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
947 key signature of @var{pitch}-major or @var{pitch}-minor,
948 respectively. You may also use the standard mode names, also
949 called @notation{church modes}: @code{\ionian}, @code{\dorian},
950 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
951 @code{\aeolian}, and @code{\locrian}.
953 @lilypond[verbatim,quote,relative=2]
963 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
964 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
966 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
967 {non-traditional-key-signatures.ly}
976 @rlearning{Accidentals and key signatures}.
982 @rinternals{KeyChangeEvent},
983 @rinternals{Key_engraver},
984 @rinternals{Key_performer},
985 @rinternals{KeyCancellation},
986 @rinternals{KeySignature},
987 @rinternals{key-cancellation-interface},
988 @rinternals{key-signature-interface}.
991 @node Ottava brackets
992 @unnumberedsubsubsec Ottava brackets
1000 @funindex set-octavation
1004 @notation{Ottava brackets} introduce an extra transposition of an
1005 octave for the staff:
1007 @lilypond[verbatim,quote,relative=2]
1015 The @code{ottava} function also takes -1 (for 8va bassa),
1016 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1021 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1032 Internals Reference:
1033 @rinternals{Ottava_spanner_engraver},
1034 @rinternals{OttavaBracket},
1035 @rinternals{ottava-bracket-interface}.
1038 @node Instrument transpositions
1039 @unnumberedsubsubsec Instrument transpositions
1041 @cindex transposition, MIDI
1042 @cindex transposition, instrument
1043 @cindex transposing instrument
1045 @cindex MIDI transposition
1047 @funindex \transposition
1048 @funindex transposition
1050 When typesetting scores that involve transposing instruments, some
1051 parts can be typeset in a different pitch than the
1052 @notation{concert pitch}. In these cases, the key of the
1053 @notation{transposing instrument} should be specified; otherwise
1054 the MIDI output and cues in other parts will produce incorrect
1055 pitches. For more information about quotations, see
1056 @ref{Quoting other voices}.
1059 \transposition @var{pitch}
1062 The pitch to use for @code{\transposition} should correspond to
1063 the real sound heard when a@tie{}@code{c'} written on the staff is
1064 played by the transposing instrument. This pitch is entered in
1065 absolute mode, so an instrument that produces a real sound which
1066 is one tone higher than the printed music should use
1067 @w{@code{\transposition d'}}. @code{\transposition} should
1068 @emph{only} be used if the pitches are @emph{not} being entered in
1071 Here are a few notes for violin and B-flat clarinet where the
1072 parts have been entered using the notes and key as they appear in
1073 each part of the conductor's score. The two instruments are
1076 @lilypond[verbatim,quote]
1078 \new Staff = "violin" {
1080 \set Staff.instrumentName = #"Vln"
1081 \set Staff.midiInstrument = #"violin"
1082 % not strictly necessary, but a good reminder
1089 \new Staff = "clarinet" {
1091 \set Staff.instrumentName = \markup { Cl (B\flat) }
1092 \set Staff.midiInstrument = #"clarinet"
1102 The @code{\transposition} may be changed during a piece. For
1103 example, a clarinetist may switch from an A clarinet to a B-flat
1106 @lilypond[verbatim,quote,relative=2]
1107 \set Staff.instrumentName = #"Cl (A)"
1112 s1*0^\markup { Switch to B\flat clarinet }
1123 @rglos{concert pitch},
1124 @rglos{transposing instrument}.
1127 @ref{Quoting other voices}, @ref{Transpose}.
1133 @node Automatic accidentals
1134 @unnumberedsubsubsec Automatic accidentals
1136 @cindex accidental style
1137 @cindex accidental style, default
1139 @cindex accidentals, automatic
1140 @cindex automatic accidentals
1141 @cindex default accidental style
1143 @funindex set-accidental-style
1147 There are many different conventions on how to typeset
1148 accidentals. LilyPond provides a function to specify which
1149 accidental style to use. This function is called as follows:
1153 #(set-accidental-style 'voice)
1158 The accidental style applies to the current @code{Staff} by
1159 default (with the exception of the styles @code{piano} and
1160 @code{piano-cautionary}, which are explained below). Optionally,
1161 the function can take a second argument that determines in which
1162 scope the style should be changed. For example, to use the same
1163 style in all staves of the current @code{StaffGroup}, use:
1166 #(set-accidental-style 'voice 'StaffGroup)
1169 The following accidental styles are supported. To demonstrate
1170 each style, we use the following example:
1173 @lilypond[verbatim,quote]
1177 cis'8 fis, d'4 <a cis>8 f bis4 |
1191 \voiceTwo \relative c' {
1195 \change Staff = down
1199 \change Staff = down
1200 <fis, a cis>4 gis <f a d>2 |
1207 \context Staff = "up" {
1208 #(set-accidental-style 'default)
1211 \context Staff = "down" {
1212 #(set-accidental-style 'default)
1219 Note that the last lines of this example can be replaced by the
1220 following, as long as the same accidental style should be used in
1226 \context Staff = "up" @{
1227 %%% change the next line as desired:
1228 #(set-accidental-style 'default 'Score)
1231 \context Staff = "down" @{
1239 @c don't use verbatim in this table.
1243 @cindex default accidental style
1244 @cindex accidental style, default
1248 This is the default typesetting behavior. It corresponds to
1249 eighteenth-century common practice: accidentals are remembered to
1250 the end of the measure in which they occur and only in their own
1251 octave. Thus, in the example below, no natural signs are printed
1252 before the@tie{}@code{b} in the second measure or the
1259 cis'8 fis, d'4 <a cis>8 f bis4 |
1273 \voiceTwo \relative c' {
1277 \change Staff = down
1281 \change Staff = down
1282 <fis, a cis>4 gis <f a d>2 |
1289 \context Staff = "up" {
1290 #(set-accidental-style 'default)
1293 \context Staff = "down" {
1294 #(set-accidental-style 'default)
1303 @cindex accidental style, voice
1304 @cindex voice accidental style
1305 @cindex accidental style, modern
1306 @cindex modern accidental style
1307 @cindex accidental style, modern-cautionary
1308 @cindex modern-cautionary accidental style
1312 The normal behavior is to remember the accidentals at
1313 @code{Staff}-level. In this style, however, accidentals are
1314 typeset individually for each voice. Apart from that, the rule is
1315 similar to @code{default}.
1317 As a result, accidentals from one voice do not get canceled in
1318 other voices, which is often an unwanted result: in the following
1319 example, it is hard to determine whether the second@tie{}@code{a}
1320 should be played natural or sharp. The @code{voice} option should
1321 therefore be used only if the voices are to be read solely by
1322 individual musicians. If the staff is to be used by one musician
1323 (e.g., a conductor or in a piano score) then @code{modern} or
1324 @code{modern-cautionary} should be used instead.
1331 cis'8 fis, d'4 <a cis>8 f bis4 |
1345 \voiceTwo \relative c' {
1349 \change Staff = down
1353 \change Staff = down
1354 <fis, a cis>4 gis <f a d>2 |
1361 \context Staff = "up" {
1362 #(set-accidental-style 'voice)
1365 \context Staff = "down" {
1366 #(set-accidental-style 'voice)
1375 @cindex accidentals, modern style
1376 @cindex modern style accidentals
1380 This rule corresponds to the common practice in the twentieth
1381 century. It prints the same accidentals as @code{default}, with
1382 two exceptions that serve to avoid ambiguity: after temporary
1383 accidentals, cancellation marks are printed also in the following
1384 measure (for notes in the same octave) and, in the same measure,
1385 for notes in other octaves. Hence the naturals before
1386 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1393 cis'8 fis, d'4 <a cis>8 f bis4 |
1407 \voiceTwo \relative c' {
1411 \change Staff = down
1415 \change Staff = down
1416 <fis, a cis>4 gis <f a d>2 |
1423 \context Staff = "up" {
1424 #(set-accidental-style 'modern)
1427 \context Staff = "down" {
1428 #(set-accidental-style 'modern)
1435 @item modern-cautionary
1437 @cindex accidentals, modern cautionary style
1438 @cindex modern accidental style
1439 @cindex modern cautionary accidental style
1440 @cindex modern style accidentals
1441 @cindex modern style cautionary accidentals
1443 @funindex modern-cautionary
1445 This rule is similar to @code{modern}, but the @q{extra}
1446 accidentals (the ones not typeset by @code{default}) are typeset
1447 as cautionary accidentals. They are by default printed with
1448 parentheses, but they can also be printed in reduced size by
1449 defining the @code{cautionary-style} property of
1450 @code{AccidentalSuggestion}.
1456 cis'8 fis, d'4 <a cis>8 f bis4 |
1470 \voiceTwo \relative c' {
1474 \change Staff = down
1478 \change Staff = down
1479 <fis, a cis>4 gis <f a d>2 |
1486 \context Staff = "up" {
1487 #(set-accidental-style 'modern-cautionary)
1490 \context Staff = "down" {
1491 #(set-accidental-style 'modern-cautionary)
1500 @cindex accidental style, modern
1501 @cindex accidentals, modern
1502 @cindex accidentals, multivoice
1503 @cindex modern accidental style
1504 @cindex modern accidentals
1505 @cindex multivoice accidentals
1507 @funindex modern-voice
1509 This rule is used for multivoice accidentals to be read both by
1510 musicians playing one voice and musicians playing all voices.
1511 Accidentals are typeset for each voice, but they @emph{are}
1512 canceled across voices in the same @code{Staff}. Hence,
1513 the@tie{}@code{a} in the last measure is canceled because the
1514 previous cancellation was in a different voice, and
1515 the@tie{}@code{d} in the lower staff is canceled because of the
1516 accidental in a different voice in the previous measure:
1522 cis'8 fis, d'4 <a cis>8 f bis4 |
1536 \voiceTwo \relative c' {
1540 \change Staff = down
1544 \change Staff = down
1545 <fis, a cis>4 gis <f a d>2 |
1552 \context Staff = "up" {
1553 #(set-accidental-style 'modern-voice)
1556 \context Staff = "down" {
1557 #(set-accidental-style 'modern-voice)
1564 @cindex accidental style, cautionary, modern voice
1565 @cindex accidental style, modern voice cautionary
1566 @cindex accidental style, voice, modern cautionary
1568 @funindex modern-voice-cautionary
1570 @item modern-voice-cautionary
1572 This rule is the same as @code{modern-voice}, but with the extra
1573 accidentals (the ones not typeset by @code{voice}) typeset as
1574 cautionaries. Even though all accidentals typeset by
1575 @code{default} @emph{are} typeset with this rule, some of them are
1576 typeset as cautionaries.
1582 cis'8 fis, d'4 <a cis>8 f bis4 |
1596 \voiceTwo \relative c' {
1600 \change Staff = down
1604 \change Staff = down
1605 <fis, a cis>4 gis <f a d>2 |
1612 \context Staff = "up" {
1613 #(set-accidental-style 'modern-voice-cautionary)
1616 \context Staff = "down" {
1617 #(set-accidental-style 'modern-voice-cautionary)
1626 @cindex accidental style, piano
1627 @cindex accidentals, piano
1628 @cindex piano accidental style
1629 @cindex piano accidentals
1633 This rule reflects twentieth-century practice for piano notation.
1634 Its behavior is very similar to @code{modern} style, but here
1635 accidentals also get canceled across the staves in the same
1636 @code{GrandStaff} or @code{PianoStaff}, hence all the
1637 cancellations of the final notes.
1639 This accidental style applies to the current @code{GrandStaff} or
1640 @code{PianoStaff} by default.
1646 cis'8 fis, d'4 <a cis>8 f bis4 |
1660 \voiceTwo \relative c' {
1664 \change Staff = down
1668 \change Staff = down
1669 <fis, a cis>4 gis <f a d>2 |
1676 \context Staff = "up" {
1677 #(set-accidental-style 'piano)
1680 \context Staff = "down" {
1687 @item piano-cautionary
1689 @cindex accidentals, piano cautionary
1690 @cindex cautionary accidentals, piano
1691 @cindex piano cautionary accidentals
1692 @cindex accidental style, piano cautionary
1693 @cindex cautionary accidental style, piano
1694 @cindex piano cautionary accidental style
1696 @funindex piano-cautionary
1698 This is the same as @code{piano} but with the extra accidentals
1699 typeset as cautionaries.
1705 cis'8 fis, d'4 <a cis>8 f bis4 |
1719 \voiceTwo \relative c' {
1723 \change Staff = down
1727 \change Staff = down
1728 <fis, a cis>4 gis <f a d>2 |
1735 \context Staff = "up" {
1736 #(set-accidental-style 'piano-cautionary)
1739 \context Staff = "down" {
1749 @cindex neo-modern accidental style
1750 @cindex accidental style, neo-modern
1752 @funindex neo-modern
1754 This rule reproduces a common practice in contemporary music:
1755 accidentals are printed like with @code{modern}, but they are printed
1756 again if the same note appears later in the same measure -- except
1757 if the note is immediately repeated.
1763 cis'8 fis, d'4 <a cis>8 f bis4 |
1777 \voiceTwo \relative c' {
1781 \change Staff = down
1785 \change Staff = down
1786 <fis, a cis>4 gis <f a d>2 |
1793 \context Staff = "up" {
1794 #(set-accidental-style 'neo-modern)
1797 \context Staff = "down" {
1798 #(set-accidental-style 'neo-modern)
1805 @item neo-modern-cautionary
1807 @cindex neo-modern-cautionary accidental style
1808 @cindex accidental style, neo-modern-cautionary
1810 @funindex neo-modern-cautionary
1812 This rule is similar to @code{neo-modern}, but the extra
1813 accidentals are printed as cautionary accidentals.
1819 cis'8 fis, d'4 <a cis>8 f bis4 |
1833 \voiceTwo \relative c' {
1837 \change Staff = down
1841 \change Staff = down
1842 <fis, a cis>4 gis <f a d>2 |
1849 \context Staff = "up" {
1850 #(set-accidental-style 'neo-modern-cautionary)
1853 \context Staff = "down" {
1854 #(set-accidental-style 'neo-modern-cautionary)
1864 @cindex dodecaphonic accidental style
1865 @cindex dodecaphonic style, neo-modern
1867 @funindex dodecaphonic
1869 This rule reflects a practice introduced by composers at
1870 the beginning of the 20th century, in an attempt to
1871 abolish the hierarchy between natural and non-natural notes.
1872 With this style, @emph{every} note gets an accidental sign,
1873 including natural signs.
1879 cis'8 fis, d'4 <a cis>8 f bis4 |
1893 \voiceTwo \relative c' {
1897 \change Staff = down
1901 \change Staff = down
1902 <fis, a cis>4 gis <f a d>2 |
1909 \context Staff = "up" {
1910 #(set-accidental-style 'dodecaphonic)
1913 \context Staff = "down" {
1914 #(set-accidental-style 'dodecaphonic)
1924 @cindex teaching accidental style
1925 @cindex accidental style, teaching
1929 This rule is intended for students, and makes it easy to create
1930 scale sheets with automagically created cautionary accidentals.
1931 Accidentals are printed like with @code{modern}, but cautionary
1932 accidentals are added for all sharp or flat tones specified by the
1933 key signature, except if the note is immediately repeated.
1939 cis'8 fis, d'4 <a cis>8 f bis4 |
1953 \voiceTwo \relative c' {
1957 \change Staff = down
1961 \change Staff = down
1962 <fis, a cis>4 gis <f a d>2 |
1969 \context Staff = "up" {
1971 #(set-accidental-style 'teaching)
1974 \context Staff = "down" {
1976 #(set-accidental-style 'teaching)
1987 @cindex accidental style, no reset
1988 @cindex no reset accidental style
1992 This is the same as @code{default} but with accidentals lasting
1993 @q{forever} and not only within the same measure:
1999 cis'8 fis, d'4 <a cis>8 f bis4 |
2013 \voiceTwo \relative c' {
2017 \change Staff = down
2021 \change Staff = down
2022 <fis, a cis>4 gis <f a d>2 |
2029 \context Staff = "up" {
2030 #(set-accidental-style 'no-reset)
2033 \context Staff = "down" {
2034 #(set-accidental-style 'no-reset)
2043 @cindex forget accidental style
2044 @cindex accidental style, forget
2048 This is the opposite of @code{no-reset}: Accidentals are not
2049 remembered at all -- and hence all accidentals are typeset
2050 relative to the key signature, regardless of what came before in
2051 the music. Unlike @code{dodecaphonic}, this rule never prints
2058 cis'8 fis, d'4 <a cis>8 f bis4 |
2072 \voiceTwo \relative c' {
2076 \change Staff = down
2080 \change Staff = down
2081 <fis, a cis>4 gis <f a d>2 |
2088 \context Staff = "up" {
2089 #(set-accidental-style 'forget)
2092 \context Staff = "down" {
2093 #(set-accidental-style 'forget)
2103 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2104 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2111 Internals Reference:
2112 @rinternals{Accidental},
2113 @rinternals{Accidental_engraver},
2114 @rinternals{GrandStaff} and
2115 @rinternals{PianoStaff},
2117 @rinternals{AccidentalSuggestion},
2118 @rinternals{AccidentalPlacement},
2119 @rinternals{accidental-suggestion-interface}.
2122 @cindex accidentals and simultaneous notes
2123 @cindex simultaneous notes and accidentals
2124 @cindex accidentals in chords
2125 @cindex chords, accidentals in
2129 Simultaneous notes are considered to be entered in sequential
2130 mode. This means that in a chord the accidentals are typeset as
2131 if the notes in the chord happen one at a time, in the order in
2132 which they appear in the input file. This is a problem when
2133 accidentals in a chord depend on each other, which does not happen
2134 for the default accidental style. The problem can be solved by
2135 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2140 @unnumberedsubsubsec Ambitus
2143 @cindex range of pitches
2146 The term @notation{ambitus} (pl. ambitus) denotes a range of
2147 pitches for a given voice in a part of music. It may also denote
2148 the pitch range that a musical instrument is capable of playing.
2149 Ambitus are printed on vocal parts so that performers can easily
2150 determine if it matches their capabilities.
2152 Ambitus are denoted at the beginning of a piece near the initial
2153 clef. The range is graphically specified by two note heads that
2154 represent the lowest and highest pitches. Accidentals are only
2155 printed if they are not part of the key signature.
2157 @lilypond[verbatim,quote]
2161 \consists "Ambitus_engraver"
2174 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2175 {adding-ambitus-per-voice.ly}
2177 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2178 {ambitus-with-multiple-voices.ly}
2188 Internals Reference:
2189 @rinternals{Ambitus_engraver},
2192 @rinternals{Ambitus},
2193 @rinternals{AmbitusAccidental},
2194 @rinternals{AmbitusLine},
2195 @rinternals{AmbitusNoteHead},
2196 @rinternals{ambitus-interface}.
2201 There is no collision handling in the case of multiple per-voice
2206 @subsection Note heads
2208 This section suggests ways of altering note heads.
2211 * Special note heads::
2212 * Easy notation note heads::
2213 * Shape note heads::
2217 @node Special note heads
2218 @unnumberedsubsubsec Special note heads
2220 @cindex note heads, special
2221 @cindex note heads, cross
2222 @cindex note heads, diamond
2223 @cindex note heads, parlato
2224 @cindex note heads, harmonic
2225 @cindex note heads, guitar
2226 @cindex special note heads
2227 @cindex cross note heads
2228 @cindex diamond note heads
2229 @cindex parlato note heads
2230 @cindex harmonic note heads
2231 @cindex guitar note heads
2232 @cindex note head styles
2233 @cindex styles, note heads
2237 Note heads may be altered:
2239 @lilypond[verbatim,quote,relative=2]
2241 \override NoteHead #'style = #'cross
2243 \revert NoteHead #'style
2247 There is a shorthand for diamond shapes which can only be used
2250 @lilypond[verbatim,quote,relative=2]
2251 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2255 To see all note head styles, see @ref{Note head styles}.
2263 @ref{Note head styles},
2264 @ref{Chorded notes}.
2266 Internals Reference:
2267 @rinternals{note-event},
2268 @rinternals{Note_heads_engraver},
2269 @rinternals{Ledger_line_engraver},
2270 @rinternals{NoteHead},
2271 @rinternals{LedgerLineSpanner},
2272 @rinternals{note-head-interface},
2273 @rinternals{ledger-line-spanner-interface}.
2276 @node Easy notation note heads
2277 @unnumberedsubsubsec Easy notation note heads
2279 @cindex note heads, practice
2280 @cindex practice note heads
2281 @cindex note heads, easy notation
2282 @cindex easy notation
2284 @cindex beginners' music
2285 @cindex music, beginners'
2286 @cindex easy play note heads
2287 @cindex note heads, easy play
2289 @funindex \easyHeadsOn
2290 @funindex easyHeadsOn
2291 @funindex \easyHeadsOff
2292 @funindex easyHeadsOff
2294 The @q{easy play} note head includes a note name inside the head.
2295 It is used in music for beginners. To make the letters readable,
2296 it should be printed in a large font size. To print with a larger
2297 font, see @ref{Setting the staff size}.
2299 @lilypond[verbatim,quote]
2300 #(set-global-staff-size 26)
2312 @code{\easyHeadsOn},
2313 @code{\easyHeadsOff}.
2319 @ref{Setting the staff size}.
2324 Internals Reference:
2325 @rinternals{note-event},
2326 @rinternals{Note_heads_engraver},
2327 @rinternals{NoteHead},
2328 @rinternals{note-head-interface}.
2331 @node Shape note heads
2332 @unnumberedsubsubsec Shape note heads
2334 @cindex note heads, shape
2335 @cindex note heads, Aiken
2336 @cindex note heads, sacred harp
2338 @cindex Aiken shape note heads
2339 @cindex sacred harp note heads
2343 @funindex \aikenHeads
2344 @funindex aikenHeads
2345 @funindex \sacredHarpHeads
2346 @funindex sacredHarpHeads
2348 In shape note head notation, the shape of the note head
2349 corresponds to the harmonic function of a note in the scale. This
2350 notation was popular in nineteenth-century American song books.
2351 Shape note heads can be produced:
2353 @lilypond[verbatim,quote,relative=2]
2360 Shapes are typeset according to the step in the scale, where the
2361 base of the scale is determined by the @code{\key} command.
2366 @code{\sacredHarpHeads}.
2372 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2373 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2376 To see all note head styles, see @ref{Note head styles}.
2384 @ref{Note head styles}.
2386 Internals Reference:
2387 @rinternals{note-event},
2388 @rinternals{Note_heads_engraver},
2389 @rinternals{NoteHead},
2390 @rinternals{note-head-interface}.
2394 @unnumberedsubsubsec Improvisation
2396 @cindex improvisation
2397 @cindex slashed note heads
2398 @cindex note heads, improvisation
2399 @cindex note heads, slashed
2401 @funindex \improvisationOn
2402 @funindex improvisationOn
2403 @funindex \improvisationOff
2404 @funindex improvisationOff
2406 Improvisation is sometimes denoted with slashed note heads, where
2407 the performer may choose any pitch but should play the specified
2408 rhythm. Such note heads can be created:
2410 @lilypond[verbatim,quote,relative=2]
2412 \consists "Pitch_squash_engraver"
2414 e8 e g a a16( bes) a8 g
2426 @code{\improvisationOn},
2427 @code{\improvisationOff}.
2435 Internals Reference:
2436 @rinternals{Pitch_squash_engraver},
2438 @rinternals{RhythmicStaff}.