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,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,fragment]
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
115 calculated so that the interval with the previous note is less
116 than a fifth. This interval is determined without considering
120 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
121 added to respectively raise or lower a pitch by an extra octave,
122 relative to the pitch calculated without an octave mark.
125 Multiple octave changing marks can be used. For example,
126 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
130 The pitch of the first note is relative to
131 @code{@var{startpitch}}. @var{startpitch} is specified in
132 absolute octave mode, and it is recommended that it be a octave of
137 Here is the relative mode shown in action:
139 @lilypond[verbatim,quote]
148 Octave changing marks are used for intervals greater than a
151 @lilypond[verbatim,quote]
158 A note sequence without a single octave mark can nevertheless span
161 @lilypond[verbatim,quote]
168 If the preceding item is a chord, the first note of the chord is
169 used as the reference point for the octave placement of a
170 following note or chord. Inside chords, the next note is always
171 relative to the preceding one. Examine the next example
172 carefully, paying attention to the @code{c} notes.
174 @lilypond[verbatim,quote]
183 As explained above, the octave of pitches is calculated only with
184 the note names, regardless of any alterations. Therefore, an
185 E-double-sharp following a B will be placed higher, while an
186 F-double-flat will be placed lower. In other words, a
187 double-augmented fourth is considered a smaller interval than a
188 double-diminished fifth, regardless of the number of semitones
189 that each interval contains.
191 @lilypond[verbatim,quote]
215 @rinternals{RelativeOctaveMusic}.
224 The relative conversion will not affect @code{\transpose},
225 @code{\chordmode} or @code{\relative} sections in its argument.
226 To use relative mode within transposed music, an additional
227 @code{\relative} must be placed inside @code{\transpose}.
230 If no @var{startpitch} is specified for @code{\relative},
231 then@tie{}@code{c'} is assumed. However, this is a deprecated
232 option and may disappear in future versions, so its use is
238 @unnumberedsubsubsec Accidentals
241 @cindex key signature
244 @c duplicated in Key signature and Accidentals
245 @warning{New users are sometimes confused about accidentals and
246 key signatures. In LilyPond, note names are the raw input; key
247 signatures and clefs determine how this raw input is displayed.
248 An unaltered note like@tie{}@code{c} means @q{C natural},
249 regardless of the key signature or clef. For more information,
250 see @rlearning{Accidentals and key signatures}.}
252 @cindex note names, Dutch
253 @cindex note names, default
257 @cindex sharp, double
262 A @notation{sharp} pitch is made by adding @code{is} to the note
263 name, and a @notation{flat} pitch by adding @code{es}. As you
264 might expect, a @notation{double sharp} or @notation{double flat}
265 is made by adding @code{isis} or @code{eses}. This syntax is
266 derived from Dutch note naming conventions. To use other names
267 for accidentals, see @ref{Note names in other languages}.
269 @lilypond[verbatim,quote,relative=2]
273 A natural will cancel the effect of an accidental or key
274 signature. However, naturals are not encoded into the note name
275 syntax with a suffix; a natural pitch is shown as a simple note
278 @lilypond[verbatim,quote,relative=2]
282 @cindex quarter tones
283 @cindex semi-flats, semi-sharps
285 Quarter tones may be added; the following is a series of Cs with
288 @lilypond[verbatim,quote,relative=2]
289 ceseh1 ces ceh c cih cis cisih
294 @cindex accidental, reminder
295 @cindex accidental, cautionary
296 @cindex accidental, parenthesized
297 @cindex reminder accidental
299 @cindex cautionary accidental
300 @cindex parenthesized accidental
303 Normally accidentals are printed automatically, but you may also
304 print them manually. A reminder accidental can be forced by
305 adding an exclamation mark@tie{}@code{!} after the pitch. A
306 cautionary accidental (i.e., an accidental within parentheses) can
307 be obtained by adding the question mark@tie{}@code{?} after the
308 pitch. These extra accidentals can also be used to produce
311 @lilypond[verbatim,quote,relative=2]
312 cis cis cis! cis? c c c! c?
315 Accidentals on tied notes are only printed at the beginning of a
318 @lilypond[verbatim,quote,relative=2]
327 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
328 {preventing-extra-naturals-from-being-automatically-added.ly}
335 @rglos{double sharp},
338 @rglos{quarter tone}.
341 @rlearning{Accidentals and key signatures}.
344 @ref{Automatic accidentals},
345 @ref{Annotational accidentals},
346 @ref{Note names in other languages}.
352 @rinternals{Accidental_engraver},
353 @rinternals{Accidental},
354 @rinternals{AccidentalCautionary},
355 @rinternals{accidental-interface}.
360 There are no generally accepted standards for denoting
361 quarter-tone accidentals, so LilyPond's symbol does not conform to
366 @node Note names in other languages
367 @unnumberedsubsubsec Note names in other languages
369 There are predefined sets of note names for various other
370 languages. To use them, include the language-specific init file.
371 For example, to use English notes names, add
372 @w{@code{\include "english.ly"}} to the top of the input file.
373 The available language files and the note names they define are:
375 @cindex note names, other languages
376 @cindex pitch names, other languages
379 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
382 @tab sharp @tab flat @tab double sharp @tab double flat
384 @tab c d e f g a bes b
385 @tab -is @tab -es @tab -isis @tab -eses
387 @tab c d e f g a bf b
388 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
392 @tab -is @tab -es @tab -isis @tab -eses
395 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
399 @tab -iss @tab -ess @tab -ississ @tab -essess
402 @tab -is @tab -es @tab -isis @tab -eses
404 @tab do re mi fa sol la sib si
405 @tab -d @tab -b @tab -dd @tab -bb
407 @tab do re mi fa sol la sib si
408 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
410 @tab do re mi fa sol la sib si
411 @tab -s @tab -b @tab -ss @tab -bb
413 @tab do re mi fa sol la sib si
414 @tab -s @tab -b @tab -ss @tab -bb
416 @tab do re mi fa sol la sib si
417 @tab -k @tab -b @tab -kk @tab -bb
421 In Dutch, @code{aes} is contracted to @code{as}, but both forms
422 are accepted in LilyPond. Similarly, both @code{es} and
423 @code{ees} are accepted. This also applies to
424 @code{aeses}@tie{}/@tie{}@code{ases} and
425 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
426 contracted names are defined in the corresponding language files.
428 @lilypond[verbatim,quote,relative=2]
429 a2 as e es a ases e eses
433 Some music uses microtones whose alterations are fractions of a
434 @q{normal} sharp or flat. The note names for quarter-tones
435 defined in the various language files are listed in the following
436 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
437 mean @q{half} and @q{one and a half}, respectively. For the other
438 languages, no special names have been defined yet.
441 @multitable {nederlands.ly} {do re mi fa sol la sib si} {-iss/-is} {-ess/-es} {-ississ/-isis} {-ississ/-isis}
444 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
447 @tab c d e f g a bes b
448 @tab -ih @tab -eh @tab -isih @tab -eseh
450 @tab c d e f g a bf b
451 @tab -qs @tab -qf @tab -tqs @tab -tqf
454 @tab -ih @tab -eh @tab -isih @tab -eseh
456 @tab do re mi fa sol la sib si
457 @tab -sd @tab -sb @tab -dsd @tab -bsb
459 @tab do re mi fa sol la sib si
460 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
474 @node Changing multiple pitches
475 @subsection Changing multiple pitches
477 This section discusses how to modify pitches.
485 @unnumberedsubsubsec Octave checks
487 @cindex octave correction
490 @funindex \octaveCheck
492 In relative mode, it is easy to forget an octave changing mark.
493 Octave checks make such errors easier to find by displaying a
494 warning and correcting the octave if a note is found in an
497 To check the octave of a note, specify the absolute octave after
498 the @code{=}@tie{}symbol. This example will generate a warning
499 (and change the pitch) because the second note is the absolute
500 octave @code{d''} instead of @code{d'} as indicated by the octave
503 @lilypond[verbatim,quote]
510 The octave of notes may also be checked with the
511 @code{\octaveCheck}@tie{}@var{controlpitch} command.
512 @var{controlpitch} is specified in absolute mode. This checks
513 that the interval between the previous note and the
514 @var{controlpitch} is within a fourth (i.e., the normal
515 calculation of relative mode). If this check fails, a warning is
516 printed, but the previous note is not changed. Future notes are
517 relative to the @var{controlpitch}.
519 @lilypond[verbatim,quote]
527 Compare the two bars below. The first and third @code{\octaveCheck}
528 checks fail, but the second one does not fail.
530 @lilypond[verbatim,quote]
551 @rinternals{RelativeOctaveCheck}.
555 @unnumberedsubsubsec Transpose
558 @cindex transposition
559 @cindex transposition of pitches
562 A music expression can be transposed with @code{\transpose}. The
566 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
570 This means that @var{musicexpr} is transposed by the interval
571 between the pitches @var{frompitch} and @var{topitch}: any note
572 with pitch @var{frompitch} is changed to @var{topitch} and any
573 other note is transposed by the same interval. Both pitches are
574 entered in absolute mode.
576 Consider a piece written in the key of D-major. It can be
577 transposed up to E-major; note that the key signature is
578 automatically transposed as well.
580 @lilypond[verbatim,quote]
589 If a part written in C (normal @notation{concert pitch}) is to be
590 played on the A clarinet (for which an A is notated as a C and
591 thus sounds a minor third lower than notated), the appropriate
592 part will be produced with:
594 @lilypond[verbatim,quote]
604 Note that we specify @w{@code{\key c \major}} explicitly. If we
605 do not specify a key signature, the notes will be transposed but
606 no key signature will be printed.
608 @code{\transpose} distinguishes between enharmonic pitches: both
609 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
610 transpose up a semitone. The first version will print sharps and
611 the notes will remain on the same scale step, the second version
612 will print flats on the scale step above.
614 @lilypond[verbatim,quote]
615 music = \relative c' { c d e f }
617 \transpose c cis { \music }
618 \transpose c des { \music }
622 @cindex transposing instruments
624 @code{\transpose} may also be used in a different way, to input
625 written notes for a transposing instrument. The previous examples
626 show how to enter pitches in C (or @notation{concert pitch}) and
627 typeset them for a transposing instrument, but the opposite is
628 also possible if you for example have a set of instrumental parts
629 and want to print a conductor's score. For example, when entering
630 music for a B-flat trumpet that begins on a notated E (concert D),
634 musicInBflat = @{ e4 @dots{} @}
635 \transpose c bes, \musicInBflat
639 To print this music in F (e.g., rearranging to a French horn) you
640 could wrap the existing music with another @code{\transpose}:
643 musicInBflat = @{ e4 @dots{} @}
644 \transpose f c' @{ \transpose c bes, \musicInBflat @}
648 For more information about transposing instruments,
649 see @ref{Instrument transpositions}.
654 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
655 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
661 @ref{Instrument transpositions}.
667 @rinternals{TransposedMusic}.
675 The relative conversion will not affect @code{\transpose},
676 @code{\chordmode} or @code{\relative} sections in its argument.
677 To use relative mode within transposed music, an additional
678 @code{\relative} must be placed inside @code{\transpose}.
681 @node Displaying pitches
682 @subsection Displaying pitches
684 This section discusses how to alter the output of pitches.
690 * Instrument transpositions::
691 * Automatic accidentals::
697 @unnumberedsubsubsec Clef
710 @cindex mezzosoprano clef
711 @cindex baritone clef
712 @cindex varbaritone clef
716 @cindex clef, ancient
726 @cindex clef, soprano
727 @cindex clef, mezzosoprano
728 @cindex clef, baritone
729 @cindex clef, varbaritone
730 @cindex subbass clef, subbass
732 The clef may be altered. Middle C is shown in every example.
734 @lilypond[verbatim,quote,relative=1]
747 @lilypond[verbatim,quote,relative=1]
769 Further supported clefs are described under @ref{Ancient clefs}.
771 @cindex transposing clefs
772 @cindex clef, transposing
773 @cindex octave transposition
774 @cindex choral tenor clef
776 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
777 clef is transposed one octave down or up, respectively,
778 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
779 The clef name must be enclosed in quotes when it contains
780 underscores or digits.
782 @lilypond[verbatim,quote,relative=2]
794 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
795 {tweaking-clef-properties.ly}
807 @rinternals{Clef_engraver},
809 @rinternals{OctavateEight},
810 @rinternals{clef-interface}.
814 @unnumberedsubsubsec Key signature
816 @cindex key signature
819 @c duplicated in Key signature and Accidentals
820 @warning{New users are sometimes confused about accidentals and
821 key signatures. In LilyPond, note names are the raw input; key
822 signatures and clefs determine how this raw input is displayed.
823 An unaltered note like@tie{}@code{c} means @q{C natural},
824 regardless of the key signature or clef. For more information,
825 see @rlearning{Accidentals and key signatures}.}
827 The key signature indicates the tonality in which a piece is
828 played. It is denoted by a set of alterations (flats or sharps)
829 at the start of the staff. The key signature may be altered:
832 \key @var{pitch} @var{mode}
840 @funindex \mixolydian
847 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
848 key signature of @var{pitch}-major or @var{pitch}-minor,
849 respectively. You may also use the standard mode names, also
850 called @notation{church modes}: @code{\ionian}, @code{\dorian},
851 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
852 @code{\aeolian}, and @code{\locrian}.
854 @lilypond[verbatim,quote,relative=2]
864 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
865 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
867 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
868 {non-traditional-key-signatures.ly}
878 @rlearning{Accidentals and key signatures}.
884 @rinternals{KeyChangeEvent},
885 @rinternals{Key_engraver},
886 @rinternals{Key_performer},
887 @rinternals{KeyCancellation},
888 @rinternals{KeySignature},
889 @rinternals{key-cancellation-interface},
890 @rinternals{key-signature-interface}.
893 @node Ottava brackets
894 @unnumberedsubsubsec Ottava brackets
902 @notation{Ottava brackets} introduce an extra transposition of an
903 octave for the staff:
905 @lilypond[verbatim,quote,relative=2]
913 The @code{set-octavation} function also takes -1 (for 8va bassa),
914 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
919 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
932 @rinternals{Ottava_spanner_engraver},
933 @rinternals{OttavaBracket},
934 @rinternals{ottava-bracket-interface}.
938 @node Instrument transpositions
939 @unnumberedsubsubsec Instrument transpositions
941 @cindex transposition, MIDI
942 @cindex transposition, instrument
943 @cindex transposing instrument
945 @funindex \transposition
947 When typesetting scores that involve transposing instruments, some
948 parts can be typeset in a different pitch than the
949 @notation{concert pitch}. In these cases, the key of the
950 @notation{transposing instrument} should be specified; otherwise
951 the MIDI output and cues in other parts will produce incorrect
952 pitches. For more information about quotations, see
953 @ref{Quoting other voices}.
956 \transposition @var{pitch}
959 The pitch to use for @code{\transposition} should correspond to
960 the real sound heard when a@tie{}@code{c'} written on the staff is
961 played by the transposing instrument. This pitch is entered in
962 absolute mode, so an instrument that produces a real sound which
963 is one tone higher than the printed music should use
964 @w{@code{\transposition d'}}. @code{\transposition} should
965 @emph{only} be used if the pitches are @emph{not} being entered in
968 Here are a few notes for violin and B-flat clarinet where the
969 parts have been entered using the notes and key as they appear in
970 each part of the conductor's score. The two instruments are
973 @lilypond[verbatim,quote]
975 \new Staff = "violin" {
977 \set Staff.instrumentName = "Vln"
978 \set Staff.midiInstrument = "violin"
979 % not strictly necessary, but a good reminder
986 \new Staff = "clarinet" {
988 \set Staff.instrumentName = \markup { Cl (B\flat) }
989 \set Staff.midiInstrument = "clarinet"
999 The @code{\transposition} may be changed during a piece. For
1000 example, a clarinetist may switch from an A clarinet to a B-flat
1003 @lilypond[verbatim,quote,relative=2]
1004 \set Staff.instrumentName = "Cl (A)"
1009 s1*0^\markup { Switch to B\flat clarinet }
1021 @rglos{concert pitch},
1022 @rglos{transposing instrument}.
1025 @ref{Quoting other voices}, @ref{Transpose}.
1031 @node Automatic accidentals
1032 @unnumberedsubsubsec Automatic accidentals
1034 @cindex accidental style
1035 @cindex accidental style, default
1037 @cindex accidentals, automatic
1038 @cindex automatic accidentals
1039 @cindex default accidental style
1040 @funindex set-accidental-style
1042 There are many different conventions on how to typeset
1043 accidentals. LilyPond provides a function to specify which
1044 accidental style to use. This function is called as follows:
1048 #(set-accidental-style 'voice)
1053 The accidental style applies to the current @code{Staff} by
1054 default (with the exception of the styles @code{piano} and
1055 @code{piano-cautionary}, which are explained below). Optionally,
1056 the function can take a second argument that determines in which
1057 scope the style should be changed. For example, to use the same
1058 style in all staves of the current @code{StaffGroup}, use:
1061 #(set-accidental-style 'voice 'StaffGroup)
1064 The following accidental styles are supported. To demonstrate
1065 each style, we use the following example:
1067 @lilypond[verbatim,quote]
1071 cis'8 fis, d'4 <a cis>8 f bis4 |
1085 \voiceTwo \relative c' {
1089 \change Staff = down
1093 \change Staff = down
1094 <fis, a cis>4 gis <f a d>2 |
1101 \context Staff = "up" {
1102 #(set-accidental-style 'default)
1105 \context Staff = "down" {
1106 #(set-accidental-style 'default)
1113 Note that the last lines of this example can be replaced by the
1114 following, as long as the same accidental style should be used in
1120 \context Staff = "up" @{
1121 %%% change the next line as desired:
1122 #(set-accidental-style 'default 'Score)
1125 \context Staff = "down" @{
1133 @c don't use verbatim in this table.
1136 This is the default typesetting behavior. It corresponds to
1137 eighteenth-century common practice: accidentals are remembered to
1138 the end of the measure in which they occur and only in their own
1139 octave. Thus, in the example below, no natural signs are printed
1140 before the@tie{}@code{b} in the second measure or the
1147 cis'8 fis, d'4 <a cis>8 f bis4 |
1161 \voiceTwo \relative c' {
1165 \change Staff = down
1169 \change Staff = down
1170 <fis, a cis>4 gis <f a d>2 |
1177 \context Staff = "up" {
1178 #(set-accidental-style 'default)
1181 \context Staff = "down" {
1182 #(set-accidental-style 'default)
1190 The normal behavior is to remember the accidentals at
1191 @code{Staff}-level. In this style, however, accidentals are
1192 typeset individually for each voice. Apart from that, the rule is
1193 similar to @code{default}.
1195 As a result, accidentals from one voice do not get canceled in
1196 other voices, which is often an unwanted result: in the following
1197 example, it is hard to determine whether the second@tie{}@code{a}
1198 should be played natural or sharp. The @code{voice} option should
1199 therefore be used only if the voices are to be read solely by
1200 individual musicians. If the staff is to be used by one musician
1201 (e.g., a conductor or in a piano score) then @code{modern} or
1202 @code{modern-cautionary} should be used instead.
1209 cis'8 fis, d'4 <a cis>8 f bis4 |
1223 \voiceTwo \relative c' {
1227 \change Staff = down
1231 \change Staff = down
1232 <fis, a cis>4 gis <f a d>2 |
1239 \context Staff = "up" {
1240 #(set-accidental-style 'voice)
1243 \context Staff = "down" {
1244 #(set-accidental-style 'voice)
1252 @cindex accidentals, modern style
1253 @cindex modern style accidentals
1254 @funindex modern style accidentals
1256 This rule corresponds to the common practice in the twentieth
1257 century. It prints the same accidentals as @code{default}, with
1258 two exceptions that serve to avoid ambiguity: after temporary
1259 accidentals, cancellation marks are printed also in the following
1260 measure (for notes in the same octave) and, in the same measure,
1261 for notes in other octaves. Hence the naturals before
1262 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1269 cis'8 fis, d'4 <a cis>8 f bis4 |
1283 \voiceTwo \relative c' {
1287 \change Staff = down
1291 \change Staff = down
1292 <fis, a cis>4 gis <f a d>2 |
1299 \context Staff = "up" {
1300 #(set-accidental-style 'modern)
1303 \context Staff = "down" {
1304 #(set-accidental-style 'modern)
1311 @item modern-cautionary
1312 @cindex accidentals, modern cautionary style
1313 @cindex modern accidental style
1314 @cindex modern cautionary accidental style
1315 @cindex modern style accidentals
1316 @cindex modern style cautionary accidentals
1317 @funindex modern-cautionary
1319 This rule is similar to @code{modern}, but the @q{extra}
1320 accidentals (the ones not typeset by @code{default}) are typeset
1321 as cautionary accidentals. They are by default printed with
1322 parentheses, but they can also be printed in reduced size by
1323 defining the @code{cautionary-style} property of
1324 @code{AccidentalSuggestion}.
1330 cis'8 fis, d'4 <a cis>8 f bis4 |
1344 \voiceTwo \relative c' {
1348 \change Staff = down
1352 \change Staff = down
1353 <fis, a cis>4 gis <f a d>2 |
1360 \context Staff = "up" {
1361 #(set-accidental-style 'modern-cautionary)
1364 \context Staff = "down" {
1365 #(set-accidental-style 'modern-cautionary)
1373 @cindex accidental style, modern
1374 @cindex accidentals, modern
1375 @cindex accidentals, multivoice
1376 @cindex modern accidental style
1377 @cindex modern accidentals
1378 @cindex multivoice accidentals
1379 @funindex modern-voice
1381 This rule is used for multivoice accidentals to be read both by
1382 musicians playing one voice and musicians playing all voices.
1383 Accidentals are typeset for each voice, but they @emph{are}
1384 canceled across voices in the same @code{Staff}. Hence,
1385 the@tie{}@code{a} in the last measure is canceled because the
1386 previous cancellation was in a different voice, and
1387 the@tie{}@code{d} in the lower staff is canceled because of the
1388 accidental in a different voice in the previous measure:
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 as
1444 cautionaries. Even though all accidentals typeset by
1445 @code{default} @emph{are} typeset with this rule, some of them are
1446 typeset as cautionaries.
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
1504 cancellations of the final notes.
1506 This accidental style applies to the current @code{GrandStaff} or
1507 @code{PianoStaff} by default.
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 This is the same as @code{piano} but with the extra accidentals
1564 typeset as cautionaries.
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:
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
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,texidoc,doctitle]
1725 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
1733 Internals Reference:
1734 @rinternals{Accidental},
1735 @rinternals{Accidental_engraver},
1736 @rinternals{GrandStaff} and
1737 @rinternals{PianoStaff},
1739 @rinternals{AccidentalSuggestion},
1740 @rinternals{AccidentalPlacement},
1741 @rinternals{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]
1783 \consists "Ambitus_engraver"
1796 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1797 {adding-ambitus-per-voice.ly}
1799 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1800 {ambitus-with-multiple-voices.ly}
1811 Internals Reference:
1812 @rinternals{Ambitus_engraver},
1815 @rinternals{Ambitus},
1816 @rinternals{AmbitusAccidental},
1817 @rinternals{AmbitusLine},
1818 @rinternals{AmbitusNoteHead},
1819 @rinternals{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 Note heads may be altered:
1858 @lilypond[verbatim,quote,relative=2]
1860 \override NoteHead #'style = #'cross
1862 \revert NoteHead #'style
1866 There is a shorthand for diamond shapes which can only be used
1869 @lilypond[verbatim,quote,relative=2]
1870 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
1874 To see all note head styles, see @ref{Note head styles}.
1882 @ref{Note head styles},
1883 @ref{Chorded notes}.
1885 Internals Reference:
1886 @rinternals{note-event},
1887 @rinternals{Note_heads_engraver},
1888 @rinternals{Ledger_line_engraver},
1889 @rinternals{NoteHead},
1890 @rinternals{LedgerLineSpanner},
1891 @rinternals{note-head-interface},
1892 @rinternals{ledger-line-spanner-interface}.
1895 @node Easy notation note heads
1896 @unnumberedsubsubsec Easy notation note heads
1898 @cindex note heads, practice
1899 @cindex note heads, easy notation
1900 @cindex easy notation
1902 @cindex beginners' music
1903 @cindex music, beginners'
1904 @cindex easy play note heads
1905 @cindex note heads, easy play
1907 The @q{easy play} note head includes a note name inside the head.
1908 It is used in music for beginners. To make the letters readable,
1909 it should be printed in a large font size. To print with a larger
1910 font, see @ref{Setting the staff size}.
1912 @lilypond[verbatim,quote]
1913 #(set-global-staff-size 26)
1925 @funindex \easyHeadsOn
1926 @funindex \easyHeadsOff
1927 @code{\easyHeadsOn}, @code{\easyHeadsOff}
1932 @ref{Setting the staff size}.
1937 Internals Reference:
1938 @rinternals{note-event},
1939 @rinternals{Note_heads_engraver},
1940 @rinternals{NoteHead},
1941 @rinternals{note-head-interface}.
1944 @node Shape note heads
1945 @unnumberedsubsubsec Shape note heads
1947 @cindex note heads, shape
1948 @cindex note heads, Aiken
1949 @cindex note heads, sacred harp
1951 @cindex Aiken shape note heads
1952 @cindex sacred harp note heads
1954 @funindex shapeNoteStyles
1955 @funindex \aikenHeads
1956 @funindex \sacredHarpHeads
1958 In shape note head notation, the shape of the note head
1959 corresponds to the harmonic function of a note in the scale. This
1960 notation was popular in nineteenth-century American song books.
1961 Shape note heads can be produced:
1963 @lilypond[verbatim,quote,relative=2]
1970 Shapes are typeset according to the step in the scale, where the
1971 base of the scale is determined by the @code{\key} command.
1975 @funindex \aikenHeads
1976 @funindex \sacredHarpHeads
1977 @code{\aikenHeads}, @code{\sacredHarpHeads}
1981 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1982 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
1985 To see all note head styles, see @ref{Note head styles}.
1993 @ref{Note head styles}.
1995 Internals Reference:
1996 @rinternals{note-event},
1997 @rinternals{Note_heads_engraver},
1998 @rinternals{NoteHead},
1999 @rinternals{note-head-interface}.
2003 @unnumberedsubsubsec Improvisation
2005 @cindex improvisation
2006 @cindex slashed note heads
2007 @cindex note heads, improvisation
2008 @cindex note heads, slashed
2010 Improvisation is sometimes denoted with slashed note heads, where
2011 the performer may choose any pitch but should play the specified
2012 rhythm. Such note heads can be created:
2014 @lilypond[verbatim,quote,relative=2]
2016 \consists "Pitch_squash_engraver"
2018 e8 e g a a16( bes) a8 g
2031 @funindex \improvisationOn
2032 @funindex \improvisationOff
2034 @code{\improvisationOn}, @code{\improvisationOff}
2041 Internals Reference:
2042 @rinternals{Pitch_squash_engraver},
2044 @rinternals{RhythmicStaff}.