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 note names, add
410 @code{@w{\include "english.ly"}} to the input file.
412 @warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
413 use default (Nederlands) note names, the @code{@bs{}include}
414 command for the language file should be placed after all other
415 LilyPond distribution files.}
417 The available language files and the note names they define are:
420 @multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
421 @headitem Language File
423 @item @file{nederlands.ly}
424 @tab c d e f g a bes b
425 @item @file{arabic.ly}
426 @tab do re mi fa sol la sib si
427 @item @file{catalan.ly}
428 @tab do re mi fa sol la sib si
429 @item @file{deutsch.ly}
431 @item @file{english.ly}
432 @tab c d e f g a bf b
433 @item @file{espanol.ly}
434 @tab do re mi fa sol la sib si
435 @item @file{italiano.ly}
436 @tab do re mi fa sol la sib si
437 @item @file{norsk.ly}
439 @item @file{portugues.ly}
440 @tab do re mi fa sol la sib si
441 @item @file{suomi.ly}
443 @item @file{svenska.ly}
445 @item @file{vlaams.ly}
446 @tab do re mi fa sol la sib si
451 and the accidental suffixes they define are:
454 @multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
455 @headitem Language File
456 @tab sharp @tab flat @tab double sharp @tab double flat
457 @item @file{nederlands.ly}
458 @tab -is @tab -es @tab -isis @tab -eses
459 @item @file{arabic.ly}
460 @tab -d @tab -b @tab -dd @tab -bb
461 @item @file{catalan.ly}
462 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
463 @item @file{deutsch.ly}
464 @tab -is @tab -es @tab -isis @tab -eses
465 @item @file{english.ly}
466 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
468 @item @file{espanol.ly}
469 @tab -s @tab -b @tab -ss @tab -bb
470 @item @file{italiano.ly}
471 @tab -d @tab -b @tab -dd @tab -bb
472 @item @file{norsk.ly}
473 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
475 @item @file{portugues.ly}
476 @tab -s @tab -b @tab -ss @tab -bb
477 @item @file{suomi.ly}
478 @tab -is @tab -es @tab -isis @tab -eses
479 @item @file{svenska.ly}
480 @tab -iss @tab -ess @tab -ississ @tab -essess
481 @item @file{vlaams.ly}
482 @tab -k @tab -b @tab -kk @tab -bb
486 In Dutch, @code{aes} is contracted to @code{as}, but both forms
487 are accepted in LilyPond. Similarly, both @code{es} and
488 @code{ees} are accepted. This also applies to
489 @code{aeses}@tie{}/@tie{}@code{ases} and
490 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
491 contracted names are defined in the corresponding language files.
493 @lilypond[verbatim,quote,relative=2]
494 a2 as e es a ases e eses
504 Some music uses microtones whose alterations are fractions of a
505 @q{normal} sharp or flat. The note names for quarter-tones
506 defined in the various language files are listed in the following
507 table. Here the prefixes @notation{semi-} and @notation{sesqui-}
508 mean @q{half} and @q{one and a half}, respectively. For the other
509 languages, no special names have been defined yet.
512 @multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
513 @headitem Language File
514 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
516 @item @file{nederlands.ly}
517 @tab -ih @tab -eh @tab -isih @tab -eseh
518 @item @file{arabic.ly}
519 @tab -sd @tab -sb @tab -dsd @tab -bsb
520 @item @file{deutsch.ly}
521 @tab -ih @tab -eh @tab -isih @tab -eseh
522 @item @file{english.ly}
523 @tab -qs @tab -qf @tab -tqs @tab -tqf
524 @item @file{italiano.ly}
525 @tab -sd @tab -sb @tab -dsd @tab -bsb
526 @item @file{portugues.ly}
527 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
540 @node Changing multiple pitches
541 @subsection Changing multiple pitches
543 This section discusses how to modify pitches.
551 @unnumberedsubsubsec Octave checks
553 @cindex octave correction
555 @cindex control pitch
558 @funindex \octaveCheck
559 @funindex octaveCheck
560 @funindex controlpitch
562 In relative mode, it is easy to forget an octave changing mark.
563 Octave checks make such errors easier to find by displaying a
564 warning and correcting the octave if a note is found in an
567 To check the octave of a note, specify the absolute octave after
568 the @code{=}@tie{}symbol. This example will generate a warning
569 (and change the pitch) because the second note is the absolute
570 octave @code{d''} instead of @code{d'} as indicated by the octave
573 @lilypond[verbatim,quote]
580 The octave of notes may also be checked with the
581 @code{\octaveCheck}@tie{}@var{controlpitch} command.
582 @var{controlpitch} is specified in absolute mode. This checks
583 that the interval between the previous note and the
584 @var{controlpitch} is within a fourth (i.e., the normal
585 calculation of relative mode). If this check fails, a warning is
586 printed, but the previous note is not changed. Future notes are
587 relative to the @var{controlpitch}.
589 @lilypond[verbatim,quote]
597 Compare the two bars below. The first and third @code{\octaveCheck}
598 checks fail, but the second one does not fail.
600 @lilypond[verbatim,quote]
620 @rinternals{RelativeOctaveCheck}.
624 @unnumberedsubsubsec Transpose
628 @cindex transposition
629 @cindex transposition of pitches
630 @cindex transposition of notes
631 @cindex pitches, transposition of
632 @cindex notes, transposition of
637 A music expression can be transposed with @code{\transpose}. The
641 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
645 This means that @var{musicexpr} is transposed by the interval
646 between the pitches @var{frompitch} and @var{topitch}: any note
647 with pitch @var{frompitch} is changed to @var{topitch} and any
648 other note is transposed by the same interval. Both pitches are
649 entered in absolute mode.
651 Consider a piece written in the key of D-major. It can be
652 transposed up to E-major; note that the key signature is
653 automatically transposed as well.
655 @lilypond[verbatim,quote]
664 @cindex transposing instruments
665 @cindex instruments, transposing
667 If a part written in C (normal @notation{concert pitch}) is to be
668 played on the A clarinet (for which an A is notated as a C and
669 thus sounds a minor third lower than notated), the appropriate
670 part will be produced with:
672 @lilypond[verbatim,quote]
682 Note that we specify @w{@code{\key c \major}} explicitly. If we
683 do not specify a key signature, the notes will be transposed but
684 no key signature will be printed.
686 @code{\transpose} distinguishes between enharmonic pitches: both
687 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
688 transpose up a semitone. The first version will print sharps and
689 the notes will remain on the same scale step, the second version
690 will print flats on the scale step above.
692 @lilypond[verbatim,quote]
693 music = \relative c' { c d e f }
695 \transpose c cis { \music }
696 \transpose c des { \music }
701 @code{\transpose} may also be used in a different way, to input
702 written notes for a transposing instrument. The previous examples
703 show how to enter pitches in C (or @notation{concert pitch}) and
704 typeset them for a transposing instrument, but the opposite is
705 also possible if you for example have a set of instrumental parts
706 and want to print a conductor's score. For example, when entering
707 music for a B-flat trumpet that begins on a notated E (concert D),
711 musicInBflat = @{ e4 @dots{} @}
712 \transpose c bes, \musicInBflat
716 To print this music in F (e.g., rearranging to a French horn) you
717 could wrap the existing music with another @code{\transpose}:
720 musicInBflat = @{ e4 @dots{} @}
721 \transpose f c' @{ \transpose c bes, \musicInBflat @}
725 For more information about transposing instruments,
726 see @ref{Instrument transpositions}.
731 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
732 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
737 @ref{Instrument transpositions}.
743 @rinternals{TransposedMusic}.
755 The relative conversion will not affect @code{\transpose},
756 @code{\chordmode} or @code{\relative} sections in its argument.
757 To use relative mode within transposed music, an additional
758 @code{\relative} must be placed inside @code{\transpose}.
761 @node Displaying pitches
762 @subsection Displaying pitches
764 This section discusses how to alter the output of pitches.
770 * Instrument transpositions::
771 * Automatic accidentals::
777 @unnumberedsubsubsec Clef
789 @cindex mezzosoprano clef
790 @cindex baritone clef
791 @cindex varbaritone clef
795 @cindex clef, ancient
805 @cindex clef, soprano
806 @cindex clef, mezzosoprano
807 @cindex clef, baritone
808 @cindex clef, varbaritone
809 @cindex subbass clef, subbass
814 The clef may be altered. Middle C is shown in every example.
816 @lilypond[verbatim,quote,relative=1]
829 @lilypond[verbatim,quote,relative=1]
851 Further supported clefs are described under @ref{Mensural clefs}
852 and @ref{Gregorian clefs}.
854 @cindex transposing clefs
855 @cindex clef, transposing
856 @cindex octave transposition
857 @cindex choral tenor clef
858 @cindex tenor clef, choral
860 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
861 clef is transposed one octave down or up, respectively,
862 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
863 The clef name must be enclosed in quotes when it contains
864 underscores or digits.
866 @lilypond[verbatim,quote,relative=2]
878 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
879 {tweaking-clef-properties.ly}
884 @ref{Mensural clefs}, @ref{Gregorian clefs}.
890 @rinternals{Clef_engraver},
892 @rinternals{OctavateEight},
893 @rinternals{clef-interface}.
897 @unnumberedsubsubsec Key signature
899 @cindex key signature
904 @c duplicated in Key signature and Accidentals
905 @warning{New users are sometimes confused about accidentals and
906 key signatures. In LilyPond, note names are the raw input; key
907 signatures and clefs determine how this raw input is displayed.
908 An unaltered note like@tie{}@code{c} means @q{C natural},
909 regardless of the key signature or clef. For more information,
910 see @rlearning{Accidentals and key signatures}.}
912 The key signature indicates the tonality in which a piece is
913 played. It is denoted by a set of alterations (flats or sharps)
914 at the start of the staff. The key signature may be altered:
917 \key @var{pitch} @var{mode}
930 @funindex \mixolydian
951 Here, @var{mode} should be @code{\major} or @code{\minor} to get a
952 key signature of @var{pitch}-major or @var{pitch}-minor,
953 respectively. You may also use the standard mode names, also
954 called @notation{church modes}: @code{\ionian}, @code{\dorian},
955 @code{\phrygian}, @code{\lydian}, @code{\mixolydian},
956 @code{\aeolian}, and @code{\locrian}.
958 @lilypond[verbatim,quote,relative=2]
968 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
969 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
971 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
972 {non-traditional-key-signatures.ly}
981 @rlearning{Accidentals and key signatures}.
987 @rinternals{KeyChangeEvent},
988 @rinternals{Key_engraver},
989 @rinternals{Key_performer},
990 @rinternals{KeyCancellation},
991 @rinternals{KeySignature},
992 @rinternals{key-cancellation-interface},
993 @rinternals{key-signature-interface}.
996 @node Ottava brackets
997 @unnumberedsubsubsec Ottava brackets
1005 @funindex set-octavation
1009 @notation{Ottava brackets} introduce an extra transposition of an
1010 octave for the staff:
1012 @lilypond[verbatim,quote,relative=2]
1020 The @code{ottava} function also takes -1 (for 8va bassa),
1021 2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
1026 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1037 Internals Reference:
1038 @rinternals{Ottava_spanner_engraver},
1039 @rinternals{OttavaBracket},
1040 @rinternals{ottava-bracket-interface}.
1043 @node Instrument transpositions
1044 @unnumberedsubsubsec Instrument transpositions
1046 @cindex transposition, MIDI
1047 @cindex transposition, instrument
1048 @cindex transposing instrument
1050 @cindex MIDI transposition
1052 @funindex \transposition
1053 @funindex transposition
1055 When typesetting scores that involve transposing instruments, some
1056 parts can be typeset in a different pitch than the
1057 @notation{concert pitch}. In these cases, the key of the
1058 @notation{transposing instrument} should be specified; otherwise
1059 the MIDI output and cues in other parts will produce incorrect
1060 pitches. For more information about quotations, see
1061 @ref{Quoting other voices}.
1064 \transposition @var{pitch}
1067 The pitch to use for @code{\transposition} should correspond to
1068 the real sound heard when a@tie{}@code{c'} written on the staff is
1069 played by the transposing instrument. This pitch is entered in
1070 absolute mode, so an instrument that produces a real sound which
1071 is one tone higher than the printed music should use
1072 @w{@code{\transposition d'}}. @code{\transposition} should
1073 @emph{only} be used if the pitches are @emph{not} being entered in
1076 Here are a few notes for violin and B-flat clarinet where the
1077 parts have been entered using the notes and key as they appear in
1078 each part of the conductor's score. The two instruments are
1081 @lilypond[verbatim,quote]
1083 \new Staff = "violin" {
1085 \set Staff.instrumentName = #"Vln"
1086 \set Staff.midiInstrument = #"violin"
1087 % not strictly necessary, but a good reminder
1094 \new Staff = "clarinet" {
1096 \set Staff.instrumentName = \markup { Cl (B\flat) }
1097 \set Staff.midiInstrument = #"clarinet"
1107 The @code{\transposition} may be changed during a piece. For
1108 example, a clarinetist may switch from an A clarinet to a B-flat
1111 @lilypond[verbatim,quote,relative=2]
1112 \set Staff.instrumentName = #"Cl (A)"
1117 s1*0^\markup { Switch to B\flat clarinet }
1128 @rglos{concert pitch},
1129 @rglos{transposing instrument}.
1132 @ref{Quoting other voices}, @ref{Transpose}.
1138 @node Automatic accidentals
1139 @unnumberedsubsubsec Automatic accidentals
1141 @cindex accidental style
1142 @cindex accidental style, default
1144 @cindex accidentals, automatic
1145 @cindex automatic accidentals
1146 @cindex default accidental style
1148 @funindex set-accidental-style
1152 There are many different conventions on how to typeset
1153 accidentals. LilyPond provides a function to specify which
1154 accidental style to use. This function is called as follows:
1158 #(set-accidental-style 'voice)
1163 The accidental style applies to the current @code{Staff} by
1164 default (with the exception of the styles @code{piano} and
1165 @code{piano-cautionary}, which are explained below). Optionally,
1166 the function can take a second argument that determines in which
1167 scope the style should be changed. For example, to use the same
1168 style in all staves of the current @code{StaffGroup}, use:
1171 #(set-accidental-style 'voice 'StaffGroup)
1174 The following accidental styles are supported. To demonstrate
1175 each style, we use the following example:
1178 @lilypond[verbatim,quote]
1182 cis'8 fis, d'4 <a cis>8 f bis4 |
1196 \voiceTwo \relative c' {
1200 \change Staff = down
1204 \change Staff = down
1205 <fis, a cis>4 gis <f a d>2 |
1212 \context Staff = "up" {
1213 #(set-accidental-style 'default)
1216 \context Staff = "down" {
1217 #(set-accidental-style 'default)
1224 Note that the last lines of this example can be replaced by the
1225 following, as long as the same accidental style should be used in
1231 \context Staff = "up" @{
1232 %%% change the next line as desired:
1233 #(set-accidental-style 'default 'Score)
1236 \context Staff = "down" @{
1244 @c don't use verbatim in this table.
1248 @cindex default accidental style
1249 @cindex accidental style, default
1253 This is the default typesetting behavior. It corresponds to
1254 eighteenth-century common practice: accidentals are remembered to
1255 the end of the measure in which they occur and only in their own
1256 octave. Thus, in the example below, no natural signs are printed
1257 before the@tie{}@code{b} in the second measure or the
1264 cis'8 fis, d'4 <a cis>8 f bis4 |
1278 \voiceTwo \relative c' {
1282 \change Staff = down
1286 \change Staff = down
1287 <fis, a cis>4 gis <f a d>2 |
1294 \context Staff = "up" {
1295 #(set-accidental-style 'default)
1298 \context Staff = "down" {
1299 #(set-accidental-style 'default)
1308 @cindex accidental style, voice
1309 @cindex voice accidental style
1310 @cindex accidental style, modern
1311 @cindex modern accidental style
1312 @cindex accidental style, modern-cautionary
1313 @cindex modern-cautionary accidental style
1317 The normal behavior is to remember the accidentals at
1318 @code{Staff}-level. In this style, however, accidentals are
1319 typeset individually for each voice. Apart from that, the rule is
1320 similar to @code{default}.
1322 As a result, accidentals from one voice do not get canceled in
1323 other voices, which is often an unwanted result: in the following
1324 example, it is hard to determine whether the second@tie{}@code{a}
1325 should be played natural or sharp. The @code{voice} option should
1326 therefore be used only if the voices are to be read solely by
1327 individual musicians. If the staff is to be used by one musician
1328 (e.g., a conductor or in a piano score) then @code{modern} or
1329 @code{modern-cautionary} should be used instead.
1336 cis'8 fis, d'4 <a cis>8 f bis4 |
1350 \voiceTwo \relative c' {
1354 \change Staff = down
1358 \change Staff = down
1359 <fis, a cis>4 gis <f a d>2 |
1366 \context Staff = "up" {
1367 #(set-accidental-style 'voice)
1370 \context Staff = "down" {
1371 #(set-accidental-style 'voice)
1380 @cindex accidentals, modern style
1381 @cindex modern style accidentals
1385 This rule corresponds to the common practice in the twentieth
1386 century. It prints the same accidentals as @code{default}, with
1387 two exceptions that serve to avoid ambiguity: after temporary
1388 accidentals, cancellation marks are printed also in the following
1389 measure (for notes in the same octave) and, in the same measure,
1390 for notes in other octaves. Hence the naturals before
1391 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1398 cis'8 fis, d'4 <a cis>8 f bis4 |
1412 \voiceTwo \relative c' {
1416 \change Staff = down
1420 \change Staff = down
1421 <fis, a cis>4 gis <f a d>2 |
1428 \context Staff = "up" {
1429 #(set-accidental-style 'modern)
1432 \context Staff = "down" {
1433 #(set-accidental-style 'modern)
1440 @item modern-cautionary
1442 @cindex accidentals, modern cautionary style
1443 @cindex modern accidental style
1444 @cindex modern cautionary accidental style
1445 @cindex modern style accidentals
1446 @cindex modern style cautionary accidentals
1448 @funindex modern-cautionary
1450 This rule is similar to @code{modern}, but the @q{extra}
1451 accidentals (the ones not typeset by @code{default}) are typeset
1452 as cautionary accidentals. They are by default printed with
1453 parentheses, but they can also be printed in reduced size by
1454 defining the @code{cautionary-style} property of
1455 @code{AccidentalSuggestion}.
1461 cis'8 fis, d'4 <a cis>8 f bis4 |
1475 \voiceTwo \relative c' {
1479 \change Staff = down
1483 \change Staff = down
1484 <fis, a cis>4 gis <f a d>2 |
1491 \context Staff = "up" {
1492 #(set-accidental-style 'modern-cautionary)
1495 \context Staff = "down" {
1496 #(set-accidental-style 'modern-cautionary)
1505 @cindex accidental style, modern
1506 @cindex accidentals, modern
1507 @cindex accidentals, multivoice
1508 @cindex modern accidental style
1509 @cindex modern accidentals
1510 @cindex multivoice accidentals
1512 @funindex modern-voice
1514 This rule is used for multivoice accidentals to be read both by
1515 musicians playing one voice and musicians playing all voices.
1516 Accidentals are typeset for each voice, but they @emph{are}
1517 canceled across voices in the same @code{Staff}. Hence,
1518 the@tie{}@code{a} in the last measure is canceled because the
1519 previous cancellation was in a different voice, and
1520 the@tie{}@code{d} in the lower staff is canceled because of the
1521 accidental in a different voice in the previous measure:
1527 cis'8 fis, d'4 <a cis>8 f bis4 |
1541 \voiceTwo \relative c' {
1545 \change Staff = down
1549 \change Staff = down
1550 <fis, a cis>4 gis <f a d>2 |
1557 \context Staff = "up" {
1558 #(set-accidental-style 'modern-voice)
1561 \context Staff = "down" {
1562 #(set-accidental-style 'modern-voice)
1569 @cindex accidental style, cautionary, modern voice
1570 @cindex accidental style, modern voice cautionary
1571 @cindex accidental style, voice, modern cautionary
1573 @funindex modern-voice-cautionary
1575 @item modern-voice-cautionary
1577 This rule is the same as @code{modern-voice}, but with the extra
1578 accidentals (the ones not typeset by @code{voice}) typeset as
1579 cautionaries. Even though all accidentals typeset by
1580 @code{default} @emph{are} typeset with this rule, some of them are
1581 typeset as cautionaries.
1587 cis'8 fis, d'4 <a cis>8 f bis4 |
1601 \voiceTwo \relative c' {
1605 \change Staff = down
1609 \change Staff = down
1610 <fis, a cis>4 gis <f a d>2 |
1617 \context Staff = "up" {
1618 #(set-accidental-style 'modern-voice-cautionary)
1621 \context Staff = "down" {
1622 #(set-accidental-style 'modern-voice-cautionary)
1631 @cindex accidental style, piano
1632 @cindex accidentals, piano
1633 @cindex piano accidental style
1634 @cindex piano accidentals
1638 This rule reflects twentieth-century practice for piano notation.
1639 Its behavior is very similar to @code{modern} style, but here
1640 accidentals also get canceled across the staves in the same
1641 @code{GrandStaff} or @code{PianoStaff}, hence all the
1642 cancellations of the final notes.
1644 This accidental style applies to the current @code{GrandStaff} or
1645 @code{PianoStaff} by default.
1651 cis'8 fis, d'4 <a cis>8 f bis4 |
1665 \voiceTwo \relative c' {
1669 \change Staff = down
1673 \change Staff = down
1674 <fis, a cis>4 gis <f a d>2 |
1681 \context Staff = "up" {
1682 #(set-accidental-style 'piano)
1685 \context Staff = "down" {
1692 @item piano-cautionary
1694 @cindex accidentals, piano cautionary
1695 @cindex cautionary accidentals, piano
1696 @cindex piano cautionary accidentals
1697 @cindex accidental style, piano cautionary
1698 @cindex cautionary accidental style, piano
1699 @cindex piano cautionary accidental style
1701 @funindex piano-cautionary
1703 This is the same as @code{piano} but with the extra accidentals
1704 typeset as cautionaries.
1710 cis'8 fis, d'4 <a cis>8 f bis4 |
1724 \voiceTwo \relative c' {
1728 \change Staff = down
1732 \change Staff = down
1733 <fis, a cis>4 gis <f a d>2 |
1740 \context Staff = "up" {
1741 #(set-accidental-style 'piano-cautionary)
1744 \context Staff = "down" {
1754 @cindex neo-modern accidental style
1755 @cindex accidental style, neo-modern
1757 @funindex neo-modern
1759 This rule reproduces a common practice in contemporary music:
1760 accidentals are printed like with @code{modern}, but they are printed
1761 again if the same note appears later in the same measure -- except
1762 if the note is immediately repeated.
1768 cis'8 fis, d'4 <a cis>8 f bis4 |
1782 \voiceTwo \relative c' {
1786 \change Staff = down
1790 \change Staff = down
1791 <fis, a cis>4 gis <f a d>2 |
1798 \context Staff = "up" {
1799 #(set-accidental-style 'neo-modern)
1802 \context Staff = "down" {
1803 #(set-accidental-style 'neo-modern)
1810 @item neo-modern-cautionary
1812 @cindex neo-modern-cautionary accidental style
1813 @cindex accidental style, neo-modern-cautionary
1815 @funindex neo-modern-cautionary
1817 This rule is similar to @code{neo-modern}, but the extra
1818 accidentals are printed as cautionary accidentals.
1824 cis'8 fis, d'4 <a cis>8 f bis4 |
1838 \voiceTwo \relative c' {
1842 \change Staff = down
1846 \change Staff = down
1847 <fis, a cis>4 gis <f a d>2 |
1854 \context Staff = "up" {
1855 #(set-accidental-style 'neo-modern-cautionary)
1858 \context Staff = "down" {
1859 #(set-accidental-style 'neo-modern-cautionary)
1869 @cindex dodecaphonic accidental style
1870 @cindex dodecaphonic style, neo-modern
1872 @funindex dodecaphonic
1874 This rule reflects a practice introduced by composers at
1875 the beginning of the 20th century, in an attempt to
1876 abolish the hierarchy between natural and non-natural notes.
1877 With this style, @emph{every} note gets an accidental sign,
1878 including natural signs.
1884 cis'8 fis, d'4 <a cis>8 f bis4 |
1898 \voiceTwo \relative c' {
1902 \change Staff = down
1906 \change Staff = down
1907 <fis, a cis>4 gis <f a d>2 |
1914 \context Staff = "up" {
1915 #(set-accidental-style 'dodecaphonic)
1918 \context Staff = "down" {
1919 #(set-accidental-style 'dodecaphonic)
1929 @cindex teaching accidental style
1930 @cindex accidental style, teaching
1934 This rule is intended for students, and makes it easy to create
1935 scale sheets with automagically created cautionary accidentals.
1936 Accidentals are printed like with @code{modern}, but cautionary
1937 accidentals are added for all sharp or flat tones specified by the
1938 key signature, except if the note is immediately repeated.
1944 cis'8 fis, d'4 <a cis>8 f bis4 |
1958 \voiceTwo \relative c' {
1962 \change Staff = down
1966 \change Staff = down
1967 <fis, a cis>4 gis <f a d>2 |
1974 \context Staff = "up" {
1976 #(set-accidental-style 'teaching)
1979 \context Staff = "down" {
1981 #(set-accidental-style 'teaching)
1992 @cindex accidental style, no reset
1993 @cindex no reset accidental style
1997 This is the same as @code{default} but with accidentals lasting
1998 @q{forever} and not only within the same measure:
2004 cis'8 fis, d'4 <a cis>8 f bis4 |
2018 \voiceTwo \relative c' {
2022 \change Staff = down
2026 \change Staff = down
2027 <fis, a cis>4 gis <f a d>2 |
2034 \context Staff = "up" {
2035 #(set-accidental-style 'no-reset)
2038 \context Staff = "down" {
2039 #(set-accidental-style 'no-reset)
2048 @cindex forget accidental style
2049 @cindex accidental style, forget
2053 This is the opposite of @code{no-reset}: Accidentals are not
2054 remembered at all -- and hence all accidentals are typeset
2055 relative to the key signature, regardless of what came before in
2056 the music. Unlike @code{dodecaphonic}, this rule never prints
2063 cis'8 fis, d'4 <a cis>8 f bis4 |
2077 \voiceTwo \relative c' {
2081 \change Staff = down
2085 \change Staff = down
2086 <fis, a cis>4 gis <f a d>2 |
2093 \context Staff = "up" {
2094 #(set-accidental-style 'forget)
2097 \context Staff = "down" {
2098 #(set-accidental-style 'forget)
2108 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2109 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2116 Internals Reference:
2117 @rinternals{Accidental},
2118 @rinternals{Accidental_engraver},
2119 @rinternals{GrandStaff} and
2120 @rinternals{PianoStaff},
2122 @rinternals{AccidentalSuggestion},
2123 @rinternals{AccidentalPlacement},
2124 @rinternals{accidental-suggestion-interface}.
2127 @cindex accidentals and simultaneous notes
2128 @cindex simultaneous notes and accidentals
2129 @cindex accidentals in chords
2130 @cindex chords, accidentals in
2134 Simultaneous notes are considered to be entered in sequential
2135 mode. This means that in a chord the accidentals are typeset as
2136 if the notes in the chord happen one at a time, in the order in
2137 which they appear in the input file. This is a problem when
2138 accidentals in a chord depend on each other, which does not happen
2139 for the default accidental style. The problem can be solved by
2140 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2145 @unnumberedsubsubsec Ambitus
2148 @cindex range of pitches
2151 The term @notation{ambitus} (pl. ambitus) denotes a range of
2152 pitches for a given voice in a part of music. It may also denote
2153 the pitch range that a musical instrument is capable of playing.
2154 Ambitus are printed on vocal parts so that performers can easily
2155 determine if it matches their capabilities.
2157 Ambitus are denoted at the beginning of a piece near the initial
2158 clef. The range is graphically specified by two note heads that
2159 represent the lowest and highest pitches. Accidentals are only
2160 printed if they are not part of the key signature.
2162 @lilypond[verbatim,quote]
2166 \consists "Ambitus_engraver"
2179 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2180 {adding-ambitus-per-voice.ly}
2182 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2183 {ambitus-with-multiple-voices.ly}
2193 Internals Reference:
2194 @rinternals{Ambitus_engraver},
2197 @rinternals{Ambitus},
2198 @rinternals{AmbitusAccidental},
2199 @rinternals{AmbitusLine},
2200 @rinternals{AmbitusNoteHead},
2201 @rinternals{ambitus-interface}.
2206 There is no collision handling in the case of multiple per-voice
2211 @subsection Note heads
2213 This section suggests ways of altering note heads.
2216 * Special note heads::
2217 * Easy notation note heads::
2218 * Shape note heads::
2222 @node Special note heads
2223 @unnumberedsubsubsec Special note heads
2225 @cindex note heads, special
2226 @cindex note heads, cross
2227 @cindex note heads, diamond
2228 @cindex note heads, parlato
2229 @cindex note heads, harmonic
2230 @cindex note heads, guitar
2231 @cindex special note heads
2232 @cindex cross note heads
2233 @cindex diamond note heads
2234 @cindex parlato note heads
2235 @cindex harmonic note heads
2236 @cindex guitar note heads
2237 @cindex note head styles
2238 @cindex styles, note heads
2242 Note heads may be altered:
2244 @lilypond[verbatim,quote,relative=2]
2246 \override NoteHead #'style = #'cross
2248 \revert NoteHead #'style
2252 There is a shorthand for diamond shapes which can only be used
2255 @lilypond[verbatim,quote,relative=2]
2256 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2260 To see all note head styles, see @ref{Note head styles}.
2268 @ref{Note head styles},
2269 @ref{Chorded notes}.
2271 Internals Reference:
2272 @rinternals{note-event},
2273 @rinternals{Note_heads_engraver},
2274 @rinternals{Ledger_line_engraver},
2275 @rinternals{NoteHead},
2276 @rinternals{LedgerLineSpanner},
2277 @rinternals{note-head-interface},
2278 @rinternals{ledger-line-spanner-interface}.
2281 @node Easy notation note heads
2282 @unnumberedsubsubsec Easy notation note heads
2284 @cindex note heads, practice
2285 @cindex practice note heads
2286 @cindex note heads, easy notation
2287 @cindex easy notation
2289 @cindex beginners' music
2290 @cindex music, beginners'
2291 @cindex easy play note heads
2292 @cindex note heads, easy play
2294 @funindex \easyHeadsOn
2295 @funindex easyHeadsOn
2296 @funindex \easyHeadsOff
2297 @funindex easyHeadsOff
2299 The @q{easy play} note head includes a note name inside the head.
2300 It is used in music for beginners. To make the letters readable,
2301 it should be printed in a large font size. To print with a larger
2302 font, see @ref{Setting the staff size}.
2304 @lilypond[verbatim,quote]
2305 #(set-global-staff-size 26)
2317 @code{\easyHeadsOn},
2318 @code{\easyHeadsOff}.
2324 @ref{Setting the staff size}.
2329 Internals Reference:
2330 @rinternals{note-event},
2331 @rinternals{Note_heads_engraver},
2332 @rinternals{NoteHead},
2333 @rinternals{note-head-interface}.
2336 @node Shape note heads
2337 @unnumberedsubsubsec Shape note heads
2339 @cindex note heads, shape
2340 @cindex note heads, Aiken
2341 @cindex note heads, sacred harp
2343 @cindex Aiken shape note heads
2344 @cindex sacred harp note heads
2348 @funindex \aikenHeads
2349 @funindex aikenHeads
2350 @funindex \sacredHarpHeads
2351 @funindex sacredHarpHeads
2353 In shape note head notation, the shape of the note head
2354 corresponds to the harmonic function of a note in the scale. This
2355 notation was popular in nineteenth-century American song books.
2356 Shape note heads can be produced:
2358 @lilypond[verbatim,quote,relative=2]
2365 Shapes are typeset according to the step in the scale, where the
2366 base of the scale is determined by the @code{\key} command.
2371 @code{\sacredHarpHeads}.
2377 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2378 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2381 To see all note head styles, see @ref{Note head styles}.
2389 @ref{Note head styles}.
2391 Internals Reference:
2392 @rinternals{note-event},
2393 @rinternals{Note_heads_engraver},
2394 @rinternals{NoteHead},
2395 @rinternals{note-head-interface}.
2399 @unnumberedsubsubsec Improvisation
2401 @cindex improvisation
2402 @cindex slashed note heads
2403 @cindex note heads, improvisation
2404 @cindex note heads, slashed
2406 @funindex \improvisationOn
2407 @funindex improvisationOn
2408 @funindex \improvisationOff
2409 @funindex improvisationOff
2411 Improvisation is sometimes denoted with slashed note heads, where
2412 the performer may choose any pitch but should play the specified
2413 rhythm. Such note heads can be created:
2415 @lilypond[verbatim,quote,relative=2]
2417 \consists "Pitch_squash_engraver"
2419 e8 e g a a16( bes) a8 g
2431 @code{\improvisationOn},
2432 @code{\improvisationOff}.
2440 Internals Reference:
2441 @rinternals{Pitch_squash_engraver},
2443 @rinternals{RhythmicStaff}.