+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
-
- When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
-@end ignore
-
-@c \version "2.12.0"
-
-
-@node Pitches
-@section Pitches
-
-@lilypondfile[quote]{pitches-headword.ly}
-
-This section discusses how to specify the pitch of notes. There
-are three steps to this process: input, modification, and output.
-
-@menu
-* Writing pitches::
-* Changing multiple pitches::
-* Displaying pitches::
-* Note heads::
-@end menu
-
-
-@node Writing pitches
-@subsection Writing pitches
-
-This section discusses how to input pitches. There are two
-different ways to place notes in octaves: absolute and relative
-mode. In most cases, relative mode will be more convenient.
-
-@menu
-* Absolute octave entry::
-* Relative octave entry::
-* Accidentals::
-* Note names in other languages::
-@end menu
-
-
-@node Absolute octave entry
-@unnumberedsubsubsec Absolute octave entry
-
-@cindex pitch names
-@cindex pitches
-@cindex absolute
-@cindex absolute octave specification
-@cindex octave specification, absolute
-@cindex absolute octave entry
-@cindex octave entry, absolute
-
-A pitch name is specified using lowercase letters@tie{}@code{a}
-through@tie{}@code{g}. The note names @code{c} to @code{b} are
-engraved in the octave below middle C.
-
-@c don't use c' here.
-@lilypond[verbatim,quote,fragment]
-\clef bass
-c d e f
-g a b c
-d e f g
-@end lilypond
-
-@cindex octave changing mark
-
-@funindex '
-@funindex ,
-
-Other octaves may be specified with a single quote@tie{}(@code{'})
-or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
-pitch by one octave; each@tie{}@code{,} lowers the pitch by an
-octave.
-
-@lilypond[verbatim,quote,fragment]
-\clef treble
-c' c'' e' g
-d'' d' d c
-\clef bass
-c, c,, e, g
-d,, d, d c
-@end lilypond
-
-
-@seealso
-Music Glossary:
-@rglos{Pitch names}.
-
-Snippets:
-@rlsr{Pitches}.
-
-
-@node Relative octave entry
-@unnumberedsubsubsec Relative octave entry
-
-@cindex relative
-@cindex relative octave entry
-@cindex octave entry, relative
-@cindex relative octave specification
-@cindex ocatve specification, relative
-
-@funindex relative
-@funindex \relative
-
-When octaves are specified in absolute mode it is easy to
-accidentally put a pitch in the wrong octave. Relative octave
-mode reduces these errors since most of the time it is not
-necessary to indicate any octaves at all. Furthermore, in
-absolute mode a single mistake may be difficult to spot, while in
-relative mode a single error puts the rest of the piece off by one
-octave.
-
-@example
-\relative @var{startpitch} @var{musicexpr}
-@end example
-
-In relative mode, each note is assumed to be as close to the
-previous note as possible. This means that the octave of each
-pitch inside @var{musicexpr} is calculated as follows:
-
-@itemize
-@item
-If no octave changing mark is used on a pitch, its octave is
-calculated so that the interval with the previous note is less
-than a fifth. This interval is determined without considering
-accidentals.
-
-@item
-An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
-added to respectively raise or lower a pitch by an extra octave,
-relative to the pitch calculated without an octave mark.
-
-@item
-Multiple octave changing marks can be used. For example,
-@code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
-octaves.
-
-@item
-The pitch of the first note is relative to
-@code{@var{startpitch}}. @var{startpitch} is specified in
-absolute octave mode, and it is recommended that it be a octave of
-@code{c}.
-
-@end itemize
-
-Here is the relative mode shown in action:
-
-@lilypond[verbatim,quote]
-\relative c {
- \clef bass
- c d e f
- g a b c
- d e f g
-}
-@end lilypond
-
-Octave changing marks are used for intervals greater than a
-fourth:
-
-@lilypond[verbatim,quote]
-\relative c'' {
- c g c f,
- c' a, e'' c
-}
-@end lilypond
-
-A note sequence without a single octave mark can nevertheless span
-large intervals:
-
-@lilypond[verbatim,quote]
-\relative c {
- c f b e
- a d g c
-}
-@end lilypond
-
-@cindex chords and relative octave entry
-@cindex relative octave entry and chords
-
-If the preceding item is a chord, the first note of the chord is
-used as the reference point for the octave placement of a
-following note or chord. Inside chords, the next note is always
-relative to the preceding one. Examine the next example
-carefully, paying attention to the @code{c} notes.
-
-@lilypond[verbatim,quote]
-\relative c' {
- c
- <c e g>
- <c' e g'>
- <c, e, g''>
-}
-@end lilypond
-
-As explained above, the octave of pitches is calculated only with
-the note names, regardless of any alterations. Therefore, an
-E-double-sharp following a B will be placed higher, while an
-F-double-flat will be placed lower. In other words, a
-double-augmented fourth is considered a smaller interval than a
-double-diminished fifth, regardless of the number of semitones
-that each interval contains.
-
-@lilypond[verbatim,quote]
-\relative c'' {
- c2 fis
- c2 ges
- b2 eisis
- b2 feses
-}
-@end lilypond
-
-
-@seealso
-Music Glossary:
-@rglos{fifth},
-@rglos{interval},
-@rglos{Pitch names}.
-
-Notation Reference:
-@ref{Octave checks}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{RelativeOctaveMusic}.
-
-
-@cindex relative octave entry and transposition
-@cindex transposition and relative octave entry
-
-@funindex \transpose
-@funindex transpose
-@funindex \chordmode
-@funindex chordmode
-@funindex \relative
-@funindex relative
-
-
-@knownissues
-
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument.
-To use relative mode within transposed music, an additional
-@code{\relative} must be placed inside @code{\transpose}.
-
-@c DEPRECATED
-If no @var{startpitch} is specified for @code{\relative},
-then@tie{}@code{c'} is assumed. However, this is a deprecated
-option and may disappear in future versions, so its use is
-discouraged.
-
-
-
-@node Accidentals
-@unnumberedsubsubsec Accidentals
-
-@cindex accidental
-@cindex key signature
-@cindex clef
-
-@c duplicated in Key signature and Accidentals
-@warning{New users are sometimes confused about accidentals and
-key signatures. In LilyPond, note names are the raw input; key
-signatures and clefs determine how this raw input is displayed.
-An unaltered note like@tie{}@code{c} means @q{C natural},
-regardless of the key signature or clef. For more information,
-see @rlearning{Accidentals and key signatures}.}
-
-@cindex note names, Dutch
-@cindex note names, default
-@cindex default note names
-@cindex sharp
-@cindex flat
-@cindex double sharp
-@cindex sharp, double
-@cindex double flat
-@cindex flat, double
-@cindex natural sign
-@cindex natural pitch
-
-A @notation{sharp} pitch is made by adding @code{is} to the note
-name, and a @notation{flat} pitch by adding @code{es}. As you
-might expect, a @notation{double sharp} or @notation{double flat}
-is made by adding @code{isis} or @code{eses}. This syntax is
-derived from Dutch note naming conventions. To use other names
-for accidentals, see @ref{Note names in other languages}.
-
-@lilypond[verbatim,quote,relative=2]
-ais1 aes aisis aeses
-@end lilypond
-
-A natural will cancel the effect of an accidental or key
-signature. However, naturals are not encoded into the note name
-syntax with a suffix; a natural pitch is shown as a simple note
-name:
-
-@lilypond[verbatim,quote,relative=2]
-a4 aes a2
-@end lilypond
-
-@cindex quarter tones
-@cindex semi-flats
-@cindex semi-sharps
-
-Quarter tones may be added; the following is a series of Cs with
-increasing pitches:
-
-@lilypond[verbatim,quote,relative=2]
-ceseh1 ces ceh c cih cis cisih
-@end lilypond
-
-
-
-@cindex accidental, reminder
-@cindex accidental, cautionary
-@cindex accidental, parenthesized
-@cindex reminder accidental
-@cindex cautionary accidental
-@cindex parenthesized accidental
-
-@funindex ?
-@funindex !
-
-
-Normally accidentals are printed automatically, but you may also
-print them manually. A reminder accidental can be forced by
-adding an exclamation mark@tie{}@code{!} after the pitch. A
-cautionary accidental (i.e., an accidental within parentheses) can
-be obtained by adding the question mark@tie{}@code{?} after the
-pitch. These extra accidentals can also be used to produce
-natural signs.
-
-@lilypond[verbatim,quote,relative=2]
-cis cis cis! cis? c c c! c?
-@end lilypond
-
-@cindex accidental on tied note
-@cindex tied note, accidental
-
-Accidentals on tied notes are only printed at the beginning of a
-new system:
-
-@lilypond[verbatim,quote,relative=2]
-cis1 ~ cis ~
-\break
-cis
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{preventing-extra-naturals-from-being-automatically-added.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{makam-example.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{sharp},
-@rglos{flat},
-@rglos{double sharp},
-@rglos{double flat},
-@rglos{Pitch names},
-@rglos{quarter tone}.
-
-Learning Manual:
-@rlearning{Accidentals and key signatures}.
-
-Notation Reference:
-@ref{Automatic accidentals},
-@ref{Annotational accidentals (musica ficta)},
-@ref{Note names in other languages}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Accidental_engraver},
-@rinternals{Accidental},
-@rinternals{AccidentalCautionary},
-@rinternals{accidental-interface}.
-
-
-@cindex accidental, quarter-tone
-@cindex quarter-tone accidental
-
-@knownissues
-
-There are no generally accepted standards for denoting
-quarter-tone accidentals, so LilyPond's symbol does not conform to
-any standard.
-
-
-
-@node Note names in other languages
-@unnumberedsubsubsec Note names in other languages
-
-@cindex note names, other languages
-@cindex pitch names, other languages
-@cindex language, note names in other
-@cindex language, pitch names in other
-
-There are predefined sets of note and accidental names for various
-other languages. To use them, include the language-specific init
-file listed below. For example, to use English note names, add
-@code{@w{\include "english.ly"}} to the input file.
-
-@warning{Because some other include files (such as @code{@w{predefined-fretboards.ly}})
-use default (Nederlands) note names, the @code{@bs{}include}
-command for the language file should be placed after all other
-LilyPond distribution files.}
-
-The available language files and the note names they define are:
-
-@quotation
-@multitable {@file{nederlands.ly}} {do re mi fa sol la sib si}
-@headitem Language File
- @tab Note Names
-@item @file{nederlands.ly}
- @tab c d e f g a bes b
-@item @file{arabic.ly}
- @tab do re mi fa sol la sib si
-@item @file{catalan.ly}
- @tab do re mi fa sol la sib si
-@item @file{deutsch.ly}
- @tab c d e f g a b h
-@item @file{english.ly}
- @tab c d e f g a bf b
-@item @file{espanol.ly}
- @tab do re mi fa sol la sib si
-@item @file{italiano.ly}
- @tab do re mi fa sol la sib si
-@item @file{norsk.ly}
- @tab c d e f g a b h
-@item @file{portugues.ly}
- @tab do re mi fa sol la sib si
-@item @file{suomi.ly}
- @tab c d e f g a b h
-@item @file{svenska.ly}
- @tab c d e f g a b h
-@item @file{vlaams.ly}
- @tab do re mi fa sol la sib si
-@end multitable
-@end quotation
-
-@noindent
-and the accidental suffixes they define are:
-
-@quotation
-@multitable {@file{nederlands.ly}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
-@headitem Language File
- @tab sharp @tab flat @tab double sharp @tab double flat
-@item @file{nederlands.ly}
- @tab -is @tab -es @tab -isis @tab -eses
-@item @file{arabic.ly}
- @tab -d @tab -b @tab -dd @tab -bb
-@item @file{catalan.ly}
- @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
-@item @file{deutsch.ly}
- @tab -is @tab -es @tab -isis @tab -eses
-@item @file{english.ly}
- @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
- @tab -ff/-flatflat
-@item @file{espanol.ly}
- @tab -s @tab -b @tab -ss @tab -bb
-@item @file{italiano.ly}
- @tab -d @tab -b @tab -dd @tab -bb
-@item @file{norsk.ly}
- @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
- @tab -essess/-eses
-@item @file{portugues.ly}
- @tab -s @tab -b @tab -ss @tab -bb
-@item @file{suomi.ly}
- @tab -is @tab -es @tab -isis @tab -eses
-@item @file{svenska.ly}
- @tab -iss @tab -ess @tab -ississ @tab -essess
-@item @file{vlaams.ly}
- @tab -k @tab -b @tab -kk @tab -bb
-@end multitable
-@end quotation
-
-In Dutch, @code{aes} is contracted to @code{as}, but both forms
-are accepted in LilyPond. Similarly, both @code{es} and
-@code{ees} are accepted. This also applies to
-@code{aeses}@tie{}/@tie{}@code{ases} and
-@code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
-contracted names are defined in the corresponding language files.
-
-@lilypond[verbatim,quote,relative=2]
-a2 as e es a ases e eses
-@end lilypond
-
-
-@cindex microtones
-@cindex semi-sharp
-@cindex semi-flat
-@cindex sesqui-sharp
-@cindex sesqui-flat
-
-Some music uses microtones whose alterations are fractions of a
-@q{normal} sharp or flat. The note names for quarter-tones
-defined in the various language files are listed in the following
-table. Here the prefixes @notation{semi-} and @notation{sesqui-}
-mean @q{half} and @q{one and a half}, respectively. For the other
-languages, no special names have been defined yet.
-
-@quotation
-@multitable {@file{nederlands.ly}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
-@headitem Language File
- @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
-
-@item @file{nederlands.ly}
- @tab -ih @tab -eh @tab -isih @tab -eseh
-@item @file{arabic.ly}
- @tab -sd @tab -sb @tab -dsd @tab -bsb
-@item @file{deutsch.ly}
- @tab -ih @tab -eh @tab -isih @tab -eseh
-@item @file{english.ly}
- @tab -qs @tab -qf @tab -tqs @tab -tqf
-@item @file{italiano.ly}
- @tab -sd @tab -sb @tab -dsd @tab -bsb
-@item @file{portugues.ly}
- @tab -sqt @tab -bqt @tab -stqt @tab -btqt
-@end multitable
-@end quotation
-
-
-@seealso
-Music Glossary:
-@rglos{Pitch names}.
-
-Snippets:
-@rlsr{Pitches}.
-
-
-@node Changing multiple pitches
-@subsection Changing multiple pitches
-
-This section discusses how to modify pitches.
-
-@menu
-* Octave checks::
-* Transpose::
-@end menu
-
-@node Octave checks
-@unnumberedsubsubsec Octave checks
-
-@cindex octave correction
-@cindex octave check
-@cindex control pitch
-
-@funindex =
-@funindex \octaveCheck
-@funindex octaveCheck
-@funindex controlpitch
-
-In relative mode, it is easy to forget an octave changing mark.
-Octave checks make such errors easier to find by displaying a
-warning and correcting the octave if a note is found in an
-unexpected octave.
-
-To check the octave of a note, specify the absolute octave after
-the @code{=}@tie{}symbol. This example will generate a warning
-(and change the pitch) because the second note is the absolute
-octave @code{d''} instead of @code{d'} as indicated by the octave
-correction.
-
-@lilypond[verbatim,quote]
-\relative c'' {
- c2 d='4 d
- e2 f
-}
-@end lilypond
-
-The octave of notes may also be checked with the
-@code{\octaveCheck}@tie{}@var{controlpitch} command.
-@var{controlpitch} is specified in absolute mode. This checks
-that the interval between the previous note and the
-@var{controlpitch} is within a fourth (i.e., the normal
-calculation of relative mode). If this check fails, a warning is
-printed, but the previous note is not changed. Future notes are
-relative to the @var{controlpitch}.
-
-@lilypond[verbatim,quote]
-\relative c'' {
- c2 d
- \octaveCheck c'
- e2 f
-}
-@end lilypond
-
-Compare the two bars below. The first and third @code{\octaveCheck}
-checks fail, but the second one does not fail.
-
-@lilypond[verbatim,quote]
-\relative c'' {
- c4 f g f
-
- c4
- \octaveCheck c'
- f
- \octaveCheck c'
- g
- \octaveCheck c'
- f
-}
-@end lilypond
-
-
-@seealso
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{RelativeOctaveCheck}.
-
-
-@node Transpose
-@unnumberedsubsubsec Transpose
-
-@cindex transpose
-@cindex transposing
-@cindex transposition
-@cindex transposition of pitches
-@cindex transposition of notes
-@cindex pitches, transposition of
-@cindex notes, transposition of
-
-@funindex \transpose
-@funindex transpose
-
-A music expression can be transposed with @code{\transpose}. The
-syntax is
-
-@example
-\transpose @var{frompitch} @var{topitch} @var{musicexpr}
-@end example
-
-@noindent
-This means that @var{musicexpr} is transposed by the interval
-between the pitches @var{frompitch} and @var{topitch}: any note
-with pitch @var{frompitch} is changed to @var{topitch} and any
-other note is transposed by the same interval. Both pitches are
-entered in absolute mode.
-
-Consider a piece written in the key of D-major. It can be
-transposed up to E-major; note that the key signature is
-automatically transposed as well.
-
-@lilypond[verbatim,quote]
-\transpose d e {
- \relative c' {
- \key d \major
- d4 fis a d
- }
-}
-@end lilypond
-
-@cindex transposing instruments
-@cindex instruments, transposing
-
-If a part written in C (normal @notation{concert pitch}) is to be
-played on the A clarinet (for which an A is notated as a C and
-thus sounds a minor third lower than notated), the appropriate
-part will be produced with:
-
-@lilypond[verbatim,quote]
-\transpose a c' {
- \relative c' {
- \key c \major
- c4 d e g
- }
-}
-@end lilypond
-
-@noindent
-Note that we specify @w{@code{\key c \major}} explicitly. If we
-do not specify a key signature, the notes will be transposed but
-no key signature will be printed.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
-transpose up a semitone. The first version will print sharps and
-the notes will remain on the same scale step, the second version
-will print flats on the scale step above.
-
-@lilypond[verbatim,quote]
-music = \relative c' { c d e f }
-\new Staff {
- \transpose c cis { \music }
- \transpose c des { \music }
-}
-@end lilypond
-
-
-@code{\transpose} may also be used in a different way, to input
-written notes for a transposing instrument. The previous examples
-show how to enter pitches in C (or @notation{concert pitch}) and
-typeset them for a transposing instrument, but the opposite is
-also possible if you for example have a set of instrumental parts
-and want to print a conductor's score. For example, when entering
-music for a B-flat trumpet that begins on a notated E (concert D),
-one would write:
-
-@example
-musicInBflat = @{ e4 @dots{} @}
-\transpose c bes, \musicInBflat
-@end example
-
-@noindent
-To print this music in F (e.g., rearranging to a French horn) you
-could wrap the existing music with another @code{\transpose}:
-
-@example
-musicInBflat = @{ e4 @dots{} @}
-\transpose f c' @{ \transpose c bes, \musicInBflat @}
-@end example
-
-@noindent
-For more information about transposing instruments,
-see @ref{Instrument transpositions}.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
-
-
-@seealso
-Notation Reference:
-@ref{Instrument transpositions}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{TransposedMusic}.
-
-
-@funindex \transpose
-@funindex transpose
-@funindex \chordmode
-@funindex chordmode
-@funindex \relative
-@funindex relative
-
-@knownissues
-
-The relative conversion will not affect @code{\transpose},
-@code{\chordmode} or @code{\relative} sections in its argument.
-To use relative mode within transposed music, an additional
-@code{\relative} must be placed inside @code{\transpose}.
-
-
-@node Displaying pitches
-@subsection Displaying pitches
-
-This section discusses how to alter the output of pitches.
-
-@menu
-* Clef::
-* Key signature::
-* Ottava brackets::
-* Instrument transpositions::
-* Automatic accidentals::
-* Ambitus::
-@end menu
-
-
-@node Clef
-@unnumberedsubsubsec Clef
-
-@cindex G clef
-@cindex C clef
-@cindex F clef
-@cindex treble clef
-@cindex violin clef
-@cindex alto clef
-@cindex tenor clef
-@cindex bass clef
-@cindex french clef
-@cindex soprano clef
-@cindex mezzosoprano clef
-@cindex baritone clef
-@cindex varbaritone clef
-@cindex subbass clef
-@cindex clef
-@cindex ancient clef
-@cindex clef, ancient
-@cindex clef, G
-@cindex clef, C
-@cindex clef, F
-@cindex clef, treble
-@cindex clef, violin
-@cindex clef, alto
-@cindex clef, tenor
-@cindex clef, bass
-@cindex clef, french
-@cindex clef, soprano
-@cindex clef, mezzosoprano
-@cindex clef, baritone
-@cindex clef, varbaritone
-@cindex subbass clef, subbass
-
-@funindex \clef
-@funindex clef
-
-The clef may be altered. Middle C is shown in every example.
-
-@lilypond[verbatim,quote,relative=1]
-\clef treble
-c2 c
-\clef alto
-c2 c
-\clef tenor
-c2 c
-\clef bass
-c2 c
-@end lilypond
-
-Other clefs include:
-
-@lilypond[verbatim,quote,relative=1]
-\clef french
-c2 c
-\clef soprano
-c2 c
-\clef mezzosoprano
-c2 c
-\clef baritone
-c2 c
-
-\break
-
-\clef varbaritone
-c2 c
-\clef subbass
-c2 c
-\clef percussion
-c2 c
-\clef tab
-c2 c
-@end lilypond
-
-Further supported clefs are described under @ref{Mensural clefs}
-and @ref{Gregorian clefs}.
-
-@cindex transposing clefs
-@cindex clef, transposing
-@cindex octave transposition
-@cindex choral tenor clef
-@cindex tenor clef, choral
-
-By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
-clef is transposed one octave down or up, respectively,
-and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
-The clef name must be enclosed in quotes when it contains
-underscores or digits.
-
-@lilypond[verbatim,quote,relative=2]
-\clef treble
-c2 c
-\clef "treble_8"
-c2 c
-\clef "bass^15"
-c2 c
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{tweaking-clef-properties.ly}
-
-
-@seealso
-Notation Reference:
-@ref{Mensural clefs}, @ref{Gregorian clefs}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Clef_engraver},
-@rinternals{Clef},
-@rinternals{OctavateEight},
-@rinternals{clef-interface}.
-
-
-@node Key signature
-@unnumberedsubsubsec Key signature
-
-@cindex key signature
-
-@funindex \key
-@funindex key
-
-@c duplicated in Key signature and Accidentals
-@warning{New users are sometimes confused about accidentals and
-key signatures. In LilyPond, note names are the raw input; key
-signatures and clefs determine how this raw input is displayed.
-An unaltered note like@tie{}@code{c} means @q{C natural},
-regardless of the key signature or clef. For more information,
-see @rlearning{Accidentals and key signatures}.}
-
-The key signature indicates the tonality in which a piece is
-played. It is denoted by a set of alterations (flats or sharps)
-at the start of the staff. The key signature may be altered:
-
-@example
-\key @var{pitch} @var{mode}
-@end example
-
-@funindex \major
-@funindex major
-@funindex \minor
-@funindex minor
-@funindex \ionian
-@funindex ionian
-@funindex \locrian
-@funindex locrian
-@funindex \aeolian
-@funindex aeolian
-@funindex \mixolydian
-@funindex mixolydian
-@funindex \lydian
-@funindex lydian
-@funindex \phrygian
-@funindex phrygian
-@funindex \dorian
-@funindex dorian
-
-@cindex church modes
-@cindex modes
-@cindex major
-@cindex minor
-@cindex ionian
-@cindex locrian
-@cindex aeolian
-@cindex mixolydian
-@cindex lydian
-@cindex phrygian
-@cindex dorian
-
-Here, @var{mode} should be @code{\major} or @code{\minor} to get a
-key signature of @var{pitch}-major or @var{pitch}-minor,
-respectively. You may also use the standard mode names, also
-called @notation{church modes}: @code{\ionian}, @code{\dorian},
-@code{\phrygian}, @code{\lydian}, @code{\mixolydian},
-@code{\aeolian}, and @code{\locrian}.
-
-@lilypond[verbatim,quote,relative=2]
-\key g \major
-fis1
-f
-fis
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{non-traditional-key-signatures.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{church mode},
-@rglos{scordatura}.
-
-Learning Manual:
-@rlearning{Accidentals and key signatures}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{KeyChangeEvent},
-@rinternals{Key_engraver},
-@rinternals{Key_performer},
-@rinternals{KeyCancellation},
-@rinternals{KeySignature},
-@rinternals{key-cancellation-interface},
-@rinternals{key-signature-interface}.
-
-
-@node Ottava brackets
-@unnumberedsubsubsec Ottava brackets
-
-@cindex ottava
-@cindex 15ma
-@cindex 8va
-@cindex 8ve
-@cindex octavation
-
-@funindex set-octavation
-@funindex \ottava
-@funindex ottava
-
-@notation{Ottava brackets} introduce an extra transposition of an
-octave for the staff:
-
-@lilypond[verbatim,quote,relative=2]
-a'2 b
-\ottava #1
-a b
-\ottava #0
-a b
-@end lilypond
-
-The @code{ottava} function also takes -1 (for 8va bassa),
-2@tie{}(for 15ma), and -2 (for 15ma bassa) as arguments.
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{ottava-text.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{octavation}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Ottava_spanner_engraver},
-@rinternals{OttavaBracket},
-@rinternals{ottava-bracket-interface}.
-
-
-@node Instrument transpositions
-@unnumberedsubsubsec Instrument transpositions
-
-@cindex transposition, MIDI
-@cindex transposition, instrument
-@cindex transposing instrument
-@cindex MIDI
-@cindex MIDI transposition
-
-@funindex \transposition
-@funindex transposition
-
-When typesetting scores that involve transposing instruments, some
-parts can be typeset in a different pitch than the
-@notation{concert pitch}. In these cases, the key of the
-@notation{transposing instrument} should be specified; otherwise
-the MIDI output and cues in other parts will produce incorrect
-pitches. For more information about quotations, see
-@ref{Quoting other voices}.
-
-@example
-\transposition @var{pitch}
-@end example
-
-The pitch to use for @code{\transposition} should correspond to
-the real sound heard when a@tie{}@code{c'} written on the staff is
-played by the transposing instrument. This pitch is entered in
-absolute mode, so an instrument that produces a real sound which
-is one tone higher than the printed music should use
-@w{@code{\transposition d'}}. @code{\transposition} should
-@emph{only} be used if the pitches are @emph{not} being entered in
-concert pitch.
-
-Here are a few notes for violin and B-flat clarinet where the
-parts have been entered using the notes and key as they appear in
-each part of the conductor's score. The two instruments are
-playing in unison.
-
-@lilypond[verbatim,quote]
-\new GrandStaff <<
- \new Staff = "violin" {
- \relative c'' {
- \set Staff.instrumentName = #"Vln"
- \set Staff.midiInstrument = #"violin"
- % not strictly necessary, but a good reminder
- \transposition c'
-
- \key c \major
- g4( c8) r c r c4
- }
- }
- \new Staff = "clarinet" {
- \relative c'' {
- \set Staff.instrumentName = \markup { Cl (B\flat) }
- \set Staff.midiInstrument = #"clarinet"
- \transposition bes
-
- \key d \major
- a4( d8) r d r d4
- }
- }
->>
-@end lilypond
-
-The @code{\transposition} may be changed during a piece. For
-example, a clarinetist may switch from an A clarinet to a B-flat
-clarinet.
-
-@lilypond[verbatim,quote,relative=2]
-\set Staff.instrumentName = #"Cl (A)"
-\key a \major
-\transposition a
-c d e f
-\textLengthOn
-s1*0^\markup { Switch to B\flat clarinet }
-R1
-
-\key bes \major
-\transposition bes
-c2 g
-@end lilypond
-
-
-@seealso
-Music Glossary:
-@rglos{concert pitch},
-@rglos{transposing instrument}.
-
-Notation Reference:
-@ref{Quoting other voices}, @ref{Transpose}.
-
-Snippets:
-@rlsr{Pitches}.
-
-
-@node Automatic accidentals
-@unnumberedsubsubsec Automatic accidentals
-
-@cindex accidental style
-@cindex accidental style, default
-@cindex accidentals
-@cindex accidentals, automatic
-@cindex automatic accidentals
-@cindex default accidental style
-
-@funindex set-accidental-style
-@funindex voice
-@funindex default
-
-There are many different conventions on how to typeset
-accidentals. LilyPond provides a function to specify which
-accidental style to use. This function is called as follows:
-
-@example
-\new Staff <<
- #(set-accidental-style 'voice)
- @{ @dots{} @}
->>
-@end example
-
-The accidental style applies to the current @code{Staff} by
-default (with the exception of the styles @code{piano} and
-@code{piano-cautionary}, which are explained below). Optionally,
-the function can take a second argument that determines in which
-scope the style should be changed. For example, to use the same
-style in all staves of the current @code{StaffGroup}, use:
-
-@example
-#(set-accidental-style 'voice 'StaffGroup)
-@end example
-
-The following accidental styles are supported. To demonstrate
-each style, we use the following example:
-
-
-@lilypond[verbatim,quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'default)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'default)
- \musicB
- }
- >>
-}
-@end lilypond
-
-Note that the last lines of this example can be replaced by the
-following, as long as the same accidental style should be used in
-both staves.
-
-@example
-\new PianoStaff @{
- <<
- \context Staff = "up" @{
- %%% change the next line as desired:
- #(set-accidental-style 'default 'Score)
- \musicA
- @}
- \context Staff = "down" @{
- \musicB
- @}
- >>
-@}
-@end example
-
-
-@c don't use verbatim in this table.
-@table @code
-@item default
-
-@cindex default accidental style
-@cindex accidental style, default
-
-@funindex default
-
-This is the default typesetting behavior. It corresponds to
-eighteenth-century common practice: accidentals are remembered to
-the end of the measure in which they occur and only in their own
-octave. Thus, in the example below, no natural signs are printed
-before the@tie{}@code{b} in the second measure or the
-last@tie{}@code{c}:
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'default)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'default)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item voice
-
-@cindex accidental style, voice
-@cindex voice accidental style
-@cindex accidental style, modern
-@cindex modern accidental style
-@cindex accidental style, modern-cautionary
-@cindex modern-cautionary accidental style
-
-@funindex voice
-
-The normal behavior is to remember the accidentals at
-@code{Staff}-level. In this style, however, accidentals are
-typeset individually for each voice. Apart from that, the rule is
-similar to @code{default}.
-
-As a result, accidentals from one voice do not get canceled in
-other voices, which is often an unwanted result: in the following
-example, it is hard to determine whether the second@tie{}@code{a}
-should be played natural or sharp. The @code{voice} option should
-therefore be used only if the voices are to be read solely by
-individual musicians. If the staff is to be used by one musician
-(e.g., a conductor or in a piano score) then @code{modern} or
-@code{modern-cautionary} should be used instead.
-
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'voice)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'voice)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item modern
-
-@cindex accidentals, modern style
-@cindex modern style accidentals
-
-@funindex modern
-
-This rule corresponds to the common practice in the twentieth
-century. It prints the same accidentals as @code{default}, with
-two exceptions that serve to avoid ambiguity: after temporary
-accidentals, cancellation marks are printed also in the following
-measure (for notes in the same octave) and, in the same measure,
-for notes in other octaves. Hence the naturals before
-the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
-the upper staff:
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'modern)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'modern)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item modern-cautionary
-
-@cindex accidentals, modern cautionary style
-@cindex modern accidental style
-@cindex modern cautionary accidental style
-@cindex modern style accidentals
-@cindex modern style cautionary accidentals
-
-@funindex modern-cautionary
-
-This rule is similar to @code{modern}, but the @q{extra}
-accidentals (the ones not typeset by @code{default}) are typeset
-as cautionary accidentals. They are by default printed with
-parentheses, but they can also be printed in reduced size by
-defining the @code{cautionary-style} property of
-@code{AccidentalSuggestion}.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'modern-cautionary)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'modern-cautionary)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item modern-voice
-
-@cindex accidental style, modern
-@cindex accidentals, modern
-@cindex accidentals, multivoice
-@cindex modern accidental style
-@cindex modern accidentals
-@cindex multivoice accidentals
-
-@funindex modern-voice
-
-This rule is used for multivoice accidentals to be read both by
-musicians playing one voice and musicians playing all voices.
-Accidentals are typeset for each voice, but they @emph{are}
-canceled across voices in the same @code{Staff}. Hence,
-the@tie{}@code{a} in the last measure is canceled because the
-previous cancellation was in a different voice, and
-the@tie{}@code{d} in the lower staff is canceled because of the
-accidental in a different voice in the previous measure:
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'modern-voice)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'modern-voice)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@cindex accidental style, cautionary, modern voice
-@cindex accidental style, modern voice cautionary
-@cindex accidental style, voice, modern cautionary
-
-@funindex modern-voice-cautionary
-
-@item modern-voice-cautionary
-
-This rule is the same as @code{modern-voice}, but with the extra
-accidentals (the ones not typeset by @code{voice}) typeset as
-cautionaries. Even though all accidentals typeset by
-@code{default} @emph{are} typeset with this rule, some of them are
-typeset as cautionaries.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'modern-voice-cautionary)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'modern-voice-cautionary)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item piano
-
-@cindex accidental style, piano
-@cindex accidentals, piano
-@cindex piano accidental style
-@cindex piano accidentals
-
-@funindex piano
-
-This rule reflects twentieth-century practice for piano notation.
-Its behavior is very similar to @code{modern} style, but here
-accidentals also get canceled across the staves in the same
-@code{GrandStaff} or @code{PianoStaff}, hence all the
-cancellations of the final notes.
-
-This accidental style applies to the current @code{GrandStaff} or
-@code{PianoStaff} by default.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'piano)
- \musicA
- }
- \context Staff = "down" {
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item piano-cautionary
-
-@cindex accidentals, piano cautionary
-@cindex cautionary accidentals, piano
-@cindex piano cautionary accidentals
-@cindex accidental style, piano cautionary
-@cindex cautionary accidental style, piano
-@cindex piano cautionary accidental style
-
-@funindex piano-cautionary
-
-This is the same as @code{piano} but with the extra accidentals
-typeset as cautionaries.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'piano-cautionary)
- \musicA
- }
- \context Staff = "down" {
- \musicB
- }
- >>
-}
-@end lilypond
-
-
-@item neo-modern
-
-@cindex neo-modern accidental style
-@cindex accidental style, neo-modern
-
-@funindex neo-modern
-
-This rule reproduces a common practice in contemporary music:
-accidentals are printed like with @code{modern}, but they are printed
-again if the same note appears later in the same measure -- except
-if the note is immediately repeated.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'neo-modern)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'neo-modern)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item neo-modern-cautionary
-
-@cindex neo-modern-cautionary accidental style
-@cindex accidental style, neo-modern-cautionary
-
-@funindex neo-modern-cautionary
-
-This rule is similar to @code{neo-modern}, but the extra
-accidentals are printed as cautionary accidentals.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'neo-modern-cautionary)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'neo-modern-cautionary)
- \musicB
- }
- >>
-}
-@end lilypond
-
-
-@item dodecaphonic
-
-@cindex dodecaphonic accidental style
-@cindex dodecaphonic style, neo-modern
-
-@funindex dodecaphonic
-
-This rule reflects a practice introduced by composers at
-the beginning of the 20th century, in an attempt to
-abolish the hierarchy between natural and non-natural notes.
-With this style, @emph{every} note gets an accidental sign,
-including natural signs.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'dodecaphonic)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'dodecaphonic)
- \musicB
- }
- >>
-}
-@end lilypond
-
-
-@item teaching
-
-@cindex teaching accidental style
-@cindex accidental style, teaching
-
-@funindex teaching
-
-This rule is intended for students, and makes it easy to create
-scale sheets with automagically created cautionary accidentals.
-Accidentals are printed like with @code{modern}, but cautionary
-accidentals are added for all sharp or flat tones specified by the
-key signature, except if the note is immediately repeated.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- \key fis \minor
- #(set-accidental-style 'teaching)
- \musicA
- }
- \context Staff = "down" {
- \key fis \minor
- #(set-accidental-style 'teaching)
- \musicB
- }
- >>
-}
-@end lilypond
-
-
-
-@item no-reset
-
-@cindex accidental style, no reset
-@cindex no reset accidental style
-
-@funindex no-reset
-
-This is the same as @code{default} but with accidentals lasting
-@q{forever} and not only within the same measure:
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'no-reset)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'no-reset)
- \musicB
- }
- >>
-}
-@end lilypond
-
-@item forget
-
-@cindex forget accidental style
-@cindex accidental style, forget
-
-@funindex forget
-
-This is the opposite of @code{no-reset}: Accidentals are not
-remembered at all -- and hence all accidentals are typeset
-relative to the key signature, regardless of what came before in
-the music. Unlike @code{dodecaphonic}, this rule never prints
-any naturals.
-
-@lilypond[quote]
-musicA = {
- <<
- \relative c' {
- cis'8 fis, d'4 <a cis>8 f bis4 |
- cis2. <c, g'>4 |
- }
- \\
- \relative c' {
- ais'2 cis, |
- fis8 b a4 cis2 |
- }
- >>
-}
-
-musicB = {
- \clef bass
- \new Voice {
- \voiceTwo \relative c' {
- <fis, a cis>4
- \change Staff = up
- cis'
- \change Staff = down
- <fis, a>
- \change Staff = up
- dis' |
- \change Staff = down
- <fis, a cis>4 gis <f a d>2 |
- }
- }
-}
-
-\new PianoStaff {
- <<
- \context Staff = "up" {
- #(set-accidental-style 'forget)
- \musicA
- }
- \context Staff = "down" {
- #(set-accidental-style 'forget)
- \musicB
- }
- >>
-}
-@end lilypond
-@end table
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
-
-
-@seealso
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Accidental},
-@rinternals{Accidental_engraver},
-@rinternals{GrandStaff} and
-@rinternals{PianoStaff},
-@rinternals{Staff},
-@rinternals{AccidentalSuggestion},
-@rinternals{AccidentalPlacement},
-@rinternals{accidental-suggestion-interface}.
-
-
-@cindex accidentals and simultaneous notes
-@cindex simultaneous notes and accidentals
-@cindex accidentals in chords
-@cindex chords, accidentals in
-
-@knownissues
-
-Simultaneous notes are considered to be entered in sequential
-mode. This means that in a chord the accidentals are typeset as
-if the notes in the chord happen one at a time, in the order in
-which they appear in the input file. This is a problem when
-accidentals in a chord depend on each other, which does not happen
-for the default accidental style. The problem can be solved by
-manually inserting@tie{}@code{!} and@tie{}@code{?} for the
-problematic notes.
-
-
-@node Ambitus
-@unnumberedsubsubsec Ambitus
-
-@cindex ambitus
-@cindex range of pitches
-@cindex pitch range
-
-The term @notation{ambitus} (pl. ambitus) denotes a range of
-pitches for a given voice in a part of music. It may also denote
-the pitch range that a musical instrument is capable of playing.
-Ambitus are printed on vocal parts so that performers can easily
-determine if it matches their capabilities.
-
-Ambitus are denoted at the beginning of a piece near the initial
-clef. The range is graphically specified by two note heads that
-represent the lowest and highest pitches. Accidentals are only
-printed if they are not part of the key signature.
-
-@lilypond[verbatim,quote]
-\layout {
- \context {
- \Voice
- \consists "Ambitus_engraver"
- }
-}
-
-\relative c'' {
- aes c e2
- cis,1
-}
-@end lilypond
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{adding-ambitus-per-voice.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{ambitus-with-multiple-voices.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{ambitus}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Ambitus_engraver},
-@rinternals{Voice},
-@rinternals{Staff},
-@rinternals{Ambitus},
-@rinternals{AmbitusAccidental},
-@rinternals{AmbitusLine},
-@rinternals{AmbitusNoteHead},
-@rinternals{ambitus-interface}.
-
-
-@knownissues
-
-There is no collision handling in the case of multiple per-voice
-ambitus.
-
-
-@node Note heads
-@subsection Note heads
-
-This section suggests ways of altering note heads.
-
-@menu
-* Special note heads::
-* Easy notation note heads::
-* Shape note heads::
-* Improvisation::
-@end menu
-
-@node Special note heads
-@unnumberedsubsubsec Special note heads
-
-@cindex note heads, special
-@cindex note heads, cross
-@cindex note heads, diamond
-@cindex note heads, parlato
-@cindex note heads, harmonic
-@cindex note heads, guitar
-@cindex special note heads
-@cindex cross note heads
-@cindex diamond note heads
-@cindex parlato note heads
-@cindex harmonic note heads
-@cindex guitar note heads
-@cindex note head styles
-@cindex styles, note heads
-
-@funindex cross
-
-Note heads may be altered:
-
-@lilypond[verbatim,quote,relative=2]
-c4 b a b
-\override NoteHead #'style = #'cross
-c4 b a b
-\revert NoteHead #'style
-c4 d e f
-@end lilypond
-
-There is a shorthand for diamond shapes which can only be used
-inside chords:
-
-@lilypond[verbatim,quote,relative=2]
-<c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
-@end lilypond
-
-@noindent
-To see all note head styles, see @ref{Note head styles}.
-
-
-@seealso
-Snippets:
-@rlsr{Pitches}.
-
-Notation Reference:
-@ref{Note head styles},
-@ref{Chorded notes}.
-
-Internals Reference:
-@rinternals{note-event},
-@rinternals{Note_heads_engraver},
-@rinternals{Ledger_line_engraver},
-@rinternals{NoteHead},
-@rinternals{LedgerLineSpanner},
-@rinternals{note-head-interface},
-@rinternals{ledger-line-spanner-interface}.
-
-
-@node Easy notation note heads
-@unnumberedsubsubsec Easy notation note heads
-
-@cindex note heads, practice
-@cindex practice note heads
-@cindex note heads, easy notation
-@cindex easy notation
-@cindex Hal Leonard
-@cindex beginners' music
-@cindex music, beginners'
-@cindex easy play note heads
-@cindex note heads, easy play
-
-@funindex \easyHeadsOn
-@funindex easyHeadsOn
-@funindex \easyHeadsOff
-@funindex easyHeadsOff
-
-The @q{easy play} note head includes a note name inside the head.
-It is used in music for beginners. To make the letters readable,
-it should be printed in a large font size. To print with a larger
-font, see @ref{Setting the staff size}.
-
-@lilypond[verbatim,quote]
-#(set-global-staff-size 26)
-\relative c' {
- \easyHeadsOn
- c2 e4 f
- g1
- \easyHeadsOff
- c,1
-}
-@end lilypond
-
-
-@predefined
-@code{\easyHeadsOn},
-@code{\easyHeadsOff}.
-@endpredefined
-
-
-@seealso
-Notation Reference:
-@ref{Setting the staff size}.
-
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{note-event},
-@rinternals{Note_heads_engraver},
-@rinternals{NoteHead},
-@rinternals{note-head-interface}.
-
-
-@node Shape note heads
-@unnumberedsubsubsec Shape note heads
-
-@cindex note heads, shape
-@cindex note heads, Aiken
-@cindex note heads, sacred harp
-@cindex shape notes
-@cindex Aiken shape note heads
-@cindex sacred harp note heads
-
-@funindex \key
-@funindex key
-@funindex \aikenHeads
-@funindex aikenHeads
-@funindex \sacredHarpHeads
-@funindex sacredHarpHeads
-
-In shape note head notation, the shape of the note head
-corresponds to the harmonic function of a note in the scale. This
-notation was popular in nineteenth-century American song books.
-Shape note heads can be produced:
-
-@lilypond[verbatim,quote,relative=2]
-\aikenHeads
-c, d e f g a b c
-\sacredHarpHeads
-c, d e f g a b c
-@end lilypond
-
-Shapes are typeset according to the step in the scale, where the
-base of the scale is determined by the @code{\key} command.
-
-
-@predefined
-@code{\aikenHeads},
-@code{\sacredHarpHeads}.
-@endpredefined
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
-
-@noindent
-To see all note head styles, see @ref{Note head styles}.
-
-
-@seealso
-Snippets:
-@rlsr{Pitches}.
-
-Notation Reference:
-@ref{Note head styles}.
-
-Internals Reference:
-@rinternals{note-event},
-@rinternals{Note_heads_engraver},
-@rinternals{NoteHead},
-@rinternals{note-head-interface}.
-
-
-@node Improvisation
-@unnumberedsubsubsec Improvisation
-
-@cindex improvisation
-@cindex slashed note heads
-@cindex note heads, improvisation
-@cindex note heads, slashed
-
-@funindex \improvisationOn
-@funindex improvisationOn
-@funindex \improvisationOff
-@funindex improvisationOff
-
-Improvisation is sometimes denoted with slashed note heads, where
-the performer may choose any pitch but should play the specified
-rhythm. Such note heads can be created:
-
-@lilypond[verbatim,quote,relative=2]
-\new Voice \with {
- \consists "Pitch_squash_engraver"
-} {
- e8 e g a a16( bes) a8 g
- \improvisationOn
- e8 ~
- e2 ~ e8 f4 f8 ~
- f2
- \improvisationOff
- a16( bes) a8 g e
-}
-@end lilypond
-
-
-@predefined
-@code{\improvisationOn},
-@code{\improvisationOff}.
-@endpredefined
-
-
-@seealso
-Snippets:
-@rlsr{Pitches}.
-
-Internals Reference:
-@rinternals{Pitch_squash_engraver},
-@rinternals{Voice},
-@rinternals{RhythmicStaff}.
-
-
projects / lilypond.git / blobdiff