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}.
586 @node Changing multiple pitches
587 @subsection Changing multiple pitches
589 This section discusses how to modify pitches.
597 @unnumberedsubsubsec Octave checks
599 @cindex octave correction
601 @cindex control pitch
604 @funindex \octaveCheck
605 @funindex octaveCheck
606 @funindex controlpitch
608 In relative mode, it is easy to forget an octave changing mark.
609 Octave checks make such errors easier to find by displaying a
610 warning and correcting the octave if a note is found in an
613 To check the octave of a note, specify the absolute octave after
614 the @code{=}@tie{}symbol. This example will generate a warning
615 (and change the pitch) because the second note is the absolute
616 octave @code{d''} instead of @code{d'} as indicated by the octave
619 @lilypond[verbatim,quote]
626 The octave of notes may also be checked with the
627 @code{\octaveCheck@tie{}@var{controlpitch}} command.
628 @code{@var{controlpitch}} is specified in absolute mode. This
629 checks that the interval between the previous note and the
630 @code{@var{controlpitch}} is within a fourth (i.e., the normal
631 calculation of relative mode). If this check fails, a warning is
632 printed, but the previous note is not changed. Future notes are
633 relative to the @code{@var{controlpitch}}.
635 @lilypond[verbatim,quote]
643 Compare the two bars below. The first and third @code{\octaveCheck}
644 checks fail, but the second one does not fail.
646 @lilypond[verbatim,quote]
666 @rinternals{RelativeOctaveCheck}.
670 @unnumberedsubsubsec Transpose
674 @cindex transposition
675 @cindex transposition of pitches
676 @cindex transposition of notes
677 @cindex pitches, transposition of
678 @cindex notes, transposition of
683 A music expression can be transposed with @code{\transpose}. The
687 \transpose @var{frompitch} @var{topitch} @var{musicexpr}
691 This means that @code{@var{musicexpr}} is transposed by the
692 interval between the pitches @code{@var{frompitch}} and
693 @code{@var{topitch}}: any note with pitch @code{@var{frompitch}}
694 is changed to @code{@var{topitch}} and any other note is
695 transposed by the same interval. Both pitches are entered in
698 @warning{Music inside a @code{@bs{}transpose} block is absolute
699 unless a @code{@bs{}relative} is included in the block.}
701 Consider a piece written in the key of D-major. It can be
702 transposed up to E-major; note that the key signature is
703 automatically transposed as well.
705 @lilypond[verbatim,quote]
714 @cindex transposing instruments
715 @cindex instruments, transposing
717 If a part written in C (normal @notation{concert pitch}) is to be
718 played on the A clarinet (for which an A is notated as a C and
719 thus sounds a minor third lower than notated), the appropriate
720 part will be produced with:
722 @lilypond[verbatim,quote]
732 Note that we specify @w{@code{\key c \major}} explicitly. If we
733 do not specify a key signature, the notes will be transposed but
734 no key signature will be printed.
736 @code{\transpose} distinguishes between enharmonic pitches: both
737 @w{@code{\transpose c cis}} or @w{@code{\transpose c des}} will
738 transpose up a semitone. The first version will print sharps and
739 the notes will remain on the same scale step, the second version
740 will print flats on the scale step above.
742 @lilypond[verbatim,quote]
743 music = \relative c' { c d e f }
745 \transpose c cis { \music }
746 \transpose c des { \music }
751 @code{\transpose} may also be used in a different way, to input
752 written notes for a transposing instrument. The previous examples
753 show how to enter pitches in C (or @notation{concert pitch}) and
754 typeset them for a transposing instrument, but the opposite is
755 also possible if you for example have a set of instrumental parts
756 and want to print a conductor's score. For example, when entering
757 music for a B-flat trumpet that begins on a notated E (concert D),
761 musicInBflat = @{ e4 @dots{} @}
762 \transpose c bes, \musicInBflat
766 To print this music in F (e.g., rearranging to a French horn) you
767 could wrap the existing music with another @code{\transpose}:
770 musicInBflat = @{ e4 @dots{} @}
771 \transpose f c' @{ \transpose c bes, \musicInBflat @}
775 For more information about transposing instruments,
776 see @ref{Instrument transpositions}.
781 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
782 {transposing-pitches-with-minimum-accidentals-smart-transpose.ly}
787 @ref{Relative octave entry},
788 @ref{Instrument transpositions}.
794 @rinternals{TransposedMusic}.
806 The relative conversion will not affect @code{\transpose},
807 @code{\chordmode} or @code{\relative} sections in its argument.
808 To use relative mode within transposed music, an additional
809 @code{\relative} must be placed inside @code{\transpose}.
811 @node Displaying pitches
812 @subsection Displaying pitches
814 This section discusses how to alter the output of pitches.
820 * Instrument transpositions::
821 * Automatic accidentals::
827 @unnumberedsubsubsec Clef
839 @cindex mezzosoprano clef
840 @cindex baritone clef
841 @cindex varbaritone clef
845 @cindex clef, ancient
855 @cindex clef, soprano
856 @cindex clef, mezzosoprano
857 @cindex clef, baritone
858 @cindex clef, varbaritone
859 @cindex clef, subbass
865 The clef may be altered. Middle C is shown in every example. The
866 following clef names can (but do not need to) be enclosed in quotes.
868 @lilypond[verbatim,quote,relative=1]
881 @lilypond[verbatim,quote,relative=1]
902 \clef G % synonym for treble
904 \clef F % synonym for bass
906 \clef C % synonym for alto
910 @cindex transposing clef
911 @cindex clef, transposing
912 @cindex octave transposition
913 @cindex choral tenor clef
914 @cindex tenor clef, choral
916 By adding@tie{}@code{_8} or@tie{}@code{^8} to the clef name, the
917 clef is transposed one octave down or up respectively,
918 and@tie{}@code{_15} and@tie{}@code{^15} transpose by two octaves.
919 Other integers can be used if required. Clef names containing
920 non-alphabetic characters must be enclosed in quotes
922 @lilypond[verbatim,quote,relative=1]
937 Some special purpose clefs are described in @ref{Mensural clefs},
938 @ref{Gregorian clefs}, @ref{Default tablatures}, and @ref{Custom
943 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
944 {tweaking-clef-properties.ly}
949 @ref{Mensural clefs},
950 @ref{Gregorian clefs},
951 @ref{Default tablatures},
952 @ref{Custom tablatures}.
958 @rinternals{Clef_engraver},
960 @rinternals{OctavateEight},
961 @rinternals{clef-interface}.
965 @unnumberedsubsubsec Key signature
967 @cindex key signature
972 @c duplicated in Key signature and Accidentals
973 @warning{New users are sometimes confused about accidentals and
974 key signatures. In LilyPond, note names are the raw input; key
975 signatures and clefs determine how this raw input is displayed.
976 An unaltered note like@tie{}@code{c} means @q{C natural},
977 regardless of the key signature or clef. For more information,
978 see @rlearning{Accidentals and key signatures}.}
980 The key signature indicates the tonality in which a piece is
981 played. It is denoted by a set of alterations (flats or sharps)
982 at the start of the staff. The key signature may be altered:
985 \key @var{pitch} @var{mode}
998 @funindex \mixolydian
1007 @cindex church modes
1020 Here, @code{@var{mode}} should be @code{\major} or @code{\minor}
1021 to get a key signature of @code{@var{pitch}}-major or
1022 @code{@var{pitch}}-minor, respectively. You may also use the
1023 standard mode names, also called @notation{church modes}:
1024 @code{\ionian}, @code{\dorian}, @code{\phrygian}, @code{\lydian},
1025 @code{\mixolydian}, @code{\aeolian}, and @code{\locrian}.
1027 @lilypond[verbatim,quote,relative=2]
1037 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1038 {preventing-natural-signs-from-being-printed-when-the-key-signature-changes.ly}
1040 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1041 {non-traditional-key-signatures.ly}
1046 @rglos{church mode},
1050 @rlearning{Accidentals and key signatures}.
1055 Internals Reference:
1056 @rinternals{KeyChangeEvent},
1057 @rinternals{Key_engraver},
1058 @rinternals{Key_performer},
1059 @rinternals{KeyCancellation},
1060 @rinternals{KeySignature},
1061 @rinternals{key-cancellation-interface},
1062 @rinternals{key-signature-interface}.
1065 @node Ottava brackets
1066 @unnumberedsubsubsec Ottava brackets
1074 @funindex set-octavation
1078 @notation{Ottava brackets} introduce an extra transposition of an
1079 octave for the staff:
1081 @lilypond[verbatim,quote,relative=2]
1097 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
1108 Internals Reference:
1109 @rinternals{Ottava_spanner_engraver},
1110 @rinternals{OttavaBracket},
1111 @rinternals{ottava-bracket-interface}.
1114 @node Instrument transpositions
1115 @unnumberedsubsubsec Instrument transpositions
1117 @cindex transposition, MIDI
1118 @cindex transposition, instrument
1119 @cindex transposing instrument
1121 @cindex MIDI transposition
1123 @funindex \transposition
1124 @funindex transposition
1126 When typesetting scores that involve transposing instruments, some
1127 parts can be typeset in a different pitch than the
1128 @notation{concert pitch}. In these cases, the key of the
1129 @notation{transposing instrument} should be specified; otherwise
1130 the MIDI output and cues in other parts will produce incorrect
1131 pitches. For more information about quotations, see
1132 @ref{Quoting other voices}.
1135 \transposition @var{pitch}
1138 The pitch to use for @code{\transposition} should correspond to
1139 the real sound heard when a@tie{}@code{c'} written on the staff is
1140 played by the transposing instrument. This pitch is entered in
1141 absolute mode, so an instrument that produces a real sound which
1142 is one tone higher than the printed music should use
1143 @w{@code{\transposition d'}}. @code{\transposition} should
1144 @emph{only} be used if the pitches are @emph{not} being entered in
1147 Here are a few notes for violin and B-flat clarinet where the
1148 parts have been entered using the notes and key as they appear in
1149 each part of the conductor's score. The two instruments are
1152 @lilypond[verbatim,quote]
1154 \new Staff = "violin" {
1156 \set Staff.instrumentName = #"Vln"
1157 \set Staff.midiInstrument = #"violin"
1158 % not strictly necessary, but a good reminder
1165 \new Staff = "clarinet" {
1167 \set Staff.instrumentName = \markup { Cl (B\flat) }
1168 \set Staff.midiInstrument = #"clarinet"
1178 The @code{\transposition} may be changed during a piece. For
1179 example, a clarinetist may switch from an A clarinet to a B-flat
1182 @lilypond[verbatim,quote,relative=2]
1183 \set Staff.instrumentName = #"Cl (A)"
1188 s1*0^\markup { Switch to B\flat clarinet }
1199 @rglos{concert pitch},
1200 @rglos{transposing instrument}.
1203 @ref{Quoting other voices},
1210 @node Automatic accidentals
1211 @unnumberedsubsubsec Automatic accidentals
1213 @cindex accidental style
1214 @cindex accidental style, default
1216 @cindex accidentals, automatic
1217 @cindex automatic accidentals
1218 @cindex default accidental style
1220 @funindex set-accidental-style
1224 There are many different conventions on how to typeset
1225 accidentals. LilyPond provides a function to specify which
1226 accidental style to use. This function is called as follows:
1230 #(set-accidental-style 'voice)
1235 The accidental style applies to the current @code{Staff} by
1236 default (with the exception of the styles @code{piano} and
1237 @code{piano-cautionary}, which are explained below). Optionally,
1238 the function can take a second argument that determines in which
1239 scope the style should be changed. For example, to use the same
1240 style in all staves of the current @code{StaffGroup}, use:
1243 #(set-accidental-style 'voice 'StaffGroup)
1246 The following accidental styles are supported. To demonstrate
1247 each style, we use the following example:
1250 @lilypond[verbatim,quote]
1254 cis'8 fis, d'4 <a cis>8 f bis4 |
1268 \voiceTwo \relative c' {
1269 <fis, a cis>8 <fis a cis>
1272 \change Staff = down
1277 \change Staff = down
1278 <fis, a cis>4 gis <f a d>2 |
1285 \context Staff = "up" {
1286 #(set-accidental-style 'default)
1289 \context Staff = "down" {
1290 #(set-accidental-style 'default)
1297 Note that the last lines of this example can be replaced by the
1298 following, as long as the same accidental style should be used in
1304 \context Staff = "up" @{
1305 %%% change the next line as desired:
1306 #(set-accidental-style 'default 'Score)
1309 \context Staff = "down" @{
1317 @c don't use verbatim in this table.
1321 @cindex default accidental style
1322 @cindex accidental style, default
1326 This is the default typesetting behavior. It corresponds to
1327 eighteenth-century common practice: accidentals are remembered to
1328 the end of the measure in which they occur and only in their own
1329 octave. Thus, in the example below, no natural signs are printed
1330 before the@tie{}@code{b} in the second measure or the
1337 cis'8 fis, d'4 <a cis>8 f bis4 |
1351 \voiceTwo \relative c' {
1352 <fis, a cis>8 <fis a cis>
1355 \change Staff = down
1360 \change Staff = down
1361 <fis, a cis>4 gis <f a d>2 |
1368 \context Staff = "up" {
1369 #(set-accidental-style 'default)
1372 \context Staff = "down" {
1373 #(set-accidental-style 'default)
1382 @cindex accidental style, voice
1383 @cindex voice accidental style
1384 @cindex accidental style, modern
1385 @cindex modern accidental style
1386 @cindex accidental style, modern-cautionary
1387 @cindex modern-cautionary accidental style
1391 The normal behavior is to remember the accidentals at
1392 @code{Staff}-level. In this style, however, accidentals are
1393 typeset individually for each voice. Apart from that, the rule is
1394 similar to @code{default}.
1396 As a result, accidentals from one voice do not get canceled in
1397 other voices, which is often an unwanted result: in the following
1398 example, it is hard to determine whether the second@tie{}@code{a}
1399 should be played natural or sharp. The @code{voice} option should
1400 therefore be used only if the voices are to be read solely by
1401 individual musicians. If the staff is to be used by one musician
1402 (e.g., a conductor or in a piano score) then @code{modern} or
1403 @code{modern-cautionary} should be used instead.
1410 cis'8 fis, d'4 <a cis>8 f bis4 |
1424 \voiceTwo \relative c' {
1425 <fis, a cis>8 <fis a cis>
1428 \change Staff = down
1433 \change Staff = down
1434 <fis, a cis>4 gis <f a d>2 |
1441 \context Staff = "up" {
1442 #(set-accidental-style 'voice)
1445 \context Staff = "down" {
1446 #(set-accidental-style 'voice)
1455 @cindex accidentals, modern style
1456 @cindex modern style accidentals
1460 This rule corresponds to the common practice in the twentieth
1461 century. It prints the same accidentals as @code{default}, with
1462 two exceptions that serve to avoid ambiguity: after temporary
1463 accidentals, cancellation marks are printed also in the following
1464 measure (for notes in the same octave) and, in the same measure,
1465 for notes in other octaves. Hence the naturals before
1466 the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
1473 cis'8 fis, d'4 <a cis>8 f bis4 |
1487 \voiceTwo \relative c' {
1488 <fis, a cis>8 <fis a cis>
1491 \change Staff = down
1496 \change Staff = down
1497 <fis, a cis>4 gis <f a d>2 |
1504 \context Staff = "up" {
1505 #(set-accidental-style 'modern)
1508 \context Staff = "down" {
1509 #(set-accidental-style 'modern)
1516 @item modern-cautionary
1518 @cindex accidentals, modern cautionary style
1519 @cindex modern accidental style
1520 @cindex modern cautionary accidental style
1521 @cindex modern style accidentals
1522 @cindex modern style cautionary accidentals
1524 @funindex modern-cautionary
1526 This rule is similar to @code{modern}, but the @q{extra}
1527 accidentals (the ones not typeset by @code{default}) are typeset
1528 as cautionary accidentals. They are by default printed with
1529 parentheses, but they can also be printed in reduced size by
1530 defining the @code{cautionary-style} property of
1531 @code{AccidentalSuggestion}.
1537 cis'8 fis, d'4 <a cis>8 f bis4 |
1551 \voiceTwo \relative c' {
1552 <fis, a cis>8 <fis a cis>
1555 \change Staff = down
1560 \change Staff = down
1561 <fis, a cis>4 gis <f a d>2 |
1568 \context Staff = "up" {
1569 #(set-accidental-style 'modern-cautionary)
1572 \context Staff = "down" {
1573 #(set-accidental-style 'modern-cautionary)
1582 @cindex accidental style, modern
1583 @cindex accidentals, modern
1584 @cindex accidentals, multivoice
1585 @cindex modern accidental style
1586 @cindex modern accidentals
1587 @cindex multivoice accidentals
1589 @funindex modern-voice
1591 This rule is used for multivoice accidentals to be read both by
1592 musicians playing one voice and musicians playing all voices.
1593 Accidentals are typeset for each voice, but they @emph{are}
1594 canceled across voices in the same @code{Staff}. Hence,
1595 the@tie{}@code{a} in the last measure is canceled because the
1596 previous cancellation was in a different voice, and
1597 the@tie{}@code{d} in the lower staff is canceled because of the
1598 accidental in a different voice in the previous measure:
1604 cis'8 fis, d'4 <a cis>8 f bis4 |
1618 \voiceTwo \relative c' {
1619 <fis, a cis>8 <fis a cis>
1622 \change Staff = down
1627 \change Staff = down
1628 <fis, a cis>4 gis <f a d>2 |
1635 \context Staff = "up" {
1636 #(set-accidental-style 'modern-voice)
1639 \context Staff = "down" {
1640 #(set-accidental-style 'modern-voice)
1647 @cindex accidental style, cautionary, modern voice
1648 @cindex accidental style, modern voice cautionary
1649 @cindex accidental style, voice, modern cautionary
1651 @funindex modern-voice-cautionary
1653 @item modern-voice-cautionary
1655 This rule is the same as @code{modern-voice}, but with the extra
1656 accidentals (the ones not typeset by @code{voice}) typeset as
1657 cautionaries. Even though all accidentals typeset by
1658 @code{default} @emph{are} typeset with this rule, some of them are
1659 typeset as cautionaries.
1665 cis'8 fis, d'4 <a cis>8 f bis4 |
1679 \voiceTwo \relative c' {
1680 <fis, a cis>8 <fis a cis>
1683 \change Staff = down
1688 \change Staff = down
1689 <fis, a cis>4 gis <f a d>2 |
1696 \context Staff = "up" {
1697 #(set-accidental-style 'modern-voice-cautionary)
1700 \context Staff = "down" {
1701 #(set-accidental-style 'modern-voice-cautionary)
1710 @cindex accidental style, piano
1711 @cindex accidentals, piano
1712 @cindex piano accidental style
1713 @cindex piano accidentals
1717 This rule reflects twentieth-century practice for piano notation.
1718 Its behavior is very similar to @code{modern} style, but here
1719 accidentals also get canceled across the staves in the same
1720 @code{GrandStaff} or @code{PianoStaff}, hence all the
1721 cancellations of the final notes.
1723 This accidental style applies to the current @code{GrandStaff} or
1724 @code{PianoStaff} by default.
1730 cis'8 fis, d'4 <a cis>8 f bis4 |
1744 \voiceTwo \relative c' {
1745 <fis, a cis>8 <fis a cis>
1748 \change Staff = down
1753 \change Staff = down
1754 <fis, a cis>4 gis <f a d>2 |
1761 \context Staff = "up" {
1762 #(set-accidental-style 'piano)
1765 \context Staff = "down" {
1772 @item piano-cautionary
1774 @cindex accidentals, piano cautionary
1775 @cindex cautionary accidentals, piano
1776 @cindex piano cautionary accidentals
1777 @cindex accidental style, piano cautionary
1778 @cindex cautionary accidental style, piano
1779 @cindex piano cautionary accidental style
1781 @funindex piano-cautionary
1783 This is the same as @code{piano} but with the extra accidentals
1784 typeset as cautionaries.
1790 cis'8 fis, d'4 <a cis>8 f bis4 |
1804 \voiceTwo \relative c' {
1805 <fis, a cis>8 <fis a cis>
1808 \change Staff = down
1813 \change Staff = down
1814 <fis, a cis>4 gis <f a d>2 |
1821 \context Staff = "up" {
1822 #(set-accidental-style 'piano-cautionary)
1825 \context Staff = "down" {
1835 @cindex neo-modern accidental style
1836 @cindex accidental style, neo-modern
1838 @funindex neo-modern
1840 This rule reproduces a common practice in contemporary music:
1841 accidentals are printed like with @code{modern}, but they are printed
1842 again if the same note appears later in the same measure -- except
1843 if the note is immediately repeated.
1849 cis'8 fis, d'4 <a cis>8 f bis4 |
1863 \voiceTwo \relative c' {
1864 <fis, a cis>8 <fis a cis>
1867 \change Staff = down
1872 \change Staff = down
1873 <fis, a cis>4 gis <f a d>2 |
1880 \context Staff = "up" {
1881 #(set-accidental-style 'neo-modern)
1884 \context Staff = "down" {
1885 #(set-accidental-style 'neo-modern)
1892 @item neo-modern-cautionary
1894 @cindex neo-modern-cautionary accidental style
1895 @cindex accidental style, neo-modern-cautionary
1897 @funindex neo-modern-cautionary
1899 This rule is similar to @code{neo-modern}, but the extra
1900 accidentals are printed as cautionary accidentals.
1906 cis'8 fis, d'4 <a cis>8 f bis4 |
1920 \voiceTwo \relative c' {
1921 <fis, a cis>8 <fis a cis>
1924 \change Staff = down
1929 \change Staff = down
1930 <fis, a cis>4 gis <f a d>2 |
1937 \context Staff = "up" {
1938 #(set-accidental-style 'neo-modern-cautionary)
1941 \context Staff = "down" {
1942 #(set-accidental-style 'neo-modern-cautionary)
1950 @item neo-modern-voice
1952 @cindex neo-modern-voice accidental style
1953 @cindex accidental style, neo-modern-voice
1955 @funindex neo-modern-voice
1957 This rule is used for multivoice accidentals to be read both by
1958 musicians playing one voice and musicians playing all voices.
1959 Accidentals are typeset for each voice as with @code{neo-modern},
1960 but they are canceled across voices in the same @code{Staff}.
1966 cis'8 fis, d'4 <a cis>8 f bis4 |
1980 \voiceTwo \relative c' {
1981 <fis, a cis>8 <fis a cis>
1984 \change Staff = down
1989 \change Staff = down
1990 <fis, a cis>4 gis <f a d>2 |
1997 \context Staff = "up" {
1998 #(set-accidental-style 'neo-modern-voice)
2001 \context Staff = "down" {
2002 #(set-accidental-style 'neo-modern-voice)
2009 @item neo-modern-voice-cautionary
2011 @cindex neo-modern-voice-cautionary accidental style
2012 @cindex accidental style, neo-modern-voice-cautionary
2014 @funindex neo-modern-voice-cautionary
2016 This rule is similar to @code{neo-modern-voice}, but the extra
2017 accidentals are printed as cautionary accidentals.
2023 cis'8 fis, d'4 <a cis>8 f bis4 |
2037 \voiceTwo \relative c' {
2038 <fis, a cis>8 <fis a cis>
2041 \change Staff = down
2046 \change Staff = down
2047 <fis, a cis>4 gis <f a d>2 |
2054 \context Staff = "up" {
2055 #(set-accidental-style 'neo-modern-voice-cautionary)
2058 \context Staff = "down" {
2059 #(set-accidental-style 'neo-modern-voice-cautionary)
2068 @cindex dodecaphonic accidental style
2069 @cindex dodecaphonic style, neo-modern
2071 @funindex dodecaphonic
2073 This rule reflects a practice introduced by composers at
2074 the beginning of the 20th century, in an attempt to
2075 abolish the hierarchy between natural and non-natural notes.
2076 With this style, @emph{every} note gets an accidental sign,
2077 including natural signs.
2083 cis'8 fis, d'4 <a cis>8 f bis4 |
2097 \voiceTwo \relative c' {
2098 <fis, a cis>8 <fis a cis>
2101 \change Staff = down
2106 \change Staff = down
2107 <fis, a cis>4 gis <f a d>2 |
2114 \context Staff = "up" {
2115 #(set-accidental-style 'dodecaphonic)
2118 \context Staff = "down" {
2119 #(set-accidental-style 'dodecaphonic)
2129 @cindex teaching accidental style
2130 @cindex accidental style, teaching
2134 This rule is intended for students, and makes it easy to create
2135 scale sheets with automagically created cautionary accidentals.
2136 Accidentals are printed like with @code{modern}, but cautionary
2137 accidentals are added for all sharp or flat tones specified by the
2138 key signature, except if the note is immediately repeated.
2144 cis'8 fis, d'4 <a cis>8 f bis4 |
2158 \voiceTwo \relative c' {
2159 <fis, a cis>8 <fis a cis>
2162 \change Staff = down
2167 \change Staff = down
2168 <fis, a cis>4 gis <f a d>2 |
2175 \context Staff = "up" {
2177 #(set-accidental-style 'teaching)
2180 \context Staff = "down" {
2182 #(set-accidental-style 'teaching)
2193 @cindex accidental style, no reset
2194 @cindex no reset accidental style
2198 This is the same as @code{default} but with accidentals lasting
2199 @q{forever} and not only within the same measure:
2205 cis'8 fis, d'4 <a cis>8 f bis4 |
2219 \voiceTwo \relative c' {
2220 <fis, a cis>8 <fis a cis>
2223 \change Staff = down
2228 \change Staff = down
2229 <fis, a cis>4 gis <f a d>2 |
2236 \context Staff = "up" {
2237 #(set-accidental-style 'no-reset)
2240 \context Staff = "down" {
2241 #(set-accidental-style 'no-reset)
2250 @cindex forget accidental style
2251 @cindex accidental style, forget
2255 This is the opposite of @code{no-reset}: Accidentals are not
2256 remembered at all -- and hence all accidentals are typeset
2257 relative to the key signature, regardless of what came before in
2258 the music. Unlike @code{dodecaphonic}, this rule never prints
2265 cis'8 fis, d'4 <a cis>8 f bis4 |
2279 \voiceTwo \relative c' {
2280 <fis, a cis>8 <fis a cis>
2283 \change Staff = down
2288 \change Staff = down
2289 <fis, a cis>4 gis <f a d>2 |
2296 \context Staff = "up" {
2297 #(set-accidental-style 'forget)
2300 \context Staff = "down" {
2301 #(set-accidental-style 'forget)
2311 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2312 {dodecaphonic-style-accidentals-for-each-note-including-naturals.ly}
2319 Internals Reference:
2320 @rinternals{Accidental},
2321 @rinternals{Accidental_engraver},
2322 @rinternals{GrandStaff},
2323 @rinternals{PianoStaff},
2325 @rinternals{AccidentalSuggestion},
2326 @rinternals{AccidentalPlacement},
2327 @rinternals{accidental-suggestion-interface}.
2330 @cindex accidentals and simultaneous notes
2331 @cindex simultaneous notes and accidentals
2332 @cindex accidentals in chords
2333 @cindex chords, accidentals in
2337 Simultaneous notes are considered to be entered in sequential
2338 mode. This means that in a chord the accidentals are typeset as
2339 if the notes in the chord happen one at a time, in the order in
2340 which they appear in the input file. This is a problem when
2341 accidentals in a chord depend on each other, which does not happen
2342 for the default accidental style. The problem can be solved by
2343 manually inserting@tie{}@code{!} and@tie{}@code{?} for the
2347 Cautionary cancellation of accidentals is done by looking at previous measure.
2348 However, in the @code{\alternative} block following a @code{\repeat volta N}
2349 section, one would expect the cancellation being calculated using the previous
2350 @emph{played} measure, not previous @emph{printed} measure.
2351 In the following example, the natural @code{c} in the second alternative does
2352 not need a natural sign:
2356 #(set-accidental-style 'modern)
2368 The following work-around can be used: define a function that locally changes
2369 the accidental style to @code{forget}:
2371 @lilypond[verbatim,quote]
2372 forget = #(define-music-function (parser location music) (ly:music?) #{
2373 #(set-accidental-style 'forget)
2375 #(set-accidental-style 'modern)
2378 #(set-accidental-style 'modern)
2391 @unnumberedsubsubsec Ambitus
2394 @cindex range of pitches
2397 The term @notation{ambitus} (pl. ambitus) denotes a range of
2398 pitches for a given voice in a part of music. It may also denote
2399 the pitch range that a musical instrument is capable of playing.
2400 Ambitus are printed on vocal parts so that performers can easily
2401 determine if it matches their capabilities.
2403 Ambitus are denoted at the beginning of a piece near the initial
2404 clef. The range is graphically specified by two note heads that
2405 represent the lowest and highest pitches. Accidentals are only
2406 printed if they are not part of the key signature.
2408 @lilypond[verbatim,quote]
2412 \consists "Ambitus_engraver"
2425 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2426 {adding-ambitus-per-voice.ly}
2428 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2429 {ambitus-with-multiple-voices.ly}
2431 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2432 {changing-the-ambitus-gap.ly}
2442 Internals Reference:
2443 @rinternals{Ambitus_engraver},
2446 @rinternals{Ambitus},
2447 @rinternals{AmbitusAccidental},
2448 @rinternals{AmbitusLine},
2449 @rinternals{AmbitusNoteHead},
2450 @rinternals{ambitus-interface}.
2455 There is no collision handling in the case of multiple per-voice
2460 @subsection Note heads
2462 This section suggests ways of altering note heads.
2465 * Special note heads::
2466 * Easy notation note heads::
2467 * Shape note heads::
2471 @node Special note heads
2472 @unnumberedsubsubsec Special note heads
2474 @cindex note heads, special
2475 @cindex note heads, cross
2476 @cindex note heads, diamond
2477 @cindex note heads, parlato
2478 @cindex note heads, harmonic
2479 @cindex note heads, guitar
2480 @cindex special note heads
2481 @cindex cross note heads
2482 @cindex diamond note heads
2483 @cindex parlato note heads
2484 @cindex harmonic note heads
2485 @cindex guitar note heads
2486 @cindex note head styles
2487 @cindex styles, note heads
2491 The appearance of note heads may be altered:
2493 @lilypond[verbatim,quote,relative=2]
2495 \override NoteHead #'style = #'cross
2497 \revert NoteHead #'style
2499 \override NoteHead #'style = #'harmonic
2501 \revert NoteHead #'style
2505 To see all note head styles, see @ref{Note head styles}.
2507 The @code{cross} style is used to represent a variety of musical
2508 intentions. The following generic predefined commands modify the
2509 note head in both staff and tablature contexts and can be used to
2510 represent any musical meaning:
2512 @lilypond[verbatim,quote,relative=2]
2520 The music function form of this predefined command may be used
2521 inside and outside chords to generate crossed note heads in both
2522 staff and tablature contexts:
2524 @lilypond[verbatim,quote,relative=2]
2527 c b < g \xNote c f > b
2530 As synonyms for @code{\xNote}, @code{\xNotesOn} and @code{\xNotesOff},
2531 @code{\deadNote}, @code{\deadNotesOn} and @code{\deadNotesOff} can
2532 be used. The term @notation{dead note} is commonly used by guitarists.
2534 There is also a shorthand for diamond shapes which can be used
2537 @lilypond[verbatim,quote,relative=2]
2538 <c f\harmonic>2 <d a'\harmonic>4 <c g'\harmonic>
2553 @ref{Note head styles},
2554 @ref{Chorded notes},
2555 @ref{Indicating harmonics and dampened notes}.
2557 Internals Reference:
2558 @rinternals{note-event},
2559 @rinternals{Note_heads_engraver},
2560 @rinternals{Ledger_line_engraver},
2561 @rinternals{NoteHead},
2562 @rinternals{LedgerLineSpanner},
2563 @rinternals{note-head-interface},
2564 @rinternals{ledger-line-spanner-interface}.
2567 @node Easy notation note heads
2568 @unnumberedsubsubsec Easy notation note heads
2570 @cindex note heads, practice
2571 @cindex practice note heads
2572 @cindex note heads, easy notation
2573 @cindex easy notation
2574 @cindex beginners' music
2575 @cindex music, beginners'
2576 @cindex easy play note heads
2577 @cindex note heads, easy play
2579 @funindex \easyHeadsOn
2580 @funindex easyHeadsOn
2581 @funindex \easyHeadsOff
2582 @funindex easyHeadsOff
2584 The @q{easy play} note head includes a note name inside the head.
2585 It is used in music for beginners. To make the letters readable,
2586 it should be printed in a large font size. To print with a larger
2587 font, see @ref{Setting the staff size}.
2589 @lilypond[verbatim,quote]
2590 #(set-global-staff-size 26)
2602 @code{\easyHeadsOn},
2603 @code{\easyHeadsOff}.
2609 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2610 {numbers-as-easy-note-heads.ly}
2615 @ref{Setting the staff size}.
2620 Internals Reference:
2621 @rinternals{note-event},
2622 @rinternals{Note_heads_engraver},
2623 @rinternals{NoteHead},
2624 @rinternals{note-head-interface}.
2627 @node Shape note heads
2628 @unnumberedsubsubsec Shape note heads
2630 @cindex note heads, shape
2631 @cindex note heads, Aiken
2632 @cindex note heads, sacred harp
2634 @cindex Aiken shape note heads
2635 @cindex sacred harp note heads
2636 @cindex note heads, Southern Harmony
2637 @cindex Southern Harmony note heads
2638 @cindex Funk shape note heads
2639 @cindex note heads, Funk
2640 @cindex note heads, Harmonica Sacra
2641 @cindex Harmonica Sacra note heads
2642 @cindex Christian Harmony note heads
2643 @cindex note heads, Christian Harmony
2644 @cindex Walker shape note heads
2645 @cindex note heads, Walker
2647 @funindex \aikenHeads
2648 @funindex aikenHeads
2649 @funindex \sacredHarpHeads
2650 @funindex sacredHarpHeads
2651 @funindex \southernHarmonyHeads
2652 @funindex southernHarmonyHeads
2653 @funindex \funkHeads
2655 @funindex \walkerHeads
2656 @funindex walkerHeads
2658 In shape note head notation, the shape of the note head
2659 corresponds to the harmonic function of a note in the scale. This
2660 notation was popular in nineteenth-century American song books.
2661 Shape note heads can be produced in Sacred Harp, Southern Harmony,
2662 Funk (Harmonica Sacra), Walker, and Aiken (Christian Harmony) styles:
2664 @lilypond[verbatim,quote,relative=2]
2666 c, d e f g2 a b1 c \break
2668 c,4 d e f g2 a b1 c \break
2669 \southernHarmonyHeads
2670 c,4 d e f g2 a b1 c \break
2672 c,4 d e f g2 a b1 c \break
2674 c,4 d e f g2 a b1 c \break
2679 @funindex \aikenHeadsMinor
2680 @funindex aikenHeadsMinor
2681 @funindex \sacredHarpHeadsMinor
2682 @funindex sacredHarpHeadsMinor
2683 @funindex \southernHarmonyHeadsMinor
2684 @funindex southernHarmonyHeadsMinor
2685 @funindex \funkHeadsMinor
2686 @funindex funkHeadsMinor
2687 @funindex \walkerHeadsMinor
2688 @funindex walkerHeadsMinor
2690 Shapes are typeset according to the step in the scale, where the base
2691 of the scale is determined by the @code{\key} command. When writing
2692 in a minor key, the scale step can be determined from the relative
2695 @lilypond[verbatim,quote,relative=2]
2698 a b c d e2 f g1 a \break
2700 a,4 b c d e2 f g1 a \break
2701 \sacredHarpHeadsMinor
2703 \southernHarmonyHeadsMinor
2715 @code{\aikenHeadsMinor},
2717 @code{\funkHeadsMinor},
2718 @code{\sacredHarpHeads},
2719 @code{\sacredHarpHeadsMinor},
2720 @code{\southernHarmonyHeads},
2721 @code{\southernHarmonyHeadsMinor},
2722 @code{\walkerHeads},
2723 @code{\walkerHeadsMinor}.
2729 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
2730 {applying-note-head-styles-depending-on-the-step-of-the-scale.ly}
2732 To see all note head styles, see @ref{Note head styles}.
2740 @ref{Note head styles}.
2742 Internals Reference:
2743 @rinternals{note-event},
2744 @rinternals{Note_heads_engraver},
2745 @rinternals{NoteHead},
2746 @rinternals{note-head-interface}.
2750 @unnumberedsubsubsec Improvisation
2752 @cindex improvisation
2753 @cindex slashed note heads
2754 @cindex note heads, improvisation
2755 @cindex note heads, slashed
2757 @funindex \improvisationOn
2758 @funindex improvisationOn
2759 @funindex \improvisationOff
2760 @funindex improvisationOff
2762 Improvisation is sometimes denoted with slashed note heads, where
2763 the performer may choose any pitch but should play the specified
2764 rhythm. Such note heads can be created:
2766 @lilypond[verbatim,quote,relative=2]
2768 \consists "Pitch_squash_engraver"
2770 e8 e g a a16( bes) a8 g
2782 @code{\improvisationOn},
2783 @code{\improvisationOff}.
2791 Internals Reference:
2792 @rinternals{Pitch_squash_engraver},
2794 @rinternals{RhythmicStaff}.