### 1.1.3 Displaying pitches

This section discusses how to alter the output of pitches.

#### Clef

The clef may be altered. Middle C is shown in every example. The following clef names can (but do not need to) be enclosed in quotes.

>     \clef treble
>     c2 c
>     \clef alto
>     c2 c
>     \clef tenor
>     c2 c
>     \clef bass
>     c2 c

Other clefs include:

>     \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

>     \break

>     \clef G   % synonym for treble
>     c2 c
>     \clef F   % synonym for bass
>     c2 c
>     \clef C   % synonym for alto
>     c2 c

By adding `_8` or `^8` to the clef name, the clef is transposed one octave down or up respectively, and `_15` and `^15` transpose by two octaves. Other integers can be used if required. Clef names containing non-alphabetic characters must be enclosed in quotes

>     \clef treble
>     c2 c
>     \clef "treble_8"
>     c2 c
>     \clef "bass^15"
>     c2 c
>     \clef "alto_2"
>     c2 c
>     \clef "G_8"
>     c2 c
>     \clef "F^5"
>     c2 c

Optional octavation can be obtained by enclosing the numeric argument in parentheses or brackets:

>     \clef "treble_(8)"
>     c2 c
>     \clef "bass^[15]"
>     c2 c

The pitches are displayed as if the numeric argument were given without parentheses/brackets.

Some special purpose clefs are described in Mensural clefs, Gregorian clefs, Default tablatures, and Custom tablatures. For mixing different clefs when using cue notes within a score, see the `\cueClef` and `\cueDuringWithClef` functions in Formatting cue notes.

#### Selected Snippets

Tweaking clef properties

The command `\clef "treble_8"` is equivalent to setting `clefGlyph`, `clefPosition` (which controls the vertical position of the clef), `middleCPosition` and `clefTransposition`. A clef is printed when any of the properties except `middleCPosition` are changed.

Note that changing the glyph, the position of the clef, or the octavation does not in itself change the position of subsequent notes on the staff: the position of middle C must also be specified to do this. In order to get key signatures on the correct staff lines, `middleCClefPosition` must also be set. The positional parameters are relative to the staff center line, positive numbers displacing upwards, counting one for each line and space. The `clefTransposition` value would normally be set to 7, -7, 15 or -15, but other values are valid.

When a clef change takes place at a line break the new clef symbol is printed at both the end of the previous line and the beginning of the new line by default. If the warning clef at the end of the previous line is not required it can be suppressed by setting the `Staff` property `explicitClefVisibility` to the value `end-of-line-invisible`. The default behavior can be recovered with `\unset Staff.explicitClefVisibility`.

The following examples show the possibilities when setting these properties manually. On the first line, the manual changes preserve the standard relative positioning of clefs and notes, whereas on the second line, they do not.

>     \layout { ragged-right = ##t }
>     {
>       % The default treble clef
>       \key f \major
>       c'1
>       % The standard bass clef
>       \set Staff.clefGlyph = #"clefs.F"
>       \set Staff.clefPosition = #2
>       \set Staff.middleCPosition = #6
>       \set Staff.middleCClefPosition = #6
>       \key g \major
>       c'1
>       % The baritone clef
>       \set Staff.clefGlyph = #"clefs.C"
>       \set Staff.clefPosition = #4
>       \set Staff.middleCPosition = #4
>       \set Staff.middleCClefPosition = #4
>       \key f \major
>       c'1
>       % The standard choral tenor clef
>       \set Staff.clefGlyph = #"clefs.G"
>       \set Staff.clefPosition = #-2
>       \set Staff.clefTransposition = #-7
>       \set Staff.middleCPosition = #1
>       \set Staff.middleCClefPosition = #1
>       \key f \major
>       c'1
>       % A non-standard clef
>       \set Staff.clefPosition = #0
>       \set Staff.clefTransposition = #0
>       \set Staff.middleCPosition = #-4
>       \set Staff.middleCClefPosition = #-4
>       \key g \major
>       c'1 \break

>       % The following clef changes do not preserve
>       % the normal relationship between notes, key signatures
>       % and clefs:

>       \set Staff.clefGlyph = #"clefs.F"
>       \set Staff.clefPosition = #2
>       c'1
>       \set Staff.clefGlyph = #"clefs.G"
>       c'1
>       \set Staff.clefGlyph = #"clefs.C"
>       c'1
>       \set Staff.clefTransposition = #7
>       c'1
>       \set Staff.clefTransposition = #0
>       \set Staff.clefPosition = #0
>       c'1

>       % Return to the normal clef:

>       \set Staff.middleCPosition = #0
>       c'1
>     }

#### See also

Notation Reference: Mensural clefs, Gregorian clefs, Default tablatures, Custom tablatures, Formatting cue notes.

Snippets: Pitches.

Internals Reference: Clef_engraver, Clef, ClefModifier, clef-interface.

#### Known issues and warnings

Ottavation numbers attached to clefs are treated as separate grobs. So any `\override` done to the Clef will also need to be applied, as a separate `\override`, to the ClefModifier grob.

#### Key signature

Note: 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 `c` means ‘C natural’, regardless of the key signature or clef. For more information, see 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:

>     \key pitch mode

Here, `mode` should be `\major` or `\minor` to get a key signature of `pitch`-major or `pitch`-minor, respectively. You may also use the standard mode names, also called church modes: `\ionian`, `\dorian`, `\phrygian`, `\lydian`, `\mixolydian`, `\aeolian`, and `\locrian`.

>     \key g \major
>     fis1
>     f
>     fis

Additional modes can be defined, by listing the alterations for each scale step when the mode starts on C.

>     freygish = #`((0 . ,NATURAL) (1 . ,FLAT) (2 . ,NATURAL)
>         (3 . ,NATURAL) (4 . ,NATURAL) (5 . ,FLAT) (6 . ,FLAT))

>     \relative c' {
>       \key c \freygish c4 des e f
>       \bar "||" \key d \freygish d es fis g
>     }

Accidentals in the key signature may be printed in octaves other than their traditional positions, or in multiple octaves, by using the `flat-positions` and `sharp-positions` properties of `KeySignature`. Entries in these properties specify the range of staff-positions where accidentals will be printed. If a single position is specified in an entry, the accidentals are placed within the octave ending at that staff position.

>     \override Staff.KeySignature.flat-positions = #'((-5 . 5))
>     \override Staff.KeyCancellation.flat-positions = #'((-5 . 5))
>     \clef bass \key es \major es g bes d
>     \clef treble \bar "||" \key es \major es g bes d

>     \override Staff.KeySignature.sharp-positions = #'(2)
>     \bar "||" \key b \major b fis b2

#### Selected Snippets

Preventing natural signs from being printed when the key signature changes

When the key signature changes, natural signs are automatically printed to cancel any accidentals from previous key signatures. This may be prevented by setting to `f` the `printKeyCancellation` property in the `Staff` context.

>     \relative c' {
>       \key d \major
>       a4 b cis d
>       \key g \minor
>       a4 bes c d
>       \set Staff.printKeyCancellation = ##f
>       \key d \major
>       a4 b cis d
>       \key g \minor
>       a4 bes c d
>     }

Non-traditional key signatures

The commonly used `\key` command sets the `keySignature` property, in the `Staff` context.

To create non-standard key signatures, set this property directly. The format of this command is a list:

`\set Staff.keySignature = #`(((octave . step) . alter) ((octave . step) . alter) ...)` where, for each element in the list, `octave` specifies the octave (0 being the octave from middle C to the B above), `step` specifies the note within the octave (0 means C and 6 means B), and `alter` is `,SHARP ,FLAT ,DOUBLE-SHARP` etc. (Note the leading comma.) The accidentals in the key signature will appear in the reverse order to that in which they are specified.

Alternatively, for each item in the list, using the more concise format `(step . alter)` specifies that the same alteration should hold in all octaves.

For microtonal scales where a “sharp” is not 100 cents, `alter` refers to the alteration as a proportion of a 200-cent whole tone.

Here is an example of a possible key signature for generating a whole-tone scale:

>     \relative c' {
>       \set Staff.keySignature = #`(((0 . 6) . ,FLAT)
>                                    ((0 . 5) . ,FLAT)
>                                    ((0 . 3) . ,SHARP))
>       c4 d e fis
>       aes4 bes c2
>     }

#### See also

Music Glossary: church mode, scordatura.

Learning Manual: Accidentals and key signatures.

Snippets: Pitches.

Internals Reference: KeyChangeEvent, Key_engraver, Key_performer, KeyCancellation, KeySignature, key-signature-interface.

#### Ottava brackets

Ottava brackets introduce an extra transposition of an octave for the staff:

>     a2 b
>     \ottava #-2
>     a2 b
>     \ottava #-1
>     a2 b
>     \ottava #0
>     a2 b
>     \ottava #1
>     a2 b
>     \ottava #2
>     a2 b

#### Selected Snippets

Ottava text

Internally, `\ottava` sets the properties `ottavation` (for example, to `8va` or `8vb`) and `middleCPosition`. To override the text of the bracket, set `ottavation` after invoking `\ottava`.

>     {
>       \ottava #1
>       \set Staff.ottavation = #"8"
>       c''1
>       \ottava #0
>       c'1
>       \ottava #1
>       \set Staff.ottavation = #"Text"
>       c''1
>     }

Adding an ottava marking to a single voice

If you have more than one voice on the staff, setting octavation in one voice will transpose the position of notes in all voices for the duration of the ottava bracket. If the ottavation is only intended to apply to one voice, the middleCPosition and ottava bracket may be set explicitly. In this snippet, the bass clef usually has middleCPosition set to 6, six positions above the center line, so in the 8va portion middleCPosition is 7 positions (one octave) higher still.

>     {
>       \clef bass
>       << { <g d'>1~ q2 <c' e'> }
>       \\
>         {
>           r2.
>           \set Staff.ottavation = #"8vb"
>           \once \override Staff.OttavaBracket.direction = #DOWN
>           \set Voice.middleCPosition = #(+ 6 7)
>           <b,,, b,,>4 ~ |
>           q2
>           \unset Staff.ottavation
>           \unset Voice.middleCPosition
>           <c e>2
>         }
>       >>
>     }

#### See also

Music Glossary: octavation.

Snippets: Pitches.

Internals Reference: Ottava_spanner_engraver, OttavaBracket, ottava-bracket-interface.

#### Instrument transpositions

When typesetting scores that involve transposing instruments, some parts can be typeset in a different pitch than the concert pitch. In these cases, the key of the transposing instrument should be specified; otherwise the MIDI output and cues in other parts will produce incorrect pitches. For more information about quotations, see Quoting other voices.

>     \transposition pitch

The pitch to use for `\transposition` should correspond to the real sound heard when a `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 `\transposition d'`. `\transposition` should only be used if the pitches are 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.

>     \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
>         }
>       }
>     >>

The `\transposition` may be changed during a piece. For example, a clarinetist may be required to switch from an A clarinet to a B-flat clarinet.

>     flute = \relative c'' {
>       \key f \major
>       \cueDuring #"clarinet" #DOWN {
>         R1 _\markup\tiny "clarinet"
>         c4 f e d
>         R1 _\markup\tiny "clarinet"
>       }
>     }
>     clarinet = \relative c'' {
>       \key aes \major
>       \transposition a
>       aes4 bes c des
>       R1^\markup { muta in B\flat }
>       \key g \major
>       \transposition bes
>       d2 g,
>     }
>     \addQuote "clarinet" \clarinet
>     <<
>       \new Staff \with { instrumentName = #"Flute" }
>         \flute
>       \new Staff \with { instrumentName = #"Cl (A)" }
>         \clarinet
>     >>

#### See also

Music Glossary: concert pitch, transposing instrument.

Notation Reference: Quoting other voices, Transpose.

Snippets: Pitches.

#### Automatic accidentals

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:

>     \new Staff <<
>       \accidentalStyle voice
>       { … }
>     >>

The accidental style applies to the current `Staff` by default (with the exception of the styles `piano` and `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 `StaffGroup`, use:

>     \accidentalStyle StaffGroup.voice

The following accidental styles are supported. To demonstrate each style, we use the following example:

>     musicA = {
>       <<
>         \relative c' {
>           cis'8 fis, bes4 <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>8[ <fis a cis>
>           \change Staff = up
>           cis' cis
>           \change Staff = down
>           <fis, a> <fis a>]
>           \showStaffSwitch
>           \change Staff = up
>           dis'4 |
>           \change Staff = down
>           <fis, a cis>4 gis <f a d>2 |
>         }
>       }
>     }

>     \new PianoStaff {
>       <<
>         \context Staff = "up" {
>           \accidentalStyle default
>           \musicA
>         }
>         \context Staff = "down" {
>           \accidentalStyle default
>           \musicB
>         }
>       >>
>     }

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.

>     \new PianoStaff {
>       <<
>         \context Staff = "up" {
>           %%% change the next line as desired:
>           \accidentalStyle Score.default
>           \musicA
>         }
>         \context Staff = "down" {
>           \musicB
>         }
>       >>
>     }

`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 `b` in the second measure or the last `c`:

`voice`

  The normal behavior is to remember the accidentals at `Staff`-level. In this style, however, accidentals are typeset individually for each voice. Apart from that, the rule is similar to `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 `a` should be played natural or sharp. The `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 `modern` or `modern-cautionary` should be used instead.

`modern`

  This rule corresponds to the common practice in the twentieth century. It omits some extra natural signs, which were traditionally prefixed to a sharp following a double sharp, or a flat following a double flat. The `modern` rule prints the same accidentals as `default`, with two additions 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 `b` and the `c` in the second measure of the upper staff:

`modern-cautionary`

  This rule is similar to `modern`, but the ‘extra’ accidentals (the ones not typeset by `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 `cautionary-style` property of `AccidentalSuggestion`.

`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 are canceled across voices in the same `Staff`. Hence, the `a` in the last measure is canceled because the previous cancellation was in a different voice, and the `d` in the lower staff is canceled because of the accidental in a different voice in the previous measure:

`modern-voice-cautionary`

  This rule is the same as `modern-voice`, but with the extra accidentals (the ones not typeset by `voice`) typeset as cautionaries. Even though all accidentals typeset by `default` are typeset with this rule, some of them are typeset as cautionaries.

`piano`

  This rule reflects twentieth-century practice for piano notation. Its behavior is very similar to `modern` style, but here accidentals also get canceled across the staves in the same `GrandStaff` or `PianoStaff`, hence all the cancellations of the final notes.

  This accidental style applies to the current `GrandStaff` or `PianoStaff` by default.

`piano-cautionary`

  This is the same as `piano` but with the extra accidentals typeset as cautionaries.

`neo-modern`

  This rule reproduces a common practice in contemporary music: accidentals are printed like with `modern`, but they are printed again if the same note appears later in the same measure – except if the note is immediately repeated.

`neo-modern-cautionary`

  This rule is similar to `neo-modern`, but the extra accidentals are printed as cautionary accidentals.

`neo-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 as with `neo-modern`, but they are canceled across voices in the same `Staff`.

`neo-modern-voice-cautionary`

  This rule is similar to `neo-modern-voice`, but the extra accidentals are printed as cautionary accidentals.

`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, every note gets an accidental sign, including natural signs.

`teaching`

  This rule is intended for students, and makes it easy to create scale sheets with automatically created cautionary accidentals. Accidentals are printed like with `modern`, but cautionary accidentals are added for all sharp or flat tones specified by the key signature, except if the note is immediately repeated.

`no-reset`

  This is the same as `default` but with accidentals lasting ‘forever’ and not only within the same measure:

`forget`

  This is the opposite of `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.

#### See also

Snippets: Pitches.

Internals Reference: Accidental, Accidental_engraver, GrandStaff, PianoStaff, Staff, AccidentalSuggestion, AccidentalPlacement, accidental-suggestion-interface.

#### Known issues and warnings

Simultaneous notes are not considered in the automatic determination of accidentals; only previous notes and the key signature are considered. Forcing accidentals with `!` or `?` may be required when the same note name occurs simultaneously with different alterations, as in ‘`<f! fis!>`’.

Cautionary cancellation of accidentals is done by looking at previous measure. However, in the `\alternative` block following a `\repeat volta N` section, one would expect the cancellation being calculated using the previous played measure, not previous printed measure. In the following example, the natural `c` in the second alternative does not need a natural sign:

The following work-around can be used: define a function that locally changes the accidental style to `forget`:

>     forget = #(define-music-function (parser location music) (ly:music?) #{
>       \accidentalStyle forget
>       #music
>       \accidentalStyle modern
>     #})
>     {
>       \accidentalStyle modern
>       \time 2/4
>       \repeat volta 2 {
>         c'2
>       }
>       \alternative {
>          cis'
>          \forget c'
>       }
>     }

#### Ambitus

The term 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.

>     \layout {
>       \context {
>         \Voice
>         \consists "Ambitus_engraver"
>       }
>     }

>     \relative c'' {
>       aes c e2
>       cis,1
>     }

#### Selected Snippets

Adding ambitus per voice

Ambitus can be added per voice. In this case, the ambitus must be moved manually to prevent collisions.

>     \new Staff <<
>       \new Voice \with {
>         \consists "Ambitus_engraver"
>       } \relative c'' {
>         \override Ambitus.X-offset = #2.0
>         \voiceOne
>         c4 a d e
>         f1
>       }
>       \new Voice \with {
>         \consists "Ambitus_engraver"
>       } \relative c' {
>         \voiceTwo
>         es4 f g as
>         b1
>       }
>     >>

Ambitus with multiple voices

Adding the `Ambitus_engraver` to the `Staff` context creates a single ambitus per staff, even in the case of staves with multiple voices.

>     \new Staff \with {
>       \consists "Ambitus_engraver"
>       }
>     <<
>       \new Voice \relative c'' {
>         \voiceOne
>         c4 a d e
>         f1
>       }
>       \new Voice \relative c' {
>         \voiceTwo
>         es4 f g as
>         b1
>       }
>     >>

Changing the ambitus gap

It is possible to change the default gap between the ambitus noteheads and the line joining them.

>     \layout {
>       \context {
>         \Voice
>         \consists "Ambitus_engraver"
>       }
>     }

>     \new Staff {
>       \time 2/4
>       % Default setting
>       c'4 g''
>     }

>     \new Staff {
>       \time 2/4
>       \override AmbitusLine.gap = #0
>       c'4 g''
>     }

>     \new Staff {
>       \time 2/4
>       \override AmbitusLine.gap = #1
>       c'4 g''
>     }

>     \new Staff {
>       \time 2/4
>       \override AmbitusLine.gap = #1.5
>       c'4 g''
>     }

#### See also

Music Glossary: ambitus.

Snippets: Pitches.

Internals Reference: Ambitus_engraver, Voice, Staff, Ambitus, AmbitusAccidental, AmbitusLine, AmbitusNoteHead, ambitus-interface.

#### Known issues and warnings

There is no collision handling in the case of multiple per-voice ambitus.

其他语言：deutsch, español, français, italiano, 日本語。
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#### LilyPond — Notation Reference v2.18.2 (稳定分支).