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
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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]
69 @cindex octave changing mark
74 Other octaves may be specified with a single quote@tie{}(@code{'})
75 or comma@tie{}(@code{,}) character. Each@tie{}@code{'} raises the
76 pitch by one octave; each@tie{}@code{,} lowers the pitch by an
79 @lilypond[verbatim,quote]
99 @node Relative octave entry
100 @unnumberedsubsubsec Relative octave entry
103 @cindex relative octave entry
104 @cindex octave entry, relative
105 @cindex relative octave specification
106 @cindex octave specification, relative
111 When octaves are specified in absolute mode it is easy to
112 accidentally put a pitch in the wrong octave. Relative octave
113 mode reduces these errors since most of the time it is not
114 necessary to indicate any octaves at all. Furthermore, in
115 absolute mode a single mistake may be difficult to spot, while in
116 relative mode a single error puts the rest of the piece off by one
120 \relative @var{startpitch} @var{musicexpr}
123 In relative mode, each note is assumed to be as close to the
124 previous note as possible. This means that the octave of each
125 pitch inside @code{@var{musicexpr}} is calculated as follows:
129 If no octave changing mark is used on a pitch, its octave is
130 calculated so that the interval with the previous note is less
131 than a fifth. This interval is determined without considering
135 An octave changing mark@tie{}@code{'} or@tie{}@code{,} can be
136 added to respectively raise or lower a pitch by an extra octave,
137 relative to the pitch calculated without an octave mark.
140 Multiple octave changing marks can be used. For example,
141 @code{''}@tie{}and@tie{}@code{,,} will alter the pitch by two
145 The pitch of the first note is relative to
146 @code{@var{startpitch}}. @code{@var{startpitch}} is specified in
147 absolute octave mode, and it is recommended that it be a octave of
151 Here is the relative mode shown in action:
153 @lilypond[verbatim,quote]
162 Octave changing marks are used for intervals greater than a
165 @lilypond[verbatim,quote]
172 A note sequence without a single octave mark can nevertheless span
175 @lilypond[verbatim,quote]
182 When @code{\relative} blocks are nested, the innermost
183 @code{\relative} block applies.
185 @lilypond[verbatim,quote]
194 @code{\relative} has no effect on @code{\chordmode} blocks.
196 @lilypond[verbatim,quote]
205 @code{\relative} is not allowed inside of @code{\chordmode} blocks.
207 Music inside a @code{\transpose} block is absolute unless a
208 @code{\relative} is included.
210 @lilypond[verbatim,quote]
223 @cindex chords and relative octave entry
224 @cindex relative octave entry and chords
226 If the preceding item is a chord, the first note of the chord is
227 used as the reference point for the octave placement of a
228 following note or chord. Inside chords, the next note is always
229 relative to the preceding one. Examine the next example
230 carefully, paying attention to the @code{c} notes.
232 @lilypond[verbatim,quote]
241 As explained above, the octave of pitches is calculated only with
242 the note names, regardless of any alterations. Therefore, an
243 E-double-sharp following a B will be placed higher, while an
244 F-double-flat will be placed lower. In other words, a
245 double-augmented fourth is considered a smaller interval than a
246 double-diminished fifth, regardless of the number of semitones
247 that each interval contains.
249 @lilypond[verbatim,quote]
272 @rinternals{RelativeOctaveMusic}.
275 @cindex relative octave entry and transposition
276 @cindex transposition and relative octave entry
287 If no @code{@var{startpitch}} is specified for @code{\relative},
288 then@tie{}@code{c'} is assumed. However, this is a deprecated
289 option and may disappear in future versions, so its use is
295 @unnumberedsubsubsec Accidentals
298 @cindex key signature
301 @c duplicated in Key signature and Accidentals
302 @warning{New users are sometimes confused about accidentals and
303 key signatures. In LilyPond, note names are the raw input; key
304 signatures and clefs determine how this raw input is displayed.
305 An unaltered note like@tie{}@code{c} means @q{C natural},
306 regardless of the key signature or clef. For more information,
307 see @rlearning{Accidentals and key signatures}.}
309 @cindex note names, Dutch
310 @cindex note names, default
311 @cindex default note names
315 @cindex sharp, double
319 @cindex natural pitch
321 A @notation{sharp} pitch is made by adding @code{is} to the note
322 name, and a @notation{flat} pitch by adding @code{es}. As you
323 might expect, a @notation{double sharp} or @notation{double flat}
324 is made by adding @code{isis} or @code{eses}. This syntax is
325 derived from Dutch note naming conventions. To use other names
326 for accidentals, see @ref{Note names in other languages}.
328 @lilypond[verbatim,quote,relative=2]
332 A natural will cancel the effect of an accidental or key
333 signature. However, naturals are not encoded into the note name
334 syntax with a suffix; a natural pitch is shown as a simple note
337 @lilypond[verbatim,quote,relative=2]
341 @cindex quarter tones
345 Quarter tones may be added; the following is a series of Cs with
348 @lilypond[verbatim,quote,relative=2]
349 ceseh1 ces ceh c cih cis cisih
354 @cindex accidental, reminder
355 @cindex accidental, cautionary
356 @cindex accidental, parenthesized
357 @cindex reminder accidental
358 @cindex cautionary accidental
359 @cindex parenthesized accidental
365 Normally accidentals are printed automatically, but you may also
366 print them manually. A reminder accidental can be forced by
367 adding an exclamation mark@tie{}@code{!} after the pitch. A
368 cautionary accidental (i.e., an accidental within parentheses) can
369 be obtained by adding the question mark@tie{}@code{?} after the
370 pitch. These extra accidentals can also be used to produce
373 @lilypond[verbatim,quote,relative=2]
374 cis cis cis! cis? c c c! c?
377 @cindex accidental on tied note
378 @cindex tied note, accidental
380 Accidentals on tied notes are only printed at the beginning of a
383 @lilypond[verbatim,quote,relative=2]
392 @lilypondfile[verbatim,lilyquote,texidoc,doctitle,ragged-right]
393 {hiding-accidentals-on-tied-notes-at-the-start-of-a-new-system.ly}
395 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
396 {preventing-extra-naturals-from-being-automatically-added.ly}
402 @rglos{double sharp},
405 @rglos{quarter tone}.
408 @rlearning{Accidentals and key signatures}.
411 @ref{Automatic accidentals},
412 @ref{Annotational accidentals (musica ficta)},
413 @ref{Note names in other languages}.
419 @rinternals{Accidental_engraver},
420 @rinternals{Accidental},
421 @rinternals{AccidentalCautionary},
422 @rinternals{accidental-interface}.
425 @cindex accidental, quarter-tone
426 @cindex quarter-tone accidental
430 There are no generally accepted standards for denoting
431 quarter-tone accidentals, so LilyPond's symbol does not conform to
436 @node Note names in other languages
437 @unnumberedsubsubsec Note names in other languages
439 @cindex note names, other languages
440 @cindex pitch names, other languages
441 @cindex language, note names in other
442 @cindex language, pitch names in other
444 There are predefined sets of note and accidental names for various
445 other languages. Selecting the note name language is usually done
446 at the beginning of the file; the following example is written
447 using Italian note names:
449 @lilypond[quote,verbatim]
457 The available languages and the note names they define are:
460 @multitable {@code{nederlands}} {do re mi fa sol la sib si}
463 @item @code{nederlands}
464 @tab c d e f g a bes b
466 @tab do re mi fa sol la sib si
470 @tab c d e f g a bf b
472 @tab do re mi fa sol la sib si
473 @item @code{italiano}
474 @tab do re mi fa sol la sib si
477 @item @code{portugues}
478 @tab do re mi fa sol la sib si
484 @tab do re mi fa sol la sib si
488 In addition to note names, accidental suffixes may
489 also vary depending on the language:
492 @multitable {@code{nederlands}} {-s/-sharp} {-ess/-es} {-ss/-x/-sharpsharp} {-essess/-eses}
494 @tab sharp @tab flat @tab double sharp @tab double flat
495 @item @code{nederlands}
496 @tab -is @tab -es @tab -isis @tab -eses
498 @tab -d/-s @tab -b @tab -dd/-ss @tab -bb
500 @tab -is @tab -es @tab -isis @tab -eses
502 @tab -s/-sharp @tab -f/-flat @tab -ss/-x/-sharpsharp
505 @tab -s @tab -b @tab -ss/-x @tab -bb
506 @item @code{italiano}
507 @tab -d @tab -b @tab -dd @tab -bb
509 @tab -iss/-is @tab -ess/-es @tab -ississ/-isis
511 @item @code{portugues}
512 @tab -s @tab -b @tab -ss @tab -bb
514 @tab -is @tab -es @tab -isis @tab -eses
516 @tab -iss @tab -ess @tab -ississ @tab -essess
518 @tab -k @tab -b @tab -kk @tab -bb
522 In Dutch, @code{aes} is contracted to @code{as}, but both forms
523 are accepted in LilyPond. Similarly, both @code{es} and
524 @code{ees} are accepted. This also applies to
525 @code{aeses}@tie{}/@tie{}@code{ases} and
526 @code{eeses}@tie{}/@tie{}@code{eses}. Sometimes only these
527 contracted names are defined in the corresponding language files.
529 @lilypond[verbatim,quote,relative=2]
530 a2 as e es a ases e eses
540 Some music uses microtones whose alterations are fractions of a
541 @q{normal} sharp or flat. The following table lists note names
542 for quarter-tone accidentals in various languages; here the prefixes
543 @notation{semi-} and @notation{sesqui-} respectively
544 mean @q{half} and @q{one and a half}. Languages that do not
545 appear in this table do not provide special note names yet.
548 @multitable {@code{nederlands}} {@b{semi-sharp}} {@b{semi-flat}} {@b{sesqui-sharp}} {@b{sesqui-flat}}
550 @tab semi-sharp @tab semi-flat @tab sesqui-sharp @tab sesqui-flat
552 @item @code{nederlands}
553 @tab -ih @tab -eh @tab -isih @tab -eseh
555 @tab -ih @tab -eh @tab -isih @tab -eseh
557 @tab -qs @tab -qf @tab -tqs @tab -tqf
559 @tab -cs @tab -cb @tab -tcs @tab -tcb
560 @item @code{italiano}
561 @tab -sd @tab -sb @tab -dsd @tab -bsb
562 @item @code{portugues}
563 @tab -sqt @tab -bqt @tab -stqt @tab -btqt
567 Most languages presented here are commonly associated with
568 Western classical music, also referred to as
569 @notation{Common Practice Period}. However, alternate
570 pitches and tuning systems are also supported: see
571 @ref{Common notation for non-Western music}.
577 @rglos{Common Practice Period}.
580 @ref{Common notation for non-Western music}.
583 @file{scm/define-note-names.scm}.
589 @node Changing multiple pitches
590 @subsection Changing multiple pitches
592 This section discusses how to modify pitches.
600 @unnumberedsubsubsec Octave checks
602 @cindex octave correction
604 @cindex control pitch
607 @funindex \octaveCheck
608 @funindex octaveCheck
609 @funindex controlpitch
611 In relative mode, it is easy to forget an octave changing mark.
612 Octave checks make such errors easier to find by displaying a
613 warning and correcting the octave if a note is found in an
616 To check the octave of a note, specify the absolute octave after
617 the @code{=}@tie{}symbol. This example will generate a warning
618 (and change the pitch) because the second note is the absolute
619 octave @code{d''} instead of @code{d'} as indicated by the octave
622 @lilypond[verbatim,quote]
629 The octave of notes may also be checked with the
630 @code{\octaveCheck@tie{}@var{controlpitch}} command.
631 @code{@var{controlpitch}} is specified in absolute mode. This
632 checks that the interval between the previous note and the
633 @code{@var{controlpitch}} is within a fourth (i.e., the normal
634 calculation of relative mode). If this check fails, a warning is
635 printed, but the previous note is not changed. Future notes are
636 relative to the @code{@var{controlpitch}}.
638 @lilypond[verbatim,quote]
646 Compare the two bars below. The first and third @code{\octaveCheck}
647 checks fail, but the second one does not fail.
649 @lilypond[verbatim,quote]
669 @rinternals{RelativeOctaveCheck}.
673 @unnumberedsubsubsec Transpose
677 @cindex transposition
678 @cindex transposition of pitches
679 @cindex transposition of notes
680 @cindex pitches, transposition of
681 @cindex notes, transposition of
686 A music expression can be transposed with @code{\transpose}. The
690 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
694 This means that @code{@var{musicexpr}} is transposed by the
695 interval between the pitches @code{@var{frompitch}} and
696 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
697 is changed to @code{@var{topitch}} and any other note is
698 transposed by the same interval. Both pitches are entered in
701 @warning{Music inside a @code{@bs{}transpose} block is absolute
702 unless a @code{@bs{}relative} is included in the block.}
704 Consider a piece written in the key of D-major. It can be
705 transposed up to E-major; note that the key signature is
706 automatically transposed as well.
708 @lilypond[verbatim,quote]
717 @cindex transposing instruments
718 @cindex instruments, transposing
720 If a part written in C (normal @notation{concert pitch}) is to be
721 played on the A clarinet (for which an A is notated as a C and
722 thus sounds a minor third lower than notated), the appropriate
723 part will be produced with:
725 @lilypond[verbatim,quote]
735 Note that we specify @w{@code{\key c \major}} explicitly. If we
736 do not specify a key signature, the notes will be transposed but
737 no key signature will be printed.
739 @code{\transpose} distinguishes between enharmonic pitches: both
740 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
741 transpose up a semitone. The first version will print sharps and
742 the notes will remain on the same scale step, the second version
743 will print flats on the scale step above.
745 @lilypond[verbatim,quote]
746 music = \relative c' { c d e f }
748 \transpose c cis { \music }
749 \transpose c des { \music }
754 @code{\transpose} may also be used in a different way, to input
755 written notes for a transposing instrument. The previous examples
756 show how to enter pitches in C (or @notation{concert pitch}) and
757 typeset them for a transposing instrument, but the opposite is
758 also possible if you for example have a set of instrumental parts
759 and want to print a conductor's score. For example, when entering
760 music for a B-flat trumpet that begins on a notated E (concert D),
764 musicInBflat = @{ e4 @dots{} @}
765 \transpose c bes, \musicInBflat
769 To print this music in F (e.g., rearranging to a French horn) you
770 could wrap the existing music with another @code{\transpose}:
773 musicInBflat = @{ e4 @dots{} @}
774 \transpose f c' @{ \transpose c bes, \musicInBflat @}
778 For more information about transposing instruments,
779 see @ref{Instrument transpositions}.
784 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
785 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
790 @ref{Relative octave entry},
791 @ref{Instrument transpositions}.
797 @rinternals{TransposedMusic}.
809 The relative conversion will not affect @code{\transpose},
810 @code{\chordmode} or @code{\relative} sections in its argument.
811 To use relative mode within transposed music, an additional
812 @code{\relative} must be placed inside @code{\transpose}.
814 @node Displaying pitches
815 @subsection Displaying pitches
817 This section discusses how to alter the output of pitches.
823 * Instrument transpositions::
824 * Automatic accidentals::
830 @unnumberedsubsubsec Clef
842 @cindex mezzosoprano clef
843 @cindex baritone clef
844 @cindex varbaritone clef
848 @cindex clef, ancient
858 @cindex clef, soprano
859 @cindex clef, mezzosoprano
860 @cindex clef, baritone
861 @cindex clef, varbaritone
862 @cindex clef, subbass
868 The clef may be altered. Middle C is shown in every example. The
869 following clef names can (but do not need to) be enclosed in quotes.
871 @lilypond[verbatim,quote,relative=1]
884 @lilypond[verbatim,quote,relative=1]
905 \clef G % synonym for treble
907 \clef F % synonym for bass
909 \clef C % synonym for alto
913 @cindex transposing clef
914 @cindex clef, transposing
915 @cindex octave transposition
916 @cindex choral tenor clef
917 @cindex tenor clef, choral
919 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
920 clef is transposed one octave down or up respectively,
921 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
922 Other integers can be used if required. Clef names containing
923 non-alphabetic characters must be enclosed in quotes
925 @lilypond[verbatim,quote,relative=1]
940 Some special purpose clefs are described in @ref{Mensural clefs},
941 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
946 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
947 {tweaking-clef-properties.ly}
952 @ref{Mensural clefs},
953 @ref{Gregorian clefs},
954 @ref{Default tablatures},
955 @ref{Custom tablatures}.
961 @rinternals{Clef_engraver},
963 @rinternals{OctavateEight},
964 @rinternals{clef-interface}.
968 @unnumberedsubsubsec Key signature
970 @cindex key signature
975 @c duplicated in Key signature and Accidentals
976 @warning{New users are sometimes confused about accidentals and
977 key signatures. In LilyPond, note names are the raw input; key
978 signatures and clefs determine how this raw input is displayed.
979 An unaltered note like@tie{}@code{c} means @q{C natural},
980 regardless of the key signature or clef. For more information,
981 see @rlearning{Accidentals and key signatures}.}
983 The key signature indicates the tonality in which a piece is
984 played. It is denoted by a set of alterations (flats or sharps)
985 at the start of the staff. The key signature may be altered:
988 \key @var{pitch} @var{mode}
1001 @funindex \mixolydian
1002 @funindex mixolydian
1010 @cindex church modes
1023 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1024 to get a key signature of @code{@var{pitch}}-major or
1025 @code{@var{pitch}}-minor, respectively. You may also use the
1026 standard mode names, also called @notation{church modes}:
1027 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1028 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1030 @lilypond[verbatim,quote,relative=2]
1040 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1041 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1043 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1044 {non-traditional-key-signatures.ly}
1049 @rglos{church mode},
1053 @rlearning{Accidentals and key signatures}.
1058 Internals Reference:
1059 @rinternals{KeyChangeEvent},
1060 @rinternals{Key_engraver},
1061 @rinternals{Key_performer},
1062 @rinternals{KeyCancellation},
1063 @rinternals{KeySignature},
1064 @rinternals{key-cancellation-interface},
1065 @rinternals{key-signature-interface}.
1068 @node Ottava brackets
1069 @unnumberedsubsubsec Ottava brackets
1077 @funindex set-octavation
1081 @notation{Ottava brackets} introduce an extra transposition of an
1082 octave for the staff:
1084 @lilypond[verbatim,quote,relative=2]
1100 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1111 Internals Reference:
1112 @rinternals{Ottava_spanner_engraver},
1113 @rinternals{OttavaBracket},
1114 @rinternals{ottava-bracket-interface}.
1117 @node Instrument transpositions
1118 @unnumberedsubsubsec Instrument transpositions
1120 @cindex transposition, MIDI
1121 @cindex transposition, instrument
1122 @cindex transposing instrument
1124 @cindex MIDI transposition
1126 @funindex \transposition
1127 @funindex transposition
1129 When typesetting scores that involve transposing instruments, some
1130 parts can be typeset in a different pitch than the
1131 @notation{concert pitch}. In these cases, the key of the
1132 @notation{transposing instrument} should be specified; otherwise
1133 the MIDI output and cues in other parts will produce incorrect
1134 pitches. For more information about quotations, see
1135 @ref{Quoting other voices}.
1138 \transposition @var{pitch}
1141 The pitch to use for @code{\transposition} should correspond to
1142 the real sound heard when a@tie{}@code{c'} written on the staff is
1143 played by the transposing instrument. This pitch is entered in
1144 absolute mode, so an instrument that produces a real sound which
1145 is one tone higher than the printed music should use
1146 @w{@code{\transposition d'}}. @code{\transposition} should
1147 @emph{only} be used if the pitches are @emph{not} being entered in
1150 Here are a few notes for violin and B-flat clarinet where the
1151 parts have been entered using the notes and key as they appear in
1152 each part of the conductor's score. The two instruments are
1155 @lilypond[verbatim,quote]
1157 \new Staff = "violin" {
1159 \set Staff.instrumentName = #"Vln"
1160 \set Staff.midiInstrument = #"violin"
1161 % not strictly necessary, but a good reminder
1168 \new Staff = "clarinet" {
1170 \set Staff.instrumentName = \markup { Cl (B\flat) }
1171 \set Staff.midiInstrument = #"clarinet"
1181 The @code{\transposition} may be changed during a piece. For
1182 example, a clarinetist may switch from an A clarinet to a B-flat
1185 @lilypond[verbatim,quote,relative=2]
1186 \set Staff.instrumentName = #"Cl (A)"
1191 s1*0^\markup { Switch to B\flat clarinet }
1202 @rglos{concert pitch},
1203 @rglos{transposing instrument}.
1206 @ref{Quoting other voices},
1213 @node Automatic accidentals
1214 @unnumberedsubsubsec Automatic accidentals
1216 @cindex accidental style
1217 @cindex accidental style, default
1219 @cindex accidentals, automatic
1220 @cindex automatic accidentals
1221 @cindex default accidental style
1223 @funindex set-accidental-style
1227 There are many different conventions on how to typeset
1228 accidentals. LilyPond provides a function to specify which
1229 accidental style to use. This function is called as follows:
1233 #(set-accidental-style 'voice)
1238 The accidental style applies to the current @code{Staff} by
1239 default (with the exception of the styles @code{piano} and
1240 @code{piano-cautionary}, which are explained below). Optionally,
1241 the function can take a second argument that determines in which
1242 scope the style should be changed. For example, to use the same
1243 style in all staves of the current @code{StaffGroup}, use:
1246 #(set-accidental-style 'voice 'StaffGroup)
1249 The following accidental styles are supported. To demonstrate
1250 each style, we use the following example:
1253 @lilypond[verbatim,quote]
1257 cis'8 fis, d'4 <a cis>8 f bis4 |
1271 \voiceTwo \relative c' {
1272 <fis, a cis>8 <fis a cis>
1275 \change Staff = down
1280 \change Staff = down
1281 <fis, a cis>4 gis <f a d>2 |
1288 \context Staff = "up" {
1289 #(set-accidental-style 'default)
1292 \context Staff = "down" {
1293 #(set-accidental-style 'default)
1300 Note that the last lines of this example can be replaced by the
1301 following, as long as the same accidental style should be used in
1307 \context Staff = "up" @{
1308 %%% change the next line as desired:
1309 #(set-accidental-style 'default 'Score)
1312 \context Staff = "down" @{
1320 @c don't use verbatim in this table.
1324 @cindex default accidental style
1325 @cindex accidental style, default
1329 This is the default typesetting behavior. It corresponds to
1330 eighteenth-century common practice: accidentals are remembered to
1331 the end of the measure in which they occur and only in their own
1332 octave. Thus, in the example below, no natural signs are printed
1333 before the@tie{}@code{b} in the second measure or the
1340 cis'8 fis, d'4 <a cis>8 f bis4 |
1354 \voiceTwo \relative c' {
1355 <fis, a cis>8 <fis a cis>
1358 \change Staff = down
1363 \change Staff = down
1364 <fis, a cis>4 gis <f a d>2 |
1371 \context Staff = "up" {
1372 #(set-accidental-style 'default)
1375 \context Staff = "down" {
1376 #(set-accidental-style 'default)
1385 @cindex accidental style, voice
1386 @cindex voice accidental style
1387 @cindex accidental style, modern
1388 @cindex modern accidental style
1389 @cindex accidental style, modern-cautionary
1390 @cindex modern-cautionary accidental style
1394 The normal behavior is to remember the accidentals at
1395 @code{Staff}-level. In this style, however, accidentals are
1396 typeset individually for each voice. Apart from that, the rule is
1397 similar to @code{default}.
1399 As a result, accidentals from one voice do not get canceled in
1400 other voices, which is often an unwanted result: in the following
1401 example, it is hard to determine whether the second@tie{}@code{a}
1402 should be played natural or sharp. The @code{voice} option should
1403 therefore be used only if the voices are to be read solely by
1404 individual musicians. If the staff is to be used by one musician
1405 (e.g., a conductor or in a piano score) then @code{modern} or
1406 @code{modern-cautionary} should be used instead.
1413 cis'8 fis, d'4 <a cis>8 f bis4 |
1427 \voiceTwo \relative c' {
1428 <fis, a cis>8 <fis a cis>
1431 \change Staff = down
1436 \change Staff = down
1437 <fis, a cis>4 gis <f a d>2 |
1444 \context Staff = "up" {
1445 #(set-accidental-style 'voice)
1448 \context Staff = "down" {
1449 #(set-accidental-style 'voice)
1458 @cindex accidentals, modern style
1459 @cindex modern style accidentals
1463 This rule corresponds to the common practice in the twentieth
1464 century. It prints the same accidentals as @code{default}, with
1465 two exceptions that serve to avoid ambiguity: after temporary
1466 accidentals, cancellation marks are printed also in the following
1467 measure (for notes in the same octave) and, in the same measure,
1468 for notes in other octaves. Hence the naturals before
1469 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1476 cis'8 fis, d'4 <a cis>8 f bis4 |
1490 \voiceTwo \relative c' {
1491 <fis, a cis>8 <fis a cis>
1494 \change Staff = down
1499 \change Staff = down
1500 <fis, a cis>4 gis <f a d>2 |
1507 \context Staff = "up" {
1508 #(set-accidental-style 'modern)
1511 \context Staff = "down" {
1512 #(set-accidental-style 'modern)
1519 @item modern-cautionary
1521 @cindex accidentals, modern cautionary style
1522 @cindex modern accidental style
1523 @cindex modern cautionary accidental style
1524 @cindex modern style accidentals
1525 @cindex modern style cautionary accidentals
1527 @funindex modern-cautionary
1529 This rule is similar to @code{modern}, but the @q{extra}
1530 accidentals (the ones not typeset by @code{default}) are typeset
1531 as cautionary accidentals. They are by default printed with
1532 parentheses, but they can also be printed in reduced size by
1533 defining the @code{cautionary-style} property of
1534 @code{AccidentalSuggestion}.
1540 cis'8 fis, d'4 <a cis>8 f bis4 |
1554 \voiceTwo \relative c' {
1555 <fis, a cis>8 <fis a cis>
1558 \change Staff = down
1563 \change Staff = down
1564 <fis, a cis>4 gis <f a d>2 |
1571 \context Staff = "up" {
1572 #(set-accidental-style 'modern-cautionary)
1575 \context Staff = "down" {
1576 #(set-accidental-style 'modern-cautionary)
1585 @cindex accidental style, modern
1586 @cindex accidentals, modern
1587 @cindex accidentals, multivoice
1588 @cindex modern accidental style
1589 @cindex modern accidentals
1590 @cindex multivoice accidentals
1592 @funindex modern-voice
1594 This rule is used for multivoice accidentals to be read both by
1595 musicians playing one voice and musicians playing all voices.
1596 Accidentals are typeset for each voice, but they @emph{are}
1597 canceled across voices in the same @code{Staff}. Hence,
1598 the@tie{}@code{a} in the last measure is canceled because the
1599 previous cancellation was in a different voice, and
1600 the@tie{}@code{d} in the lower staff is canceled because of the
1601 accidental in a different voice in the previous measure:
1607 cis'8 fis, d'4 <a cis>8 f bis4 |
1621 \voiceTwo \relative c' {
1622 <fis, a cis>8 <fis a cis>
1625 \change Staff = down
1630 \change Staff = down
1631 <fis, a cis>4 gis <f a d>2 |
1638 \context Staff = "up" {
1639 #(set-accidental-style 'modern-voice)
1642 \context Staff = "down" {
1643 #(set-accidental-style 'modern-voice)
1650 @cindex accidental style, cautionary, modern voice
1651 @cindex accidental style, modern voice cautionary
1652 @cindex accidental style, voice, modern cautionary
1654 @funindex modern-voice-cautionary
1656 @item modern-voice-cautionary
1658 This rule is the same as @code{modern-voice}, but with the extra
1659 accidentals (the ones not typeset by @code{voice}) typeset as
1660 cautionaries. Even though all accidentals typeset by
1661 @code{default} @emph{are} typeset with this rule, some of them are
1662 typeset as cautionaries.
1668 cis'8 fis, d'4 <a cis>8 f bis4 |
1682 \voiceTwo \relative c' {
1683 <fis, a cis>8 <fis a cis>
1686 \change Staff = down
1691 \change Staff = down
1692 <fis, a cis>4 gis <f a d>2 |
1699 \context Staff = "up" {
1700 #(set-accidental-style 'modern-voice-cautionary)
1703 \context Staff = "down" {
1704 #(set-accidental-style 'modern-voice-cautionary)
1713 @cindex accidental style, piano
1714 @cindex accidentals, piano
1715 @cindex piano accidental style
1716 @cindex piano accidentals
1720 This rule reflects twentieth-century practice for piano notation.
1721 Its behavior is very similar to @code{modern} style, but here
1722 accidentals also get canceled across the staves in the same
1723 @code{GrandStaff} or @code{PianoStaff}, hence all the
1724 cancellations of the final notes.
1726 This accidental style applies to the current @code{GrandStaff} or
1727 @code{PianoStaff} by default.
1733 cis'8 fis, d'4 <a cis>8 f bis4 |
1747 \voiceTwo \relative c' {
1748 <fis, a cis>8 <fis a cis>
1751 \change Staff = down
1756 \change Staff = down
1757 <fis, a cis>4 gis <f a d>2 |
1764 \context Staff = "up" {
1765 #(set-accidental-style 'piano)
1768 \context Staff = "down" {
1775 @item piano-cautionary
1777 @cindex accidentals, piano cautionary
1778 @cindex cautionary accidentals, piano
1779 @cindex piano cautionary accidentals
1780 @cindex accidental style, piano cautionary
1781 @cindex cautionary accidental style, piano
1782 @cindex piano cautionary accidental style
1784 @funindex piano-cautionary
1786 This is the same as @code{piano} but with the extra accidentals
1787 typeset as cautionaries.
1793 cis'8 fis, d'4 <a cis>8 f bis4 |
1807 \voiceTwo \relative c' {
1808 <fis, a cis>8 <fis a cis>
1811 \change Staff = down
1816 \change Staff = down
1817 <fis, a cis>4 gis <f a d>2 |
1824 \context Staff = "up" {
1825 #(set-accidental-style 'piano-cautionary)
1828 \context Staff = "down" {
1838 @cindex neo-modern accidental style
1839 @cindex accidental style, neo-modern
1841 @funindex neo-modern
1843 This rule reproduces a common practice in contemporary music:
1844 accidentals are printed like with @code{modern}, but they are printed
1845 again if the same note appears later in the same measure -- except
1846 if the note is immediately repeated.
1852 cis'8 fis, d'4 <a cis>8 f bis4 |
1866 \voiceTwo \relative c' {
1867 <fis, a cis>8 <fis a cis>
1870 \change Staff = down
1875 \change Staff = down
1876 <fis, a cis>4 gis <f a d>2 |
1883 \context Staff = "up" {
1884 #(set-accidental-style 'neo-modern)
1887 \context Staff = "down" {
1888 #(set-accidental-style 'neo-modern)
1895 @item neo-modern-cautionary
1897 @cindex neo-modern-cautionary accidental style
1898 @cindex accidental style, neo-modern-cautionary
1900 @funindex neo-modern-cautionary
1902 This rule is similar to @code{neo-modern}, but the extra
1903 accidentals are printed as cautionary accidentals.
1909 cis'8 fis, d'4 <a cis>8 f bis4 |
1923 \voiceTwo \relative c' {
1924 <fis, a cis>8 <fis a cis>
1927 \change Staff = down
1932 \change Staff = down
1933 <fis, a cis>4 gis <f a d>2 |
1940 \context Staff = "up" {
1941 #(set-accidental-style 'neo-modern-cautionary)
1944 \context Staff = "down" {
1945 #(set-accidental-style 'neo-modern-cautionary)
1953 @item neo-modern-voice
1955 @cindex neo-modern-voice accidental style
1956 @cindex accidental style, neo-modern-voice
1958 @funindex neo-modern-voice
1960 This rule is used for multivoice accidentals to be read both by
1961 musicians playing one voice and musicians playing all voices.
1962 Accidentals are typeset for each voice as with @code{neo-modern},
1963 but they are canceled across voices in the same @code{Staff}.
1969 cis'8 fis, d'4 <a cis>8 f bis4 |
1983 \voiceTwo \relative c' {
1984 <fis, a cis>8 <fis a cis>
1987 \change Staff = down
1992 \change Staff = down
1993 <fis, a cis>4 gis <f a d>2 |
2000 \context Staff = "up" {
2001 #(set-accidental-style 'neo-modern-voice)
2004 \context Staff = "down" {
2005 #(set-accidental-style 'neo-modern-voice)
2012 @item neo-modern-voice-cautionary
2014 @cindex neo-modern-voice-cautionary accidental style
2015 @cindex accidental style, neo-modern-voice-cautionary
2017 @funindex neo-modern-voice-cautionary
2019 This rule is similar to @code{neo-modern-voice}, but the extra
2020 accidentals are printed as cautionary accidentals.
2026 cis'8 fis, d'4 <a cis>8 f bis4 |
2040 \voiceTwo \relative c' {
2041 <fis, a cis>8 <fis a cis>
2044 \change Staff = down
2049 \change Staff = down
2050 <fis, a cis>4 gis <f a d>2 |
2057 \context Staff = "up" {
2058 #(set-accidental-style 'neo-modern-voice-cautionary)
2061 \context Staff = "down" {
2062 #(set-accidental-style 'neo-modern-voice-cautionary)
2071 @cindex dodecaphonic accidental style
2072 @cindex dodecaphonic style, neo-modern
2074 @funindex dodecaphonic
2076 This rule reflects a practice introduced by composers at
2077 the beginning of the 20th century, in an attempt to
2078 abolish the hierarchy between natural and non-natural notes.
2079 With this style, @emph{every} note gets an accidental sign,
2080 including natural signs.
2086 cis'8 fis, d'4 <a cis>8 f bis4 |
2100 \voiceTwo \relative c' {
2101 <fis, a cis>8 <fis a cis>
2104 \change Staff = down
2109 \change Staff = down
2110 <fis, a cis>4 gis <f a d>2 |
2117 \context Staff = "up" {
2118 #(set-accidental-style 'dodecaphonic)
2121 \context Staff = "down" {
2122 #(set-accidental-style 'dodecaphonic)
2132 @cindex teaching accidental style
2133 @cindex accidental style, teaching
2137 This rule is intended for students, and makes it easy to create
2138 scale sheets with automatically created cautionary accidentals.
2139 Accidentals are printed like with @code{modern}, but cautionary
2140 accidentals are added for all sharp or flat tones specified by the
2141 key signature, except if the note is immediately repeated.
2147 cis'8 fis, d'4 <a cis>8 f bis4 |
2161 \voiceTwo \relative c' {
2162 <fis, a cis>8 <fis a cis>
2165 \change Staff = down
2170 \change Staff = down
2171 <fis, a cis>4 gis <f a d>2 |
2178 \context Staff = "up" {
2180 #(set-accidental-style 'teaching)
2183 \context Staff = "down" {
2185 #(set-accidental-style 'teaching)
2196 @cindex accidental style, no reset
2197 @cindex no reset accidental style
2201 This is the same as @code{default} but with accidentals lasting
2202 @q{forever} and not only within the same measure:
2208 cis'8 fis, d'4 <a cis>8 f bis4 |
2222 \voiceTwo \relative c' {
2223 <fis, a cis>8 <fis a cis>
2226 \change Staff = down
2231 \change Staff = down
2232 <fis, a cis>4 gis <f a d>2 |
2239 \context Staff = "up" {
2240 #(set-accidental-style 'no-reset)
2243 \context Staff = "down" {
2244 #(set-accidental-style 'no-reset)
2253 @cindex forget accidental style
2254 @cindex accidental style, forget
2258 This is the opposite of @code{no-reset}: Accidentals are not
2259 remembered at all -- and hence all accidentals are typeset
2260 relative to the key signature, regardless of what came before in
2261 the music. Unlike @code{dodecaphonic}, this rule never prints
2268 cis'8 fis, d'4 <a cis>8 f bis4 |
2282 \voiceTwo \relative c' {
2283 <fis, a cis>8 <fis a cis>
2286 \change Staff = down
2291 \change Staff = down
2292 <fis, a cis>4 gis <f a d>2 |
2299 \context Staff = "up" {
2300 #(set-accidental-style 'forget)
2303 \context Staff = "down" {
2304 #(set-accidental-style 'forget)
2314 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2315 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2322 Internals Reference:
2323 @rinternals{Accidental},
2324 @rinternals{Accidental_engraver},
2325 @rinternals{GrandStaff},
2326 @rinternals{PianoStaff},
2328 @rinternals{AccidentalSuggestion},
2329 @rinternals{AccidentalPlacement},
2330 @rinternals{accidental-suggestion-interface}.
2333 @cindex accidentals and simultaneous notes
2334 @cindex simultaneous notes and accidentals
2335 @cindex accidentals in chords
2336 @cindex chords, accidentals in
2340 Simultaneous notes are considered to be entered in sequential
2341 mode. This means that in a chord the accidentals are typeset as
2342 if the notes in the chord happen one at a time, in the order in
2343 which they appear in the input file. This is a problem when
2344 accidentals in a chord depend on each other, which does not happen
2345 for the default accidental style. The problem can be solved by
2346 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2350 Cautionary cancellation of accidentals is done by looking at previous measure.
2351 However, in the @code{\alternative} block following a @code{\repeat volta N}
2352 section, one would expect the cancellation being calculated using the previous
2353 @emph{played} measure, not previous @emph{printed} measure.
2354 In the following example, the natural @code{c} in the second alternative does
2355 not need a natural sign:
2359 #(set-accidental-style 'modern)
2371 The following work-around can be used: define a function that locally changes
2372 the accidental style to @code{forget}:
2374 @lilypond[verbatim,quote]
2375 forget = #(define-music-function (parser location music) (ly:music?) #{
2376 #(set-accidental-style 'forget)
2378 #(set-accidental-style 'modern)
2381 #(set-accidental-style 'modern)
2394 @unnumberedsubsubsec Ambitus
2397 @cindex range of pitches
2400 The term @notation{ambitus} (pl. ambitus) denotes a range of
2401 pitches for a given voice in a part of music. It may also denote
2402 the pitch range that a musical instrument is capable of playing.
2403 Ambitus are printed on vocal parts so that performers can easily
2404 determine if it matches their capabilities.
2406 Ambitus are denoted at the beginning of a piece near the initial
2407 clef. The range is graphically specified by two note heads that
2408 represent the lowest and highest pitches. Accidentals are only
2409 printed if they are not part of the key signature.
2411 @lilypond[verbatim,quote]
2415 \consists "Ambitus_engraver"
2428 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2429 {adding-ambitus-per-voice.ly}
2431 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2432 {ambitus-with-multiple-voices.ly}
2434 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2435 {changing-the-ambitus-gap.ly}
2445 Internals Reference:
2446 @rinternals{Ambitus_engraver},
2449 @rinternals{Ambitus},
2450 @rinternals{AmbitusAccidental},
2451 @rinternals{AmbitusLine},
2452 @rinternals{AmbitusNoteHead},
2453 @rinternals{ambitus-interface}.
2458 There is no collision handling in the case of multiple per-voice
2463 @subsection Note heads
2465 This section suggests ways of altering note heads.
2468 * Special note heads::
2469 * Easy notation note heads::
2470 * Shape note heads::
2474 @node Special note heads
2475 @unnumberedsubsubsec Special note heads
2477 @cindex note heads, special
2478 @cindex note heads, cross
2479 @cindex note heads, diamond
2480 @cindex note heads, parlato
2481 @cindex note heads, harmonic
2482 @cindex note heads, guitar
2483 @cindex special note heads
2484 @cindex cross note heads
2485 @cindex diamond note heads
2486 @cindex parlato note heads
2487 @cindex harmonic note heads
2488 @cindex guitar note heads
2489 @cindex note head styles
2490 @cindex styles, note heads
2494 The appearance of note heads may be altered:
2496 @lilypond[verbatim,quote,relative=2]
2498 \override NoteHead #'style = #'cross
2500 \revert NoteHead #'style
2502 \override NoteHead #'style = #'harmonic
2504 \revert NoteHead #'style
2508 To see all note head styles, see @ref{Note head styles}.
2510 The @code{cross} style is used to represent a variety of musical
2511 intentions. The following generic predefined commands modify the
2512 note head in both staff and tablature contexts and can be used to
2513 represent any musical meaning:
2515 @lilypond[verbatim,quote,relative=2]
2523 The music function form of this predefined command may be used
2524 inside and outside chords to generate crossed note heads in both
2525 staff and tablature contexts:
2527 @lilypond[verbatim,quote,relative=2]
2530 c b < g \xNote c f > b
2533 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2534 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2535 be used. The term @notation{dead note} is commonly used by guitarists.
2537 There is also a shorthand for diamond shapes which can be used
2540 @lilypond[verbatim,quote,relative=2]
2541 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2556 @ref{Note head styles},
2557 @ref{Chorded notes},
2558 @ref{Indicating harmonics and dampened notes}.
2560 Internals Reference:
2561 @rinternals{note-event},
2562 @rinternals{Note_heads_engraver},
2563 @rinternals{Ledger_line_engraver},
2564 @rinternals{NoteHead},
2565 @rinternals{LedgerLineSpanner},
2566 @rinternals{note-head-interface},
2567 @rinternals{ledger-line-spanner-interface}.
2570 @node Easy notation note heads
2571 @unnumberedsubsubsec Easy notation note heads
2573 @cindex note heads, practice
2574 @cindex practice note heads
2575 @cindex note heads, easy notation
2576 @cindex easy notation
2577 @cindex beginners' music
2578 @cindex music, beginners'
2579 @cindex easy play note heads
2580 @cindex note heads, easy play
2582 @funindex \easyHeadsOn
2583 @funindex easyHeadsOn
2584 @funindex \easyHeadsOff
2585 @funindex easyHeadsOff
2587 The @q{easy play} note head includes a note name inside the head.
2588 It is used in music for beginners. To make the letters readable,
2589 it should be printed in a large font size. To print with a larger
2590 font, see @ref{Setting the staff size}.
2592 @lilypond[verbatim,quote]
2593 #(set-global-staff-size 26)
2605 @code{\easyHeadsOn},
2606 @code{\easyHeadsOff}.
2612 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2613 {numbers-as-easy-note-heads.ly}
2618 @ref{Setting the staff size}.
2623 Internals Reference:
2624 @rinternals{note-event},
2625 @rinternals{Note_heads_engraver},
2626 @rinternals{NoteHead},
2627 @rinternals{note-head-interface}.
2630 @node Shape note heads
2631 @unnumberedsubsubsec Shape note heads
2633 @cindex note heads, shape
2634 @cindex note heads, Aiken
2635 @cindex note heads, sacred harp
2637 @cindex Aiken shape note heads
2638 @cindex sacred harp note heads
2639 @cindex note heads, Southern Harmony
2640 @cindex Southern Harmony note heads
2641 @cindex Funk shape note heads
2642 @cindex note heads, Funk
2643 @cindex note heads, Harmonica Sacra
2644 @cindex Harmonica Sacra note heads
2645 @cindex Christian Harmony note heads
2646 @cindex note heads, Christian Harmony
2647 @cindex Walker shape note heads
2648 @cindex note heads, Walker
2650 @funindex \aikenHeads
2651 @funindex aikenHeads
2652 @funindex \sacredHarpHeads
2653 @funindex sacredHarpHeads
2654 @funindex \southernHarmonyHeads
2655 @funindex southernHarmonyHeads
2656 @funindex \funkHeads
2658 @funindex \walkerHeads
2659 @funindex walkerHeads
2661 In shape note head notation, the shape of the note head
2662 corresponds to the harmonic function of a note in the scale. This
2663 notation was popular in nineteenth-century American song books.
2664 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2665 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2667 @lilypond[verbatim,quote,relative=2]
2669 c, d e f g2 a b1 c \break
2671 c,4 d e f g2 a b1 c \break
2672 \southernHarmonyHeads
2673 c,4 d e f g2 a b1 c \break
2675 c,4 d e f g2 a b1 c \break
2677 c,4 d e f g2 a b1 c \break
2682 @funindex \aikenHeadsMinor
2683 @funindex aikenHeadsMinor
2684 @funindex \sacredHarpHeadsMinor
2685 @funindex sacredHarpHeadsMinor
2686 @funindex \southernHarmonyHeadsMinor
2687 @funindex southernHarmonyHeadsMinor
2688 @funindex \funkHeadsMinor
2689 @funindex funkHeadsMinor
2690 @funindex \walkerHeadsMinor
2691 @funindex walkerHeadsMinor
2693 Shapes are typeset according to the step in the scale, where the base
2694 of the scale is determined by the @code{\key} command. When writing
2695 in a minor key, the scale step can be determined from the relative
2698 @lilypond[verbatim,quote,relative=2]
2701 a b c d e2 f g1 a \break
2703 a,4 b c d e2 f g1 a \break
2704 \sacredHarpHeadsMinor
2706 \southernHarmonyHeadsMinor
2718 @code{\aikenHeadsMinor},
2720 @code{\funkHeadsMinor},
2721 @code{\sacredHarpHeads},
2722 @code{\sacredHarpHeadsMinor},
2723 @code{\southernHarmonyHeads},
2724 @code{\southernHarmonyHeadsMinor},
2725 @code{\walkerHeads},
2726 @code{\walkerHeadsMinor}.
2732 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2733 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2735 To see all note head styles, see @ref{Note head styles}.
2743 @ref{Note head styles}.
2745 Internals Reference:
2746 @rinternals{note-event},
2747 @rinternals{Note_heads_engraver},
2748 @rinternals{NoteHead},
2749 @rinternals{note-head-interface}.
2753 @unnumberedsubsubsec Improvisation
2755 @cindex improvisation
2756 @cindex slashed note heads
2757 @cindex note heads, improvisation
2758 @cindex note heads, slashed
2760 @funindex \improvisationOn
2761 @funindex improvisationOn
2762 @funindex \improvisationOff
2763 @funindex improvisationOff
2765 Improvisation is sometimes denoted with slashed note heads, where
2766 the performer may choose any pitch but should play the specified
2767 rhythm. Such note heads can be created:
2769 @lilypond[verbatim,quote,relative=2]
2771 \consists "Pitch_squash_engraver"
2773 e8 e g a a16( bes) a8 g
2785 @code{\improvisationOn},
2786 @code{\improvisationOff}.
2794 Internals Reference:
2795 @rinternals{Pitch_squash_engraver},
2797 @rinternals{RhythmicStaff}.