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. For details, see the Contributors'
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16 @lilypondfile[quote]{pitches-headword.ly}
18 This section discusses how to specify the pitch of notes. There
19 are three steps to this process: input, modification, and output.
23 * Changing multiple pitches::
24 * Displaying pitches::
30 @subsection Writing pitches
32 This section discusses how to input pitches. There are two
33 different ways to place notes in octaves: absolute and relative
34 mode. In most cases, relative mode will be more convenient.
37 * Absolute octave entry::
38 * Relative octave entry::
40 * Note names in other languages::
44 @node Absolute octave entry
45 @unnumberedsubsubsec Absolute octave entry
50 @cindex absolute octave specification
51 @cindex octave specification, absolute
52 @cindex absolute octave entry
53 @cindex octave entry, absolute
55 A pitch name is specified using lowercase letters@tie{}@code{a}
56 through@tie{}@code{g}. The note names @code{c} to @code{b} are
57 engraved in the octave below middle C.
60 @lilypond[verbatim,quote,fragment]
67 @cindex octave changing mark
72 Other octaves may be specified with a single quote@tie{}(@code{'})
73 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
74 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
77 @lilypond[verbatim,quote,fragment]
95 @node Relative octave entry
96 @unnumberedsubsubsec Relative octave entry
99 @cindex relative octave entry
100 @cindex octave entry, relative
101 @cindex relative octave specification
102 @cindex octave specification, relative
107 When octaves are specified in absolute mode it is easy to
108 accidentally put a pitch in the wrong octave. Relative octave
109 mode reduces these errors since most of the time it is not
110 necessary to indicate any octaves at all. Furthermore, in
111 absolute mode a single mistake may be difficult to spot, while in
112 relative mode a single error puts the rest of the piece off by one
116 \relative @var{startpitch} @var{musicexpr}
119 In relative mode, each note is assumed to be as close to the
120 previous note as possible. This means that the octave of each
121 pitch inside @code{@var{musicexpr}} is calculated as follows:
125 If no octave changing mark is used on a pitch, its octave is
126 calculated so that the interval with the previous note is less
127 than a fifth. This interval is determined without considering
131 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
132 added to respectively raise or lower a pitch by an extra octave,
133 relative to the pitch calculated without an octave mark.
136 Multiple octave changing marks can be used. For example,
137 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
141 The pitch of the first note is relative to
142 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
143 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 When @code{\relative} blocks are nested, the innermost
179 @code{\relative} block applies.
181 @lilypond[verbatim,quote]
190 @code{\relative} has no effect on @code{\chordmode} blocks.
192 @lilypond[verbatim,quote]
201 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
203 Music inside a @code{\transpose} block is absolute unless a
204 @code{\relative} is included.
206 @lilypond[verbatim,quote]
219 @cindex chords and relative octave entry
220 @cindex relative octave entry and chords
222 If the preceding item is a chord, the first note of the chord is
223 used as the reference point for the octave placement of a
224 following note or chord. Inside chords, the next note is always
225 relative to the preceding one. Examine the next example
226 carefully, paying attention to the @code{c} notes.
228 @lilypond[verbatim,quote]
237 As explained above, the octave of pitches is calculated only with
238 the note names, regardless of any alterations. Therefore, an
239 E-double-sharp following a B will be placed higher, while an
240 F-double-flat will be placed lower. In other words, a
241 double-augmented fourth is considered a smaller interval than a
242 double-diminished fifth, regardless of the number of semitones
243 that each interval contains.
245 @lilypond[verbatim,quote]
268 @rinternals{RelativeOctaveMusic}.
271 @cindex relative octave entry and transposition
272 @cindex transposition and relative octave entry
283 If no @code{@var{startpitch}} is specified for @code{\relative},
284 then@tie{}@code{c'} is assumed. However, this is a deprecated
285 option and may disappear in future versions, so its use is
291 @unnumberedsubsubsec Accidentals
294 @cindex key signature
297 @c duplicated in Key signature and Accidentals
298 @warning{New users are sometimes confused about accidentals and
299 key signatures. In LilyPond, note names are the raw input; key
300 signatures and clefs determine how this raw input is displayed.
301 An unaltered note like@tie{}@code{c} means @q{C natural},
302 regardless of the key signature or clef. For more information,
303 see @rlearning{Accidentals and key signatures}.}
305 @cindex note names, Dutch
306 @cindex note names, default
307 @cindex default note names
311 @cindex sharp, double
315 @cindex natural pitch
317 A @notation{sharp} pitch is made by adding @code{is} to the note
318 name, and a @notation{flat} pitch by adding @code{es}. As you
319 might expect, a @notation{double sharp} or @notation{double flat}
320 is made by adding @code{isis} or @code{eses}. This syntax is
321 derived from Dutch note naming conventions. To use other names
322 for accidentals, see @ref{Note names in other languages}.
324 @lilypond[verbatim,quote,relative=2]
328 A natural will cancel the effect of an accidental or key
329 signature. However, naturals are not encoded into the note name
330 syntax with a suffix; a natural pitch is shown as a simple note
333 @lilypond[verbatim,quote,relative=2]
337 @cindex quarter tones
341 Quarter tones may be added; the following is a series of Cs with
344 @lilypond[verbatim,quote,relative=2]
345 ceseh1 ces ceh c cih cis cisih
350 @cindex accidental, reminder
351 @cindex accidental, cautionary
352 @cindex accidental, parenthesized
353 @cindex reminder accidental
354 @cindex cautionary accidental
355 @cindex parenthesized accidental
361 Normally accidentals are printed automatically, but you may also
362 print them manually. A reminder accidental can be forced by
363 adding an exclamation mark@tie{}@code{!} after the pitch. A
364 cautionary accidental (i.e., an accidental within parentheses) can
365 be obtained by adding the question mark@tie{}@code{?} after the
366 pitch. These extra accidentals can also be used to produce
369 @lilypond[verbatim,quote,relative=2]
370 cis cis cis! cis? c c c! c?
373 @cindex accidental on tied note
374 @cindex tied note, accidental
376 Accidentals on tied notes are only printed at the beginning of a
379 @lilypond[verbatim,quote,relative=2]
388 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
389 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
391 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
392 {preventing-extra-naturals-from-being-automatically-added.ly}
398 @rglos{double sharp},
401 @rglos{quarter tone}.
404 @rlearning{Accidentals and key signatures}.
407 @ref{Automatic accidentals},
408 @ref{Annotational accidentals (musica ficta)},
409 @ref{Note names in other languages}.
415 @rinternals{Accidental_engraver},
416 @rinternals{Accidental},
417 @rinternals{AccidentalCautionary},
418 @rinternals{accidental-interface}.
421 @cindex accidental, quarter-tone
422 @cindex quarter-tone accidental
426 There are no generally accepted standards for denoting
427 quarter-tone accidentals, so LilyPond's symbol does not conform to
432 @node Note names in other languages
433 @unnumberedsubsubsec Note names in other languages
435 @cindex note names, other languages
436 @cindex pitch names, other languages
437 @cindex language, note names in other
438 @cindex language, pitch names in other
440 There are predefined sets of note and accidental names for various
441 other languages. Selecting the note name language is usually done
442 at the beginning of the file; the following example is written
443 using Italian note names:
445 @lilypond[quote,verbatim]
453 The available languages and the note names they define are:
456 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
459 @item @code{nederlands}
460 @tab c d e f g a bes b
462 @tab do re mi fa sol la sib si
466 @tab c d e f g a bf b
468 @tab do re mi fa sol la sib si
469 @item @code{italiano}
470 @tab do re mi fa sol la sib si
473 @item @code{portugues}
474 @tab do re mi fa sol la sib si
480 @tab do re mi fa sol la sib si
484 In addition to note names, accidental suffixes may
485 also vary depending on the language:
488 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
490 @tab sharp @tab flat @tab double sharp @tab double flat
491 @item @code{nederlands}
492 @tab -is @tab -es @tab -isis @tab -eses
494 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
501 @tab -s @tab -b @tab -ss/-x @tab -bb
502 @item @code{italiano}
503 @tab -d @tab -b @tab -dd @tab -bb
505 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
507 @item @code{portugues}
508 @tab -s @tab -b @tab -ss @tab -bb
510 @tab -is @tab -es @tab -isis @tab -eses
512 @tab -iss @tab -ess @tab -ississ @tab -essess
514 @tab -k @tab -b @tab -kk @tab -bb
518 In Dutch, @code{aes} is contracted to @code{as}, but both forms
519 are accepted in LilyPond. Similarly, both @code{es} and
520 @code{ees} are accepted. This also applies to
521 @code{aeses}@tie{}/@tie{}@code{ases} and
522 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
523 contracted names are defined in the corresponding language files.
525 @lilypond[verbatim,quote,relative=2]
526 a2 as e es a ases e eses
536 Some music uses microtones whose alterations are fractions of a
537 @q{normal} sharp or flat. The following table lists note names
538 for quarter-tone accidentals in various languages; here the prefixes
539 @notation{semi-} and @notation{sesqui-} respectively
540 mean @q{half} and @q{one and a half}. Languages that do not
541 appear in this table do not provide special note names yet.
544 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
546 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
548 @item @code{nederlands}
549 @tab -ih @tab -eh @tab -isih @tab -eseh
551 @tab -ih @tab -eh @tab -isih @tab -eseh
553 @tab -qs @tab -qf @tab -tqs @tab -tqf
555 @tab -cs @tab -cb @tab -tcs @tab -tcb
556 @item @code{italiano}
557 @tab -sd @tab -sb @tab -dsd @tab -bsb
558 @item @code{portugues}
559 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
563 Most languages presented here are commonly associated with
564 Western classical music, also referred to as
565 @notation{Common Practice Period}. However, alternate
566 pitches and tuning systems are also supported: see
567 @ref{Non-Western notation and tuning systems}.
573 @rglos{Common Practice Period}.
576 @ref{Non-Western notation and tuning systems}.
582 @node Changing multiple pitches
583 @subsection Changing multiple pitches
585 This section discusses how to modify pitches.
593 @unnumberedsubsubsec Octave checks
595 @cindex octave correction
597 @cindex control pitch
600 @funindex \octaveCheck
601 @funindex octaveCheck
602 @funindex controlpitch
604 In relative mode, it is easy to forget an octave changing mark.
605 Octave checks make such errors easier to find by displaying a
606 warning and correcting the octave if a note is found in an
609 To check the octave of a note, specify the absolute octave after
610 the @code{=}@tie{}symbol. This example will generate a warning
611 (and change the pitch) because the second note is the absolute
612 octave @code{d''} instead of @code{d'} as indicated by the octave
615 @lilypond[verbatim,quote]
622 The octave of notes may also be checked with the
623 @code{\octaveCheck@tie{}@var{controlpitch}} command.
624 @code{@var{controlpitch}} is specified in absolute mode. This
625 checks that the interval between the previous note and the
626 @code{@var{controlpitch}} is within a fourth (i.e., the normal
627 calculation of relative mode). If this check fails, a warning is
628 printed, but the previous note is not changed. Future notes are
629 relative to the @code{@var{controlpitch}}.
631 @lilypond[verbatim,quote]
639 Compare the two bars below. The first and third @code{\octaveCheck}
640 checks fail, but the second one does not fail.
642 @lilypond[verbatim,quote]
662 @rinternals{RelativeOctaveCheck}.
666 @unnumberedsubsubsec Transpose
670 @cindex transposition
671 @cindex transposition of pitches
672 @cindex transposition of notes
673 @cindex pitches, transposition of
674 @cindex notes, transposition of
679 A music expression can be transposed with @code{\transpose}. The
683 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
687 This means that @code{@var{musicexpr}} is transposed by the
688 interval between the pitches @code{@var{frompitch}} and
689 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
690 is changed to @code{@var{topitch}} and any other note is
691 transposed by the same interval. Both pitches are entered in
694 @warning{Music inside a @code{@bs{}transpose} block is absolute
695 unless a @code{@bs{}relative} is included in the block.}
697 Consider a piece written in the key of D-major. It can be
698 transposed up to E-major; note that the key signature is
699 automatically transposed as well.
701 @lilypond[verbatim,quote]
710 @cindex transposing instruments
711 @cindex instruments, transposing
713 If a part written in C (normal @notation{concert pitch}) is to be
714 played on the A clarinet (for which an A is notated as a C and
715 thus sounds a minor third lower than notated), the appropriate
716 part will be produced with:
718 @lilypond[verbatim,quote]
728 Note that we specify @w{@code{\key c \major}} explicitly. If we
729 do not specify a key signature, the notes will be transposed but
730 no key signature will be printed.
732 @code{\transpose} distinguishes between enharmonic pitches: both
733 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
734 transpose up a semitone. The first version will print sharps and
735 the notes will remain on the same scale step, the second version
736 will print flats on the scale step above.
738 @lilypond[verbatim,quote]
739 music = \relative c' { c d e f }
741 \transpose c cis { \music }
742 \transpose c des { \music }
747 @code{\transpose} may also be used in a different way, to input
748 written notes for a transposing instrument. The previous examples
749 show how to enter pitches in C (or @notation{concert pitch}) and
750 typeset them for a transposing instrument, but the opposite is
751 also possible if you for example have a set of instrumental parts
752 and want to print a conductor's score. For example, when entering
753 music for a B-flat trumpet that begins on a notated E (concert D),
757 musicInBflat = @{ e4 @dots{} @}
758 \transpose c bes, \musicInBflat
762 To print this music in F (e.g., rearranging to a French horn) you
763 could wrap the existing music with another @code{\transpose}:
766 musicInBflat = @{ e4 @dots{} @}
767 \transpose f c' @{ \transpose c bes, \musicInBflat @}
771 For more information about transposing instruments,
772 see @ref{Instrument transpositions}.
777 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
778 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
783 @ref{Relative octave entry},
784 @ref{Instrument transpositions}.
790 @rinternals{TransposedMusic}.
802 The relative conversion will not affect @code{\transpose},
803 @code{\chordmode} or @code{\relative} sections in its argument.
804 To use relative mode within transposed music, an additional
805 @code{\relative} must be placed inside @code{\transpose}.
807 @node Displaying pitches
808 @subsection Displaying pitches
810 This section discusses how to alter the output of pitches.
816 * Instrument transpositions::
817 * Automatic accidentals::
823 @unnumberedsubsubsec Clef
835 @cindex mezzosoprano clef
836 @cindex baritone clef
837 @cindex varbaritone clef
841 @cindex clef, ancient
851 @cindex clef, soprano
852 @cindex clef, mezzosoprano
853 @cindex clef, baritone
854 @cindex clef, varbaritone
855 @cindex clef, subbass
861 The clef may be altered. Middle C is shown in every example. The
862 following clef names can (but do not need to) be enclosed in quotes.
864 @lilypond[verbatim,quote,relative=1]
877 @lilypond[verbatim,quote,relative=1]
898 \clef G % synonym for treble
900 \clef F % synonym for bass
902 \clef C % synonym for alto
906 @cindex transposing clef
907 @cindex clef, transposing
908 @cindex octave transposition
909 @cindex choral tenor clef
910 @cindex tenor clef, choral
912 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
913 clef is transposed one octave down or up respectively,
914 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
915 Other integers can be used if required. Clef names containing
916 non-alphabetic characters must be enclosed in quotes
918 @lilypond[verbatim,quote,relative=1]
933 Some special purpose clefs are described in @ref{Mensural clefs},
934 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
939 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
940 {tweaking-clef-properties.ly}
945 @ref{Mensural clefs},
946 @ref{Gregorian clefs},
947 @ref{Default tablatures},
948 @ref{Custom tablatures}.
954 @rinternals{Clef_engraver},
956 @rinternals{OctavateEight},
957 @rinternals{clef-interface}.
961 @unnumberedsubsubsec Key signature
963 @cindex key signature
968 @c duplicated in Key signature and Accidentals
969 @warning{New users are sometimes confused about accidentals and
970 key signatures. In LilyPond, note names are the raw input; key
971 signatures and clefs determine how this raw input is displayed.
972 An unaltered note like@tie{}@code{c} means @q{C natural},
973 regardless of the key signature or clef. For more information,
974 see @rlearning{Accidentals and key signatures}.}
976 The key signature indicates the tonality in which a piece is
977 played. It is denoted by a set of alterations (flats or sharps)
978 at the start of the staff. The key signature may be altered:
981 \key @var{pitch} @var{mode}
994 @funindex \mixolydian
1003 @cindex church modes
1016 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1017 to get a key signature of @code{@var{pitch}}-major or
1018 @code{@var{pitch}}-minor, respectively. You may also use the
1019 standard mode names, also called @notation{church modes}:
1020 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1021 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1023 @lilypond[verbatim,quote,relative=2]
1033 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1034 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1036 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1037 {non-traditional-key-signatures.ly}
1042 @rglos{church mode},
1046 @rlearning{Accidentals and key signatures}.
1051 Internals Reference:
1052 @rinternals{KeyChangeEvent},
1053 @rinternals{Key_engraver},
1054 @rinternals{Key_performer},
1055 @rinternals{KeyCancellation},
1056 @rinternals{KeySignature},
1057 @rinternals{key-cancellation-interface},
1058 @rinternals{key-signature-interface}.
1061 @node Ottava brackets
1062 @unnumberedsubsubsec Ottava brackets
1070 @funindex set-octavation
1074 @notation{Ottava brackets} introduce an extra transposition of an
1075 octave for the staff:
1077 @lilypond[verbatim,quote,relative=2]
1093 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1104 Internals Reference:
1105 @rinternals{Ottava_spanner_engraver},
1106 @rinternals{OttavaBracket},
1107 @rinternals{ottava-bracket-interface}.
1110 @node Instrument transpositions
1111 @unnumberedsubsubsec Instrument transpositions
1113 @cindex transposition, MIDI
1114 @cindex transposition, instrument
1115 @cindex transposing instrument
1117 @cindex MIDI transposition
1119 @funindex \transposition
1120 @funindex transposition
1122 When typesetting scores that involve transposing instruments, some
1123 parts can be typeset in a different pitch than the
1124 @notation{concert pitch}. In these cases, the key of the
1125 @notation{transposing instrument} should be specified; otherwise
1126 the MIDI output and cues in other parts will produce incorrect
1127 pitches. For more information about quotations, see
1128 @ref{Quoting other voices}.
1131 \transposition @var{pitch}
1134 The pitch to use for @code{\transposition} should correspond to
1135 the real sound heard when a@tie{}@code{c'} written on the staff is
1136 played by the transposing instrument. This pitch is entered in
1137 absolute mode, so an instrument that produces a real sound which
1138 is one tone higher than the printed music should use
1139 @w{@code{\transposition d'}}. @code{\transposition} should
1140 @emph{only} be used if the pitches are @emph{not} being entered in
1143 Here are a few notes for violin and B-flat clarinet where the
1144 parts have been entered using the notes and key as they appear in
1145 each part of the conductor's score. The two instruments are
1148 @lilypond[verbatim,quote]
1150 \new Staff = "violin" {
1152 \set Staff.instrumentName = #"Vln"
1153 \set Staff.midiInstrument = #"violin"
1154 % not strictly necessary, but a good reminder
1161 \new Staff = "clarinet" {
1163 \set Staff.instrumentName = \markup { Cl (B\flat) }
1164 \set Staff.midiInstrument = #"clarinet"
1174 The @code{\transposition} may be changed during a piece. For
1175 example, a clarinetist may switch from an A clarinet to a B-flat
1178 @lilypond[verbatim,quote,relative=2]
1179 \set Staff.instrumentName = #"Cl (A)"
1184 s1*0^\markup { Switch to B\flat clarinet }
1195 @rglos{concert pitch},
1196 @rglos{transposing instrument}.
1199 @ref{Quoting other voices},
1206 @node Automatic accidentals
1207 @unnumberedsubsubsec Automatic accidentals
1209 @cindex accidental style
1210 @cindex accidental style, default
1212 @cindex accidentals, automatic
1213 @cindex automatic accidentals
1214 @cindex default accidental style
1216 @funindex set-accidental-style
1220 There are many different conventions on how to typeset
1221 accidentals. LilyPond provides a function to specify which
1222 accidental style to use. This function is called as follows:
1226 #(set-accidental-style 'voice)
1231 The accidental style applies to the current @code{Staff} by
1232 default (with the exception of the styles @code{piano} and
1233 @code{piano-cautionary}, which are explained below). Optionally,
1234 the function can take a second argument that determines in which
1235 scope the style should be changed. For example, to use the same
1236 style in all staves of the current @code{StaffGroup}, use:
1239 #(set-accidental-style 'voice 'StaffGroup)
1242 The following accidental styles are supported. To demonstrate
1243 each style, we use the following example:
1246 @lilypond[verbatim,quote]
1250 cis'8 fis, d'4 <a cis>8 f bis4 |
1264 \voiceTwo \relative c' {
1265 <fis, a cis>8 <fis a cis>
1268 \change Staff = down
1273 \change Staff = down
1274 <fis, a cis>4 gis <f a d>2 |
1281 \context Staff = "up" {
1282 #(set-accidental-style 'default)
1285 \context Staff = "down" {
1286 #(set-accidental-style 'default)
1293 Note that the last lines of this example can be replaced by the
1294 following, as long as the same accidental style should be used in
1300 \context Staff = "up" @{
1301 %%% change the next line as desired:
1302 #(set-accidental-style 'default 'Score)
1305 \context Staff = "down" @{
1313 @c don't use verbatim in this table.
1317 @cindex default accidental style
1318 @cindex accidental style, default
1322 This is the default typesetting behavior. It corresponds to
1323 eighteenth-century common practice: accidentals are remembered to
1324 the end of the measure in which they occur and only in their own
1325 octave. Thus, in the example below, no natural signs are printed
1326 before the@tie{}@code{b} in the second measure or the
1333 cis'8 fis, d'4 <a cis>8 f bis4 |
1347 \voiceTwo \relative c' {
1348 <fis, a cis>8 <fis a cis>
1351 \change Staff = down
1356 \change Staff = down
1357 <fis, a cis>4 gis <f a d>2 |
1364 \context Staff = "up" {
1365 #(set-accidental-style 'default)
1368 \context Staff = "down" {
1369 #(set-accidental-style 'default)
1378 @cindex accidental style, voice
1379 @cindex voice accidental style
1380 @cindex accidental style, modern
1381 @cindex modern accidental style
1382 @cindex accidental style, modern-cautionary
1383 @cindex modern-cautionary accidental style
1387 The normal behavior is to remember the accidentals at
1388 @code{Staff}-level. In this style, however, accidentals are
1389 typeset individually for each voice. Apart from that, the rule is
1390 similar to @code{default}.
1392 As a result, accidentals from one voice do not get canceled in
1393 other voices, which is often an unwanted result: in the following
1394 example, it is hard to determine whether the second@tie{}@code{a}
1395 should be played natural or sharp. The @code{voice} option should
1396 therefore be used only if the voices are to be read solely by
1397 individual musicians. If the staff is to be used by one musician
1398 (e.g., a conductor or in a piano score) then @code{modern} or
1399 @code{modern-cautionary} should be used instead.
1406 cis'8 fis, d'4 <a cis>8 f bis4 |
1420 \voiceTwo \relative c' {
1421 <fis, a cis>8 <fis a cis>
1424 \change Staff = down
1429 \change Staff = down
1430 <fis, a cis>4 gis <f a d>2 |
1437 \context Staff = "up" {
1438 #(set-accidental-style 'voice)
1441 \context Staff = "down" {
1442 #(set-accidental-style 'voice)
1451 @cindex accidentals, modern style
1452 @cindex modern style accidentals
1456 This rule corresponds to the common practice in the twentieth
1457 century. It prints the same accidentals as @code{default}, with
1458 two exceptions that serve to avoid ambiguity: after temporary
1459 accidentals, cancellation marks are printed also in the following
1460 measure (for notes in the same octave) and, in the same measure,
1461 for notes in other octaves. Hence the naturals before
1462 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1469 cis'8 fis, d'4 <a cis>8 f bis4 |
1483 \voiceTwo \relative c' {
1484 <fis, a cis>8 <fis a cis>
1487 \change Staff = down
1492 \change Staff = down
1493 <fis, a cis>4 gis <f a d>2 |
1500 \context Staff = "up" {
1501 #(set-accidental-style 'modern)
1504 \context Staff = "down" {
1505 #(set-accidental-style 'modern)
1512 @item modern-cautionary
1514 @cindex accidentals, modern cautionary style
1515 @cindex modern accidental style
1516 @cindex modern cautionary accidental style
1517 @cindex modern style accidentals
1518 @cindex modern style cautionary accidentals
1520 @funindex modern-cautionary
1522 This rule is similar to @code{modern}, but the @q{extra}
1523 accidentals (the ones not typeset by @code{default}) are typeset
1524 as cautionary accidentals. They are by default printed with
1525 parentheses, but they can also be printed in reduced size by
1526 defining the @code{cautionary-style} property of
1527 @code{AccidentalSuggestion}.
1533 cis'8 fis, d'4 <a cis>8 f bis4 |
1547 \voiceTwo \relative c' {
1548 <fis, a cis>8 <fis a cis>
1551 \change Staff = down
1556 \change Staff = down
1557 <fis, a cis>4 gis <f a d>2 |
1564 \context Staff = "up" {
1565 #(set-accidental-style 'modern-cautionary)
1568 \context Staff = "down" {
1569 #(set-accidental-style 'modern-cautionary)
1578 @cindex accidental style, modern
1579 @cindex accidentals, modern
1580 @cindex accidentals, multivoice
1581 @cindex modern accidental style
1582 @cindex modern accidentals
1583 @cindex multivoice accidentals
1585 @funindex modern-voice
1587 This rule is used for multivoice accidentals to be read both by
1588 musicians playing one voice and musicians playing all voices.
1589 Accidentals are typeset for each voice, but they @emph{are}
1590 canceled across voices in the same @code{Staff}. Hence,
1591 the@tie{}@code{a} in the last measure is canceled because the
1592 previous cancellation was in a different voice, and
1593 the@tie{}@code{d} in the lower staff is canceled because of the
1594 accidental in a different voice in the previous measure:
1600 cis'8 fis, d'4 <a cis>8 f bis4 |
1614 \voiceTwo \relative c' {
1615 <fis, a cis>8 <fis a cis>
1618 \change Staff = down
1623 \change Staff = down
1624 <fis, a cis>4 gis <f a d>2 |
1631 \context Staff = "up" {
1632 #(set-accidental-style 'modern-voice)
1635 \context Staff = "down" {
1636 #(set-accidental-style 'modern-voice)
1643 @cindex accidental style, cautionary, modern voice
1644 @cindex accidental style, modern voice cautionary
1645 @cindex accidental style, voice, modern cautionary
1647 @funindex modern-voice-cautionary
1649 @item modern-voice-cautionary
1651 This rule is the same as @code{modern-voice}, but with the extra
1652 accidentals (the ones not typeset by @code{voice}) typeset as
1653 cautionaries. Even though all accidentals typeset by
1654 @code{default} @emph{are} typeset with this rule, some of them are
1655 typeset as cautionaries.
1661 cis'8 fis, d'4 <a cis>8 f bis4 |
1675 \voiceTwo \relative c' {
1676 <fis, a cis>8 <fis a cis>
1679 \change Staff = down
1684 \change Staff = down
1685 <fis, a cis>4 gis <f a d>2 |
1692 \context Staff = "up" {
1693 #(set-accidental-style 'modern-voice-cautionary)
1696 \context Staff = "down" {
1697 #(set-accidental-style 'modern-voice-cautionary)
1706 @cindex accidental style, piano
1707 @cindex accidentals, piano
1708 @cindex piano accidental style
1709 @cindex piano accidentals
1713 This rule reflects twentieth-century practice for piano notation.
1714 Its behavior is very similar to @code{modern} style, but here
1715 accidentals also get canceled across the staves in the same
1716 @code{GrandStaff} or @code{PianoStaff}, hence all the
1717 cancellations of the final notes.
1719 This accidental style applies to the current @code{GrandStaff} or
1720 @code{PianoStaff} by default.
1726 cis'8 fis, d'4 <a cis>8 f bis4 |
1740 \voiceTwo \relative c' {
1741 <fis, a cis>8 <fis a cis>
1744 \change Staff = down
1749 \change Staff = down
1750 <fis, a cis>4 gis <f a d>2 |
1757 \context Staff = "up" {
1758 #(set-accidental-style 'piano)
1761 \context Staff = "down" {
1768 @item piano-cautionary
1770 @cindex accidentals, piano cautionary
1771 @cindex cautionary accidentals, piano
1772 @cindex piano cautionary accidentals
1773 @cindex accidental style, piano cautionary
1774 @cindex cautionary accidental style, piano
1775 @cindex piano cautionary accidental style
1777 @funindex piano-cautionary
1779 This is the same as @code{piano} but with the extra accidentals
1780 typeset as cautionaries.
1786 cis'8 fis, d'4 <a cis>8 f bis4 |
1800 \voiceTwo \relative c' {
1801 <fis, a cis>8 <fis a cis>
1804 \change Staff = down
1809 \change Staff = down
1810 <fis, a cis>4 gis <f a d>2 |
1817 \context Staff = "up" {
1818 #(set-accidental-style 'piano-cautionary)
1821 \context Staff = "down" {
1831 @cindex neo-modern accidental style
1832 @cindex accidental style, neo-modern
1834 @funindex neo-modern
1836 This rule reproduces a common practice in contemporary music:
1837 accidentals are printed like with @code{modern}, but they are printed
1838 again if the same note appears later in the same measure -- except
1839 if the note is immediately repeated.
1845 cis'8 fis, d'4 <a cis>8 f bis4 |
1859 \voiceTwo \relative c' {
1860 <fis, a cis>8 <fis a cis>
1863 \change Staff = down
1868 \change Staff = down
1869 <fis, a cis>4 gis <f a d>2 |
1876 \context Staff = "up" {
1877 #(set-accidental-style 'neo-modern)
1880 \context Staff = "down" {
1881 #(set-accidental-style 'neo-modern)
1888 @item neo-modern-cautionary
1890 @cindex neo-modern-cautionary accidental style
1891 @cindex accidental style, neo-modern-cautionary
1893 @funindex neo-modern-cautionary
1895 This rule is similar to @code{neo-modern}, but the extra
1896 accidentals are printed as cautionary accidentals.
1902 cis'8 fis, d'4 <a cis>8 f bis4 |
1916 \voiceTwo \relative c' {
1917 <fis, a cis>8 <fis a cis>
1920 \change Staff = down
1925 \change Staff = down
1926 <fis, a cis>4 gis <f a d>2 |
1933 \context Staff = "up" {
1934 #(set-accidental-style 'neo-modern-cautionary)
1937 \context Staff = "down" {
1938 #(set-accidental-style 'neo-modern-cautionary)
1946 @item neo-modern-voice
1948 @cindex neo-modern-voice accidental style
1949 @cindex accidental style, neo-modern-voice
1951 @funindex neo-modern-voice
1953 This rule is used for multivoice accidentals to be read both by
1954 musicians playing one voice and musicians playing all voices.
1955 Accidentals are typeset for each voice as with @code{neo-modern},
1956 but they are canceled across voices in the same @code{Staff}.
1962 cis'8 fis, d'4 <a cis>8 f bis4 |
1976 \voiceTwo \relative c' {
1977 <fis, a cis>8 <fis a cis>
1980 \change Staff = down
1985 \change Staff = down
1986 <fis, a cis>4 gis <f a d>2 |
1993 \context Staff = "up" {
1994 #(set-accidental-style 'neo-modern-voice)
1997 \context Staff = "down" {
1998 #(set-accidental-style 'neo-modern-voice)
2005 @item neo-modern-voice-cautionary
2007 @cindex neo-modern-voice-cautionary accidental style
2008 @cindex accidental style, neo-modern-voice-cautionary
2010 @funindex neo-modern-voice-cautionary
2012 This rule is similar to @code{neo-modern-voice}, but the extra
2013 accidentals are printed as cautionary accidentals.
2019 cis'8 fis, d'4 <a cis>8 f bis4 |
2033 \voiceTwo \relative c' {
2034 <fis, a cis>8 <fis a cis>
2037 \change Staff = down
2042 \change Staff = down
2043 <fis, a cis>4 gis <f a d>2 |
2050 \context Staff = "up" {
2051 #(set-accidental-style 'neo-modern-voice-cautionary)
2054 \context Staff = "down" {
2055 #(set-accidental-style 'neo-modern-voice-cautionary)
2064 @cindex dodecaphonic accidental style
2065 @cindex dodecaphonic style, neo-modern
2067 @funindex dodecaphonic
2069 This rule reflects a practice introduced by composers at
2070 the beginning of the 20th century, in an attempt to
2071 abolish the hierarchy between natural and non-natural notes.
2072 With this style, @emph{every} note gets an accidental sign,
2073 including natural signs.
2079 cis'8 fis, d'4 <a cis>8 f bis4 |
2093 \voiceTwo \relative c' {
2094 <fis, a cis>8 <fis a cis>
2097 \change Staff = down
2102 \change Staff = down
2103 <fis, a cis>4 gis <f a d>2 |
2110 \context Staff = "up" {
2111 #(set-accidental-style 'dodecaphonic)
2114 \context Staff = "down" {
2115 #(set-accidental-style 'dodecaphonic)
2125 @cindex teaching accidental style
2126 @cindex accidental style, teaching
2130 This rule is intended for students, and makes it easy to create
2131 scale sheets with automagically created cautionary accidentals.
2132 Accidentals are printed like with @code{modern}, but cautionary
2133 accidentals are added for all sharp or flat tones specified by the
2134 key signature, except if the note is immediately repeated.
2140 cis'8 fis, d'4 <a cis>8 f bis4 |
2154 \voiceTwo \relative c' {
2155 <fis, a cis>8 <fis a cis>
2158 \change Staff = down
2163 \change Staff = down
2164 <fis, a cis>4 gis <f a d>2 |
2171 \context Staff = "up" {
2173 #(set-accidental-style 'teaching)
2176 \context Staff = "down" {
2178 #(set-accidental-style 'teaching)
2189 @cindex accidental style, no reset
2190 @cindex no reset accidental style
2194 This is the same as @code{default} but with accidentals lasting
2195 @q{forever} and not only within the same measure:
2201 cis'8 fis, d'4 <a cis>8 f bis4 |
2215 \voiceTwo \relative c' {
2216 <fis, a cis>8 <fis a cis>
2219 \change Staff = down
2224 \change Staff = down
2225 <fis, a cis>4 gis <f a d>2 |
2232 \context Staff = "up" {
2233 #(set-accidental-style 'no-reset)
2236 \context Staff = "down" {
2237 #(set-accidental-style 'no-reset)
2246 @cindex forget accidental style
2247 @cindex accidental style, forget
2251 This is the opposite of @code{no-reset}: Accidentals are not
2252 remembered at all -- and hence all accidentals are typeset
2253 relative to the key signature, regardless of what came before in
2254 the music. Unlike @code{dodecaphonic}, this rule never prints
2261 cis'8 fis, d'4 <a cis>8 f bis4 |
2275 \voiceTwo \relative c' {
2276 <fis, a cis>8 <fis a cis>
2279 \change Staff = down
2284 \change Staff = down
2285 <fis, a cis>4 gis <f a d>2 |
2292 \context Staff = "up" {
2293 #(set-accidental-style 'forget)
2296 \context Staff = "down" {
2297 #(set-accidental-style 'forget)
2307 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2308 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2315 Internals Reference:
2316 @rinternals{Accidental},
2317 @rinternals{Accidental_engraver},
2318 @rinternals{GrandStaff},
2319 @rinternals{PianoStaff},
2321 @rinternals{AccidentalSuggestion},
2322 @rinternals{AccidentalPlacement},
2323 @rinternals{accidental-suggestion-interface}.
2326 @cindex accidentals and simultaneous notes
2327 @cindex simultaneous notes and accidentals
2328 @cindex accidentals in chords
2329 @cindex chords, accidentals in
2333 Simultaneous notes are considered to be entered in sequential
2334 mode. This means that in a chord the accidentals are typeset as
2335 if the notes in the chord happen one at a time, in the order in
2336 which they appear in the input file. This is a problem when
2337 accidentals in a chord depend on each other, which does not happen
2338 for the default accidental style. The problem can be solved by
2339 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2343 Cautionary cancellation of accidentals is done by looking at previous measure.
2344 However, in the @code{\alternative} block following a @code{\repeat volta N}
2345 section, one would expect the cancellation being calculated using the previous
2346 @emph{played} measure, not previous @emph{printed} measure.
2347 In the following example, the natural @code{c} in the second alternative does
2348 not need a natural sign:
2352 #(set-accidental-style 'modern)
2364 The following work-around can be used: define a function that locally changes
2365 the accidental style to @code{forget}:
2367 @lilypond[verbatim,quote]
2368 forget = #(define-music-function (parser location music) (ly:music?) #{
2369 #(set-accidental-style 'forget)
2371 #(set-accidental-style 'modern)
2374 #(set-accidental-style 'modern)
2387 @unnumberedsubsubsec Ambitus
2390 @cindex range of pitches
2393 The term @notation{ambitus} (pl. ambitus) denotes a range of
2394 pitches for a given voice in a part of music. It may also denote
2395 the pitch range that a musical instrument is capable of playing.
2396 Ambitus are printed on vocal parts so that performers can easily
2397 determine if it matches their capabilities.
2399 Ambitus are denoted at the beginning of a piece near the initial
2400 clef. The range is graphically specified by two note heads that
2401 represent the lowest and highest pitches. Accidentals are only
2402 printed if they are not part of the key signature.
2404 @lilypond[verbatim,quote]
2408 \consists "Ambitus_engraver"
2421 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2422 {adding-ambitus-per-voice.ly}
2424 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2425 {ambitus-with-multiple-voices.ly}
2427 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2428 {changing-the-ambitus-gap.ly}
2438 Internals Reference:
2439 @rinternals{Ambitus_engraver},
2442 @rinternals{Ambitus},
2443 @rinternals{AmbitusAccidental},
2444 @rinternals{AmbitusLine},
2445 @rinternals{AmbitusNoteHead},
2446 @rinternals{ambitus-interface}.
2451 There is no collision handling in the case of multiple per-voice
2456 @subsection Note heads
2458 This section suggests ways of altering note heads.
2461 * Special note heads::
2462 * Easy notation note heads::
2463 * Shape note heads::
2467 @node Special note heads
2468 @unnumberedsubsubsec Special note heads
2470 @cindex note heads, special
2471 @cindex note heads, cross
2472 @cindex note heads, diamond
2473 @cindex note heads, parlato
2474 @cindex note heads, harmonic
2475 @cindex note heads, guitar
2476 @cindex special note heads
2477 @cindex cross note heads
2478 @cindex diamond note heads
2479 @cindex parlato note heads
2480 @cindex harmonic note heads
2481 @cindex guitar note heads
2482 @cindex note head styles
2483 @cindex styles, note heads
2487 The appearance of note heads may be altered:
2489 @lilypond[verbatim,quote,relative=2]
2491 \override NoteHead #'style = #'cross
2493 \revert NoteHead #'style
2495 \override NoteHead #'style = #'harmonic
2497 \revert NoteHead #'style
2501 To see all note head styles, see @ref{Note head styles}.
2503 The @code{cross} style is used to represent a variety of musical
2504 intentions. The following generic predefined commands modify the
2505 note head in both staff and tablature contexts and can be used to
2506 represent any musical meaning:
2508 @lilypond[verbatim,quote,relative=2]
2516 The music function form of this predefined command may be used
2517 inside and outside chords to generate crossed note heads in both
2518 staff and tablature contexts:
2520 @lilypond[verbatim,quote,relative=2]
2523 c b < g \xNote c f > b
2526 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2527 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2528 be used. The term @notation{dead note} is commonly used by guitarists.
2530 There is also a shorthand for diamond shapes which can be used
2533 @lilypond[verbatim,quote,relative=2]
2534 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2549 @ref{Note head styles},
2550 @ref{Chorded notes},
2551 @ref{Indicating harmonics and dampened notes}.
2553 Internals Reference:
2554 @rinternals{note-event},
2555 @rinternals{Note_heads_engraver},
2556 @rinternals{Ledger_line_engraver},
2557 @rinternals{NoteHead},
2558 @rinternals{LedgerLineSpanner},
2559 @rinternals{note-head-interface},
2560 @rinternals{ledger-line-spanner-interface}.
2563 @node Easy notation note heads
2564 @unnumberedsubsubsec Easy notation note heads
2566 @cindex note heads, practice
2567 @cindex practice note heads
2568 @cindex note heads, easy notation
2569 @cindex easy notation
2570 @cindex beginners' music
2571 @cindex music, beginners'
2572 @cindex easy play note heads
2573 @cindex note heads, easy play
2575 @funindex \easyHeadsOn
2576 @funindex easyHeadsOn
2577 @funindex \easyHeadsOff
2578 @funindex easyHeadsOff
2580 The @q{easy play} note head includes a note name inside the head.
2581 It is used in music for beginners. To make the letters readable,
2582 it should be printed in a large font size. To print with a larger
2583 font, see @ref{Setting the staff size}.
2585 @lilypond[verbatim,quote]
2586 #(set-global-staff-size 26)
2598 @code{\easyHeadsOn},
2599 @code{\easyHeadsOff}.
2605 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2606 {numbers-as-easy-note-heads.ly}
2611 @ref{Setting the staff size}.
2616 Internals Reference:
2617 @rinternals{note-event},
2618 @rinternals{Note_heads_engraver},
2619 @rinternals{NoteHead},
2620 @rinternals{note-head-interface}.
2623 @node Shape note heads
2624 @unnumberedsubsubsec Shape note heads
2626 @cindex note heads, shape
2627 @cindex note heads, Aiken
2628 @cindex note heads, sacred harp
2630 @cindex Aiken shape note heads
2631 @cindex sacred harp note heads
2632 @cindex note heads, Southern Harmony
2633 @cindex Southern Harmony note heads
2634 @cindex Funk shape note heads
2635 @cindex note heads, Funk
2636 @cindex note heads, Harmonica Sacra
2637 @cindex Harmonica Sacra note heads
2638 @cindex Christian Harmony note heads
2639 @cindex note heads, Christian Harmony
2640 @cindex Walker shape note heads
2641 @cindex note heads, Walker
2643 @funindex \aikenHeads
2644 @funindex aikenHeads
2645 @funindex \sacredHarpHeads
2646 @funindex sacredHarpHeads
2647 @funindex \southernHarmonyHeads
2648 @funindex southernHarmonyHeads
2649 @funindex \funkHeads
2651 @funindex \walkerHeads
2652 @funindex walkerHeads
2654 In shape note head notation, the shape of the note head
2655 corresponds to the harmonic function of a note in the scale. This
2656 notation was popular in nineteenth-century American song books.
2657 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2658 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2660 @lilypond[verbatim,quote,relative=2]
2662 c, d e f g2 a b1 c \break
2664 c,4 d e f g2 a b1 c \break
2665 \southernHarmonyHeads
2666 c,4 d e f g2 a b1 c \break
2668 c,4 d e f g2 a b1 c \break
2670 c,4 d e f g2 a b1 c \break
2675 @funindex \aikenHeadsMinor
2676 @funindex aikenHeadsMinor
2677 @funindex \sacredHarpHeadsMinor
2678 @funindex sacredHarpHeadsMinor
2679 @funindex \southernHarmonyHeadsMinor
2680 @funindex southernHarmonyHeadsMinor
2681 @funindex \funkHeadsMinor
2682 @funindex funkHeadsMinor
2683 @funindex \walkerHeadsMinor
2684 @funindex walkerHeadsMinor
2686 Shapes are typeset according to the step in the scale, where the base
2687 of the scale is determined by the @code{\key} command. When writing
2688 in a minor key, the scale step can be determined from the relative
2691 @lilypond[verbatim,quote,relative=2]
2694 a b c d e2 f g1 a \break
2696 a,4 b c d e2 f g1 a \break
2697 \sacredHarpHeadsMinor
2699 \southernHarmonyHeadsMinor
2711 @code{\aikenHeadsMinor},
2713 @code{\funkHeadsMinor},
2714 @code{\sacredHarpHeads},
2715 @code{\sacredHarpHeadsMinor},
2716 @code{\southernHarmonyHeads},
2717 @code{\southernHarmonyHeadsMinor},
2718 @code{\walkerHeads},
2719 @code{\walkerHeadsMinor}.
2725 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2726 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2728 To see all note head styles, see @ref{Note head styles}.
2736 @ref{Note head styles}.
2738 Internals Reference:
2739 @rinternals{note-event},
2740 @rinternals{Note_heads_engraver},
2741 @rinternals{NoteHead},
2742 @rinternals{note-head-interface}.
2746 @unnumberedsubsubsec Improvisation
2748 @cindex improvisation
2749 @cindex slashed note heads
2750 @cindex note heads, improvisation
2751 @cindex note heads, slashed
2753 @funindex \improvisationOn
2754 @funindex improvisationOn
2755 @funindex \improvisationOff
2756 @funindex improvisationOff
2758 Improvisation is sometimes denoted with slashed note heads, where
2759 the performer may choose any pitch but should play the specified
2760 rhythm. Such note heads can be created:
2762 @lilypond[verbatim,quote,relative=2]
2764 \consists "Pitch_squash_engraver"
2766 e8 e g a a16( bes) a8 g
2778 @code{\improvisationOn},
2779 @code{\improvisationOff}.
2787 Internals Reference:
2788 @rinternals{Pitch_squash_engraver},
2790 @rinternals{RhythmicStaff}.