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
51 A pitch name is specified using lowercase letters@tie{}@code{a}
52 through@tie{}@code{g}. The note names @code{c} to @code{b} are
53 engraved in the octave below middle C.
56 @lilypond[verbatim,quote,ragged-right,fragment]
66 Other octaves may be specified with a single quote@tie{}(@code{'})
67 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
68 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
71 @lilypond[verbatim,quote,ragged-right,fragment]
86 @lsrdir{Pitches,Pitches}.
89 @node Relative octave entry
90 @unnumberedsubsubsec Relative octave entry
93 @cindex relative octave specification
96 When octaves are specified in absolute mode it is easy to
97 accidentally put a pitch in the wrong octave. Relative octave
98 mode reduces these errors since most of the time it is not
99 necessary to indicate any octaves at all. Furthermore, in
100 absolute mode a single mistake may be difficult to spot, while in
101 relative mode a single error puts the rest of the piece off by one
105 \relative @var{startpitch} @var{musicexpr}
108 In relative mode, each note is assumed to be as close to the
109 previous note as possible. This means that the octave of each
110 pitch inside @var{musicexpr} is calculated as follows:
114 If no octave changing mark is used on a pitch, its octave is calculated
115 so that the interval with the previous note is less than a fifth. This
116 interval is determined without considering accidentals.
119 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be added to
120 respectively raise or lower a pitch by an extra octave, relative to
121 the pitch calculated without an octave mark.
124 Multiple octave changing marks can be used. For example, @code{''}@tie{}and
125 @code{,,}@tie{} will alter the pitch by two octaves.
128 The pitch of the first note is relative to
129 @code{@var{startpitch}}. @var{startpitch} is specified in
130 absolute octave mode, and it is recommended that it be a octave of
135 Here is the relative mode shown in action:
137 @lilypond[verbatim,quote,ragged-right]
146 Octave changing marks are used for intervals greater than a
149 @lilypond[verbatim,quote,ragged-right]
156 A note sequence without a single octave mark can nevertheless span
159 @lilypond[verbatim,quote,ragged-right]
166 If the preceding item is a chord, the first note of the chord is
167 used as the reference point for the octave placement of a
168 following note or chord. Inside chords, the next note is always
169 relative to the preceding one. Examine the next example
170 carefully, paying attention to the @code{c} notes.
172 @lilypond[verbatim,quote,ragged-right]
181 As explained above, the octave of pitches is calculated only with
182 the note names, regardless of any alterations. Therefore, an
183 E-double-sharp following a B will be placed higher, while an
184 F-double-flat will be placed lower. In other words, a
185 double-augmented fourth is considered a smaller interval than a
186 double-diminished fifth, regardless of the number of semitones
187 that each interval contains.
189 @lilypond[verbatim,quote,ragged-right]
210 @lsrdir{Pitches,Pitches}.
213 @internalsref{RelativeOctaveMusic}.
222 The relative conversion will not affect @code{\transpose},
223 @code{\chordmode} or @code{\relative} sections in its argument.
224 To use relative mode within transposed music, an additional
225 @code{\relative} must be placed inside @code{\transpose}.
228 If no @var{startpitch} is specified for @code{\relative},
229 then@tie{}@code{c'} is assumed. However, this is a deprecated
230 option and may disappear in future versions, so its use is
236 @unnumberedsubsubsec Accidentals
239 @cindex key signature
242 @c duplicated in Key signature and Accidentals
243 @warning{New users are sometimes confused about accidentals and
244 key signatures. In LilyPond, note names are the raw input; key
245 signatures and clefs determine how this raw input is displayed.
246 An unaltered note like@tie{}@code{c} means @q{C natural},
247 regardless of the key signature or clef. For more information,
248 see @rlearning{Accidentals and key signatures}.}
250 @cindex note names, Dutch
251 @cindex note names, default
255 @cindex sharp, double
260 A @notation{sharp} pitch is made by adding @code{is} to the note name,
261 and a @notation{flat} pitch by adding @code{es}. As you might expect,
262 a @notation{double sharp} or @notation{double flat} is made by adding
263 @code{isis} or @code{eses}. This syntax is derived from Dutch note
264 naming conventions. To use other names for accidentals, see
265 @ref{Note names in other languages}.
267 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
271 A natural will cancel the effect of an accidental or key
272 signature. However, naturals are not encoded into the note name
273 syntax with a suffix; a natural pitch is shown as a simple note
276 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
280 @cindex quarter tones
281 @cindex semi-flats, semi-sharps
283 Quarter tones may be added; the following is a series of Cs with
286 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
287 ceseh1 ces ceh c cih cis cisih
292 @cindex accidental, reminder
293 @cindex accidental, cautionary
294 @cindex accidental, parenthesized
295 @cindex reminder accidental
297 @cindex cautionary accidental
298 @cindex parenthesized accidental
301 Normally accidentals are printed automatically, but you may also
302 print them manually. A reminder accidental can be forced by
303 adding an exclamation mark@tie{}@code{!} after the pitch. A
304 cautionary accidental (i.e., an accidental within parentheses) can
305 be obtained by adding the question mark@tie{}@code{?} after the
306 pitch. These extra accidentals can also be used to produce
309 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
310 cis cis cis! cis? c c c! c?
313 Accidentals on tied notes are only printed at the beginning of a
316 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
325 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
326 {preventing-extra-naturals-from-being-automatically-added.ly}
333 @rglos{double sharp},
336 @rglos{quarter tone}.
339 @rlearning{Accidentals and key signatures}.
342 @ref{Automatic accidentals},
343 @ref{Annotational accidentals},
344 @ref{Note names in other languages}.
347 @lsrdir{Pitches,Pitches}.
350 @internalsref{Accidental_engraver},
351 @internalsref{Accidental},
352 @internalsref{AccidentalCautionary},
353 @internalsref{accidental-interface}.
358 There are no generally accepted standards for denoting
359 quarter-tone accidentals, so LilyPond's symbol does not conform to
364 @node Note names in other languages
365 @unnumberedsubsubsec Note names in other languages
367 There are predefined sets of note names for various other
368 languages. To use them, include the language-specific init file.
369 For example, to use English notes names, add @code{\include
370 "english.ly"} to the top of the input file. The available
371 language files and the note names they define are:
373 @cindex note names, other languages
374 @cindex pitch names, other languages
377 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
380 @tab sharp @tab flat @tab double sharp @tab double flat
382 @tab c d e f g a bes b
383 @tab -is @tab -es @tab -isis @tab -eses
385 @tab c d e f g a bf b
386 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
390 @tab -is @tab -es @tab -isis @tab -eses
393 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
397 @tab -iss @tab -ess @tab -ississ @tab -essess
400 @tab -is @tab -es @tab -isis @tab -eses
402 @tab do re mi fa sol la sib si
403 @tab -d @tab -b @tab -dd @tab -bb
405 @tab do re mi fa sol la sib si
406 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
408 @tab do re mi fa sol la sib si
409 @tab -s @tab -b @tab -ss @tab -bb
411 @tab do re mi fa sol la sib si
412 @tab -s @tab -b @tab -ss @tab -bb
414 @tab do re mi fa sol la sib si
415 @tab -k @tab -b @tab -kk @tab -bb
419 In Dutch, @code{aes} is contracted to @code{as}, but both forms
420 are accepted in LilyPond. Similarly, both @code{es} and
421 @code{ees} are accepted. This also applies to
422 @code{aeses}@tie{}/@tie{}@code{ases} and
423 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
424 contracted names are defined in the corresponding language files.
426 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
427 a2 as e es a ases e eses
431 Some music uses microtones whose alterations are fractions of a
432 @q{normal} sharp or flat. The note names for quarter-tones
433 defined in the various language files are listed in the following
434 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
435 mean @q{half} and @q{one and a half}, respectively. For the other
436 languages, no special names have been defined yet.
439 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
442 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
445 @tab c d e f g a bes b
446 @tab -ih @tab -eh @tab -isih @tab -eseh
448 @tab c d e f g a bf b
449 @tab -qs @tab -qf @tab -tqs @tab -tqf
452 @tab -ih @tab -eh @tab -isih @tab -eseh
454 @tab do re mi fa sol la sib si
455 @tab -sd @tab -sb @tab -dsd @tab -bsb
457 @tab do re mi fa sol la sib si
458 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
469 @lsrdir{Pitches,Pitches}.
472 @node Changing multiple pitches
473 @subsection Changing multiple pitches
475 This section discusses how to modify pitches.
483 @unnumberedsubsubsec Octave checks
485 @cindex octave correction
490 In relative mode, it is easy to forget an octave changing mark.
491 Octave checks make such errors easier to find by displaying a
492 warning and correcting the octave if a note is found in an
495 To check the octave of a note, specify the absolute
496 octave after the @code{=}@tie{}symbol. This example will generate
497 a warning (and change the pitch) because the second note is the
498 absolute octave @code{d''} instead of @code{d'} as indicated by
499 the octave correction.
501 @lilypond[verbatim,quote,ragged-right,fragment]
508 The octave of notes may also be checked with the
509 @code{\octave}@tie{}@var{controlpitch} command. @var{controlpitch} is
510 specified in absolute mode. This checks that the interval between the
511 previous note and the @var{controlpitch} is within a fourth (i.e., the
512 normal calculation of relative mode). If this check fails, a warning
513 is printed, but the previous note is not changed. Future notes are
514 relative to the @var{controlpitch}.
516 @lilypond[verbatim,quote,ragged-right,fragment]
524 Compare the two bars below. The first and third @code{\octave}
525 checks fail, but the second one does not fail.
527 @lilypond[verbatim,quote,ragged-right,fragment]
545 @lsrdir{Pitches,Pitches}.
548 @internalsref{RelativeOctaveCheck}.
552 @unnumberedsubsubsec Transpose
555 @cindex transposition
556 @cindex transposition of pitches
559 A music expression can be transposed with @code{\transpose}. The
563 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
567 This means that @var{musicexpr} is transposed by the interval
568 between the pitches @var{frompitch} and @var{topitch}: any note
569 with pitch @var{frompitch} is changed to @var{topitch} and any
570 other note is transposed by the same interval. Both pitches are
571 entered in absolute mode.
573 Consider a piece written in the key of D-major. It can be
574 transposed up to E-major; note that the key signature is
575 automatically transposed as well.
577 @lilypond[verbatim,quote,ragged-right]
586 If a part written in C (normal @notation{concert pitch}) is to be played on
587 the A clarinet (for which an A is notated as a C and thus sounds a
588 minor third lower than notated), the appropriate part will be
591 @lilypond[verbatim,quote,ragged-right]
601 Note that we specify @code{\key c \major} explicitly. If we do
602 not specify a key signature, the notes will be transposed but no
603 key signature will be printed.
605 @code{\transpose} distinguishes between enharmonic pitches: both
606 @code{\transpose c cis} or @code{\transpose c des} will transpose
607 up a semitone. The first version will print sharps and the notes
608 will remain on the same scale step, the second version will print
609 flats on the scale step above.
611 @lilypond[verbatim,quote,ragged-right]
612 mus = \relative c' { c d e f }
614 \transpose c cis { \mus }
615 \transpose c des { \mus }
619 @cindex transposing instruments
621 @code{\transpose} may also be used in a different way, to input
622 written notes for a transposing instrument. The previous examples
623 show how to enter pitches in C (or @notation{concert pitch}) and
624 typeset them for a transposing instrument, but the opposite is
625 also possible if you for example have a set of instrumental parts
626 and want to print a conductor's score. For example, when entering
627 music for a B-flat trumpet that begins on a notated E (concert D),
631 musicInBflat = @{ e4 @dots{} @}
632 \transpose c bes, \musicInBflat
636 To print this music in F (e.g., rearranging to a French horn) you
637 could wrap the existing music with another @code{\transpose}:
640 musicInBflat = @{ e4 @dots{} @}
641 \transpose f c' @{ \transpose c bes, \musicInBflat @}
645 For more information about transposing instruments,
646 see @ref{Instrument transpositions}.
651 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
652 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
658 @ref{Instrument transpositions}.
661 @lsrdir{Pitches,Pitches}.
664 @internalsref{TransposedMusic}.
673 The relative conversion will not affect @code{\transpose},
674 @code{\chordmode} or @code{\relative} sections in its argument.
675 To use relative mode within transposed music, an additional
676 @code{\relative} must be placed inside @code{\transpose}.
679 @node Displaying pitches
680 @subsection Displaying pitches
682 This section discusses how to alter the output of pitches.
688 * Instrument transpositions::
689 * Automatic accidentals::
695 @unnumberedsubsubsec Clef
708 @cindex mezzosoprano clef
709 @cindex baritone clef
710 @cindex varbaritone clef
714 @cindex clef, ancient
724 @cindex clef, soprano
725 @cindex clef, mezzosoprano
726 @cindex clef, baritone
727 @cindex clef, varbaritone
728 @cindex subbass clef, subbass
730 The clef is set with the @code{\clef} @var{clefname} command.
731 Middle C is shown in every example.
733 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
746 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
768 Further supported clefs are described under @ref{Ancient clefs}.
770 @cindex transposing clefs
771 @cindex clef, transposing
772 @cindex octave transposition
774 By adding @code{_8} or @code{^8} to the clef name, the clef is
775 transposed one octave down or up, respectively, and @code{_15} and
776 @code{^15} transpose by two octaves. The argument @var{clefname}
777 must be enclosed in quotes when it contains underscores or digits.
779 @cindex choral tenor clef
781 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
791 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
792 {tweaking-clef-properties.ly}
801 @lsrdir{Pitches,Pitches}.
804 @internalsref{Clef_engraver},
806 @internalsref{OctavateEight},
807 @internalsref{clef-interface}.
811 @unnumberedsubsubsec Key signature
813 @cindex key signature
816 @c duplicated in Key signature and Accidentals
817 @warning{New users are sometimes confused about accidentals and
818 key signatures. In LilyPond, note names are the raw input; key
819 signatures and clefs determine how this raw input is displayed.
820 An unaltered note like@tie{}@code{c} means @q{C natural},
821 regardless of the key signature or clef. For more information,
822 see @rlearning{Accidentals and key signatures}.}
824 The key signature indicates the tonality in which a piece is
825 played. It is denoted by a set of alterations (flats or sharps)
826 at the start of the staff. Setting or changing the key signature
827 is done with the @code{\key} command:
830 \key @var{pitch} @var{mode}
838 @funindex \mixolydian
845 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
846 key signature of @var{pitch}-major or @var{pitch}-minor,
847 respectively. You may also use the standard mode names, also
848 called @notation{church modes}: @code{\ionian}, @code{\dorian},
849 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
850 @code{\aeolian}, and @code{\locrian}.
852 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
862 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
863 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
865 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
866 {non-traditional-key-signatures.ly}
876 @rlearning{Accidentals and key signatures}.
879 @lsrdir{Pitches,Pitches}.
882 @internalsref{KeyChangeEvent},
883 @internalsref{Key_engraver},
884 @internalsref{Key_performer},
885 @internalsref{KeyCancellation},
886 @internalsref{KeySignature},
887 @internalsref{key-cancellation-interface},
888 @internalsref{key-signature-interface}.
891 @node Ottava brackets
892 @unnumberedsubsubsec Ottava brackets
900 @notation{Ottava brackets} introduce an extra transposition of an
901 octave for the staff:
903 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
911 The @code{set-octavation} function also takes -1 (for 8va bassa),
912 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
917 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
927 @lsrdir{Pitches,Pitches}.
930 @internalsref{Ottava_spanner_engraver},
931 @internalsref{OttavaBracket},
932 @internalsref{ottava-bracket-interface}.
936 @node Instrument transpositions
937 @unnumberedsubsubsec Instrument transpositions
939 @cindex transposition, MIDI
940 @cindex transposition, instrument
941 @cindex transposing instrument
943 @funindex \transposition
945 When typesetting scores that involve transposing instruments, some
946 parts can be typeset in a different pitch than the
947 @notation{concert pitch}. In these cases, the key of the
948 @notation{transposing instrument} should be specified; otherwise
949 the MIDI output and cues in other parts will produce incorrect
950 pitches. For more information about quotations, see @ref{Quoting
954 \transposition @var{pitch}
957 The pitch to use for @code{\transposition} should correspond to
958 the real sound heard when a@tie{}@code{c'} written on the staff is
959 played by the transposing instrument. This pitch is entered in
960 absolute mode, so an instrument that produces a real sound which
961 is one tone higher than the printed music should use
962 @code{\transposition d'}. @code{\transposition} should
963 @emph{only} be used if the pitches are @emph{not} being entered in
966 Here are a few notes for violin and B-flat clarinet where the
967 parts have been entered using the notes and key as they appear in
968 each part of the conductor's score. The two instruments are
971 @lilypond[verbatim,quote,ragged-right]
975 \set Staff.instrumentName = "Vln"
976 \set Staff.midiInstrument = "violin"
977 % not strictly necessary, but a good reminder
984 \new Staff = "clarinet" {
986 \set Staff.instrumentName = \markup { Cl (B\flat) }
987 \set Staff.midiInstrument = "clarinet"
997 The @code{\transposition} may be changed during a piece. For
998 example, a clarinetist may switch from an A clarinet to a B-flat
1001 @lilypond[verbatim,quote,ragged-right,fragment,relative=2]
1002 \set Staff.instrumentName = "Cl (A)"
1007 s1*0^\markup { Switch to B\flat clarinet }
1019 @rglos{concert pitch},
1020 @rglos{transposing instrument}.
1023 @ref{Quoting other voices}, @ref{Transpose}.
1026 @lsrdir{Pitches,Pitches}.
1029 @node Automatic accidentals
1030 @unnumberedsubsubsec Automatic accidentals
1032 @cindex accidental style
1033 @cindex accidental style, default
1035 @cindex accidentals, automatic
1036 @cindex automatic accidentals
1037 @cindex default accidental style
1038 @funindex set-accidental-style
1040 There are many different conventions on how to typeset
1041 accidentals. LilyPond provides a function to specify which
1042 accidental style to use. This function is called as follows
1046 #(set-accidental-style 'voice)
1051 The accidental style applies to the current @code{Staff} by
1052 default (with the exception of the styles @code{piano} and
1053 @code{piano-cautionary}, which are explained below). Optionally,
1054 the function can take a second argument that determines in which
1055 scope the style should be changed. For example, to use the same
1056 style in all staves of the current @code{StaffGroup}, use
1059 #(set-accidental-style 'voice 'StaffGroup)
1062 The following accidental styles are supported. To demonstrate
1063 each style, we use the following example:
1065 @lilypond[verbatim,quote,ragged-right]
1069 cis'8 fis, d'4 <a cis>8 f bis4 |
1083 \voiceTwo \relative c' {
1087 \change Staff = down
1091 \change Staff = down
1092 <fis, a cis>4 gis <f a d>2 |
1099 \context Staff = "up" {
1100 #(set-accidental-style 'default)
1103 \context Staff = "down" {
1104 #(set-accidental-style 'default)
1111 Note that the last lines of this example can be replaced by the
1112 following, as long as the same accidental style should be used in
1118 \context Staff = "up" @{
1119 %%% change the next line as desired:
1120 #(set-accidental-style 'default 'Score)
1123 \context Staff = "down" @{
1131 @c don't use verbatim in this table.
1134 This is the default typesetting behavior. It corresponds to
1135 eighteenth-century common practice: accidentals are remembered to
1136 the end of the measure in which they occur and only in their own
1137 octave. Thus, in the example below, no natural signs are printed
1138 before the@tie{}@code{b} in the second measure or the
1141 @lilypond[quote,ragged-right]
1145 cis'8 fis, d'4 <a cis>8 f bis4 |
1159 \voiceTwo \relative c' {
1163 \change Staff = down
1167 \change Staff = down
1168 <fis, a cis>4 gis <f a d>2 |
1175 \context Staff = "up" {
1176 #(set-accidental-style 'default)
1179 \context Staff = "down" {
1180 #(set-accidental-style 'default)
1188 The normal behavior is to remember the accidentals at @code{Staff}-level.
1189 In this style, however, accidentals are typeset individually for
1190 each voice. Apart from that, the rule is similar to
1193 As a result, accidentals from one voice do not get canceled in
1194 other voices, which is often an unwanted result: in the following
1195 example, it is hard to determine whether the second@tie{}@code{a}
1196 should be played natural or sharp. The @code{voice} option should
1197 therefore be used only if the voices are to be read solely by
1198 individual musicians. If the staff is to be used by one musician
1199 (e.g., a conductor or in a piano score) then @code{modern} or
1200 @code{modern-cautionary} should be used instead.
1203 @lilypond[quote,ragged-right]
1207 cis'8 fis, d'4 <a cis>8 f bis4 |
1221 \voiceTwo \relative c' {
1225 \change Staff = down
1229 \change Staff = down
1230 <fis, a cis>4 gis <f a d>2 |
1237 \context Staff = "up" {
1238 #(set-accidental-style 'voice)
1241 \context Staff = "down" {
1242 #(set-accidental-style 'voice)
1250 @cindex accidentals, modern style
1251 @cindex modern style accidentals
1252 @funindex modern style accidentals
1254 This rule corresponds to the common practice in the twentieth
1255 century. It prints the same accidentals as @code{default}, with
1256 two exceptions that serve to avoid ambiguity: after temporary
1257 accidentals, cancellation marks are printed also in the following
1258 measure (for notes in the same octave) and, in the same measure,
1259 for notes in other octaves. Hence the naturals before
1260 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1263 @lilypond[quote,ragged-right]
1267 cis'8 fis, d'4 <a cis>8 f bis4 |
1281 \voiceTwo \relative c' {
1285 \change Staff = down
1289 \change Staff = down
1290 <fis, a cis>4 gis <f a d>2 |
1297 \context Staff = "up" {
1298 #(set-accidental-style 'modern)
1301 \context Staff = "down" {
1302 #(set-accidental-style 'modern)
1309 @item modern-cautionary
1310 @cindex accidentals, modern cautionary style
1311 @cindex modern accidental style
1312 @cindex modern cautionary accidental style
1313 @cindex modern style accidentals
1314 @cindex modern style cautionary accidentals
1315 @funindex modern-cautionary
1317 This rule is similar to @code{modern}, but the @q{extra}
1318 accidentals (the ones not typeset by @code{default}) are typeset
1319 as cautionary accidentals. They are by default printed with
1320 parentheses, but they can also be printed in reduced size by
1321 defining the @code{cautionary-style} property of
1322 @code{AccidentalSuggestion}.
1325 @lilypond[quote,ragged-right]
1329 cis'8 fis, d'4 <a cis>8 f bis4 |
1343 \voiceTwo \relative c' {
1347 \change Staff = down
1351 \change Staff = down
1352 <fis, a cis>4 gis <f a d>2 |
1359 \context Staff = "up" {
1360 #(set-accidental-style 'modern-cautionary)
1363 \context Staff = "down" {
1364 #(set-accidental-style 'modern-cautionary)
1372 @cindex accidental style, modern
1373 @cindex accidentals, modern
1374 @cindex accidentals, multivoice
1375 @cindex modern accidental style
1376 @cindex modern accidentals
1377 @cindex multivoice accidentals
1378 @funindex modern-voice
1380 This rule is used for multivoice accidentals to be read both by
1381 musicians playing one voice and musicians playing all voices.
1382 Accidentals are typeset for each voice, but they @emph{are}
1383 canceled across voices in the same @code{Staff}. Hence,
1384 the@tie{}@code{a} in the last measure is canceled because the
1385 previous cancellation was in a different voice, and
1386 the@tie{}@code{d} in the lower staff is canceled because of the
1387 accidental in a different voice in the previous measure:
1390 @lilypond[quote,ragged-right]
1394 cis'8 fis, d'4 <a cis>8 f bis4 |
1408 \voiceTwo \relative c' {
1412 \change Staff = down
1416 \change Staff = down
1417 <fis, a cis>4 gis <f a d>2 |
1424 \context Staff = "up" {
1425 #(set-accidental-style 'modern-voice)
1428 \context Staff = "down" {
1429 #(set-accidental-style 'modern-voice)
1436 @cindex accidental style, cautionary, modern voice
1437 @cindex accidental style, modern voice cautionary
1438 @cindex accidental style, voice, modern cautionary
1439 @funindex modern-voice-cautionary
1440 @item modern-voice-cautionary
1442 This rule is the same as @code{modern-voice}, but with the extra
1443 accidentals (the ones not typeset by @code{voice}) typeset
1444 as cautionaries. Even though all accidentals typeset by
1445 @code{default} @emph{are} typeset with this rule,
1446 some of them are typeset as cautionaries.
1448 @lilypond[quote,ragged-right]
1452 cis'8 fis, d'4 <a cis>8 f bis4 |
1466 \voiceTwo \relative c' {
1470 \change Staff = down
1474 \change Staff = down
1475 <fis, a cis>4 gis <f a d>2 |
1482 \context Staff = "up" {
1483 #(set-accidental-style 'modern-voice-cautionary)
1486 \context Staff = "down" {
1487 #(set-accidental-style 'modern-voice-cautionary)
1495 @cindex accidental style, piano
1496 @cindex accidentals, piano
1497 @cindex piano accidental style
1498 @cindex piano accidentals
1500 This rule reflects twentieth-century practice for piano notation.
1501 Its behavior is very similar to @code{modern} style, but here
1502 accidentals also get canceled across the staves in the same
1503 @code{GrandStaff} or @code{PianoStaff}, hence all the cancellations
1506 This accidental style applies to the current @code{GrandStaff} or
1507 @code{PianoStaff} by default.
1509 @lilypond[quote,ragged-right]
1513 cis'8 fis, d'4 <a cis>8 f bis4 |
1527 \voiceTwo \relative c' {
1531 \change Staff = down
1535 \change Staff = down
1536 <fis, a cis>4 gis <f a d>2 |
1543 \context Staff = "up" {
1544 #(set-accidental-style 'piano)
1547 \context Staff = "down" {
1554 @item piano-cautionary
1555 @funindex #(set-accidental-style 'piano-cautionary)
1556 @cindex accidentals, piano cautionary
1557 @cindex cautionary accidentals, piano
1558 @cindex piano cautionary accidentals
1559 @cindex accidental style, piano cautionary
1560 @cindex cautionary accidental style, piano
1561 @cindex piano cautionary accidental style
1563 Same as @code{#(set-accidental-style 'piano)} but with the extra
1564 accidentals typeset as cautionaries.
1566 @lilypond[quote,ragged-right]
1570 cis'8 fis, d'4 <a cis>8 f bis4 |
1584 \voiceTwo \relative c' {
1588 \change Staff = down
1592 \change Staff = down
1593 <fis, a cis>4 gis <f a d>2 |
1600 \context Staff = "up" {
1601 #(set-accidental-style 'piano-cautionary)
1604 \context Staff = "down" {
1612 @funindex no-reset accidental style
1613 @cindex accidental style, no reset
1614 @cindex no reset accidental style
1616 This is the same as @code{default} but with accidentals lasting
1617 @q{forever} and not only within the same measure:
1619 @lilypond[quote,ragged-right]
1623 cis'8 fis, d'4 <a cis>8 f bis4 |
1637 \voiceTwo \relative c' {
1641 \change Staff = down
1645 \change Staff = down
1646 <fis, a cis>4 gis <f a d>2 |
1653 \context Staff = "up" {
1654 #(set-accidental-style 'no-reset)
1657 \context Staff = "down" {
1658 #(set-accidental-style 'no-reset)
1666 @funindex forget accidental style
1667 @cindex forget accidental style
1668 @cindex accidental style, forget
1670 This is the opposite of @code{no-reset}: Accidentals are not
1671 remembered at all -- and hence all accidentals are typeset
1672 relative to the key signature, regardless of what came before in
1675 @lilypond[quote,ragged-right]
1679 cis'8 fis, d'4 <a cis>8 f bis4 |
1693 \voiceTwo \relative c' {
1697 \change Staff = down
1701 \change Staff = down
1702 <fis, a cis>4 gis <f a d>2 |
1709 \context Staff = "up" {
1710 #(set-accidental-style 'forget)
1713 \context Staff = "down" {
1714 #(set-accidental-style 'forget)
1724 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1725 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1731 @lsrdir{Pitches,Pitches}.
1733 Internals Reference:
1734 @internalsref{Accidental},
1735 @internalsref{Accidental_engraver},
1736 @internalsref{GrandStaff} and
1737 @internalsref{PianoStaff},
1738 @internalsref{Staff},
1739 @internalsref{AccidentalSuggestion},
1740 @internalsref{AccidentalPlacement},
1741 @internalsref{accidental-suggestion-interface}.
1744 @cindex accidentals and simultaneous notes
1745 @cindex simultaneous notes and accidentals
1746 @cindex accidentals in chords
1747 @cindex chords, accidentals in
1751 Simultaneous notes are considered to be entered in sequential
1752 mode. This means that in a chord the accidentals are typeset as
1753 if the notes in the chord happen one at a time, in the order in
1754 which they appear in the input file. This is a problem when
1755 accidentals in a chord depend on each other, which does not happen
1756 for the default accidental style. The problem can be solved by
1757 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
1762 @unnumberedsubsubsec Ambitus
1765 @cindex range of pitches
1768 The term @notation{ambitus} (pl. ambitus) denotes a range of
1769 pitches for a given voice in a part of music. It may also denote
1770 the pitch range that a musical instrument is capable of playing.
1771 Ambitus are printed on vocal parts so that performers can easily
1772 determine if it matches their capabilities.
1774 Ambitus are denoted at the beginning of a piece near the initial
1775 clef. The range is graphically specified by two note heads that
1776 represent the lowest and highest pitches. Accidentals are only
1777 printed if they are not part of the key signature.
1779 @lilypond[verbatim,quote,ragged-right]
1783 \consists "Ambitus_engraver"
1796 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1797 {adding-ambitus-per-voice.ly}
1799 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1800 {ambitus-with-multiple-voices.ly}
1809 @lsrdir{Pitches,Pitches}.
1811 Internals Reference:
1812 @internalsref{Ambitus_engraver},
1813 @internalsref{Voice},
1814 @internalsref{Staff},
1815 @internalsref{Ambitus},
1816 @internalsref{AmbitusAccidental},
1817 @internalsref{AmbitusLine},
1818 @internalsref{AmbitusNoteHead},
1819 @internalsref{ambitus-interface}.
1824 There is no collision handling in the case of multiple per-voice
1829 @subsection Note heads
1831 This section suggests ways of altering note heads.
1834 * Special note heads::
1835 * Easy notation note heads::
1836 * Shape note heads::
1840 @node Special note heads
1841 @unnumberedsubsubsec Special note heads
1843 @cindex note heads, special
1844 @cindex note heads, cross
1845 @cindex note heads, diamond
1846 @cindex note heads, parlato
1847 @cindex note heads, harmonic
1848 @cindex note heads, guitar
1849 @cindex special note heads
1850 @cindex cross note heads
1851 @cindex diamond note heads
1852 @cindex parlato note heads
1853 @cindex harmonic note heads
1854 @cindex guitar note heads
1856 Different note heads are used by various instruments for various
1857 meanings -- crosses are used for @q{parlato} with vocalists,
1858 stopped notes on guitar; diamonds are used for harmonics on string
1859 instruments, etc. There is a shorthand (@code{\harmonic}) for
1860 diamond shapes; the other note head styles are produced by
1861 tweaking the property:
1863 @lilypond[verbatim,quote,ragged-right,fragment,relative=1]
1865 \override NoteHead #'style = #'cross
1867 \revert NoteHead #'style
1868 e d <c f\harmonic> <d a'\harmonic>
1872 To see all note head styles, see @ref{Note head styles}.
1878 @lsrdir{Pitches,Pitches}.
1881 @ref{Note head styles}.
1883 Internals Reference:
1884 @internalsref{note-event},
1885 @internalsref{Note_heads_engraver},
1886 @internalsref{Ledger_line_engraver},
1887 @internalsref{NoteHead},
1888 @internalsref{LedgerLineSpanner},
1889 @internalsref{note-head-interface},
1890 @internalsref{ledger-line-spanner-interface}.
1893 @node Easy notation note heads
1894 @unnumberedsubsubsec Easy notation note heads
1896 @cindex note heads, practice
1897 @cindex note heads, easy notation
1898 @cindex easy notation
1900 @cindex beginners' music
1901 @cindex music, beginners'
1902 @cindex easy play note heads
1903 @cindex note heads, easy play
1905 The @q{easy play} note head includes a note name inside the head.
1906 It is used in music for beginners.
1908 @lilypond[verbatim,quote,ragged-right]
1909 #(set-global-staff-size 26)
1919 The command @code{\easyHeadsOn} overrides settings for the
1920 @code{NoteHead} object. These settings can be reverted with the command
1921 @code{\easyHeadsOff}. To make the letters readable, it has to be printed
1922 in a large font size. To print with a larger font, see @ref{Setting the
1927 @funindex \easyHeadsOn
1928 @funindex \easyHeadsOff
1929 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1934 @ref{Setting the staff size}.
1937 @lsrdir{Pitches,Pitches}.
1939 Internals Reference:
1940 @internalsref{note-event},
1941 @internalsref{Note_heads_engraver},
1942 @internalsref{NoteHead},
1943 @internalsref{note-head-interface}.
1946 @node Shape note heads
1947 @unnumberedsubsubsec Shape note heads
1949 @cindex note heads, shape
1950 @cindex note heads, Aiken
1951 @cindex note heads, sacred harp
1953 @cindex Aiken shape note heads
1954 @cindex sacred harp note heads
1956 @funindex shapeNoteStyles
1957 @funindex \aikenHeads
1958 @funindex \sacredHarpHeads
1960 In shape note head notation, the shape of the note head
1961 corresponds to the harmonic function of a note in the scale. This
1962 notation was popular in nineteenth-century American song books.
1964 Shape note heads can be produced by setting @code{\aikenHeads} or
1965 @code{\sacredHarpHeads}, depending on the style desired.
1967 @lilypond[verbatim,fragment,quote,ragged-right,relative=1]
1976 Shapes are typeset according to the step in the scale, where
1977 the base of the scale is determined by the @code{\key} command.
1981 @funindex \aikenHeads
1982 @funindex \sacredHarpHeads
1983 @code{\aikenHeads}, @code{\sacredHarpHeads}
1987 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
1988 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1991 To see all note head styles, see @ref{Note head styles}.
1996 @lsrdir{Pitches,Pitches}.
1999 @ref{Note head styles}.
2001 Internals Reference:
2002 @internalsref{note-event},
2003 @internalsref{Note_heads_engraver},
2004 @internalsref{NoteHead},
2005 @internalsref{note-head-interface}.
2009 @unnumberedsubsubsec Improvisation
2011 @cindex improvisation
2012 @cindex slashed note heads
2013 @cindex note heads, improvisation
2014 @cindex note heads, slashed
2016 Improvisation is sometimes denoted with slashed note heads, where
2017 the performer may choose any pitch but should play the specified
2018 rhythm. Such note heads can be created:
2020 @lilypond[verbatim,quote,ragged-right]
2022 \consists "Pitch_squash_engraver"
2024 e8 e g a a16( bes) a8 g
2037 @funindex \improvisationOn
2038 @funindex \improvisationOff
2040 @code{\improvisationOn}, @code{\improvisationOff}
2045 @lsrdir{Pitches,Pitches}.
2047 Internals Reference:
2048 @internalsref{Pitch_squash_engraver},
2049 @internalsref{Voice},
2050 @internalsref{RhythmicStaff}.